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须臾欢忭艺术空间 |
ZH-1-00 |
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须臾欢忭艺术空间 |
ZH-1-03 |
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那些置於我心中的溫暖：劉桂萍個人藝術展 |
T |
mp.weixin.qq.com/s/z9MAgIAGd6pdbQJqdTUN1... |
在藝術家劉桂萍最新系列的創作中，往日作品中熟悉的動漫風蛻變成一種融合了心像與現實的朦朧感。螢光效果的色彩在畫面中輕輕蕩開，畫中的世界似乎沉入午後的湖底，晝眠乍起的人看過去，只見一派光影灩。不知是這個堅固的世界在畫中分解成了筆觸與色彩，還是世界已經被繪畫改寫。 |
2024 |
March 9, 2024 |
May 11, 2024 |
In artist Liu Guiping’s latest series, the familiar anime style from her previous works has transformed into a hazy fusion of the inner mind and reality. The fluorescent colors gently ripple across the canvas, creating a world that seems to sink into the depths of an afternoon lake. Those who glance at it might see only a shimmering play of light and shadow. It is unclear whether this solid world has deconstructed into brushstrokes and colors within the painting or if the world has already been rewritten by the act of painting itself. |
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须臾欢忭艺术空间 |
ZH-1-04 |
SHUSH：Hailan Solo Art Show |
覆蓋（SHUSH）：海嵐個人藝術展 |
T |
mp.weixin.qq.com/s/d0iO-y284Th172lxryFba... |
當代哲學之中，有許多對「語詞」的討論。初始的自然語言是平等的，每個人都享有理解和掌握自然語言的權利，對自然語言的詮釋層次也幾乎一致，兩種不同的自然語言之間能夠互相翻譯。然而，如夏佩爾在《理由與求知》中所提到的：日常語詞的意義將會有歷時的改變與延伸。當一個詞彙從原有的自然語意擴展到另一種被建構的語意狀態時，建構者便掌握了對語言體系的解釋權利，從而完成了一種並不對等的覆蓋。 因此，不同的派生語言間常有許多衝突。如數學語言或哲學語言一樣，藝術同樣擅長在「語言體系」中製造衝突。傳統繪畫可以用自然直白的表達方式描述，當代藝術則不能。理論派藝術評論（Theoretical criticism）從17世紀發展至今，使得「藝術語言」成為了一種專項技能，非藝術從業人士已經很難與當代藝術作品產生直觀的共鳴。當代藝術語言有著自成一套的對世界的詮釋體系，它凌駕在自然語言之上，與自然語言之間似乎難以互相翻譯。海嵐的早期作品透過中英文文字（文字是一種自然語言符號）變形和重新建構，力求達成符合當代藝術語言的表現。而後期使用手繪圓/點作為自己藝術創作中的重要載體，卻是在當代藝術中折返，將其拆解為自然語言的嘗試。與利希滕斯坦（Roy Lichtenstein）在印刷技術革命背景下透過網版印刷和木刻創造的「本-戴點(Ben-Day dots)」或CMYK機械輸出中的「噴繪點」不同的是，手繪圓點擁有原始、自然的筆觸和表達。如素描以基本的點線元素構建三維物體的方式，海嵐的作品意外獲得了一種擺脫機械製造痕跡後的手繪波普質感。這正是她努力探索的一種溝通方式，用以彌合不同語言體系——派生語詞與自然筆觸——之間的鴻溝。而其致敬草間彌生的作品《色盲南瓜（Color-blind Pumpkin）》，則是用更為細碎的具馬賽克質感的點解構經典波點藝術代表作品，可視為頗具玩味的嘗試。同樣值得思考的是：身為觀者的我們，究竟要以一種怎樣的語言體系來解讀藝術？還是不得不適應每種語言體系的切換或彼此覆蓋的企圖？作品《唐（Tang Court Lady）》儘管使觀者更容易聯想到創作藍本《簪花仕女圖》，但我們依然毫不猶疑地將其納入波普藝術的觀賞範疇。而雕塑多媒體作品《自由女神（Lady Liberty）》則闡述了另一種衝突：使用西方古典雕塑、東方傳統造像、宗教語言以及投影光線相雜糅的形式進行創作，難免會引起各具立場的觀者的不適與抵抗情緒。然而，就呈現場域及呈現結果來看，將莊重的宗教形象與生活化的體態神情結合，又構成「當代藝術」語言體系下的「合理」表達。在這樣的脈絡下，解構與重建本身就具有了挑唆和扭曲彼此立場的意味。在語詞體系的衝突建構中，海嵐的藝術創作為我們提供了一個反思的線索。面對解構與建構，我們是否應該回歸問題的起點，重新思考自然語言與衍生語言之間的關係──也就是一切更高層次的語言體係都建構在基礎自然語言的語意之上。透過提煉、變形、演化、改變所指而形成的 「高門檻」語言形式，實則依然能夠在藝術作品中完成有效傳達。實現的方式，是創作者運用最簡單、直覺、自然、無處不在的構成物質世界和虛擬宇宙的基本單元——「點」，它可以被視為單維中不具質量的存在，卻也是定義某個三維座標的靶心。在話語勢力紛繁割據的當今世界，這不失為在「沿襲的諂媚」和「革命式的顛覆」之外的另一種輕鬆對話的可能。 然而，當撰寫至此，本文或許也處心積慮地為讀者傳播一種與展覽毫不恰當的解讀，以涵蓋作品本身的意義。 |
2023 |
December 22, 2023 |
February 24, 2024 |
In contemporary philosophy, there is much discussion about “words.” The original natural language is egalitarian; everyone has the right to understand and master it, and the interpretative levels of natural language are nearly uniform, allowing for mutual translation between different natural languages. However, as Schaeffer mentioned in Reason and Knowledge, the meanings of everyday words undergo diachronic changes and extensions. When a vocabulary expands from its original natural meaning to another constructed semantic state, the constructor gains the interpretative authority over the language system, completing a form of unequal coverage. As a result, conflicts often arise between different derived languages. Just like mathematical or philosophical language, art excels at creating conflicts within the “language system.” Traditional painting can be described using straightforward expressions, while contemporary art cannot. Theoretical criticism has evolved since the 17th century, making “artistic language” a specialized skill that non-art practitioners find difficult to resonate with contemporary art intuitively. Contemporary artistic language has its own interpretative system for the world, which supersedes natural language, making mutual translation between them seemingly impossible. Hai Lan’s early works transform and reconstruct Chinese and English texts (where text serves as a symbol of natural language) in an effort to conform to the expressive demands of contemporary artistic language. In her later works, she employs hand-drawn circles/dots as a significant medium for her artistic creation, attempting to return to a more natural language in contemporary art. Unlike Roy Lichtenstein’s creation of “Ben-Day dots” or the “spray dots” in CMYK mechanical outputs against the backdrop of the printing technology revolution, her hand-drawn dots carry an original, natural touch and expression. Just as a sketch constructs three-dimensional objects using basic points and lines, Hai Lan’s works unexpectedly achieve a hand-drawn pop aesthetic that sheds traces of mechanical production. This represents a mode of communication she strives to explore, bridging the gap between different language systems—derived vocabulary and natural brushstrokes. Her homage to Yayoi Kusama in the piece Color-blind Pumpkin deconstructs a classic polka dot artwork using smaller, mosaic-like dots, which can be seen as a playful attempt. Equally thought-provoking is the question of how we, as viewers, should interpret art. Should we adapt to the switching or overlapping attempts of each language system? Although the piece Tang Court Lady makes it easier for viewers to associate it with the original work Lady with Flower Hairpins, we still unhesitatingly categorize it within the realm of pop art. Meanwhile, the multimedia sculpture Lady Liberty presents another conflict by combining Western classical sculpture, Eastern traditional imagery, religious language, and projected light, inevitably provoking discomfort and resistance among viewers with varying perspectives. However, regarding the presentation space and outcomes, the combination of solemn religious imagery with everyday expressions constitutes a “reasonable” expression within the language system of contemporary art. In this context, deconstruction and reconstruction themselves imply a provocation and distortion of each other’s positions. Through the conflicts constructed in the vocabulary system, Hai Lan’s artistic creation offers us a thread for reflection. In the face of deconstruction and construction, should we return to the starting point of the problem and rethink the relationship between natural language and derived language—namely, that all higher-level language systems are constructed upon the semantics of basic natural language? Through the refinement, transformation, evolution, and alteration of referents that form a “high-threshold” linguistic form, effective communication can still be achieved in artistic works. The means to accomplish this involves creators using the simplest, most intuitive, natural, and ubiquitous building blocks of the material world and the virtual universe—“points.” These can be seen as a one-dimensional existence without mass, yet they also define the target of a three-dimensional coordinate. In today’s world, rife with competing discursive powers, this offers another potential for a relaxed dialogue beyond “obsequious tradition” and “revolutionary subversion.” However, as I write this, perhaps this article is also deliberately disseminating a reading that is entirely inappropriate for the exhibition, in an effort to encompass the meaning of the works themselves. |
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须臾欢忭艺术空间 |
ZH-1-02 |
Between the Lines |
字裡行間 |
T |
mp.weixin.qq.com/s/mNba_GY1MIYHIVEKyf_x2... |
鐵路旅行通常被浪漫化為進步和冒險的象徵，而《字裡行間》提供了一個細緻入微的視角，反映了與鐵路運輸交織在一起的一些複雜性和後果。 榮恩（Ron Rocco）的錄像作品見證了從東柏林到西柏林的鐵路之旅——這是一條不歸路，一旦開始旅程就不會再返回。這曾經是一條充滿希望和可能性的道路，如今卻成為了選擇的不可逆性的證明。透過榮恩的這段視頻，觀者見證了一種失去團聚與和解機會的反思。唐納利（ Scott Donnelly） 繪製的格拉斯哥下方廢棄站台的作品體現了《比欽報告》（Beeching Report）的後果。該報告最終在 60 年代關閉了全英國 5000 多英里的鐵路，導致大規模的通訊中斷。人們被迫無法交通並面臨隨之而來的隔離，進而影響了日常生計，加劇了社會分歧。 這些用油畫棒在未塗佈的紙上繪製的圖畫不會以任何方式擦除或糾正，這種媒介的即時性和無情性與該報告讓英國陷入全面封鎖造成的影響相呼應。在這個合作計劃中，榮恩和史考特邀請您一起踏上「字裡行間」的旅程，西方鐵路歷史的某些層面將被抽離出來並透過不同的藝術媒介展示。 此次展覽涵蓋了藝術家在中國期間創作的其他作品，包括雕塑和大幅繪畫。 |
2024 |
May 18, 2024 |
June 22, 2024 |
Railway travel is often romanticized as a symbol of progress and adventure, while “Between the Lines” offers a nuanced perspective that reflects some of the complexities and consequences intertwined with railway transportation. Ron Rocco’s video work documents the railway journey from East Berlin to West Berlin—this is a one-way road; once the journey begins, it will not return. This was once a road filled with hope and possibilities, but it has now become a testament to the irreversibility of choices. Through Ron’s video, viewers witness a reflection on the lost opportunities for reunion and reconciliation. Scott Donnelly’s work depicting the abandoned platform below Glasgow embodies the consequences of the Beeching Report, which ultimately closed over 5,000 miles of railway across the UK in the 1960s, leading to widespread communication disruptions. People were forced to face an inability to travel and the resulting isolation, further affecting their daily livelihoods and exacerbating social divisions. These drawings created with oil pastels on uncoated paper cannot be erased or corrected in any way. The immediacy and ruthlessness of this medium resonate with the impact of the report, which plunged the UK into complete lockdown. In this collaborative project, Ron and Scott invite you to embark on a journey through “Between the Lines,” where certain aspects of Western railway history will be extracted and presented through different artistic media. This exhibition also includes other works created by the artists during their time in China, including sculptures and large-scale paintings. |
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HKMoA |
HK-01-04 |
So Wing Po Scent of Raindrop Art Installation |
蘇詠寶《雨水的味道》裝置作品 |
T |
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2024 |
June 27, 2024 |
October 15, 2024 |
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蘇詠寶從中醫哲學和現代化學中汲取靈感，利用實驗室裝置和各種天然及人工物質，重構雨水散發的各種氣味，呈現香味在大自然中錯綜複雜的流轉過程。《雨水的味道》與「香港賽馬會呈獻系列：尋香記──中國芳香文化藝術展」同期展出，帶領觀眾透過探索雨水的氣味，藉此發現大地的神奇時刻。 蘇詠寶成長於傳統中醫學世家，自幼接觸和觀察各種藥材植物，將草藥從兒時的玩物，轉化成現在她的藝術創作的主要媒介。從植物草藥、農作物、昆蟲到岩石、人類器官和內臟，蘇氏的創作圍繞自然界的各種生命，透露她對生命結構、生存體系的探索。中醫學源於對自然的觀察、探索以及想像，她的藝術創作便是建立於此精神上，以探討萬物的生成、物質性和關係性。蘇詠寶曾於香港大館當代美術館創作名為「六種練習」的個人展覽（2018），並曾參與多個本地及國際展覽，包括加德滿都三年展（2022）、 第14屆上海雙年展（2023）、台北雙年展（2023）、首屆泛東南亞三年展（2023）。 |
Drawing inspiration from both the philosophies of Chinese medicine and methodologies of modern chemistry, So reconstructs the various scents emitted by rainwater with a laboratory setup and various natural and artificial substances, in order to unveil the intricate and complex flow of fragrance within the natural world. The work Scent of Raindrop is on display to tie in with the exhibition "The Hong Kong Jockey Club Series: Fragrance of Time — In Search of Chinese Art of Scent", inviting the audience to uncover the wonders of the Earth through exploring the scent of rain. So Wing-po was born into a family of Chinese medicine doctors. Growing up surrounded by natural medicinal ingredients inspires her to transform them from childhood playthings to artworks. Revolving around beings in nature such as medicinal herbs, crops, insects, rocks and the human body, So delves into the ontological structure of life with her artistic creation. Traditional Chinese medicine originates from the observation, exploration and imagination of nature—the same conceptual approach is applied by So in her art to investigate the formation, materiality and relationality of beings. So had a solo exhibition at Tai Kwun Contemporary, Hong Kong, titled “Six-part Practice” (2018) and has participated in Kathmandu Triennale (Nepal, 2022), Taipei Biennale (Taipei, 2023), the 14th Shanghai Biennale (Shanghai, 2023) and The First Trans-Southeast Asia Triennial (Guangzhou, 2023). |
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HKMoA |
HK-01-01 |
Angela Yuen Land Ho! and Bovey Lee Bird Song‧Flower Scent: A Site-specific Art Installation |
阮家儀《登陸何處》及李寶怡《鳥語．花香》－場域特定裝置作品 |
T |
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2024 |
June 30, 2024 |
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兩位香港藝術家透過場域特定藝術裝置，重新詮釋藝術館藏品及所代表的不同氣質，共同打造清新獨特的餘味，讓人回味無窮; 阮家儀以現成物製作成可轉動的《登陸何處》;配合燈光投射，在牆身上交疊出一抹夢幻景緻，構成她對香港多元文化的體會。剪紙藝術家李寶怡則以人手剪出一個層層漣漪的大池塘，並以擴增現實建構一個《鳥語．花香》的世界，在鬧市中提供喘息的空間. |
Two Hong Kong artists are invited to create site-specific art installations with inspiration from the museum collection and their various characteristics, co-creating a novel and unique aftertaste. Angela Yuen turned found objects into a kinetic art installation Land Ho!. Through the light and shadow, the work creates images superimposing on the wall and forms an enigmatic landscape, which tells the artist’s feelings towards Hong Kong and its diverse culture. Meanwhile, cut paper artist Bovey Lee has hand-cut a large rippling pond and constructed a world of Bird Song‧Flower Scent with the technology of augmented reality, providing a “breathing space” from the hustle and bustle of the city. |