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■ ■  執行策展人前言 ■ ■ 

Preface by the Executive Curator


    本次展覽是袁軻與駱薑江兩位藝術家的聯合雙個展,他們兩位都是從日常生活之物出發去進行藝術思考,旨在向觀眾提供一種新的觀看方式,提供對物本身一種新的理解。物是藝術的載體,沒有物,藝術也將無法顯現自身。藝術作品之所以能成為藝術作品,不僅僅是作為一個“物”,因為它還承載了別的屬性。

    袁軻在作品《陪葬品陳列 1 號》中將每日飲用完的礦泉水瓶作為材料媒介,用其完整或不完整的形態去承載他的思想。在一遍遍剪開、拼合、上色的過程中賦予材料不同的意義,他用自己的理解讓塑膠水瓶重新“複生”。在作品《第一種教堂 3 號》中,藝術家以紡織車間為題材,自己親自去感受了在他生活之外的另一種“空間”,隨著紡織機撞針上下不停的擺動,也讓藝術家對這個世界,對自己的生活有了不同的思考,進而將他眼中看到的世界也呈現給我們。

    在駱薑江的作品中,他以日常生活中的物品作為媒介,試圖將媒介去功能化,以一種新的思考邏輯、以其自身的感知力讓事物自身更加完善,使物之物性得以回歸,給觀者創造一個對日常生活之物賦予新思考的場域。

    他們兩個的作品一位是通過改造和體驗來發現自我,一位是將日常重構,給觀者以新的視角去理解生活。一件物品在被創作的過程中,就已經被創作者注入了新的內涵,同樣,藝術家在進行創作的同時也就是以其作品為媒介,用個體心靈去體驗、改造這個世界。 藝術源於生活,但是以一種“陌生化”的方式,用形式感來喚醒我們對生活的敏感。藝術家通過作品來製造一種空間,觀眾在欣賞作品的同時也是在通過藝術家的感覺去看世界。 對於材料而言,我們只有把它當成媒介時才能更好地去理解作品,只有通過這些媒介,藝術家的用意才能被理解,這個時候,物性以及疊加在物性上的更豐富的文化屬性才能被顯現出來。

    This exhibition is a joint exhibition of two artists, Ke Yuan and Jiangjiang Luo. To provide viewers with a new way of viewing and to provide a new understanding of the object itself, both of them are starting from the things of daily life to carry out artistic thinking. Objects are the carrier of art. Without them, art will not be able to manifest itself. The reason why a work of art can become a work of art is not only as an “object” , but also carries other attributes.

    In his work The Funerary Objects Display No. 1, Ke Yuan used the mineral water bottle that was consumed daily as a material medium to carry his thoughts in its complete or incomplete form. In the process of cutting, recombining and coloring over and over again, the material was given different meanings. He used his own understanding to rejuvenate the plastic water bottle. In the work The First Type of Church No. 3, the artist took the textile workshop as the theme, and personally felt another "space" outside his life. As the textile machine hit the needle up and down, it also allowed the artist to think differently about the world and his own life, and then presented the world he saw in us. 

    In Jiangjiang Luo 's works, he used the objects in daily life as a medium to try to de-mediated the media, to make objects more perfect with a new thinking logic and with its own perception. He returned the physical properties of objects, and created a field for the viewer to give new thoughts to the objects of everyday life.

    One of their two works is to discover the self through transformation and experience. The other one is to reconstruct the daily life and give the viewers a new perspective to understand life. In the process of being created, an item has been injected with new connotations by the creator. Similarly, the artist uses his work as a medium to experience and transform the world with his own soul. Art comes from life, but in a "defamiliarized" way, the sense of form is used to awaken our sensitivity to life. The artist creates a space through the works, and the audience appreciates the works while also seeing the world through the artist's feelings. As far as materials are concerned, we can only better understand the works when we use them as media. Only through these media can the artist's intentions be understood. At this time, the physical properties and the richer cultural attributes superimposed on the physical properties can be revealed. 

- 王樹芳 Shufang Wang



■ ■  藝術家自述 ■ ■

Artist's Statement


《陪葬品陳列1號》 The Grave Goods Display No. 1

    水瓶在有水之時,因其內的水是我們賴以生存的必需品,在我們的意識中尚可算作“活物”;當水被飲盡,瓶子作為單純的容器便結束了使命,成為了無生機的“死物”,等待它們的是將被攪碎並匯於一個大墓地。然而這些水瓶的原材料——塑膠中有很大一部分卻是可以被回收再利用的,於是便從中誕生出一種循環往復、類似複生的概念。這使我聯想到了中國古代的墓葬。古人製作陪葬品的目的在於為死者構架一個身後仍然活著的世界,用一些象徵日常之物去搭建起一種不會消亡的生活,所以我著手擬定了這個不具對象的墓葬,並賦予這些重新拼接的塑膠瓶碎片以陪葬品的新屬性。

    A water bottle with water is still a "living thing" in our consciousness for water is a necessity for us to survive. When the water is drained, the bottle as a simple container ends its mission and becomes a lifeless “dead”, shattered and gathered in a large cemetery will be awaited. However, a large part of the raw materials of these water bottles, plastics, can be recycled and reused, so a concept similar as resurrection is born from it. This reminds me of ancient Chinese tombs. The ancient people made grave goods to build a world in which the deceased was still alive.By using different objects that symbolize everyday life, a worldwithout decline was created.So I set out to make this tomb without occupant and gave these re-spliced plastic bottle pieces to the new attributes of the funerary.

- 袁軻 Ke Yuan


《第一種教堂3號》Church I No. 3

    駐留期間我走訪了一家紡織車間,發現工人們的工作、吃飯、睡覺、如廁、娛樂設施均被擠壓在一層樓中,趕工的工人甚至可以連上下樓的需要都省去,每日的生活模式幾乎可由一條首尾相連的直線來概括。縫紉機針尖的一芒之所是我們每日所穿著之物被創造之所,其往復無休的運動是一種象徵時間悄然流逝的計時器。於是我嘗試將工人們的生活狀態轉化成一種概念化的教堂空間,教堂以其恢弘的音樂、宏偉的建築形制,高聳的穹頂,同樣使許多人逐漸成為了某種巨像的習慣接收者,一旦進入到那種氣氛中便不自覺地為它所吞沒。紡織機針尖的圖像被我放大並投影到墻上,其運作所發出的聲音被擴大到幾乎將人壓倒的音量,而我在車間中拍攝的日常之景則被縮小並串聯為了一條條細長的紐帶,交錯在整個空間內部。

    During my residency, I visited a textile workshop and found that the workers' working, eating, sleeping,excretion and recreational facilities were all squeezed in one floor. They could even save the need to go up and down the building. The daily life pattern can be summarized by a straight line that is connected end to end. The needle tip of the sewing machine is the place where the things we wear every day are created. The reciprocating movement is a kind of timer that symbolizes the quiet passage of time. So I tried to transform the living conditions of the workers into a conceptual church space. The church, with its magnificent music, grand architectural form, and towering dome, also made many people become the habitual recipients of some giant images and were unconsciously engulfed by the atmosphere. The video of the working needle tip of the textile machine was magnified and projected onto the wall. The sound produced by the operation was expanded to a volume that almost knocked people down, and the daily scenes I shot in the workshop were narrowed down and connected in series to form a slender ties that cross around the interior of the space.

- 袁軻 Ke Yuan


《物之序》The Order of Objects

    我們之所以能夠如此這般的感知世界中諸多事物的存在,是因為它們能夠在我們的心靈中以如此這般的方式存著。我們賦予日常世界中諸多事物的認知,基於日常生活本身固有的意義,而在我的作品中,我以去功能化為原則,讓事物從原有的日常秩序中脫離出來,並基於其本性,將它們編排進全新的邏輯關係當中,事物在這個過程中重新確立其意義,或者說,完善其自身的意義。 

    We are able to perceive the existence of many things in the world in such a way because they can exist in such a way in our mind. We give recognition to many things in the everyday world, based on the inherent meaning of daily life, and in my work, I used disablement as a principle to separate things from the original daily order and based on their nature. They were arranged into a new logical relationship, in which things re-establish their meaning, or to perfect their own meaning.

- 駱姜江 Jiangjiang Luo



■ ■  藝術家介紹 ■ ■

 About the Artist



1991年出生於中國上海,曾在上海/芝加哥工作學習。

Born in Shanghai, China in 1991, he used to work and study in Shanghai and Chicago.

個人展覽:

2016《玻璃城的雞孩去非洲看海》香港視覺藝術中心。

Chicken Children in Glass City Go to Africa to See the Sea, Hong Kong Visual Arts Centre, 2016.


本次駐留計畫介紹:

    我將不同城市地區的隱性脈絡看作宗教性的,不是某種現存的宗教,而是包含了該地區地理特徵、城市精神、文化習俗等綜合的含義。我希望找到契合重慶獨特地緣文化的場地繼續《第一種教堂》系列的臨時裝置創作,場地可以是戶外,也可以是人造空間,最後以攝影的方式保存下來。此外我也計畫以當地傳統文化為契機,嘗試一些含有城市符號的裝置或雕塑。

    最後在駐留結束時,將以作品分享會或藝術展覽的形式呈現。

    I regard the hidden context of different urban areas as religious, not some existing religion, but the comprehensive meaning of the geographical features, urban spirit, cultural customs and so on. I hope to find a venue that fits the unique geopolitical culture of Chongqing and continue the creation of the temporary installation of the The First Type of Church series. The venue can be outdoor or artificial space, and finally saved by photography. In addition, I also plan to use local traditional culture as an opportunity to try some installations or sculptures with city symbols.

    Finally, at the end of the residency, it will be presented in the form of a work sharing session or an art exhibition.


本次藝術家作品:

Artist's work:


▲《肺形器皿碎片》,塑料瓶 丙烯 ,37x25x7cm,2019

▲Lung-shaped vessel fragment,Acrylic on plastic bottles,37x25x7cm,2019


▲《镇墓兽》,塑料瓶 丙烯,46x25x20cm, 2019 

▲ Tomb-guardian,Acrylic on plastic bottles,46x25x20cm,2019


▲《第一种教堂3号》,缝纫机, 影像及声音装置 ,尺寸可变,2019 

▲Church I No.3,Sewing machine, Video & sound installation,Variable size,2019




■ ■  藝術家介紹 ■ ■

 About the Artist



1989生於中國浙江,現工作與生活於中國上海。

Born in Zhejiang, China in 1989, he now works and lives in Shanghai, China

教育背景 :

Education:

2018碩士學位,巴賽隆納大學美術系。

2018 Master degree, Department of Fine Arts, University of Barcelona

2016壁畫專業,西班牙巴賽隆納Escuela Massana藝術與設計學院。

2016 Department of Mural Painting, Escuela Massana College of Art and Design, Barcelona, Spain

2013學士學位,四川美術學院版畫專業。

2013 Bachelor degree, Print Department of Sichuan Fine Arts Institute

展覽經歷 :

The exhibition experiences:

2019

日本福岡縣絲島市KuraStudio 個展“Obscatle/障礙”。

Solo exhibition "Obscatle ", KuraStudio, fukuoka, Japan, 2019

2018

“新生萬象”中國上海青年藝博會群展。

Group Exhibition "New Life", Shanghai Young Art Fair, China

西班牙巴賽隆納Fabra i coats 藝術中心 Fic-ProdArt'18 駐留藝術家群展。

Group Exhibition"Fic-ProdArt'18", Fabra i coats Art Center, Barcelona, Spain

西班牙巴賽隆納Mofuta gallery 群展 "當下的當下"。

Group Exhibition” The Present Moment”, Mofuta Gallery, Barcelona, Spain

2017

西班牙巴賽隆納 Reial Cercle Artistic 藝術中心"從北京到巴塞隆納群展"。

Group Exhibition "From Beijing to Barcelona", ReialCercle Artistic Art Center, Barcelona, Spain

西班牙巴賽隆納 The White Gallery 畫廊群展。

Group Exhibition, The White Gallery, Barcelona, Spain

西班牙巴賽隆納Jordi Miguel 畫廊群展。

Group Exhibition, Jordi Migue Gallery l, Barcelona, Spain

2016

西班牙巴賽隆納Albareda 文化中心"Art in Poblesec"群展。

Group Exhibition, "Art in Poblesec" Albareda Cultural Center, Barcelona, Spain

西班牙巴賽隆納Escola Massana 藝術與設計學校群展“Mercuri”。

Group Exhibition, “Mercuri”, Escuela Massana College of Art and Design, Barcelona, Spain

西班牙巴賽隆納神聖家族大教堂圖書館”中國青年藝術家在巴賽隆納“群展。

Group Exhibition, “Chinese Young Artists in Barcelona”, Holy Family Cathedral Library, Barcelona, Spain

西班牙巴賽隆納Jordi Miguel 畫廊"Jiang-jiangLuo"個展。

Solo exhibition, "Jiang-jiangLuo", Jordi Miguel Gallery, Barcelona, Spain

西班牙巴賽隆納Jordi Migue 畫廊群展。

Group Exhibition, Jordi Migue Gallery, Barcelona, Spain

2015

西班牙巴賽隆納Jordi Miguel 畫廊群展。西班牙赫羅納 Sant Feliu deGuíxols 博物館"黑陶"群展。

Group Exhibition, Jordi Miguel Gallery, Barcelona, Spain & “Black Pottery”, Sant Feliu deGuíxols Museum, Barcelona, Spain


本次駐留計劃介绍:

    本次駐留的計畫我將會延續之前的創作思路,借助圖像,攝影和現成物來構造一個相互關聯的空間,讓所有的元素都被包含在一種確定的邏輯關係當中,構成一個宏大而立體劇場式空間。創作的取材會有一部分源自重慶當地,同時重慶的城市景觀也會是一個我感興趣的話題,我希望能通過對一些日常經驗的一種解構來重新理解我們生活的世界,也希望可以通過本次的駐地創作可以引發一些對於城市的歷史層面的思考。

    最後在駐留結束時,將以作品分享會或藝術展覽的形式呈現。

    I will continue the previous creative thinking of this resident project, using images, photography and ready-made objects to construct an interconnected space, so that all elements are included in a certain logical relationship, forming a grand and three-dimensional theater space. Part of the creation will come from Chongqing, and the urban landscape of Chongqing will be a topic of my interest. I hope that we can re-understand the world we live by deconstructing some daily experiences, and I also hope that this resident creation can lead to some reflections on the historical level of the city.

    Finally, at the end of the residency, it will be presented in the form of a work sharing session or an art exhibition.


本次藝術家作品:

Artist's work:


▲《杯與影》 ,照片,100cm x 70cm,2018

▲The Cup and The Shadow,Photograph,100cm x 70cm,2018


▲《公共空間中的私人空間》,紙盒裝置,13cm x 13cm,2019

▲The Private Space in public,The canton plant,13cm x 13cm,2019


▲《午後聚會》,裝置攝影,90cm x 120,2019

▲Afternoon Chat,Device image,90cm x 120,2019




■ ■  執行策展人介紹 ■ ■ 

Executive Curator Introdution



1994年生於中國內蒙古,現學習工作於重慶。

本科在重師就讀繪畫專業;現在川美就讀研究生,藝術批評專業,師從王林教授。

曾在2018年擔任首屆重慶實驗影像雙年展——A計畫策展助理;2019年擔任首屆重慶實驗影像雙年展——B計畫策展助理;2019年2月策劃影像、情感、態度——南岸區實驗影像聯展,擔任策展人。

Born in Inner Mongolia, China in 1994, she is now studying and working in Chongqing. After getting bachelor's degree in painting at Chongqing Normal University, she is now a graduate student, majoring art criticism at Sichuan Fine Arts Institute. She is taught by professor Lin Wang.

In 2018, she served as The First Chongqing International Experimental Visual Art Biennale curator assistant of Project A.

In 2019, she served as The First Chongqing International Experimental Visual Art Biennale curator assistant of Project B.

In February 2019, she planned Images, Emotions and Attitudes—Nan’an District Experimental Visual Art Exhibition, served as curator.



■ ■  展 覽 信 息 ■ ■ 

Exhibition Information


《生活之後》袁軻&駱姜江雙個展

After the Life,Residency Exhibition by Ke Yuan&Jiangjiang Luo


開幕時間:2019.6.29(週六)19:30

展覽週期:2019.6.29 - 2019.7.14

(週五至周日14:00-18:00)

地點:重慶 · 黃桷坪 · 十方藝術中心

Openning Time: 2019.6.29(Sat.)19:30

Exhibition Time: 2019.6.29 - 2019.7.14

(Fri.-Sun.14:00-18:00)

Venue: Dimensions Art Center(DAC), Huangjueping, Chongqing


藝術家:袁軻&駱姜江(中國)

藝術總監:曾途

策展人:胡燕子

執行策展人:王樹芳

Artist: Ke Yuan&Jiangjiang Luo

Art Director: Tu Zen

Curator:Yanzi Hu

Executive curator:Shufang Wang

執行統籌:Ben

海報設計:盧雨杭

翻譯協助:劉暢

現場拍攝:胡克

Coordination: Ben

Poster Design: Yuhang Lu

Translation Assistance:  Chang Liu

Live shooting: Ke Hu


主辦方:十方藝術中心(DAC)

Sponsored by: Dimensions ArtCenter (DAC)

支持方:

Sense健康管理工作室

國際化藝術拔尖人才實驗班

Supporter: 

Sense health Management Studio

International Art Top Talents Experimental Class


媒體支持:

SupportingMedia:








郵箱 : info@chongqingdac.org

微信 : CNCQDAC

Facebook : 重慶市十方藝術中心

地址:重慶市九龍坡區黃桷坪官家林190號

Website : chongqingdac.org

Email : info@chongqingdac.org

Wechat : CNCQDAC

Facebook : Chongqing Dimensions Art Centre & Chongqing Artists In Residency

Address : Huangjueping GuanJiaLin 190, Jiulongpo, Chongqing, CN.