EN




■ ■  策 展 人 前 言  ■ ■

Curator's preface


     費孝通在《江村經濟》中提到中國傳統農業生活中人與土地的關係,他認為人們的土地就是他們人格整體的一部分。當我們進入後工業化時代,人們逐漸被鋼筋、塑膠、混凝土包圍與他們原本的家鄉割裂開,在這個過程中,原本的人格整體也在分崩離析。許多人不再生活在生他們養他們的土地上,許多鄉村變成了城市,許多人變成了公民,但他們又是誰的公民呢?

     As Fei Hsiao-Tung mentioned in Peasant Life in China, the land that people own used to be part of the personality. Entering the era of post-industry, people tends to be separated from our original homeland by concretes, plastics, rebars, and etc., during which process, the total personality is breaking into pieces. Most people are no longer tied to the land where they are born and raised; most land are no longer for agricultural use; most villages turn into cities; and most natural persons become citizens. But whose citizens are we? 


     對藝術家來說,這些公民不僅僅屬於一個獨立的房屋或者一個特定的區域,換言之,人與城市的關係定義了人的從屬關係。對藝術家Kevin而言,他與城市的關係可以理解為他在城市中尋找和創造新的城市地標的過程,這一點和許多其他的大地藝術家很類似,但也有不同之處。他通過收集城市中細碎的材料,得以窺見當代社會的複雜之處,這一點與鮑德裏亞在《消費社會》中所提到的當代社會結構恰恰相反,鮑德裏亞認為今天的消費領域已經成為一個“富有結構的社會領域”,而在Kevin眼中的重慶無論在地理層面抑或是精神層面都是更複雜也更有機的。在規則和框架的間隙見,包括Kevin在內的人們都能找到他們自己的自由。

     For Kevin, citizens do not belong to a single building or a certain district. In other words, the relation between him and the city defines which kind of citizen he is. He searches for new landmarks and creates new landscapes like other land artists do. From the detailed materials collected, he see the complexity of the present society, which is opposite to what Jean Baudrillard says in The Consumer Society that the modernized world is constructed into a structural social sphere. Chongqing, in Kevin’s eyes, is more complicated and organic on both geographical and ideological levels. Within the gap of these unclear structures and rules, people including Kevin find their own tricky freedom.  


     作為外部的介入者,來自加拿大的Kevin得以以另一個超越三維的維度重新審視重慶—時間,當人們都開始忽略家園的真正內核的時候,Kevin敏銳地捕捉到了這樣一個事實:人們都是居住於時間的公民。當地居民見證了重慶所經歷的巨大變革,但是人與大地之間的聯繫卻在時間中漸行漸遠。通過收集和重新組裝,Kevin試圖探索“我們究竟是誰”,並且將更高一維度的城市展現給觀者。在陌生化的過程中,觀者的注意力將重新投射在他們日常生活的細節至上,並且重新發現日常生活的美學。在《生活美學》中國《美學迷思》篇中,卡雅·曼杜基指出,藝術無論它可能是多麼的精英主義,但它始終是一個社會性的產品,並且一定會與社會產生聯繫,而這一點,在重慶的語境下就顯得更為有趣。通過對陌生化的呈現,我們希望觀眾能理解生活與美學之間矛盾多遠的關係,並且理解這樣的關係根植於哲學美學深處。

     As an outsider from Canada, Kevin see a different dimension above the architectures of Chongqing which is the genuine homeland of the all—time, while people seems to ignore the concept of homeland when we are living, working, studying in certain buildings. Local residents have witnessed huge changes of the city, while the connection with the land is fading away at the same time. Kevin, with his collection and re-organizations, tries to figure out who we are and reveal the higher dimension of the city to the viewers. In the process of de-familiarization, attention will be drawn back to the details of their daily life, and re-discover the everyday aesthetics. In The Myths of Aesthetics, Katya Mandoki points out that art, however, no matter how elitist it may be, is and has always been a social product and is linked to society, which can be even more exciting under the context of Chongqing. Through exhibiting alienation, we hope that viewers could understand the myth of the opposition of aesthetics and everyday life is so deep-rooted that philosophers of aesthetics don’t even consider it necessary to make explicit.  


     同時,對環境問題的擔憂也是本次展覽的主題之一。正如同在上文中提到的,城市發展所盜來的巨大變革同時帶來了許多環境問題。鮑德裏亞也指出消費社會需要商品存在,但更確切地說,需要摧毀它們。商品的“用途”只會導致其慢性墮落。在慢性墮落中所創造的價值要強烈地多。因此,破壞仍然是唯一代替生產的根本辦法:消費只是兩者的中間階段。因此我們擁有的不是消費而是“浪費”,是永遠的被迫消費。當一棟摩天大樓被建起,就有十棟樓被夷為平地。街角的建築垃圾和廢墟中的殘骸可以被看成是城市發展中的軌跡。通過收集、呈現這些“垃圾”,Kevin希望能喚起人們對環境保護問題的藝術,並且重新思考人與地球的關係。

     Meanwhile, concerns about the environment is another underlying theme of this exhibition. As mentioned above, the rapid development of the city has brought about numerous changes, and environmental problem is one of the side effect. Baudrillard suggests that consumer society needs to consume products more rapidly. In other words, people are forced to consume, which is a kind of waste. When a skyscraper is built, ten is being tore down. The construction wastes and ruins are left in the street corners, as a track of the development. Though collecting and displaying these materials, Kevin tries to arouse people’s attention of environmental issues, and rethink our relation with the earth as a whole.  


     在城市轉型的檔口,人們似乎迷失在鋼筋水泥森林之中,此刻,跨文化的視角或許能帶給觀眾許多截然不同的視角反觀他們所居住的城市。這或許也是一個契機,能讓居民們跳脫開生活迴圈的軌跡,重新客觀地去看重慶。

     At the age of city transition, people seems to get lost in the concert forest. Under such condition, trans-culture perspectives might bring the viewer new angles of the city they live in. This might be a chance for our audiences to jump out of their daily life loop and see Chongqing objectively. 


     如果我請你描述一下你居住的城市,你會給出何種答案?現在,把你心中已有的答案存於心間,當你看完這個展覽,或許會有不一樣的答案。

     If you are asked to describe the city you live in, what answer would you give? Now, keep this question in mind, and you may answer it after you see Kevin’s installation.

——屈伸


CCC:黄桷坪的活地图,2019,局部

CCC:a living map of Huang Jue Ping,2019,local



■ ■  藝 術 家 介 紹  ■ ■

About the Artist







教育背景︱Educational background


2018年毕业于加拿大魁北克大学蒙特利尔分校,获新媒体视觉艺术硕士学位

2010 年毕业于法国凡尔赛国家建筑学院,获建筑学士学位

2008 年获法国巴黎科尔布尔国家应用艺术学院空间设计高级证书

2018Master degree in visual and media arts, Université du Québec à Montréal (UQAM), Canada

2010Bachelors in architecture, Versailles’ National School of Architecture, France

2008Senior technician certificate in space design, National School of Applied Arts - école Boulle, Paris



個人展覽︱Exhibitions


2019 年 項目進行中,若利耶特藝術美術館,魁北克

2018年 “再現”,魁北克大学蒙特利尔分校

2018年 “容器”, 达令基金会,蒙特利尔

2017年 “亭與閣”,蒙特利尔美术学院,蒙特利尔

2016年 “流动的疆域”, 现代空间画廊,蒙特利尔

2016年 “城市射线”, SORA画廊,日本

2016年 “赫宾3D循环”, 抽象计划,巴黎

2019Still under construction, Art museum of Joliette, Joliette, Quebec, 

2018Re-excavations, CDEx, UQAM, Montreal

2018Appareillage, Darling Foundry, Griffintown district, Montreal

2017 Pavillon, Old school of Fine Arts of Montreal, Montreal

2016Unstable territories, Espace Contemporain gallery, Montreal

2016Urban radiography, Sora gallery, Japon

2016Herbin 3D loop, Abstract Project, Paris



關於本次駐留︱Aboutthis Residency


     我的研究開始於在城市裏的探索,不斷尋找能夠吸引我的細節,從而改變我的感知,激發我的想像力。通常我在閒逛的時候會記錄筆記、創作文字和圖畫,收集圖像和視頻以及各種物件、原材料,甚至是廢棄物。所有這些材料的收集都重新組建了我對城市材料的認識,也因此構成了我不同形式的創作,如繪畫、雕塑、虛擬圖像、三維動畫、裝置等。事實上通過這些材料,我希望我的作品能在城市裏發起一種行為,它可以包含許多未知因素,比如具有危險性的、錯誤性的、意外性的、干擾性的等。我的目標是通過不同的空間佈局(二維、三維、真實或虛擬)邀請觀眾參與其中,並對呈現的環境產生不同的感知。根據我在城市和這座城市不斷轉變的事物於中穿梭,這些創造了一種城市空間及其使用的表現。

整個產生行為的過程是一種辯證的關於現代都市的使用功能在標準化及異化上的表達,也同樣和城市自身如何被構思、被構建這一問題緊密相連。

     My research begins by walking and drifting in the city, looking for details that catch my attention, change my perception and active my imagination. During thoses moments of wandering, I collect notes, writings and drawings, images and videos, objects, materials and wastes. All this makes an inventory ready to transpose and reorganize my experience in many forms of plastic researches : drawing, painting, sculpture, virtual images, 3D animation, installation. In fact, from this materials, my work pursue the movement initiated in the city, with all the unexpected involved : hazard, error, accident, distraction, discovery. My aim is to produce layouts (in 2D, 3D, real or virtual) whon invite spectators to perceive differently what surrounds them. Those creates a representation of the urban space and his use according to my movement in the city at some point of her unceasing transformation. 

This process is leading by a critical reflection on the standardization and the alienation of the uses in the Modern city related to how she is thought, conceived and constructed.



以往作品介紹︱Introduction to Previous Works


     在最近我完成的一項在地裝置作品中,我利用的材料主要來自廢物回收的物料,並結合照明設備、動畫、投影來呈現,整個空間佈局中會出現許多指示性的標識。這個作品描述的是我的身體如何根據我的思想居住在一個未知的空間裏。觀眾將通過探索與我的個人經驗關聯的感知效果而漫步其中,可能會出現缺失地標、光線反射、迷失方向等情況。當然這些情況也曾出現在我個人的行走過程中。我通常從街道上取材,直接在現場以即興的佈局重新排列,並用圖像記錄我的藝術干預過程,然後把作品留在原處,就像我某一段經歷的蹤跡,一個時刻的再現。這兩種方法都是通過利用城市消費的廢棄物來探討我們的生存環境。即使是十分日常普通的行為,也會成為揭示社會觀念和建築空間的一種方式,這些被選擇的行為也以一種抽樣調查的形式間接暗示著城市空間的使用和更新。

     Recently, I realized site-specific installations from objects, materials and construction wastes recycled and revealed by controlled dynamic lightings including sometimes animated video projections. Multiples actions and gestures are involved in the spatialization process. It reveals how my body according to my thoughts inhabits an unknown space. Then, spectators are invited to wander by exploring perceptive effects relative to my own experience : loss of landmarks, reflections of light, disorientation…This acting also appears in my walks. Taking materials from the street, I rearrange them in ephemeral compositions directly in the spot, capting my intervention by pictures, left there then like a trace of my passage, a revealant moment. Both of this methods are means to talk about our environmental footprint by using the wastes of our consumnation of the city. Daily and common actions, becoming a way to reveal a social and a architectural context, are implied in kind of a sampling methodology to inventorize our urban space uses.


容器,達令基金會,在地裝置,蒙特利爾,2018

Appareillage, Darling foundry, site specific installation, Montreal, 2018


隱藏面,在地裝置,蒙特利爾,2018

Faces cachées (voir à travers), site specific installation, Montreal, 2018


結:07-12-2017,行為表演,格裏芬鎮,蒙特利爾,2017

Knotted : 07-12-2017, performative action, Griffintown district, Montreal, 2017


映射:07-12-2017,行為表演,格裏芬鎮,蒙特利爾,2017

Mapped : 07-12-2017, performative action, Griffintown district, Montreal, 2017


材料試驗,在地裝置,蒙特利爾,2017

Exercice de matelotage, site specific installation, Montreal, 2017


笔记与绘画(手稿),2017

Notes and drawings (process), 2017



■ ■  青年策展人介紹  ■ ■

Curator introduction



1996年出生,來自上海,即將前往紐約大學美術研究所學習現當代藝術史。

Born in 1996, from Shanghai, will go for a MA degree in NYU IFA. Mainly focus on modern and contemporary art history.

本科在南京大學就讀漢語言文學專業,輔修藝術史第二專業,師從周憲教授。

Earned a BA from Nanjing University, School of Liberal Arts. Major in Chinese Language and Literature, minor in Art History. Following professor Zhou Xian.


感謝屈伸對本文提供的文字翻譯工作



■ ■  展 覽 信 息 ■ ■ 

Exhibition Information



《CCC》,加拿大藝術家Kevin Pinvidic個展

CCC,Residency exhibition by Kevin Pinvidic


開幕時間:2019.8.10(週六)19:30

展覽週期:2019.8.10 - 2019.8.18

(週五至周日14:00-18:00)

地點:重慶 · 黃桷坪 · 十方藝術中心

Openning Time: 2019.8.10(Sat.)19:30

Exhibition Time: 2019.8.10- 2019.8.18

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

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


藝術家:Kevin Pinvidic(加拿大)

藝術總監:曾途

學術支持:胡燕子

策展人:屈伸(十方青年策展人實踐計劃)

Artist:  Kevin Pinvidic

Art Director: Tu Zen

Academic Supporting:Yanzi Hu

Curator : Shen Qu(DAC Emerging Curator Practice Project)

執行統籌:Ben

海報設計:盧雨杭

翻譯協助:屈伸

現場拍攝:胡克

Coordination: Ben

Poster Design: Yuhang Lu

Translation Assistance:  Shen Qu

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.