搜狐網(wǎng)

2018-09-15 20:30

陽 臺(tái)

The Balcony

在美術(shù)館的空中展廊中出現(xiàn)的20余件作品，全部呈現(xiàn)在透過陽光板后彌散在空間中的自然光環(huán)境中，如同陽臺(tái)一般。我們選擇了與身體相關(guān)的作品，包括人的身體（皮膚、肢體與器官）和植物、石頭等擬人化的身體?！吧眢w”這一主題的起源可以直接追溯到古希臘時(shí)期的藝術(shù)，對(duì)于身體的描繪貫穿了整個(gè)西方藝術(shù)發(fā)展史。而到了當(dāng)代藝術(shù)領(lǐng)域，藝術(shù)家除了描繪他人的身體，也往往開始不斷重新審視自己的身體——這個(gè)一切思維、邏輯、感覺、情緒的主體。觀眾也將在美術(shù)館的環(huán)形走廊中漫步的同時(shí)，思索身體與空間的關(guān)系。當(dāng)你走到陽臺(tái)的最盡頭，將在四方當(dāng)代藝術(shù)湖區(qū)的最高點(diǎn)與城市達(dá)成連結(jié)。

More than 20 pieces sit in the sky gallery, bathed in natural sunlight streaming in through polycarbonate panels, as if on a balcony. We have chosen artwork related to bodies, including human(skin, limbs, torsos, and organs), and anthropomorphized plants, rocks, and other objects. The'body'as an artistic theme can be traced back to Ancient Greece. Depictions of bodies spanthe entire history of Western art. Contemporary artists no longer limit themselves to depictions of others’ bodies, often reexamining their own bodies as well—those masses ofthought, logic, feeling, and emotion. While strolling through the ring-shaped gallery, viewers will also contemplate the relationship between space and the body. The balcony leads to the highest point in Sifang Collective, from which one can look out and connect with the city sprawling below.

? 由左及右：米瑞爾姆·卡恩《L.I.S.彎曲，1988》、黎清妍《對(duì)齊（排隊(duì)）》、黎清妍《潺潺》

◆黎清妍

《對(duì)齊（排隊(duì)）》，2013

布面油畫

Lai Firenze

Alignment (Queue), 2013

Oil on canvas

◆黎清妍

《潺潺》，2015

布面油畫

Lai Firenze

Ripple, 2015

Oil on canvas

黎清妍是生活和工作在香港的藝術(shù)家，她在繪畫中塑造被拉長(zhǎng)或壓扁的人的身體，并尋找這些人物形象與其所在環(huán)境的復(fù)雜關(guān)聯(lián)，以此傳達(dá)畫中人以及藝術(shù)家自身的心理狀態(tài)。相比更廣大的空間，藝術(shù)家認(rèn)為“貼近的空間更重要”，因?yàn)槲ㄓ腥绱瞬拍軅鬟_(dá)出“在場(chǎng)”的感受。黎清妍將創(chuàng)作鎖定在繪畫，將“找到立足點(diǎn)和平衡點(diǎn)”作為最大的課題。

Firenze Lai is an artist living and working in Hong Kong. In her paintings, she shapes human bodies that have been stretched out or squashed flat and searches for the complex associations between these figures and their environments, thus conveying the mental state of the people in the paintings as well as that of the artist herself. In comparison to broader spaces, Lai believes that 'close spaces are more important', as only through these spaces can one convey the feeling of being 'on-site'. Lai has targeted her creative efforts on painting, and considers 'finding footholds and balance points' to be the main subjects of her work.

◆米瑞爾姆·卡恩

《L.I.S.彎曲，1988》

炭筆紙本

Miriam Cahn

L.I.S. gebeugt, 1988

Charcoal on paper

瑞士藝術(shù)家米瑞爾姆·卡恩經(jīng)常提及自己作為一個(gè)女權(quán)主義者的身份，“你的身體就是你的戰(zhàn)場(chǎng)’，這句來自芭芭拉·克魯格的名言同樣也是米瑞爾姆·卡恩的口頭禪。從上世紀(jì)70年代開始，卡恩開始用黑色粉筆進(jìn)行繪畫，這一系列的炭筆畫作尺幅可觀，且作畫速度極快，整個(gè)工作室往往充滿炭筆的灰塵。在這一情況下，作品如何進(jìn)行完全需要聽從身體的指令，筆觸、線條往往稍縱即逝，這種繪畫方式也是藝術(shù)家對(duì)于男權(quán)主導(dǎo)下的“杰作的藝術(shù)史”的拒絕。

Swiss artist Miriam Cahn has often given herself a feminist identity, as Barbara Kruger's famous quote, 'Your body is a battleground”, which is also Cahn's personal mantra. In the 1970s, Cahn first began drawing with black chalk. This series of charcoal on paper is often of considerable sizes, completed briskly in a studio misted with dust. The works have to fully obey the orders from body to guide the progress, brushstrokes and lines fleeting under this situation, which is also a refusal to masterpiece art history led by masculism.

◆凱莉·明石

《形體14》，2014-2015

青銅、鉛、吹制和塑性玻璃、蠟、棉燭芯、雪花石、鎳、聚氨酯、硼硅玻璃、指甲、古董串珠、瓷漆、木、銀明膠、油畫顏料

Kelly Akashi

Figure 14, 2014-2015

Bronze, lead, blown and sculpted glass, wax, cotton wick, alabaster, nickel, urethane, borosilicate glass, fingernails, antique beads, Solomon’s borosilicate glass, enamel paint, wood, silver gelatin, oil

凱莉·明石是美國日裔藝術(shù)家，試圖去傳達(dá)“生活經(jīng)驗(yàn)的無形與短暫”。藝術(shù)家在不同時(shí)期制作自己的手模，隨后與其它物件放置在一起，如同記錄“感覺的檔案”。她的作品強(qiáng)調(diào)模型與照片文檔之間的相似性，并用玻璃、蠟、青銅和繩結(jié)來表現(xiàn)這種關(guān)于感知的脆弱性，以此表達(dá)抽象形式與身體實(shí)在、消逝與永恒、記錄與獻(xiàn)祭中傳遞的物質(zhì)性的快樂。

Kelly Akashi is a Japanese-American artist whose work attempts to convey 'the intangible fleeting quality of life and of experiences'. By making casts of her hands at different points in time and arranging them with other objects, Akashi has created a sort of 'archive of sensations'. Her pieces emphasize the similarities between physical models and photographic records, and she has used glass, wax, bronze, and knotted ropes to express the fragility of perception. In this way, the artist communicates the material joy transmitted through the contrast between abstract forms and the actual bodies, evanescence and eternity, and testimony and sacrifice.

◆黃炳

《欲望叢林》，2015

單頻影像動(dòng)畫

Wong Ping

Jungle of Desire, 2015

Single channel video animation

《欲望叢林》是香港藝術(shù)家黃炳作為動(dòng)畫師轉(zhuǎn)型當(dāng)代藝術(shù)家的第一件作品，近期同時(shí)在紐約古根海姆美術(shù)館的群展“單手拍掌”展出。動(dòng)畫的每一幀都堪稱抽象繪畫，文本也如同小說般饒有趣味，在藝術(shù)家頗為正經(jīng)的朗讀聲中，講述了一名失去性能力的男子的欲望。在這件作品里，藝術(shù)家高完成度的動(dòng)畫語言時(shí)刻在被其骯臟、粗俗的表達(dá)方式拆臺(tái)，最終達(dá)成了一次對(duì)于欲望和語言的解放。

Jungle of Desire is the first product of Hong Kong artist Wong Ping's metamorphosis from animator to contemporary artist. This piece has recently also been displayed at One Hand Clapping, an exhibition by the Guggenheim Museum in New York. Each frame in the animation can be considered an abstract painting, and the dialogue reminds one of a thought-provoking novel. In a tone of utmost sobriety, the artist recounts the desires of a man afflicted with impotence. In this piece, the artist's highly-polished animation dialogue is constantly undermined by his filthy, vulgar expression, culminating in a liberation of desire and language.

? 由左及右：梅林·詹姆斯《紋理》、村上隆《銀橢圓大佛》、米瑞爾姆·卡恩《動(dòng)物性（永遠(yuǎn)美好）》、謝德慶《跳》、大竹伸朗《網(wǎng)膜（頻閃II）》

◆大竹伸朗

《網(wǎng)膜造船廠》，1990

玻璃纖維、塑料、船模

Shinro Ohtake

Retina Shipyard, 1990

Fiberglass, plastic on found ship-mould

◆大竹伸朗

《網(wǎng)膜（頻閃II）》，1992

雙層紙、膠帶、油彩、鉛筆、圓珠筆（紙本）

Shinro Ohtake

Retina (Strobo II), 1992

Two paper, tape, oil, pencil and ball pen on paper

日本著名畫家大竹伸朗的《視網(wǎng)膜》系列是其90年代最重要的系列之一。這批作品討論了視知覺的本質(zhì)，即我們所能看到的事物到底指什么？是物體穿過視網(wǎng)膜后在眼中的成像，還是再進(jìn)一步的感知的成像？藝術(shù)家用豐富的材料語言，模擬了“觀看”時(shí)發(fā)生的復(fù)雜的成像原理，引導(dǎo)我們用更本質(zhì)的感知去觀看那些非實(shí)在的圖像。

Renowned Japanese painter Shino Ohtake's Retina series was the most important series produced by the artist during the 1990s. These pieces discuss the essence of visual perception: what, ultimately, is signified by the things we see? Does the physical object pass through the retina and form an image in the eye, or does the image involve an additional layer of perception? Ohtake employs a rich dialogue of materials to simulate the complex imaging principles behind the act of 'observing', directing us to use a more essential type of perception as we observe those illusory images.

◆謝德慶

《跳》，1973/2017

檔案涂料印刷（四層紙板）

Hsieh Tehching

Jump Piece, 1973/2017

Framed archival pigment print mounted to 4 ply museum boar

謝德慶是出生于臺(tái)灣的著名美籍藝術(shù)家，他從1978年至1986年陸續(xù)開展了其著名的五件“一年表演”，包括一年持續(xù)每小時(shí)打卡，一年在戶外生活，一年與他人捆綁在一起生活等。我們現(xiàn)在看到的這件《跳》是其1973年的早期行為作品，與“持續(xù)一年”不同的是，這件作品試圖傳達(dá)瞬間墜落帶來的身體苦痛。藝術(shù)家從其家中二樓躍下，雙腳腳踝隨即摔斷。他將影像記錄銷毀，只留下我們現(xiàn)在看到的這張照片。

Hsieh Tehching, born in Taiwan, China, is a renowned American artist . From 1978 to 1986, Hsieh conducted five of his well-known 'One Year Performances', including a year during which he punched a time clock every hour, a year of living outdoors, and a year spent tied to another person. The Jump Piece featured in this exhibition is one of Hsieh's early performance pieces from 1973. Unlike his 'year-long' works, this piece attempts to convey the physical pain experienced during the instant of the fall. The artist leapt from the second floor of his home, and broke both of his ankles. He then destroyed the video records, leaving behind only the photographs we see here.

◆米瑞爾姆·卡恩

《動(dòng)物性（永遠(yuǎn)美好）》，2015

布面油畫

Miriam Cahn

tierhaft (IMMERSCHOEN), 2015

Oil on canvas

在米瑞爾姆·卡恩的后期創(chuàng)作中，她開始逐漸嘗試油畫顏料和明亮的色彩。因?yàn)殚L(zhǎng)期高強(qiáng)度的炭筆繪畫導(dǎo)致的腰痛，使其只能繪制油畫。作品的邊緣往往被籠罩在一層神秘的光暈中，是對(duì)傳統(tǒng)繪畫中堅(jiān)硬邊界（男性的藝術(shù)史）的消解。這幅作品的畫面向我們展示了一個(gè)脆弱的面孔，在黯淡背景的襯托下，傳遞出恐懼、憤怒和孤獨(dú)的情緒。

In the later period of Miriam Cahn’s creation, she began to try oil paints and bright colours. Due to the long-time-and-high-intensity drawing with charcoal, Cahn has a severe back pain, restricting her to oil paintings. The borders of her pieces enveloped in a mysterious halo are to dispel the rigid boundaries of traditional painting (i.e. masculine art history), and the frail face in the middle of painting, accentuated by the dim surroundings, indicates fear, anger and solitude.

◆梅林·詹姆斯

《紋理》，2016

丙烯、綜合材料

Merlin James

Grain, 2016

Acrylic and mixed media

英國藝術(shù)家梅林·詹姆斯的作品有兩個(gè)顯著的標(biāo)志，一是好像穿透畫布形成某些“磨損”，另一種是在畫框上撐起諸如絲綢或者尼龍之類的半透明材料，夢(mèng)幻般的筆觸在畫框內(nèi)外構(gòu)成了絕妙的氛圍，引誘觀眾進(jìn)入。盡管他的繪畫方式迥異于傳統(tǒng)藝術(shù)，但我們還是可以看到來自惠更斯、恩索爾、培根等人的影響，藝術(shù)家自謙地認(rèn)為自己是以一種低于藝術(shù)史的姿態(tài)在進(jìn)行創(chuàng)作，這從他近期的展覽標(biāo)題“風(fēng)俗畫”中可以看出。

The works of British artist Merlin James have two notable features. One is the 'abrasions' that appear to extend through the canvas, and the other is the semitransparent materials such as silk and nylon that are stretched across the frame. Fantastical brushstrokes within and outside of the frame create a wondrous atmosphere that draws viewers in. Even though James' painting methods differ greatly from traditional artistic techniques, we can still observe the influences from Huygens, Ensor, Bacon, and others. The artist himself has modestly claimed that his creative activities are conducted beneath the plane of art history, a belief that can be descried in the title of his recent exhibition, Genre Paintings.

? 由左及右：唐娜·胡安卡《綠色沙灘（海灘）》、劉煒《風(fēng)景》、唐狄鑫《行走》、哈羅德·安卡特《無題》、周春芽《淡藍(lán)色的石山》、帕克·伊藤《2016年2月25日（奧利維亞的銀蓮花）》、村上隆《銀橢圓大佛》

◆村上隆

《銀橢圓大佛》，2008

純銀、大理石底座

Takashi Murakami

Oval Buddha, 2008

Sterling silver, marble base

村上隆是日本當(dāng)代最重要的藝術(shù)家之一，他成功地消解了高雅藝術(shù)與通俗藝術(shù)之間的邊界。這尊古怪的雕塑反映了村上隆正在進(jìn)化的身體、思想和精神，以及他對(duì)文化、國家、宗教及藝術(shù)現(xiàn)狀的不斷探索。雕塑中的形象一面融入了藝術(shù)家的肖像，另一面則是來自日本精怪故事中的河童形象，藝術(shù)家將復(fù)雜精巧的工藝巧妙地融入進(jìn)了作品。

Takashi Murakami is one of Japan's most important contemporary artists. He has successfully dispelled the boundaries between fine art and popular art. This bizarre sculpture reflects Murakami's evolving body, mind, and spirit, as well as his unbroken pursuit of culture, country, religion, and the current state of art. A portrait of the artist is incorporated into one face of the sculpture, while the other face presents the image of a kappa from Japanese folklore. Murakami has expertly integrated sophisticated crafting techniques into this piece.

◆帕克·伊藤

《2016年2月25日（奧利維亞的銀蓮花）》，2016

丙烯、增光劑、光漆（布面）

Parker Ito

February 25th 2016 (Olivia’s Anemone), 2016

Acrylic, toner and gloss varnish on linen

帕克·伊藤這一系列的作品全用他的妻子（同時(shí)也是他的畫廊代理人）的名字“奧利維亞”命名?；ǘ涞男蜗蠓淖訰ose Editions出版的藝術(shù)書。他擅于利用老式打印機(jī)的低畫質(zhì)效果，并進(jìn)一步制造打印錯(cuò)誤，以此使翻拍的圖像被改變和降低質(zhì)量。接下來，藝術(shù)家把各種化學(xué)物質(zhì)傾倒在畫面上降解畫面，然后再用高分辨率的相機(jī)重新拍攝，最后再在上面手工繪制幾筆，使得畫面最終成為高／低分辨率和筆觸混合在一起的混沌之物。

Every piece in this series by Parker Ito has been given a title that includes the name of the artist's wife (and gallery director), 'Olivia'. The flower design comes from a photograph of an art book published by Rose Editions. Ito skillfully employed the poor-quality effects produced by old printers and synthesized additional printing artifacts to alter and reduce the quality of the reproduced photo. The artist then poured various chemicals onto the surface of the picture to degrade it further, used a high-resolution camera to create yet another photograph, and applied finishing touches to the piece by hand. The final picture is an blend of high and low resolutions mixed with brush strokes.

◆周春芽

《淡藍(lán)色的石山》，2018

布面油畫

Zhou Chunya

Mountain Stones in Light Blue, 2018

Oil on canvas

周春芽是中國著名當(dāng)代藝術(shù)家，他以“桃花”、“綠狗”和“假山石”為代表的系列創(chuàng)作跨越了“傷痕美術(shù)”、“鄉(xiāng)土繪畫”、“85新潮”直至如今。他的早期創(chuàng)作在形式上受到德國新表現(xiàn)主義繪畫的影響，但趣味上始終是中國文人式的。這件《淡藍(lán)色的石山》源自四方當(dāng)代美術(shù)館數(shù)年前的委托創(chuàng)作，終于在今年5月完成。這也是藝術(shù)家《假山石》新系列作品中的第一件，所描繪的對(duì)象來自藝術(shù)家的揚(yáng)州之行所見。假山石被當(dāng)作中國傳統(tǒng)文化的身體來描繪，但顏色更顯虛薄，筆觸也很通透。

Zhou Chunya is a renowned contemporary Chinese artist who has produced a succession of creative works represented by the pieces peach blossoms, green dog, and artificial mountains. This series stretches from the 'Scar Art', 'Rustic Painting', and ''85 New Wave' movements all the way to the present day. Zhou's early works were influenced in terms of form by German neo-expressionist painting, but have always retained their 'Chinese literati' flavor. Mountain Stones in Light Blue originated from a project commissioned years ago by the Sifang Art Museum, and was finally completed in May of this year. The inaugural piece in Zhou's new series on artificial rocks, the subject of this painting was drawn from the artist's experience visiting the city of Yangzhou. The artificial rocks are portrayed as the 'body' of traditional Chinese culture, but the colors are more ethereal, and the brushstrokes particularly penetrating.

◆哈羅德·安卡特

《無題》，2016

油畫棒、鉛筆嵌木紙本

Harold Ancart

Untitled, 2016

Oil stick and pencil on paper mounted on wood

出生于比利時(shí)，生活工作在紐約的藝術(shù)家哈羅德·安卡特認(rèn)為自己的作品“是繪圖而不是繪畫…繪圖是從未完成的或者是未完成的——它們給未來留下了一個(gè)承諾。”藝術(shù)家常以他那令人生畏的創(chuàng)作尺幅（比如一堵磚墻）見諸報(bào)道。在這件小作品中，我們可以看到鋸齒狀或者毛茸茸的邊緣，藝術(shù)家使用混合的純色直接涂繪在紙上，為我們召喚了一個(gè)類似馬克斯·恩斯特所表現(xiàn)的幻境。關(guān)于意義，藝術(shù)家說“我認(rèn)為消除意義會(huì)更有趣，因?yàn)椴⒉皇撬惺虑槎夹枰粋€(gè)理由?！?/p>

Harold Ancart is a Belgium-born artist who currently lives and works in New York. He has described his work thus: 'It’s important that I work in drawing and not painting . . . Drawings are never finished or unfinished—they are a promise for the future.' Ancart has become a frequent subject of news reports due to the intimidating scale of his creations (e.g. an entire brick wall). In this diminutive piece, serrated or ragged edges and an amalgamation of pure colors applied directly to the paper summon forth a dreamlike scene reminiscent of those expressed by Max Ernst. Regarding meaning, the artist has said, 'I think it’s more interesting to remove meaning, because not everything needs a reason.”

◆唐狄鑫

《行走》，2016

布面油畫

Tang Dixin

Walking, 2016

Oil on canvas

中國藝術(shù)家唐狄鑫的繪畫作品常常與身體有關(guān)（他同時(shí)以身體性的現(xiàn)場(chǎng)表演著稱），無論是人類還是動(dòng)物的身體。但這些身體總是被置于藝術(shù)家虛構(gòu)的超現(xiàn)實(shí)場(chǎng)景中，加上他有力的大面積的用筆和高純度顏料的運(yùn)用，使得這些場(chǎng)景顯得有些晦澀難懂?！霸僖矝]有純白的靈魂走在藍(lán)色的虛空，自人類墮落為半獸人，我開始用第一人稱，記錄眼前所有的發(fā)生”，畫面中的形象非人非獸，徘徊在空無一物的荒原上。

Chinese artist Tang Dixin's paintings frequently involve the body (he is also well known for his body-themed on-site performances), including both human and animal bodies. However, these bodies are always inserted into surreal scenes imagined by the artist, and the addition of Tang's forceful, wide-ranging brushstrokes and his use of high-purity pigments makes the scenes appear rather obscure and enigmatic. In his words, 'No more pure white souls will walk upon the blue void; ever since humans degenerated into semi-animals, I have been referring to myself in the first person, and recording everything that takes place before my eyes.' The figures in Tang's paintings are neither human nor animal, wandering across an empty wasteland.

◆劉煒

《風(fēng)景》，2008

布面油畫

Liu Wei

Landscape, 2008

Oil on canvas

劉煒是從上世紀(jì)80年代活躍至今的中國架上繪畫的重要藝術(shù)家。90年代后期，他的繪畫被視為“玩世潑皮”的代表。從早期描畫變形、扭曲以致腐壞的人物形象，到2012年的這件《風(fēng)景》中正在崩潰、分裂的景觀，劉煒延續(xù)了同一種主題，它成為藝術(shù)家對(duì)于中國社會(huì)景觀冷靜的嘲諷。用藝術(shù)家自己的話來說，“不管是什么樣的圖形，我最直接的感覺還是一塊肉，不管是什么爛肉或者好肉，從1997年開始到現(xiàn)在，都是這樣。”

Liu Wei is an important Chinese easel painting artist who has been active from the 1980s up to the present day. In the late 1990s, his paintings were considered representative works of 'Cynical Realism'. From his early works, depicting deformed, distorted, and even decayed human forms, to this piece from 2012, Landscape, which depicts collapsed, broken-up scenery, Liu Wei has adhered to a single theme. This theme has become the artist's way of calmly ridiculing China's social landscape. In his words, 'No matter what form the picture takes, my most immediate sensation is that it is a piece of meat, whether rotten or fresh. Since the beginning in 1997, this has always been the case.”

◆唐娜·胡安卡

《綠色沙灘（海灘）》，2018

油畫、丙烯（布面數(shù)碼印刷）

Donna Huanca

ARENA VERDE (PLAYA), 2018

Oil and acrylic on digital print on canvas

觀看美國藝術(shù)家唐娜·胡安卡的繪畫作品需要參考她的現(xiàn)場(chǎng)行為表演，“身體”是胡安卡創(chuàng)作的核心主題，她時(shí)常在展覽中將身體作為圖像和材料展示，形成一種具有巫術(shù)色彩的展覽儀式。她在像皮膚一樣的畫布／織物上著色、涂抹、撕扯、折疊、堆積，她說：“我裁剪我的衣服，將它們貼在畫布上。我的目的非常直接，用織物來作畫是實(shí)現(xiàn)其最快速最本質(zhì)的方式?！?/p>

A viewing of American artist Donna Huanca's paintings must take her on-site performances into consideration. The 'body' is the core motif of Huanca's creative work. During exhibitions, she often displays bodies as images and materials, forming a type of occult 'exhibition ritual'. She works with skin-like canvas/fabrics, coloring, smearing, tearing, folding, and piling up the materials. In her words: 'I started to cut up my clothing, gluing it on canvas. My intention was immediacy and painting with fabric was the fastest and most visceral way to achieve that.”

◆帕克·伊藤

《無題（貞德墻）》，2015

UV噴墨打?。ㄊ喟澹?、鋁框、LED燈、五金

Parker Ito

Untitled (Jeanne d’Arc Wall), 2015

UV print on drywall, aluminum frame, LED lighting, hardware

盡管帕克·伊藤很容易被歸為后網(wǎng)絡(luò)藝術(shù)的一份子，但他自辯“我不是一個(gè)網(wǎng)絡(luò)藝術(shù)家，我只是一個(gè)在網(wǎng)上搞藝術(shù)的潮男”。在這件作品中，燈帶纏繞著經(jīng)過畫質(zhì)處理的圣女貞德的形象（這一形象經(jīng)常出現(xiàn)在他的創(chuàng)作中），隨后被懸掛在布展用的叉車上。藝術(shù)家用錯(cuò)置來討論網(wǎng)絡(luò)文化如何深刻地影響了我們的傳統(tǒng)藝術(shù)和文化。

Although it would be simple to classify Parker Ito as a member of the post-Internet art, the artist himself claims, 'I’m not an Internet artist. I’m just a hipster on the Internet who makes art.' In this piece, light strips are wrapped around a processed image of Joan of Arc (this image frequently appears in his work), then hung up on the forklift used to arrange the exhibition. Through this juxtaposition, the artist discusses how Internet culture has deeply influenced our traditional art and culture.

◆李明

《心渲染間》，2017

15頻道高清錄像裝置（彩色、有聲）

Li Ming

Rendering the Mind, 2017

15-channel HD video installation, colour, sound

李明是以表演與影像為主要?jiǎng)?chuàng)作方式的中國藝術(shù)家，《心渲染間》是其2017年的新作，也是其參與HUGO BOSS ASIA ART時(shí)的獲獎(jiǎng)作品。這一次，我們邀請(qǐng)藝術(shù)家在空間中“重新”定制一個(gè)影像的體驗(yàn)空間?！翱臻g”、“時(shí)間”和“情緒”是這件作品的三個(gè)關(guān)鍵詞。藝術(shù)家用近20屏影像勾畫了一個(gè)多維的，集合觀念、情感和視聽感受于一身的特殊場(chǎng)域。藝術(shù)家說，“在時(shí)空和環(huán)境下，我們?nèi)说乃季S、感知、直覺、判斷、我們接觸到的事物、我們的理解，全部都在‘情緒’里?！?/p>

Li Ming is a Chinese artist whose creative efforts are centered primarily on performance and video art. Rendering the Mind is one of the artist's new pieces from 2017, and earned him an award at the HUGO BOSS ASIA ART Award. This time, we have invited the artist to 'once more' design an experience space for his video work. 'Space', 'time', and 'mood' are the three key words for this piece. Li has used nearly 20 video screens to delineate a special multidimensional field in which ideas, emotions, and audiovisual sensations are combined into one. In his words, 'In this spacetime, this environment, our thoughts, perceptions, intuition, judgements, the objects we come in touch with, and our understanding, are all encompassed within ‘mood'.'

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