J9九游会AG

Loading...
返回奥永广场J9九游会AG首页
样当代

你到过世界尽头吗?

Have you ever been to the world's end?

WATER IN SERIES WITH THE WORLD OF ART

用「水」串联世界艺术

00:00:00
样当代艺术空间

样当代艺术空间首展 《水·时间寓所》




样当代艺术空间(ModeA Contemporary Art Space)开馆展 “水•时间寓所” 将于2017年12月31日正式开启。知名策展人赖骏杰以“岛屿”为起点、“水”为线索,邀请田卫、冯冰伊、吴鼎、汤南南、潘逸舟等当代艺术家,通过画作、影像、多屏装置等艺术形式,为观众呈现深富诗意的作品。


 


 
水·时间寓所
Water as Dwelling of Time
 
展期2017.12.31—2018.03.18
Duration: Dec 31st, 2017 - Mar 18th, 2018
 
地点(dian) :厦门样当代艺术空间(厦门市思明区体育路88号奥永广场九楼)
Venue: ModeA Contemporary Art Space (F9, Ayoung Plaza, No.88, Sports Road, Siming District, Xiamen)
 
开(kai)幕(mu)时间:2017.12.31 (周日)  14:00 
Opening :14:00, 31st(Sun) Dec
 
策展人(ren):赖骏杰
Curator: Jay Lai
 
艺术家:
田卫
冯冰伊
吴鼎
汤南南
潘逸舟
 
 
Artists:
Tian Wei
Feng Bingyi

Tang Nannan
Wu Ding
Ishu Han
 
 
策展论述 | Curatorial Statement

身(shen)处厦门,岛屿(yu)(yu),很自(zi)然地成(cheng)为这次展览(lan)的(de)(de)(de)起点。“被(bei)水(shui)(shui)包覆(fu)”是(shi)(shi)岛屿(yu)(yu)的(de)(de)(de)基本(ben)定(ding)义,而也(ye)(ye)(ye)(ye)是(shi)(shi)这样的(de)(de)(de)定(ding)义让(rang)岛屿(yu)(yu)隔(ge)绝(jue)于(yu)可触之(zhi)外。水(shui)(shui),造成(cheng)了(le)距(ju)离(li),于(yu)是(shi)(shi)增(zeng)加了(le)理(li)解上的(de)(de)(de)困难(nan)(nan)。然而,隔(ge)着(zhe)(zhe)水(shui)(shui)所(suo)绕行而成(cheng)的(de)(de)(de)边界,一方面使岛屿(yu)(yu)成(cheng)为难(nan)(nan)以(yi)(yi)(yi)触及者,另一方面却也(ye)(ye)(ye)(ye)正因(yin)(yin)为“水(shui)(shui)”而让(rang)人(ren)得(de)以(yi)(yi)(yi)逼近。于(yu)是(shi)(shi),岛屿(yu)(yu)成(cheng)为了(le)一个个“终将被(bei)通过(guo)的(de)(de)(de)”点,这未(wei)知的(de)(de)(de)“点=岛屿(yu)(yu)”,在汪汪无(wu)际的(de)(de)(de)大洋中,似乎(hu)也(ye)(ye)(ye)(ye)成(cheng)为了(le)某(mou)种(zhong)浮(fu)动的(de)(de)(de)陆地;因(yin)(yin)为它会(hui)根据难(nan)(nan)以(yi)(yi)(yi)掌握(wo)的(de)(de)(de)天候状况,以(yi)(yi)(yi)及凶险未(wei)知的(de)(de)(de)海事(shi)条(tiao)件(jian)等不(bu)可控因(yin)(yin)素(su),决定(ding)是(shi)(shi)否得(de)以(yi)(yi)(yi)被(bei)“看见”。未(wei)知,造成(cheng)了(le)神秘,也(ye)(ye)(ye)(ye)就(jiu)开启了(le)“想(xiang)象(xiang)”的(de)(de)(de)建(jian)构。想(xiang)象(xiang)促使人(ren)们积极(ji)往外,它所(suo)呈现的(de)(de)(de)是(shi)(shi)一种(zhong)焦虑,针对(dui)自(zi)身(shen)的(de)(de)(de)不(bu)足而对(dui)外有(you)了(le)“交换(huan)”的(de)(de)(de)需求。想(xiang)象(xiang)着(zhe)(zhe)J9九游会AG 所(suo)没有(you)的(de)(de)(de),并(bing)与其(qi)交换(huan)“心(xin)(xin)中所(suo)想(xiang)的(de)(de)(de)”;“想(xiang)象(xiang)的(de)(de)(de)(无(wu)论是(shi)(shi)令(ling)人(ren)恐惧(ju)的(de)(de)(de)或(huo)着(zhe)(zhe)迷的(de)(de)(de))”驱动了(le)对(dui)于(yu)未(wei)知的(de)(de)(de)探索(suo),因(yin)(yin)此是(shi)(shi)朝向未(wei)来的(de)(de)(de)书写,也(ye)(ye)(ye)(ye)是(shi)(shi)一种(zhong)时(shi)间(jian)的(de)(de)(de)叙(xu)事(shi)。想(xiang)象(xiang)终究建(jian)构起书写的(de)(de)(de)欲望,而这欲望本(ben)质上就(jiu)是(shi)(shi)历(li)史的(de)(de)(de)核心(xin)(xin)。
 
首(shou)次展览将(jiang)(jiang)为观(guan)众呈现(xian)深富(fu)诗(shi)意的(de)作品(pin),五组不(bu)同艺术(shu)家共(gong)同开启“水(shui)=时(shi)间”的(de)诗(shi)性(xing)向(xiang)度;观(guan)者将(jiang)(jiang)经历以水(shui)为线索(suo)展开的(de)精神光谱,从静态、直观(guan)且较为内在的(de)反身冥想,一直到藉由外在的(de)移动浪潮所(suo)不(bu)断打破又重组的(de)身命主体。
 
时(shi)间(jian),连续且不可分(fen)割,过去现(xian)在与(yu)未来彼此都串(chuan)连在一起(qi),不断循环。多方面展开的(de)感官(guan)经验,用(yong)最(zui)直接的(de)情绪(xu)引导观者(zhe)扣问(wen)时(shi)间(jian)的(de)本质,穿(chuan)梭真实(shi)与(yu)想(xiang)象(xiang)之间(jian),并(bing)且在梦境与(yu)现(xian)实(shi)的(de)缝隙(xi)中体认生(sheng)命(ming)。游走于其中,除了能驰徜(chang)于美学(xue)的(de)想(xiang)象(xiang)世(shi)界,也(ye)透过这些缓慢的(de)、往(wang)复的(de)影(ying)像提示,思索生(sheng)命(ming)旅程的(de)意义。站(zhan)在厦门(men)这座岛屿(yu)城市(shi),J9九游会AG 希望藉由重新关注(zhu),围绕在生(sheng)活周边(bian)但或许总(zong)被忽略的(de)“水”,与(yu)这片土地(di)之间(jian)的(de)关系(xi)。以(yi)当下作为起(qi)点,以(yi)“岛屿(yu)”作为方法(fa),藉由水的(de)时(shi)间(jian)性格(线性的(de)与(yu)折射(she)的(de)),串(chuan)起(qi)过往(wang)的(de)历史与(yu)文(wen)化,并(bing)指引未知的(de)将来。
 
Based in Xiamen, this exhibition could naturally trace its origin to island. Defined primarily as “a piece of land surrounded by water”, island is isolated and intangible. Water creates the distance and thus increases the difficulties in comprehension. On the one hand, the circular border with water makes island intangible; on the other hand, it allows people to approach because of the “water”. Consequently, islands become multiple dots which will “eventually be passed”. This unknown“dot/island” seems to turn into some floating land amid of the boundless ocean; the reason is that it shall decide upon its “visibility” basedon uncontrollable factors such as the unpredictable weather conditions and the potentially dangerous maritime conditions. The unknown gives rise to themystery, initiating the construction of the “imagination”. As a demonstration of anxiety and a need of “exchange” with the outside world on account of one’s own defects, imagination propels people actively outward. Conceiving what we’re devoid of while exchanging with others “what is in our mind”; “the imagined (beit daunting or enchanting)” motivates the exploration into the unknown, and thus it is the writing towards the future and also a chronological narrative. The imagination finally builds up the desire to write, which is in essence the core of history.
  
The debut exhibition will present the audience with poetic artworks. Artists categorized into five groups shall jointly reveal the poetic dimension of  “water=time”;  the audience shall experience the spiritual spectrum threaded by water, ranging from the static, visual and relatively intrinsic reflective mediation, to the subject of life which is incessantly smashed and reorganized by the external moving waves. 
 
Time is continuous andindivisible. The past, the present and the future are linked and the circulation goes on and on. The sensory experience evolved from different levels leads the audience to question the essence of time with the most straight forward emotion, to shuttle between the reality and the imagination,and to understand life standing in the narrow space between dream and reality.Strolling in it, the audience could not only wander the imaginary aestheticworld, but also ponder over the significance of the life journey through hintsfrom these slow and repetitive images. Situated in the island city Xiamen, we expect a renewed attention on the relationship between the water surrounding our life which is frequently neglected and the soil we stand on. Using “island”as the methodology and taking advantage of the character of water (linear and reflective), this present-based exhibition strings the history and the culture in history, and leads us to the unknown future. 
 
 
 
策展人 | Curator
 
赖骏杰
Jay Lai
 
出生(sheng)于台(tai)湾台(tai)南,曾旅居巴(ba)黎一年(nian),现工作、生(sheng)活于厦(sha)门及台(tai)北。
2016年获伦敦大学(xue)(xue)金匠学(xue)(xue)院艺(yi)(yi)术策(ce)展(zhan)硕士学(xue)(xue)位,主要研究(jiu)方(fang)向为(wei)(wei)影(ying)像——文字关系(xi)、动态影(ying)像与(yu)策(ce)展(zhan)学(xue)(xue),目前(qian)正(zheng)进(jin)行系(xi)列(lie)策(ce)展(zhan)研究(jiu)计(ji)划,借由(you)重(zhong)新探(tan)讨于日常生活中习(xi)以忽略的(de)行动模式——即(ji)听(ting)说读(du)写,重(zhong)新梳理行动者与(yu)世界的(de)共(gong)存方(fang)案。曾策(ce)划展(zhan)览于台(tai)北凤甲美术馆(guan)(Hong-Gah Museum)、台(tai)北当代艺(yi)(yi)术中心(TCAC)、也趣(qu)艺(yi)(yi)廊(Aki Gallery)等,并在各类(lei)专(zhuan)业期(qi)刊/艺(yi)(yi)文杂志发表多篇文章,并为(wei)(wei)联合国艺(yi)(yi)评人协会(AICA)国际会员。
2017年出任样当代(dai)艺(yi)术(shu)空(kong)间艺(yi)术(shu)总(zong)监暨首席策展(zhan)人,擅长(zhang)当代(dai)艺(yi)术(shu)展(zhan)览(lan)策划、艺(yi)术(shu)家资源管理、展(zhan)览(lan)项(xiang)目(mu)统(tong)筹(chou)等。
 
Based in Xiamen and Taipei, and born 1983in Tainan, Taiwan. Have stayed in Paris for one year, and then received an MFA degree in Curating (2014-16) from Goldsmiths, University of London. His research interests cover word-image relations, moving images and curatorial studies. Recent curatorial proposals that he is working on are seeking to revise the previously ignored action modes in everyday life, namely “listening/ speaking/reading/ writing”, intending to reform a scheme for actioners to co-exist with the world. He has curated exhibitions across nonprofit art centres and commercial galleries in Taipei, such as Hong-Gah Museum, the Taipei Contemporary Art Centre (TCAC) and the Aki Gallery. He is also a member of AICA(International Association of Art Critics, UNESCO) and has had more than fifty articles and essays published in major art magazines, including Artco (Taipei),ArtWorld (Shanghai) and ArtZip (London).
Now working as the artistic director and the chief curator of ModeA Contemporary Art Space, he is specialized in curating, artist resources management and project coordination. 


 
艺术家 | Artists
 
田卫
 Tian Wei
 
出生于1973年,现工作生活于北京(jing)。
与盛行的观念艺术相反,田卫的创作恰恰是企图剔除艺术创作中的智慧和明确的想法,以“行动”本身来说明艺术的当代意义。或许,这就是绘画作为一种“行为”对现代人浮躁焦虑心灵的净化;而画面中闪耀的一线一点,恰似生命与精神的原点。
田卫曾于北京今日美术馆、北京798东京画廊、上海朱屺瞻艺术馆等举办个展。且作品先后于中国美术馆、北京民生现代美术馆、上海多伦现代美术馆、四川美术馆、山西美术馆、西安美术馆等展出。

Born in 1973, now works and lives in Beijing.
Contrary to popular concept art,Tian Wei attempts to eliminate the wisdom and explicit ideas off artistic creation, but illustrates the contemporary meaning of art by “action”. Perhaps,this is a purification of modern people's anxieties using painting as an “action”.The glimmering line and dot in the picture are like the origin of life and spirit.
Tian has held solo exhibitionsin Today Art Museum, Beijing; Tokyo Gallery, Beijing; Zhu Qizhan Art Museum, Shanghai. His works have been exhibited in The National Art Museum, Beijing Minsheng Modern Art Museum, Shanghai Ai Doland Museum of  Modern art, Sichuan Art Museum,Shanxi Art Museum and Xi 'an Art Museum.
 
田卫《善高》
纸本水墨(mo),358 x 139cm,2012
Tian Wei  Shangao
Ink on Paper,358 x 139cm,2012
 

 
冯冰伊
Feng Bingyi
 
1991年(nian)出生于(yu)宁波,现工作(zuo)(zuo)生活于(yu)上(shang)海。冯冰伊擅长以介(jie)于(yu)录像(xiang)艺术与电(dian)影之间(jian)的(de)(de)(de)影像(xiang)语(yu)言(yan)(yan),作(zuo)(zuo)为表达媒介(jie),用诗性的(de)(de)(de)语(yu)言(yan)(yan)构(gou)建自我意识的(de)(de)(de)叙事空(kong)间(jian)。关注(zhu)从文本(ben)(ben)到图像(xiang)的(de)(de)(de)研究,通常(chang)以一(yi)段(duan)文本(ben)(ben)作(zuo)(zuo)为引子,在(zai)对其注(zhu)解(jie)中找到逻辑(ji)的(de)(de)(de)断裂口,进行(xing)改写和重组,将其内(nei)容置于(yu)一(yi)个空(kong)间(jian)中抽丝(si)剥茧,混合独特的(de)(de)(de)世界观进行(xing)再(zai)编织。注(zhu)重空(kong)间(jian)、文本(ben)(ben)与叙事之间(jian)产生的(de)(de)(de)不同可能性在(zai)对视觉语(yu)言(yan)(yan)的(de)(de)(de)影响上(shang)。创作(zuo)(zuo)形式(shi)主要包括影像(xiang)装置,摄影,动画(hua)等。

近作包括(kuo):你(ni)一生(sheng)的故事(Stories of your life and others),《退浪》(The Undertow),《MOMO》,《关于赫(he)尔(er)迦(jia)以及(ji)其他》(About Helga And More)。其中《关于赫(he)尔(er)迦(jia)以及(ji)其他》曾获(huo)得中国(guo)美术(shu)学院本科(ke)毕业展(zhan)优秀作品(pin)金奖。主(zhu)要展(zhan)览(lan)有大声展(zhan)(2012、2014)、柏林(lin)PANDAMONIUM又一次(ci)发声——来自上海的媒(mei)体艺(yi)术(shu)(Pandamonium——Media Art From Shanghai)(2014)、北京红(hong)砖美术(shu)馆开馆展(zhan)(2014)以及(ji)在柏林(lin)的为期一个月(yue)艺(yi)术(shu)家驻留计划。

 
Feng Bingyi was born in Ningbo in 1991 and iscurrently based in Shanghai. She is good at using the creation styles between video art and movie as medium of expression. What’s more, she prefers using poetic language to build self-consciousness of narrative space. Her research realm is translating texts into images which usually use a text as examples and then rewrite and restructure it by looking for fracture of  logic from notes. And the creating forms include video installation, painting, photography, documentary, animation, etc.
Recent works : Stories of  your life and others (2015), The Undertow(2012), MOMO(2015), About Helga And More(2013). The third one won the Gold Medal of  Excellent Works form the Undergraduate Graduation Exhibition in China Academy of Art (2013). Main exhibitions include solo exhibition “The Cold Truth”(Chengdu,2016), Solo Exhibition “The Stories of Your Life And Others”, (Wuhan,2017), “Pandamonium - Media Art From Shanghai (Berlin, 2014), the Opening Exhibition of the Red Brick Art Museum (Beijing,2014), one-month artist residency program(Berlin,2014).
 
冯冰(bing)伊 《以梦喂马》
多屏幕装(zhuang)置 综合材(cai)料,有声(sheng),彩色,3分22秒,2012
Feng Bingyi BAKUMON
Installation with comprehensive materials, Sound, Color, 3’22”, 2012


汤南南
Tang Nannan
 
1969年(nian)生于(yu)福建云霄,艺(yi)术家、教(jiao)师。厦门大学(xue)(xue)艺(yi)术学(xue)(xue)院硕士(shi),中(zhong)国美术学(xue)(xue)院跨媒体艺(yi)术学(xue)(xue)院博士(shi)。中(zhong)国美术学(xue)(xue)院跨媒体艺(yi)术学(xue)(xue)院教(jiao)师,工作生活(huo)于(yu)杭州。
作品以大海(hai)和水为核心意象,讨论时间(jian)与(yu)记忆、乡愁(chou)和生死、神话与(yu)诗歌等多个命题(ti)。试(shi)(shi)图以社(she)会学(xue)文化研究为基础,尝试(shi)(shi)绘画、装置、摄影、多屏幕录像剧场(chang)等多种艺(yi)术方式的融通互鉴,努(nu)力探索(suo)基于自身生活经验,关切当代生活情(qing)境的跨媒体艺(yi)术。
2017年第(di)57届威尼斯双年展(zhan)中国(guo)馆(guan)(guan)艺(yi)术(shu)(shu)(shu)家,曾于北京民生现代(dai)美术(shu)(shu)(shu)馆(guan)(guan)、中国(guo)美院美术(shu)(shu)(shu)馆(guan)(guan)、纽约Michele Mariaud Gallery举办个展(zhan)。作品先后于第(di)三(san)届乌拉尔工业双年展(zhan)、第(di)九届上海(hai)双年展(zhan)、第(di)一届南京三(san)年展(zhan)、法(fa)国(guo)ALTKIRCH现代(dai)美术(shu)(shu)(shu)馆(guan)(guan)、澳大利亚白兔美术(shu)(shu)(shu)馆(guan)(guan)、广(guang)东美术(shu)(shu)(shu)馆(guan)(guan)、上海(hai)民生现代(dai)美术(shu)(shu)(shu)馆(guan)(guan)、中央美院美术(shu)(shu)(shu)馆(guan)(guan)展(zhan)出(chu)。

 

Born in Yunxiao, Fujian Province in 1969, TangNannan is both an artist and a teacher of art. Nannan received his education from the Department of  Fine arts in Xiamen University and then graduated from School of  Intermedia Art in China Academy of Art as a member among the first Ph.Ds of  practice of modern art. Being a Hangzhou-based artist, Tang Nannan is also a teacher in School of  Intermedia Art, China Academy of  Art.
Nannan’s work takes the sea and water as the core image, and questions of  time and memory, nostalgia and life and death,myths and poetry are discussed. With his cultural sociology research, the artist tries to integrate multiple forms of art like painting, video installation, photograph, multiscreen video theatre and makes effort to exploring intermedia art based on his own life experience and concerning modern living circumstances.
He is an artist of  The 57th International Art Exhibition-La Biennale Di Venezia Pavilion of  China. Nannan has held solo exhibitions in Minsheng Art Museum in Beijing, Michele Mariaud Gallery in NewYork, and CAA Art Museum in Hangzhou. Besides, he participated in exhibitions such as the 3th Ural Industrial Biennale, the 9th Shanghai Biennale, the first Triennial of  Chinese Contemporary Art, and Chinese Contemporary Video Exhibition at CRAC Alsace, Altkirch in France. The work has been exhibited at White Rabbit Gallery of Ausralia, Guangdong Museum of Art, Shanghai Minsheng Art Museum, CAFA Art Museum.
 
汤(tang)南南《铸(zhu)浪为(wei)山》
视频录像,有声,彩色,4分(fen)03秒,2015
Tang Nannan BillenniumWaves
Video, Sound, Color, 4’3”, 2015

 
吴鼎
Wu Ding
 

吴(wu)鼎(1982生(sheng)于(yu)(yu)上(shang)(shang)(shang)(shang)海(hai))毕(bi)业(ye)于(yu)(yu)上(shang)(shang)(shang)(shang)海(hai)师范大学(xue)美(mei)术(shu)(shu)(shu)(shu)学(xue)院(yuan)雕塑系(2006)以(yi)及中(zhong)国美(mei)术(shu)(shu)(shu)(shu)学(xue)院(yuan)跨媒(mei)体艺(yi)术(shu)(shu)(shu)(shu)学(xue)院(yuan)(2017),主要研究当(dang)代(dai)影像创作。他(ta)关注形成于(yu)(yu)时间与空间中(zhong)的“秩序”,希望探(tan)讨隐藏在这个(ge)世界(jie)中(zhong)那些只(zhi)能被感知(zhi)但无法被言(yan)说(shuo)的“内在的秩序”。吴(wu)鼎的作品曾在chi K11 美(mei)术(shu)(shu)(shu)(shu)馆(guan)(上(shang)(shang)(shang)(shang)海(hai),2016)、上(shang)(shang)(shang)(shang)海(hai)二十(shi)一世纪民生(sheng)美(mei)术(shu)(shu)(shu)(shu)馆(guan)(上(shang)(shang)(shang)(shang)海(hai),2015)、上(shang)(shang)(shang)(shang)海(hai)当(dang)代(dai)艺(yi)术(shu)(shu)(shu)(shu)博物馆(guan)(上(shang)(shang)(shang)(shang)海(hai),2013)、尤伦斯当(dang)代(dai)艺(yi)术(shu)(shu)(shu)(shu)中(zhong)心(北(bei)京,2013)、中(zhong)央美(mei)术(shu)(shu)(shu)(shu)学(xue)院(yuan)美(mei)术(shu)(shu)(shu)(shu)馆(guan)(北(bei)京,2011)等(deng)众多艺(yi)术(shu)(shu)(shu)(shu)机构展(zhan)出。他(ta)最近的个(ge)展(zhan)包括“极限的节奏 I”(上(shang)(shang)(shang)(shang)海(hai)现代(dai)美(mei)术(shu)(shu)(shu)(shu)馆(guan),上(shang)(shang)(shang)(shang)海(hai),2016)与“实在的维度 III”(M50艺(yi)术(shu)(shu)(shu)(shu)空间,上(shang)(shang)(shang)(shang)海(hai),2015 )。他(ta)是(shi)2015年曼彻斯特华人艺(yi)术(shu)(shu)(shu)(shu)中(zhong)心的驻地艺(yi)术(shu)(shu)(shu)(shu)家(jia)。

 
WU Ding (b.1982, Shanghai) graduated from theDepartment of  Sculpture, Academy of  Fine Arts at Shanghai Normal University(2006) and School of Intermedia Art at The China Academy of Art (2017) where he studied contemporary video production. Concerned with the order within time and space, he aspires to explore the perceptible but indescribable inner orderhidden in the world. WU’s works have been widely exhibited in different art institutions, including chi K11 art museum (Shanghai, 2016),Shanghai 21st Century Minsheng Art Museum (Shanghai, 2015), Power Station of Art (Shanghai, 2013), Ullens Center for Contemporary Art (Beijing, 2013), CAFA Art Museum (Beijing, 2011), etc. His recent solo exhibitions include “The Rhythm of  Ultimate I” (Shanghai Minsheng Art Museum, Shanghai, 2016) and “The Reality of  the Dimension III” (M50 Art Space, Shanghai, 2015). He was the artist-in-residence at the Center for Chinese Contemporary Art in Manchester in 2015.
 
吴鼎《过去之所(suo)以能延续到现在(zai)是因为某(mou)些东西的未来》
视频(pin)录像,无声,彩色,30分钟,2013
Wu Ding The Reason Why the Past Can Extend to the Present is
Because of the Future of Certain Objects
Video, No sound, Color, 30’, 2013
 
 


潘逸舟
Ishu Han 
 

1987年生于上(shang)海,九岁时(shi)移居(ju)日(ri)本。2012时(shi)获得东京(jing)艺术大学互动媒体硕士学位,现工作生活于东京(jing)。主(zhu)要创作媒介为其(qi)身体,以及(ji)日(ri)常生活可见的(de)(de)(de)材料,表现形(xing)式非常多元(yuan),跨及(ji)录像、装置(zhi)、摄影与(yu)绘画等。创作概念聚焦在个人与(yu)群(qun)体如(ru)社会与(yu)国家之间的(de)(de)(de)关系,讨论社会情境(jing)如(ru)何(he)在不(bu)同的(de)(de)(de)时(shi)间与(yu)空间语(yu)境(jing)中,被治理(li)系统所形(xing)塑,以及(ji)其(qi)如(ru)何(he)影响个人的(de)(de)(de)认(ren)同。

 
Ishu Han, born in Shanghai in1987, moved to Japan Aomori at the age of nine. In 2012, Han received a MA inInter Media Art at Tokyo University of  the Arts and currently lives and works in Tokyo. Using his body and everyday materials, Han works in a variety of media including film, installation, photograph and painting. Han’s practice revolves around the idea of relationships between individuals and collective entities such as society and nation. His work suggests how social conditioning that was formed according to time and place by the systems of authority could disrupt the development of individuals’ identity.
 
潘逸舟《阻(zu)浪(lang)之梦》
I视频录像,无声,黑白,16分(fen)15秒,2017
shu Han ADream about Stopping the Waves
Video, No sound, Black and white, 16’15”, 2017




历史展览    Past Exhibition

相关活动
Related Events

  • 艺术家对话:汤南南&田卫谈“遗忘与追寻“

    活动时间:2017年12月31日16:30

    内(nei)容简述:两(liang)位艺术家将从“水=时间(jian)(jian)”的角度来(lai)谈(tan)自(zi)身(shen)作品与记忆(yi)之间(jian)(jian)的关系,以及从水墨创作的经(jing)验与手法中对(dui)于时间(jian)(jian)的体悟(wu)。

  • 参展艺术家分享会

    活(huo)动时间:2017年12月(yue)30日16:00

    内容(rong)简(jian)述:田卫、冯(feng)冰伊、汤南南、吴鼎(ding)、潘(pan)逸舟、廖祈羽等六位(wei)艺术家(jia)一同探讨“水=时(shi)间”的诗性(xing)向(xiang)度,分享各自的创(chuang)作感(gan)悟。