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[北京] 当代唐人艺术中心 「spin」

2008-03-17 16:45:29 来源: artda 作者:

[北京] 当代唐人艺术中心 「spin」

 

展览时间:北京 2007.11.24-2007.12.15

展览地点:当代唐人艺术中心

参展艺术家:洪东禄、李晖

策展人:韩之演

主办单位:当代唐人艺术中心

协办单位:韩之演当代空间
Exhibition Date: Nov 24, 2007 ~ Dec 15, 2007

Venue:Tang C ontemporary Art Center

Participating Artists:Hung Tunglu & Li Hui

Curator: Han Jiyun

Organizer:Tang Contemporary Art

Co-organizer:HAN JI YUN Contemporary Space

Sincerely Hope to see you at the vernissage: 4:00pm, 24 Nov, 2007 !

开幕酒会: 2007年11月24日下午4点 诚请您届时参加

北京市朝阳区 大山子酒仙桥路798工厂2号入口前行300米.100015

Gate No.2.798 factory,Jiuxianqiao Road,Chaoyang Dst.Beijing,China.100015

T:0086-10-64363658/64361258 F:0086-10-64363018

本次展览的主题是「spin」,这一主题源于艺术家的创作隐喻及艺术表达的形式,「spin」在中文字面上的意义具有「回旋」、「旋转」意思,通常用于形 容陀螺的自转,又称螺旋。米兰昆德拉曾在《生命中不能承受之轻》中提出了类似的想法,他引用尼采「永劫回归」的概念:太阳底下没有新鲜事,历史不断地重 演,形成了微妙的螺旋。这种回归,循着特定周期再现,不断重复。因此人的存在,被巴什拉称为「螺旋型的存有」:人的存有是一种变动不居的存有,任何表达形 式都抓不住它,在想象力的支配下,虽然某一种表达方式已经进驻,但它需要另一种方式的表达,存有必然需要另一种表达方式的存有。

洪东禄试图藉由佛教唐卡里的图样,理解天体自然的运行规则,万物犹陀螺的意像,李晖则由拼贴方式,让四分五裂的对象,再度回归到整合为一的状态。两人的创 作主题皆都存在环形的意象。然而两人的表现形式,却都利用新的媒体技术和媒材来表现。加拿大媒体学者麦克鲁汉曾经提出「后视镜理论」虽然车子不断前进,后 照镜却始终映照着过往。同样地,虽然科技不断演进,我们却经常在新的发展当中,看 到历史的倒影。文明中最精华的部分会被不断融入新技术中,属于未来的进步,其实是站在旧有的基础上,如同镜子一般,反射着过去的美好。
此次展览将全面整体呈现艺术家洪东禄和李晖的艺术创作理念与艺术语言,更希望能体会到艺术家所展现的媒体演进的「永劫回归」。

The theme of the exhibition is "spin", which originates from the creative metaphor of the artist and the form of the artistic expression. In Chinese, spin actually means gyrate or convolution, which is usually adopted to describe the rotation of t he top and called as helix. Milan Kundera mentioned the same idea in his work The U nbearable L ightness of B eing and quoted the concept of "eternal return" proposed by Nietzsche: There is nothing new under the sun. The history repeats itself continuously and forms the delicate helix. Such "return" reappears and repeats according to certain cycle. The existence of human being is called as helix-type existence by Bachelard: The existence of human being is a kind of ever changing existence, which can hardly be described by any expression form. Controlled by the imagination, though one certain expression has appeared, another expression is still needed for the existence itself depends on the existence of another expression.

Hung Tunglu has attempted to borrow the design of Buddhist Tang Ka with full understanding of the moving rules of celestial bodies, nature like the im age of peg-top which represents everything on earth. Li Hui has adopted the method of patching up the partite objects and regressing to the original status of integration. Both of them have used the implication of helix as the creative theme, which is expressed with new media technology and material. Marshall McLuhan, the Canadian media scholar had proposed the "rearview mirror" theory: Despite the advancing of the car, the rearview mirror always reflects the passing objects. In the same way, despite the continuous evolution of the science and technology, we always see the inverted image of the history in the new development. The most essential part of the civilization will be continuously fused into the new technology and belong to the intending advancement, actually which just stands on the existed base the same way as the mirror reflects the goodliness of the past.

The exhibition will give full display to the artistic creation conce pt and artistic language of two artists-Hung Tunglu and Li Hui. Moreover, it's highly hoped that viewers can experience and understand the eternal return of media evolution showed by two artists.

  

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