碎片 裂片 残片 Fragmentations Fragmentations Fragmentations

碎片 裂片 残片

Fragmentations Fragmentations Fragmentations

《碎片 裂片 残片》为无题空间在11月搬至朱家角后的首个展览。本次参展作品分别来自今年八、九、十月的五名驻地艺术家。每位艺术家以自己的作品与无题空间在金泽的驻地空间产生对话，以分解和重建的形式对驻地空间周围所有的材料和空间进行再创作，变废为宝。本次展览也是我与过去场地的一次道别，也是对过去的9个月在老场地所有的欢乐与烦恼的最后的回答。

展览作品信息

1. Dream Tumor《梦瘤》- Maja Lindberg Schwaner (Denmark 丹麦)

Dream tumor. A household item that has lost its function, now becoming something other, something alive and grossly cute. With its pastel coloring, the organic textures take on an otherworldly glow, also to be found in a teen girls room. The foam, spreading out on the surface, are also growing out of it, spreading like joy and diseases. The patches of foam can seem like beings of their own. One entity and many. The whole thing is on the verge of collapse but also that is a matter of transformation. What looks like a planetary surface might also look like something on the inside of the body, a strangeness closer to home. Made of a ventilator stand, fabric, plaster, polyurethane foam.

梦瘤。一种失去了功能的家用品，变成了一种有生命的，恶心且可爱的的异物。蜡笔般的色彩和自然的纹理让其有着超脱尘俗的光芒。它也可以在少女的房间里找到。遍布其表面的泡沫，也从内向外的生长着，像快乐和疾病一样在蔓延。泡沫上的补丁也可看作是独立的存在， 一个实体和多个实体。整体形态上在瓦解的边缘，但大约也是变形的问题。看上去像是行星的表面也可被看做是身体内在某种器官，诡异的、又如家一般的亲切感。由电风扇底、布料、石膏和发泡剂制作。

2. The Kids of Waste Land《荒野的孩子》- Feng Ge 冯舸 (China 中国)

The series I made here is called“The Kids of Wasteland”, which includes several stop-motion videos and photography works. Untitled space is in what was previously an obsolete plant. The deserted place always stimulates colorful imagination, I want to do my work about the creatures and nature. Every creature is the kid of the whole world. Before we came to the real world, the materials that made up our bodies had already existed. I think each life is the recombination of those things, it constituted an individual life for several years, and after that, all the matters resolved are returned to the world. The stop-motion video shows activities like growth and death, eating, playing, and other vital motions in these abandoned places.

在驻地创作的系列叫做《荒野的孩子》，它包含了一些定格影像和一些照片。无题空间在一个旧工厂改造的空间里。荒芜的空间总能引发人很多的想象，于是我想做一个关于生物与自然的作品。每一个生物都是这个世界的孩子，在我们诞生于这个世界以前，那些组成我们身体的物质就已经存在。我觉得，每一个生命都是这些物质的重新组合，在一段时间里它组成了一个独立生命。在那之后，所有物质又重新分解归还回了这个世界。定格影像和照片想要展示的是一些在这个被遗弃的地方出现的生命活动，比如出生，死亡，进食和玩耍。

3. Windoats《窗舟》- Shi Ruoyi 石若宜 (China 中国)

Using the materials I found around the town, I created some creatures inspired by the environment here. The “Windoats”, as I call them, are bottomless boats that have a reflective quality. They are made out of found materials, like wood, metal, and glass found from the abandoned factories around Untitled Space. These creatures I’ve created are individually different, as I didn’t follow any boat-building rules and just let the materials speak for themselves. I constructed a fictional narrative for the “Windoats” by using video and filming a documentary that follows these creatures; moving them to the river and manipulating them in different methods. Through this documentary, I was also playing with how my sculptural works can engage with their environment as well.

我编造了一种名为《窗舟》的生物。利用无题空间周边旧厂房中搜集到的材料，我设法无规律而随心所欲地建造了一些无底的小船，特意不去遵循一般建造船舶的方式而选择按照自己的经验和幻想进行造船，让材料本身发挥最大的作用。这些船只因无底而同时展现它们漂浮着的水底和反射着的天光。在这个过程中，我为《窗舟》制作了一个虚拟的纪录片——记录它们的特征、生长过程和成长经历。通过在不同的环境中放置和操控它们，我也同时在实验并探讨我的雕塑作品与周遭环境之间的关系。

4. From Here to Pudong《从这里到浦东》Scott Anderson (Australia 澳大利亚)

“From Here to Pudong” is an installation piece exploring deconstructed architectural forms via collage, painting, and sculptural techniques. With this work, I am proposing that different media can work collectively as a hybridized practice and question the value and appropriateness of non-art materials, such as reclaimed cardboard within a fine-art context. With this work, I am offering visual relationships and dialogues to form through a multi-panel combination. By installing works in such a way, I am challenging the viewer and consequently questioning the validity of the formal gallery hang.

《从这里到浦东》是通过拼接、绘画和雕塑的创作技法，探索了建筑形式上解构的装置作品。通过这个作品，我想要尝试用不同的媒介，整体的创作。以一种杂交的实践方式，再次思考在纯艺术创作的范畴内，使用非艺术材料（如捡来的纸盒）来创作的合理性。我也想通过多方面组合的形式，让作品提供一种视觉关系和对话。用不同的方式挂起作品，我也想挑战观众对于展览的理解、以及不断的质疑传统画廊布展的合理性。

5. Black Leaves In the Mouth, Dancing the Waltz Together《嘴含黑叶，共舞华尔兹》- Yein Lee (South Korea 韩国/Austria 奥地利)

The research of painterly sculpture, appropriate art-historical references, and matter of the body, this work refuses a flattened picture. My artistic practice continues that work, takes up that challenge, the legacy of all painting as inherited by gestural abstraction and realizing it in mid-air. Transparency allows us to see through the brushstrokes and they become objects by surrounding. Rather than shutting down on the flatness, the drawing lines connect, holding their hands with glue.

这件作品拒绝做扁平的图片，是关于绘画般雕塑的研究，对艺术史适当的参考，也是关于身体的讨论。接受把绘画的传奇用抽象的形式去继承的挑战，我的艺术实践在此之上创作，表现在半空中。把透明作为看穿的笔划，让这些笔划也被周围环境所物化。这些线条相互牵连，手握着手粘在一起，也不是对平面的反抗。