歪儿靠母 Welcome

Skills: 展览 Exhibition

无题空间2022年1月新展开幕

歪儿靠母

开幕时间：2022年1月2日（星期日）下午4点

UИTITLEDSPΛCE January 2022 Upcoming Exhibition

Welcome

Opening: 2nd January (Sunday) 2022, 16:00

参展艺术家 Exhibited Artists

孔琳 Kelly Kong

刘心怡 Xinyi Liu

崔成城 Chengcheng Cui

展览导语 Exhibition Introduction

It’s a distant dream– too good to be true. The subjects of this body of work are witnesses of the dream. It’s living with us but also parallel to us. When we run and dance and laugh, it stays still. It is the ghostly figure that stands in the corner. It’s snoozing in a sheath, waiting to roar. When you notice it, it can’t be forgotten. It is a grail that always finds find us, our desire that must ferment. Here, we paint, we bask. There’s a voyage for each and every single one of us. We share a beer and a cigarette. It’s like heaven.

这是一个遥不可及的梦，美好的不真实。这些作品的主体都是梦的见证者。它存于我们之间但却又与我们毫不相干，当我们奔跑、跳舞和大笑时，它却保持静止。它是角落里的幽灵，在刀鞘中沉睡，等待着那咆哮之日。当你注意到它就再也无法忘记。它是总能找到我们的圣物，我们必将发酵的欲望。每一个人都有自己的旅程，现在我们在这里画画，取暖，共享着啤酒和香烟，像天堂一样。

艺术家与部分参展作品 Artist and selected works

kelseilabs.github.io

99年出生，单眉猫和⻦龟的主人。从数字炼金术到达达享乐主义，她的工作是跨学科性的。从现实中消退，你现在一个甜美的颠茄中午里发现她正在紫红色茄属植物下晒太阳。

Born in 99, her work is interdisciplinary, from digital alchemy to Dada hedonism. Master of unibrow cats and bird turtles. Subsiding in escapism, you can now find her basking under fuchsia nightshade, a sweet belladonna noontide.

你激怒了一块没有生命的石头 Thou Enrage a Lifeless Stone

木板油画 Oil on wood

80x120cm

2021

悔棋 False Move

布面油画 Oil on canvas

120x120cm

2021

牟牟镇的商队旅馆 Caravansaries in Moo Town

布面油画 Oil on canvas

120x120cm

2021

Instagram: @luna_owo_

1998年生于中国河北。目前正试图在河北生活并完成澳大利亚莫纳什大学视觉艺术与中学教育的学士学位。

艺术家在创作中关注的是物体、非人的存在、是那些几乎看不见的、不被注意的、幽灵般的、边缘的或者是被忽略的东西。“看” 是她创作很重要的一部分。她会好奇的去观察事物而不是去分析它们，不会去刻意寻找事物任何概念上、文化上或者是符号上的意义。通过单纯的看，周围的事物会告诉她要做什么。它们通过作者来说话。但是作者和事物的交流永远不是某一方的独白，而更像是对话。有时她会发现它们在帮她说话，但从不会是反向的。作者不会从自主的观点出发让事物为她所用，她的创作总是由外向内的。”

Born in Hebei, China, in 1998. Trying to live in Hebei while completing a bachelor’s degree in visual art and secondary education at Monash University, Australia.

The artist is concerned with objects, the non-human beings, the barely visible, those that go unnoticed, ghostly, in between, or left out. Looking is an important part of her making, and she looks curiously instead of analytically. The artist doesn’t look for conceptual, cultural, or symbolic meanings behind things. Through just purely looking, things around her tell her what to make, they speak through her. It’s never a monologue, but a dialogue with those otherwise silenced entities. Sometimes the artist finds them speaking for her, but it’s never the other way around. It’s always from the outside in.

眼睛（装置局部）

The eye (part of the installation)

炭粉、描图纸

Charcoal powder on tracing paper

21×29.7cm

2021

眼睛（装置局部）

The eye (part of the installation)

炭粉、铅笔、描图纸

Charcoal powder and graphite on tracing paper

21×29.7cm

2021

眼睛（装置局部）

The eye (part of the installation)

炭粉、描图纸

Charcoal powder on tracing paper

29.7x42cm

2021

www.chengchengcui.com

98年出⽣，是想当作家但⼀直在画画的平⾯设计师。他在喝了两⼝酒后坦然地承认作品从⼀开始就注定是社会⽂化发展的产物。“这其实正是我的⽬标：使创作成为⼀种全部的、协调的、不费⼒的和⾃然性的活动。”他不假思索地回答道。他通过专注⽣活体验中的瞬间，窥探事物的发展过程，如：在超市⾥握着半瓶威⼠忌的⼥孩是⾰命的预兆。

Born in 1998, dreams to be an author but a painter stuck doing graphic design. The artist became frank after two sips of alcohol that the works are destined to be a manifestation of social and cultural development. He claims, “This is my goal: to reveal the holistic, harmonious, effortlessness and spontaneity in the creative process.” He spied on the development of things by focusing on moments in life. For example, the girl holding half a bottle of whiskey in the supermarket is a sign of revolution.