您所在的位置:首页 >创意要闻 > C+C媒体艺术国际驻留展|城象·转译 Portraying the City·Interpretation

C+C媒体艺术国际驻留展|城象·转译 Portraying the City·Interpretation

2021-12-17 10:32:09

  展览前言 Foreword

  《城象·转译》展览作为本次C+C媒体艺术国际驻留项目成果展示了8位艺术家们的个人及合作作品,并从“城市景观的参与与诠释”、“媒体技术的探究与运用”、“文化符号的观察与解读”三个维度展开叙事和对话。艺术家们在延续创作习惯的同时将驻留期间的在地体验和生活经历融入其中,通过作品展现了如何以艺术创作为手段将城市印象向视觉语言的转化与呈现。

  As the resulting presentation of the C+C International Media Art Residency Program, Portraying the City——Interpretation exhibits the individual and collaborative works of eight resident artists, and unfolds narratives and dialogues in three dimensions, "engaging with and depicting urban landscape", "exploration and application of media technology", and "observation and interpretation of cultural symbols". While maintaining their creative process, the artists incorporate their local experiences and life experiences occurred during their residency. In the works, they transform and present the impression of the city by means of artistic creation.

  在《城市的语言》一书中,迪耶·萨迪奇(现为英国设计博物馆名誉总监)如是说道:“城市由物质塑造,也由理念铸就”。城市这一呼吸着的庞大生态系统,其风格与特色的建立离不开历史的绵延和地方文化的逐渐形成。多层次不断更迭的城市,因由各自发展路径而伴随时间被贴上一个个不同的标签。长沙这座已涅槃重生的文化古城,以创新为驱动力蓬勃生长,在打造“国际文化创意中心”的道路上迈步向前。

  In The Language of Cities, Deyan Sudjic (now Director Emeritus of the British Design Museum) describes that cities are shaped by matter and forged by ideas. Cities are huge, breathing ecosystems whose style and character are built on the continuity of history and the gradual formation of local culture. The multi-layered cities are constantly evolving, and are labeled differently over time due to their respective development paths. Changsha, an ancient cultural city that has been reborn from the ground up, is growing vigorously with innovation as the driving force, and is striding forward on the road of establishing itself into an International Cultural and Creative Center.

  C+C媒体艺术国际驻留项目便在长沙被冠以中国首个“媒体艺术之都”城市名片的背景下进行。全面而高速信息化时代下,我们生活在各种“媒体”之中,科技的发展使信息的传递变得由为便利,技术的革新也带来了更多艺术表达的可能,使视觉语言的运用在传统艺术根基之上更加丰富。在此语境里,艺术家们自由使用或静或动的多种创作形式表达思想与观点,创新与想象力的探索创造了更加多元化的交流方式。

  C+C International Media Art Residency Program took place in the context of Changsha being recognized as the first UNESCO Creative City of Media Arts in China. In the era of comprehensive and high-speed information, we literally live in various forms of media. The development of science and technology has facilitated the transmission of information, and technological innovation has also brought more possibilities for artistic expression, making the use of visual language more abundant on the foundation of traditional art. In this context, artists can use a variety of creative forms, both static and dynamic, to express their ideas and opinions. The exploration of innovation and imagination diversifies ways of communication.

  而艺术驻留更是为多方参与人员实现经验的交换,给艺术家提供一个脱离日常进入全新创作环境,从而自我审视与突破的机会。本次项目的艺术家组成为4位外籍艺术家和4位湖湘青年艺术家,这样的组合激发不同背景中形成的思维相碰撞,异同的融汇促生文化的交流与传播,多元文化价值对创作的介入建立起艺术家与自我、与同伴、与公众、与城市之间的对话。

  Art residency is to realize the exchange of experience for all participants, and to provide artists with an opportunity to break away from daily life and enter a new creative environment for self-examination and breakthrough. The artists in this project are four foreign artists and four young artists from Hunan. This combination stimulates the collision of thinking formed in different backgrounds, the convergence of similarities and differences promotes the exchange and dissemination of cultures, and the intervention of multicultural values in creation establishes a dialogue between the artists and themselves, their peers, the public, as well as the city.

展示作品 Exhibits

红屋的幻梦The Dream of the Red Chamber

若塞·狄莫 José Drummond | 葡萄牙 PT

  

  创作说明 Statement节选 Section

  活在当下,是一种奇怪而复杂的感觉。为什么我们会有这种感觉?我们是否处于时间的边缘——不断地猜测过去和未来?我们如何使压倒性的技术与自然界中恰到好处的不完美之间的对比合乎情理?有时感觉就像我们在迷宫中,我们不仅迷路了,而且忘记了寻找意义。在这种无序和模糊状态的迷宫里,没有入口也没有出口。

  To live in the present is such a strange and complex feeling. Why do we feel the way we do? Are we in a temporal limbo -- constantly conjecturing about the past and the future? How can we make sense of the contrast between the overpowering technology and the perfect imperfections in nature? Sometimes it feels like we are in a labyrinth where we not only get lost but forget to search for meanings. In this state of disorder and ambiguity, in this maze, there is no entry or exit.

萤火虫在做梦

The Firefly Dreams

李敏智 MJ Lee | 韩国 KR

  

  创作说明 Statement节选 Section

  当人们接触到陌生的文化和情感时,所感受到的视觉或听觉上的“无知”会扩展到其他人类感官,而使我们倾向于通过非语言方式进行交流,比如手势、指点、比划和热情的鼓励。

  The visual or auditory illiteracy that people feel when they are exposed to unfamiliar cultures and emotions expands other human senses, and we tend to communicate through nonverbal means, signing, pointing, gesticulating, and warm encouragement.

元素The Elements

李敏智 MJ Lee | 韩国 KR

  

  创作说明 Statement节选 Section

  生命的复杂性和脆弱性,与此同时死亡、衰败的人类状态,都共存在时间的边界之内。

  The complexity and fragility of living, and at the same time dying, and decaying human states are within the perimeter of time.

逆向透视练习Reverse Perspective Study

李维伊 Weiyi Li | 中国 CN

  

  创作说明 Statement节选 Section

  我很感兴趣这种全然拒绝幻觉的技术,因此制造了一系列严格以逆向透视画法绘制而成的椅子。这件作品可被看作是用一种极其严谨的错误手段完成的结构素描,或是一个根本不想变成最终成品的椅子草图。

  I was intrigued by this technique of total rejection of illusion and thus created a series of chairs that were painted strictly in reverse perspective. This artwork can be seen as a structural sketch done with a very stringent error, or a sketch of a chair that is not intended to be the final product at all.

灵·晶

Spirit·Crystal

毛太纸 MTZ | 中国 CN

  

  创作说明 Statement节选 Section

  连接现实与虚拟世界的媒介,归根结底仍然是光。大爆炸之后的第38万年,光子冲破混沌,跨越宇宙,穿过虹膜、时间、空间,带来生命与生机。我们站在未来的坐标上望向太空深处,借着光带来的答案,得以凝视时间上的过去。

  The medium that connects reality to the virtual world is still ultimately light. In the 380,000th year after the Big Bang, photons broke through the chaos and crossed the universe, passing through irises, time and space, bringing life and vitality. We stand at the coordinates of the future and look into the deep space, and with the answers that light brings, we can gaze into the past of time.

耀辉之城Luminous City

安东尼·里德 Anthony Reed | 英国 UK

  

  创作说明 Statement节选 Section

  这是一系列探索长沙当代城市环境的照片,对着彻底改变的城市景观进行安静的沉思观察。高耸的霓虹灯塔大胆地标志着这座城市的新篇章。在1938年的大火后,被完全摧毁的古城在灰烬中重建,一座与革命热情密切相关的城市,霓虹灯覆盖的摩天大楼在周围的街道和天空上投下色彩,它们持久的光芒暗示着一个诱人的未来。

  A series of photographs exploring the contemporary urban environment of Changsha. Quiet contemplative observations of a radically transforming urban landscape. Towering neon lit towers boldly signal a new chapter for the city. The ancient city was completely destroyed in the great fire of 1938 but managed to rebuild itself from the ashes. A city closely associated with revolutionary zeal, neon clad skyscrapers cast their colours on the surrounding streets and skies, their enduring glow hints to an enticing future, one detached from its ancient roots.

共生关系Symbiosis

如拉 RULA | 中国 CN

  

  创作说明 Statement节选 Section

  油漆和墨水的流淌滴落是涂鸦独有的视觉符号,它充满随机性。滴落的方向却是依照着自然的重力垂直向下。它将城市建筑生长代入到了同一频率,形成了镜像投射,同一线条上的不同方向,让建筑的垂直生⻓与油漆自然滴落在精神上达成了统一。

  The dripping of paint and ink is a unique visual symbol of graffiti, which is full of randomness. The direction of the dripping is vertically in accordance with the gravity. The vertical growth of the building and the spontaneous dripping of paint are sprituallly harmonized, as they are projected in the same frequency and in different directions on the same line.

From A Boy to A Man III

孙存明 Cunming Sun | 中国 CN

  

  创作说明 Statement节选 Section

  门也是个成长的符号。这扇门是从原有的环境中拆除下来的,在以往的场景中,它被当做一个完全功能性的存在。大家对它的使用与观察都只是一个平面维度的。展览中,我将完整的门框和门板像雕塑一样呈现出来。给到一个多维度的观看,这种观看方式的改变解放了“门”作为物件本身的单一功能性。

  The door is also a symbol of growth. The door is removed from its original environment, and in previous scenes it was treated as a fully functional presence. Everyone used and observed it only in a flat dimension. In the exhibition, I present the complete door frame and door panel as a sculpture. This change in the way of viewing frees the "door" as an object from its single function.

无名贵妇之墓The Tomb of an Unknown Noblewoman

魏皓啟 Hutch Wilco | 新西兰 NZ与本地匠人陈琛合作作品

  

  创作说明 Statement节选 Section

  《无名贵妇之墓》是一部以博物馆展览形式呈现的推理虚构作品。该作品采用标准的博物馆教学技巧,将中国探险家郑和的想象之旅与公元 1405 年中国与毛利人的文化交流编织在一起。阐述中关于毛利文化对铜关窑中国手工艺人装饰图案的影响,以及于近代在长沙市中心的一座墓葬中发现这些物品的内容完全是虚构的。

  The Tomb of an Unknown Noblewoman is a work of speculative fiction in the form of a museum display. Using standard museum didactic techniques, the work presents a narrative that weaves together an imaginary journey by the Chinese explorer Zheng He and the cultural exchange between Chinese and Māori in 1405CE, and its influence on decorative motifs of Chinese craftspeople at the Tongguan Kilns, and the entirely fictional discovery of these items in a tomb in the heart of Changsha in the modern era.

穿越The Crossing

李敏智 MJ Lee & 安东尼·里德 Anthony Reed

  

  创作说明 Statement节选 Section

  李敏智:对我来说,空间是一种具有“能量”的非物质元素。通过我的表演,我试图让自己沉浸在给定空间的能量中并与之相连。

  MJ Lee: To me, space is an immaterial element that has 'energy.' Through my performance, I try to engage with and immerse myself in the energy of a given space.

  安东尼·里德:建筑本身则提供了另一层重要的诠释和实验。这座建筑包裹在一个巨大的空壳内,空灵的内部发挥了自己的魔力,激发了我们的创造性愿景。

  Anthony Reed: The architecture itself would provide another crucial layer of interpretation and experimentation. Enveloped inside a vast empty shell, the building's ethereal interiors exerted its own spell and fed our creative visions.

  

▼ ▼ ▼

参展艺术家 / Artists

若瑟·狄莫 José Drummond (葡萄牙 PT)

李敏智 MJ Lee(韩国 KR)

李维伊 Weiyi Li(中国 CN)

毛太纸 MTZ(中国 CN)

安东尼·里德 Anthony Reed(英国 UK)

如拉 RULA(中国 CN)

孙存明 Cunming Sun(中国 CN)

魏皓啟 Hutch Wilco(新西兰 NZ)

按姓名首字母排序Ordered Alphabetically by Last Name

▼ ▼ ▼

展览时间 / Exhibition Duration

开幕 Opening: 2021.12.17展期 Duration: 2021.12.17-2022.1.16

▼ ▼ ▼

展览地点 / Exhibition Location

谢子龙影像艺术馆一楼7展厅Xie Zilong Photography Museum, Floor 1, Exhibition Hall no. 7

▼ ▼ ▼

观展方式 / To Visit

展览免费,展期内到现场即可观展The exhibition is free for visit during the exhibition period.

  

  Project Team项︱目︱团︱队

  项目总监:张丹丹Program Director: Dandan Zhang

项目经理:孙琴Program Manager: Sun Qin

联合策展:袁霆轩、喻莹、孙琴Associated Curators: Tingxuan Yuan, Peggy Yu, Sun Qin

学术支持:谢京爵Academic Support: Karina Tse

学术顾问:曹音、Chalotte Galloway、Davide乐大豆Academic Advisors: Yin Cao, Chalotte Galloway, Davide

项目统筹:李书阳、赵晨、陈思瀚、李凌莎Program Coordinators: Shuyang Li, Chen Zhao, Vincent Chen, Linsha Li

项目执行:邓梦春、黄隽、韦云飞、曾萌萌、王家璇、王精晶、刘思池、麻桂群、陈可忱、李唐亮、王娟Program Execution: Mengchun Deng, Jun Huang, Yunfei Wei, Mengmeng Zeng, Jiaxuan Wang, Jingjin Wang, Sichi Liu, Guiqun Ma, Kechen Chen, Tangliang Li, Juan Wang

合作拓展:周洁Cooperation Extension: Jie Zhou

活动策划:戴子敏Activities Curator: Birdy Dai

媒体编辑:戚悦、李丹、徐敏Media Editors:Yue Qi, Dan Li, Min Xu

平面设计:刘婷、蔡钰、姚佩含、文宇舰Graphic Designers: Ting Liu, Cici Cai, Peihan Yao, Yujian Wen

空间设计:夏思雨、晏佳琪Space Designers: Siyu Xia, Jiaqi Yan

摄 影:陈归、邱诗蕊、黄荣坤Photographers: Gui Chen, Shirui Qiu, Rongkun Huang

摄 像:郑文昌、黄明Filmmakers: Wenchang Zheng, Ming Huang

技术支持:吴天浩、郭锐、许旭明Technical Support: Tianhao Wu, Rui Guo, Xuming Xu

  Special Thanks

  特︱别︱鸣︱谢

  于鹏远、谭令仪、林铁(湖南财政经济学院)、毛璐璐(湖南财政经济学院)、曹文倩(京东方艺云科技)、张静(时间仓)、刘林(时间仓)、张贤铭(远大科技集团)、刘靖(马栏山创智园)、甘现科(马栏山创智园)、张涓(知了青年)、李锋(道官冲非遗生态村)、刘兰(道官冲非遗生态村)、徐圣洁、凌泉、丑冰钦(一览众山小)、龙青、欧阳倩(潮宗街历史文化街区)、熊猫大保、怪物避难所

  Pengyuan Yu and Lingyi Tan, Lin Tie and Mao Lulu (Hunan University of Finance and Economics), Wenqian Cao (BOEYT), Zhang Jing and Yolanda Liu (Timeloft), Daniel Zhang (BROAD Group), Liu Jing and Gan Xianke (Malanshan Powerise Park), Klara Zhang (Cicada), Li Feng and Li Lan (Daoguanchong Intangible Cultural Heritage Ecological Village), Shengjie Xu, Ling Quan, Bingqin Chou (SustainableCity), Qin Long, Qian Ouyang (Chaozong Street Historical and Cultural Block), PANDABAO, Monster Family

  Guidance Unit指︱导︱单︱位

  Presenter主︱办︱单︱位

  

  Organizer承︱办︱单︱位

  

  Operator执︱行︱单︱位

  

  Co-organizers协︱办︱单︱位

  

  ​

来源:长沙市媒体艺术发展中心官网 | 作者: | 编辑:陈贝贝