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工伤,玩性不改 | 張麗娟、成瑋陶藝作品展,索尼4k摄像机

展覽時間:2019年9月27日至11月27日

開幕時間:2019年9月27日,週五下午5點-8點

展览地點:沙甸鹹水埠

展览地址:溫哥華 唐人街奇化街268號新華中心地下一層071單元

藝 術 家:張麗娟、成瑋

策 展 人:龍邃洋

玩性不改——張麗娟、成瑋陶藝著作展

文/龍邃洋

早在新石器時代,人類便開始运用陶作為日子的东西。伴隨人類的演化與發展,陶作為一種藝術,它的生成乃至比人類賦予藝術的定義還要早得多。我們對陶的感触能够說是深深地植根在我們人類的基因之中,因為首要它和我們的飲食密不可分,其次也與我們地点的社會位置相互匹配。具體而言,我們一般把陶與實用器皿關聯起來,藝術性則附於其上。隨著人類社會的不斷發展,留存在器皿之上的獨特性被逐渐分離出來,构成陶所獨有的一種藝術形態,一種對永恆的迷思。

陶(或陶瓷),作為一種藝術的资料、或许是一種藝術創作的前言,在當代藝術中怎么繼續演化,是每一個陶藝作业者所面臨的問題——一種陈旧的藝術種類怎么不斷產生與當代社會現實所需求的新的可能性。就如人類從有你没我的搏鬥中發展出相互比拼的體育競技,玩,成了現代人類文明之為“文明”的一種象徵。本展覽中的兩位藝術家張麗娟、成瑋則採用了不同的方法,去試圖擺脫陶的傳統物象(即人對陶的固有觀念),而“玩”則是她們的共通战略

張麗娟的著作靈感源自從二十世紀80-90时代北美盛行風格蒸汽朋克(Steam punk)。並從中蛻變出一種“效法”式的概念,她用陶的釉料去“效法”金屬的質感,用陶的手作方法去“效法”工業化严寒的生產方法,用陶的實用器的方法去“效法”無實用性的蒸汽朋克式造型拼貼。這三重的“效法”在“有用”與“無用”之間,“似”與“非似”之間,“認真”與“開打趣”之間尋求一種詭異的拼接,這便是她的藝術。

Artworks by Amy Li-chuan 小美挤牛奶Chang, courtesy of artist

成瑋的著作則試圖通過更為極端的方法期望擺脫“陶性”的枷鎖,儼然一副准则批评的立場,她更強調對陶的根本元素“泥”與“火”的存在的反思。我們能够簡單地把陶的產生歸結成“泥”與“火”的結合,泥是物質形態,火則是催泥成陶的介入性力气。而泥性與火性一直是人類把陶瓷面向工藝極致的兩大研讨方向,而瑋則反其道而行,用一種“玩”的態度去釋放“泥”與“火”的原始性,乃至把之於“非泥”、“非火”的現制品加之其上以進行拼接,拉出陶和現制品的反差。

觀之兩人的著作,除以“玩性”貫之外,其著作背玄祯子後亦滲透出藝術家對於人類世(Anthropocene)的迷思——人類世是一個地質概念,最早由諾貝爾化學獎得主、荷蘭大氣化學家保羅克魯岑(Paul Crutzen)於2000年提出。他認為,地球已告別11700年前開始的地質时代“全新世”,快速增長的人口和經濟發展對全球環境形成巨大影響,人類活動對地球的改變足以開創一個新的地質时代。陶瓷的工業化正正是人類世在地質學上最強有力阳青青的體現——早已堆積成山的陶瓷廢料正逐漸改變地球表面的土質成分,而這種改變正正是建立在人類挠男生對陶瓷廖雅泉產品吹毛求疵的特定要求之上。我不在這裡展開對人類紀藝術的探討,工伤,玩性不改 | 張麗娟、成瑋陶藝著作展,索尼4k摄像机簡而言之,最後拋出一個問題給觀眾考虑:在人類世的討論框架下,兩位藝術家的著作到底是一種“藝術無用主義”的表達呢,還是逆熵式的再工伤,玩性不改 | 張麗娟、成瑋陶藝著作展,索尼4k摄像机創造?邓卜方

Artworks by Wei Cheng, courtesy of artist

關於藝術家

張麗娟

移居加拿大之前,張在台灣獲得了商業學士學位。當她移居溫哥華時,她在景泰藍公司(CloisonnCompany)作业的八年中,並在私家陶藝作业室學習陶瓷的時候,已經對藝術充滿了熱情。然後,她決定回到學校學習以陶瓷為主的藝術。她於2003年獲得卡皮拉諾大學(Capilano University)的作业室藝術文憑,然後於2007年繼續從艾米麗卡爾藝術與設計大學(Emily Carr University of Art and Design)完成文學學士學位。此後,她成為專注於當代陶瓷雕塑的作业室藝術家。近年來,Amy在溫哥華地區和海外各地的個人展覽和團體展覽中展现了她的著作。艾米的著作還入選了本地和國際陶瓷比賽。例如在2018年鹽泉國家陶瓷比賽和2019年台灣國際陶瓷雙年展中獲得三等獎。

成瑋

畢業於加拿大艾米麗卡爾藝術與設計大學。現為加拿大哥倫比亞省陶瓷協會會員,北美西海岸陶瓷雕塑協會會員,本拿比市陶瓷協會會員。部分著作保藏機構有:愛爾蘭切斯特.比蒂圖書館、加拿大Peter Kiss畫廊、帕勞Hi Resort 酒店、哥倫比亞Campos de Gutirrez畫廊等。

Immortal of Play – Amy Chang Li-chuan & Wei Cheng Ceramic Exhibition

Text / Steven Dragonn

As early as the Neolithic Age, humans have utilized ceramics as utensils of daily life. As humanity evolved and developed, ceramics akakers an art-form has prevailed long before the first definition of art endowed by humankind. In a way, our sensibilities towards ceramics are deeply rooted in our genes as humans: it’s inseparable from our diet, and it corresponds to our status and our positions in society. Generally speaking, ceramics is associated with functionality and practicality as everyday utensils, while its artistic quality an additional attribute. As civilization continues to advance, the distinctiveness of ceramics beyond its functionality gradually separates and becomes a unique art form, a vessel to a never-ceasing obsession.

How ceramics (or clay), as an art material数原龙友 and medium in artistic practices continue to evolve in contemporary art is an issue faced by every ceramic artist – how does an ancient art form generate new possibilities and necessities to contemporary social realities? In the same way as to how competitive sports evolved from life and death combat, the concept of “to play” has become a symbol of “civility” in 工伤,玩性不改 | 張麗娟、成瑋陶藝著作展,索尼4k摄像机human civilization. The two artists in this exhibition, Amy Chang Li-Chuan and Wei Cheng both attempt to break away from the ingrained 男生搞基concepts in ceramics differently, yet “to play” has become their shared strategy.

展 览 现 场

Amy Chang Li-Chuan’s work takes inspiration from Steampunk; a distinctive style and genre of the 1980s and 1990s North American subculture. From there, Chang develops her concept of imitation. Chang uses glaze to imitate metal textures, uses the hand-made quality of ceramics to mimic a lifeless industrialized production, and uses ceramics as functional utensils to mimic an 黄瑞纲impractical Steampunk assemblage. The three layers of imitation find peculiar connections between the practical and the useless, resemblance and non-resemblance, the seriousness and humorous, all of which makes up Chang’s art practice.

Wei Cheng’s works, on the other hand, attempts to break apart from the shackles of ceramic’s inher决战桂林全集在线观看ent qualities in a more radical way. From an institutional criticism vi工伤,玩性不改 | 張麗娟、成瑋陶藝著作展,索尼4k摄像机ewpoint, Cheng emphasizes her reflections on the indispensable constituents of ceramics: “clay” and “fire.” The production of ceramics is the兽人交 integration of “clay” and “fire”: clay to take the phy千十九sical form, while fire the intervenient force that transforms clay into pottery. The properties of “fire” and “clay” have always been the two directions pushing forward ceramics to ultimate craftsmanship. Cheng, in contrary, adapts a playfulness to release the primitive nature of “clay” and “fire,” and merges ready-made objects with “clay” and “fire” to create assemblages, differentiating her work from both the context of ready-mades and ceramics.

In additions to the playfulness, the works from the two artists also speculate the subject of Anthropocene, a geological concept first introduced by Nobel Prize winner in Chemis水饴是什么try, Dutch atmospherical chemist Paul Crutzen in 2000. Crutzen proposed that the earth has moved past the Holocene, a geological epoch that began 11,700 years ag翊洁吧o. The rapid growth in population and economic development had tremendous impacts on the global environment. Human activities have caused enough change to earth to create a new geological age. The industrialization of ceramics is precisely the most evidential manifestation of Anthropocene. Heaps of ceramic wastes are gradually changing the soil compositions of the earth’s surface, a change due to the scrupulous attention for high-standard products. To be concise (and not going into a whole other discussion on the art of the Anthropocene age), here is a question worth contemplating: Framing the discussion around the topic of Anthropocene, are the works of the two artists expressions of the uselessness of art, or instead, are they anti-entropian re-creations?

About the artists:

Amy Chang Li-chuan

Amy received a Bachelor of business in Taiwan before immigrating to Canada. By the time she moved to Vancouver she had already found her passion for art during her eight years working for the Cloisonn Company while studying ceramics in a private pottery studio. Amy then decided to go back to school to study art focusing on ceramics. She received a Diploma工伤,玩性不改 | 張麗娟、成瑋陶藝著作展,索尼4k摄像机 of Studio Art from Capilano University in 2003, then continuing on to complete her BFA from The Emily Carr University of Art and Design in 2007. Since then Amy has become a studio artist focusing on contemporary ceramic sculpture.

In recent years Amy has shown her work in solo and group exhibitions around Vancouver area and oversea工伤,玩性不改 | 張麗娟、成瑋陶藝著作展,索尼4k摄像机s. Amy’s work also has been selected into local and international ceramics competitions. Such as the 3 place award in 2018 Salt Spring national ceramics competition and 2019 International Ceramics Biennale, Taiwan.

Wei Cheng

Born and raised in China, Wei now lives and dedicates her art practice in Vancouver, BC. She earned her art education from Emily Carr University of Art and Design, where she learns to appreciate the ceramic medium. She has been a resident artist at Jingdezhen, Alfred and Yixing. Her professional practice has also taken her to States and Europe. Her work has been exhibited in solo and group exhibitions both national and international venues.

關 於 我 們

1958年巴黎的Iris Clert畫廊,法國前衛藝術運動藝術家伊夫克萊因(Yves Klein)將整間畫廊的展廳騰空,譲觀眾掀開进口的藍色帷幕進入空無一物的展廳。克萊因本意是為觀眾供给一個視覺上彻底單色的體驗,但是卻開創性地把被稱作“白立方”的空間變成了展覽的主體。兩年後的法兰祖哈斯1960年,另一位新現實主義代表人物阿爾曼(Arman)用廢棄物品將同一畫廊的悉数空間塞滿,前來到会開幕式的觀眾則被逼呆在禁閉的大門與櫥窗之外觀展。而這個展覽的邀請函則是一個被寫滿字蹟的紙張塞滿的沙丁魚罐頭。延至今日泳衣写真,“白立方”一詞已然成為當代藝術中畫廊或许空間的代名詞。但是這並非一個契合现在非盈利藝術家自運營機構的描绘。我們期望用“沙丁(Sardine)”一詞替代“空間(Space)”,因為非盈利藝術家自運營機構除展覽外,還肩負策展、出书、藝術家駐地,乃至書店等功能,麻雀雖小五臟齐全,滿滿的內容才是機構的自身。

鹹水埠是廣東人對溫哥華唐人街的舊稱,過去溫哥華唐人街的首要組成便是來自廣東的華人。因而沿袭鹹水阜一詞與本機構地点地相互呼應,刚好本機構也是由廣東籍藝術家發起。而“沙丁”一詞也运用廣東話的音譯“沙甸”,與“鹹水埠”組成一個全新的名洪荒之青玄证道詞“沙甸鹹水埠”。

沙甸= 非盈利藝術家自運營機構

鹹水埠= 溫哥華唐人街

沙甸鹹水埠= 溫哥華唐人街的非盈利藝術家自運營機構

About Canton-Sardine

In 1958, inside the Parisian Iris ClertGallery, French avant-garde movement artist Yves Klein emptied an entireexhibition space of an art gallery. Visitors upon lifting the blue curtains atthe entrance, enter an empty exhibition hall. Although Klein’s originalintention was to provide viewers a monochromatic visual experience, hesimultaneously became the pioneer of taking the space known as the “White Cube”as the subject of the严智蕴 exhibition itself. Two years later, in 1960, Arman, adistinctive figure of Neo-Realist art, filled an entire exhibition space of thesame gallery with discarded materials, but visitors were required to view theexhibition outside of closed doors and display windows. The invitation to thisexhibition, titled Full-Up, was asardine can full of handwritten texts. To this day, the term “White Cube” hasbecome synonymous with art galleries and spaces; nevertheless, it is no longeran adequate deion for today’s non-profit artist-run centers. We hope toreplace the word “space” with “sardine,” because other than exhibitions, anon-profit artist-run center also carries curatorial and publishing functions,as it can also be a site for artist residencies and bookstores among many otherroles.

This institution is found by Vancouver based artists originally fromCanton, China, hence the name “Canton-sardine.”

-特別鳴謝-

尚藝術基金會

供给2018-2019年度

經費支撑

尙 藝術基金會,於2018年在加拿大註冊,旨在推動加拿大當代藝術的推廣;通過藝術的方法推動全球性當代議題,如環境保護,種族遷移,文明交融等;建立友爱的文明橋樑,推動中國加拿大兩國的藝術學術沟通,鼓勵中加兩國青年藝術家在國際舞台上展現他們的才華工伤,玩性不改 | 張麗娟、成瑋陶藝著作展,索尼4k摄像机和思维。

基金會創會成員為:

  • 楊小彥 董事會主席
  • 王義明 董事會副主席兼執行董事
  • 周馳昱 執行董事
  • 龍邃洋 秘書長
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