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installation

Anthony McCALL: SOLID LIGHT

Anthony McCall:Solid Light Tate Modern 27 June 2024 – 27 April 2025   “I find that I am now asked a particular question that used not to come up: ‘Are you making sculpture or are you making films?’ The way that this question is phrased puzzled me for some time, for it seemed to me

Saatchi Gallery: RONG BAO IS ME
包蓉是我

RONG BAO IS ME 23 FEB – 12 MAY 2024 GALLERY 4,Saatchi Gallery “All forms of allure come to our attention through surprise or fascination, since we are not exactly certain about what it is we are dealing with, though we witness to its qualities.” –Graham Harman When Paul Klee painted his work ‘Twittering Machine’

Mike Nelson: Extinction Beckons
Mike Nelson: 逝去的召喚

Hayward Gallery 02 Feb – o7 May 2023   The Hayward Gallery is currently showcasing a survey exhibition of large-scale immersive installations and sculptural works by acclaimed British artist Mike Nelson, titled “Extinction Beckons.” This exhibition features psychologically charged installations that transport viewers into captivating fictional worlds with a resemblance to our own. Nelson, who

Emma Hart: Mamma Mia!
艾瑪哈特:媽媽咪呀

Emma Hart, who won the sixth edition of the Max Mara Art Prize for Women, brings her large-scale installation Mamma Mia! into the Whitechapel Gallery. After a six-month bespoke residency in Italy, Hart presents a family of large ceramic, jug-like luminous heads, which are cut off below the nose but reveal a mouth that projects

Anselm Kiefer|Walhalla
安塞姆·基弗|英靈神殿

White Cube London Bermondsey presents an exhibition by Anselm Kiefer featuring new, large-scale installation, sculpture and painting. Titled ‘Walhalla’, the exhibition refers to the mythical place in Norse mythology, a paradise for those slain in battle, as well as to the Walhalla neo-classical monument, built by Ludwig I King of Bavaria in 1842 to honour heroic figures in German history.

Richard Hamilton
理查德·漢密爾頓

TEXT BY文字提供:ART.ZIP IMAGES COURTESY OF 圖片提供:TATE MODERN 泰特現代美術館 . One of the most influential British artists of the 20th century, Richard Hamilton (1922–2011) is widely regarded as a founding figure of pop art, who continued to experiment and innovate over a career of 60 years. Tate Modern presents the first retrospective to encompass the full

Momentum 動量

TEXT BY文字提供:ART.ZIP IMAGES COURTESY OF 圖片提供:BARBICAN CENTRE 巴比肯藝術中心 . Barbican has commissioned the multi-disciplinary art and design studio United Visual Artists (UVA) to create a new work for the Curve. Coinciding with their 10th anniversary, UVA present Momentum, an immersive installation that combines light, sound and movement. Drawing on physics and digital technology, UVA are

Martin Creed: What’s the Point of It?
馬丁·克里德:這都有什麼意義?

TEXT BY文字提供:ART.ZIP IMAGES COURTESY OF 圖片提供:Hayward Gallery 海沃德畫廊 . This spring Hayward Gallery at Southbank Centre is set to show the first major survey of work by internationally-acclaimed artist Martin Creed. Opening on 29 January 2014, the exhibition will bring together the full range and scale of Creed’s work, spanning its most minimal moments –

Richard Mosse – The Enclave
理查德•莫斯 – 《孤域》

— 4th April-26th April The Vinyl Factory Space  理查德·莫斯近三年在刚果民主共和国的创作,最后集结成了去年威尼斯双年展代表爱尔兰国家馆参展的视频装置 –  《孤域》 The Enclave,艺术家被刚果东部连绵不断的战争状态所吸引,刚果酷而复杂的战争却又鲜为外人所知。艺术家想通过这部影片去探讨艺术和摄影这两个媒介,对于不可言喻的社会现实的传达能力。   莫斯前往刚果最深处,去拍摄一些不能被常人所记录到的生存状态。主题以平常的民族志式的角度,记录着生老病死和日常的生活与冲突。其中看似纪录片的风格,却不难看出镜头前已摆设好的物象和场景。电影本身拍摄于一挂在steadicam稳定器的16mm摄像机,片中诸多的推拉镜头,其稳定的移动提供给观者一个第一人称视角。 而这样的拍摄方式也使镜头本身成为了影片的中心,观者的视野随着镜头被带入装置和影像空间,我们正如同一个个不应在此出现的猎奇者。 而镜头另一端,被拍摄的刚果士兵,平民,孩童,也均以造型,跟随,凝视来回应镜头。   在Vinyl Factory Space的空间里,八块双面投影幕布多为对称分布。空间设计与影片剪辑往往相互作用,其化学效应也是多频装置表现力的关键。The Enclave在展映上,影像内容和节奏也似乎是呼应着屏幕的对称性。而取材于刚果基伍湖的音乐和音效,与电影本身共鸣相称,其11组音响的分布,似乎比八块屏幕本身更能调动观者的对空间的体验。。 视频的亮点,是贯穿全片的粉红色调。莫斯在片中使用的是原本军用的伪装探测红外线底片。在二战时期由美军支持研发,用于探测伪装成绿色外型的敌军。这一种胶片已于2009年停产,全球所剩无几。在莫斯的影片中,本应最为突出的来自于山脉,植被,迷彩服绿色,纷纷配底片反应成了粉红色。超现实的粉色将原本沉重的主题附上了一股奇异的色彩。而通常和绚丽挂钩的粉色,在电影里也变成了另外一层伪装。   艳丽的粉色是具有感染力的,它迫使观者去探询这颜色改变的原因,去追问除却颜色,电影中是否还有其他被改动的部分。莫斯清楚自己并非记者,而是艺术家的身份,于是传达这样一个题材,就不能用到传统的纪实摄影角度。而通过连接一个传统的创作媒介和一个当代的现实题材,The Enclave作为一组艺术影像,的确起到了迫使观者审视图像创作,传播,和被消费的一系列过程,去讨论影响本身的真实性和可信度。   作品的另一个逻辑,同样源自于红外线底片本身。探测伪装的底片,可以显露出原本隐藏的物象。但仅仅是用有显形功效的底片,来记录鲜为人知的战况,把这两者编织在一起,此间的联系似乎稍停于字面意义上,并没有真正挑战纪实摄影和视频艺术的传统。潜伏于刚果的‘真相’是什么?观者看到的是否比寻常的记录片有更多细节?若是没有了这一片粉色,更多的‘现实’是否就无法显露? Mosse的照片似乎更能说明这一点,除却令人惊叹的粉色,剩下的也不过是一个传统的题材和视角。此中牵涉到的又是莫斯不可回避的纪录片传统中,关于图像和伦理问题。当艺术家离开那片孤域,当观者离开展厅这片飞地,能询问什么,能改变什么,是双方都要思考的问题。

                   

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