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展览讲座

置换:延展性材料、流体形态以及变化性语境
2019-07-03 11:00  

the five artists in this exhibition live in los angeles and represent the art department of claremont graduate university, which has just joined with the tianjin academy of fine arts to initiate a program that includes faculty exchanges, collaborative exhibitions, and a gateway for tafa undergraduates to continue their education in cgu’s master of fine arts program.

laiziluoshanjidewuweiyishujiadaibiaokelaimengteyanjiushengyuanyishuxicanjiacicizhanlan。gaiyanjiushengyuanbujiuqianyuyaboappshoujibanhezuoqidongleyigexiangmu,xiangmuneirongbaokuojiaoshijiaoliu、hezuozhanlanyijiyaboappshoujibanbenkeshengjixujieshoukelaimengteyanjiushengyuanmeishushuoshikechengjiaoyu。

co-curated by david pagel, professor of art theory and history at cgu, and wang wei yi, director of the museum and the research department at tafa, the exhibition highlights the relationships among materials, forms, and contexts while emphasizing the freedom each artist finds—and fosters—in their interactions.

展览由克莱蒙特研究生院艺术理论和历史学教授David Pagel和亚博APP手机版博物馆和研究部主任Wang Weiyi共同策划,展览突出了材料、形式和语境之间的关系,同时强调了每个艺术家在互动中探索和追寻的自由。

amico, burns, lachowicz, ruiz, and yi care deeply about the materials their works are made of. all start with stuff that comes with well-established meanings, from oil paint to eye shadow, digital prints to cellphone icons, rice paper to graffiti. they pay equal attention to what they do with these materials: finessing them to do things they may not have been meant to. they are similarly attentive to the social contexts of their works, especially as they have traveled from los angeles to tianjin.

amico, burns, lachowicz, ruiz, and yidoufeichangkanzhongtamendezuopinsuoyongdecailiao。suoyoudeyiqiedoushicongyixieyiyimingquededongxikaishide,congyouhuadaoyanying,congshumatupiandaoshoujitubiao,congxuanzhidaotuya。tamentongyangguanzhuyongzheixiecailiaolaizuoshenme:duitamenjinxingqiaomiaochulishiqijubeibenshenzhiwaidegongyong。tamentongyangguanzhuzuopindeshehuibeijing,youqishitamengangcongluoshanjididatianjinshi,duishehuibeijinggewaiguanzhu。

David Amico’s works on canvas and paper are part of a series that began when gentrification forced the longtime resident of downtown Los Angeles out of his studio. Moving into a renovated sweatshop, Amico was struck by the traces of labor and life that remained on the walls and windows. My Place亚博APP手机版 records and redeems those anonymous marks, transforming the incidental residue of urban reality into a meditative homage to otherwise invisible citizens, most of them immigrants. The surfaces of Amico’s works capture the atmosphere of displacement and loss. Abstract and evocative, they make room for the intimacy, humility, and vulnerability of drawing, along with the kind of silence that speaks volumes.

david amicozaihuabuyuzhishangdezuopinshiyigexiliedebufenzuopin,zheiyixiliezuopinshiyutashoudaojiuchenggaizaozhongchanjiejihuadeyingxiang,likaitazailuoshanjishizhongxingongzuoduoniandegongzuoshi。amicobanjinyijiafanxinguodexuehangongchang,beiqiangshanghechuanghushangliuxiadelaodongheshengmingdehenjisuozhenhan。《wodezhusuo》jilubingzhongxianleneixiewumingrenshisuoliuxiadehenji,jiangchengshixianshishenghuozhongdeouransuipianzhuanhuaweiduiyuanbenshourenhushigongmin(qizhongdaduoshushiyimin)demoranzhijing。amicodezuopinzhiguandimiaohuileliulishisuohebuzhisuocuodeqifen。tadezuopinchouxiangerlingrenhuiwei,shirenganshoudaohuihuadeqinmixing、qianbeixinghecuiruoxing,yeweiyiweishenzhangdechenmoliuchulexiangxiangkongjian。

亚博APP手机版the noisy symphony of the street is nearly audible in tommy burns’ polyglot paintings. many look as if they might have been made by several artists. in reality, each has been made by an artist who believes that identity is neither stable nor singular, and that art provides a great place for individuals to find themselves. the generative collision of styles, subjects, and stories in burns’ works allows them to reach out to the works around them, whether they were made by him or by other artists. such gregarious user-friendliness inspires visitors to behave similarly: engaging those around us in wide-ranging conversations.

zaitommy burnsdeduoyuanhuazhong,yaboappshoujibanjihukeyitingdaojiedaoshangcaozadejiaoxiangle。 xuduozuopinkanshangquhaoxiangshiyoujiweiyishujiachuangzuode。shishishang,meifuzuopindoushiyouyiweiyishujiawanchengde,zheiweiyishujiarenweishenfenjibushiwendingde,yebushidanyide,yishuweigerentigongleyigexunzhaoziwodedifang。burnszuopinzhongdefengge、ticaihegushideqiangliechongtushizheixiezuopinnenggoujiechudaozhouweidezuopin,wulunzheixiezuopinshiyoutazijihaishiqitayishujiachuangzuode。zheizhongshejiaoxing、baorongxingdetediancushicanguanzhezuochuleisidexingwei:yuzhouweiderenjinxingtiannandibeidiliaotian。

Cosmetics and Minimalism fuse in Rachel Lachowicz’s Floor Shadow亚博APP手机版 series. Each of her pieces could be mistaken for a painting that has slipped off the wall. But first impressions are deceptive. Made of the pigments women often use to enhance their beauty, her works command far more space than their literal dimensions. Turning what is often perceived to be emptiness into a psychologically charged force-field, Lachowicz’s installations also get into your head, where they defy expectations, undermine assumptions, and ask consequential questions about femininity, beauty, and decoration, not to mention art’s largely untapped capacity to make a difference—which they do.

rachel lachowiczdedibanyinyingxilieronghelehuazhuangpinheminizhuyi。tademeiyifuzuopindoukenengbeiwurenweishiyifucongqiangshanghualuoxialaidehua,dandiyiyinxiangshijuyouqipianxingde。tadezuopinshiyounvxingjingchangyonglaihuazhuangdeyanliaozhichengde,wanchengzheixiezuopinyaoqiuyuanyuanchaoguoqibenshenchicundekongjian。lachowiczdehuabatongchangbeirenweishixukongdedongxibianchengchongmanxinliyalidelichang,zheixiehuajinrunidedanao,chuhunideyiliao,pohuainideshexiang,bingtichuleyouguannvxingqizhi、meihezhuangshizheixiejuyoushenyuanyiyidewenti,gengbuyongshuozaihendachengdushangliyongyishuweibeifajuedenenglilaichuangzaobutong——zheixiehuazuodaole。

doraleia ruiz scavenges images from the internet, snaps her own pictures, and finds old family photos. she manipulates them digitally, prints them, and paints them, sometimes customizing details and at others undertaking dramatic renovations. then, she does all that all over again. or, she goes back into her files and picks up where she left off—days, weeks, even months ago. in both cases, she turns back time, undoes actions, and rewrites history. transposing the present into the past—and then redoing it—ruiz makes for a future that is unlike either: richer and denser and thicker with significance than usual, and a lot more exciting than everyday life often is.

亚博APP手机版doraleia ruizzaihulianwangshangsouxunzhaopian,paixiazijidezhaopian,bingxunzhaoguoqudequanjiafulaozhaopian。 tayongshumachulizheixiezhaopian,dayinchulai,ranhouhuaxiazhaopianzhongderenwu,youshigenjukehudexihaodiaozhengyixiexijie,youshijinxingdadaokuofudechuangzuo。 zhihou,tayouzhongtouzuoyibian。 huozhe,tahuidaozijidehuazuoli,zaijiezheshangci(jitian,jizhou,shenzhijigeyueqian)dedifangjixuzuohua。wulunhezhongqingkuang,tadounengrangshiguangdaozhuan,chexiaoxingdong,zhongxielishi。tongguobaxianzaigenguoqudiaohuanzaizhongxinyanyi,ruizchuangzaoleyigebuyiyangdeweilai:bipingchanggengfengfu、gengqianglie、genghoushi、gengyouyiyi,bingqiebirichangshenghuogenglingrenxingfendeweilai。

Yi Kai’s series of diptychs, After and Before亚博APP手机版, rejects the idea that progress goes hand-in-hand with time’s passage. His haunting portraits, landscapes, and abstractions combine painting and drawing, as well as traditional Chinese genres and contemporary Western procedures, to articulate the complex nature of global reality. Yi’s queasy Realism never points fingers but instead invites visitors from all walks of life to ponder our own relationships to our surroundings—both internal and external—and to take responsibility for the roles we play in their transformation. The picture may not always be pretty, but the truth is far better than deception.  

yi kaideshuanglianhuaxilie《qianhou》fanduishidaisuizheshijianliushierjinbudeguandian。 talingrenyinxiangshenkedexiaoxianghua、fengjinghuahechouxianghuajiehelehuihuahehuitujiqiao,jiejianlezhongguodechuantonghuihualiupaihedangdaixifangfengge,biaodalexianshishijiedefuzabenzhi。yizhibaidexianshizhuyicongbushiduixianshijinxingzhizhidiandian,ershiyaoqinglaizigexinggeyedecanguanzhesikaoyaboappshoujibanyuzhouweihuanjingdeguanxi(wulunshineibuguanxihaishiwaibuguanxi),bingduiyaboappshoujibanzaizhuanbianzhongbanyandejiaosefuze。zheizhonghuazuokenengbingbuzongshimeihaode,danshishiyuanshengyuqipian。 

amico, burns, lachowicz, ruiz, and yi are more interested in starting conversations than in having the last word. their multipurpose works draw people from different places and generations into open-ended conversations with no boundaries or restrictions. in doing that, they allow us to see that the perspectives we began with may have been limiting, and that there is always more to reality than meets the eye.

亚博APP手机版amico, burns, lachowicz, ruiz, and yi gengxihuanyinfarenmentaolun,erfeiyichuidingyin。tamendeduoyuanhuazuopinxiyinlelaizibutongdifanghebutongnianlingderen,bingjifatamenjinxingbushouxiandekaifangshiduihua。zaizheiyiguochengzhong,tamenrangyaboappshoujibankandao,yaboappshoujibanyikaishideguandiankenengyizhishibugoukaifangde,yaboappshoujibanyanjingsuokandaodezongshibingshanyijiao。

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