[趣味影音]无意中占了她的便宜(Flash)
发起人：霍元甲 回复数：1
浏览数：3072
最后更新：2006/06/22 10:41:15 by
陈箴的上海个展
Late Shanghai Artist to Get First Hometown Solo Show
"Daily Incantations," a work by artist Chen Zhen
SHANGHAI, Feb. 9, 2006 - Almost a decade after artist Chen Zhen angered Shanghai censors with his acerbic work Gaming Table, which linked money, chamber pots and military strategy, the city is to host his first solo exhibition.
But Chen, who died in December 2000, won't be able to reflect on the changes in China and the contemporary art scene which has enabled 14 of his works to go on display in his first solo show in his hometown.
The Shanghai-born artist was just 45 when he died in Paris from an incurable blood disorder from which he had suffered for some 20 years.
The knowledge that he was living on borrowed time fuelled Chen's artistic passion, and drove him to complete an extraordinary number of works, many of which are gigantic installations, in a little over a decade after moving to France in 1986.
"Chen Zhen was someone extraordinary, with a huge heart. He could really do things. He can contribute to humanity, and he had an important mission to show the world through his art," said his widow, Xu Min.
She has now adopted that mission as her own, determined that his artistic vision should live on as long as possible.
After first training as a painter in Shanghai, Chen quickly abandoned the medium once he arrived in Paris, humbled by the masterpieces he saw in museums such as the Louvre and fascinated by the consumer society he found in the West.
"He was so shocked by the excesses. In China everything was kept in the back of the stores and there were only one or two things on display. Yet here he saw things lying about in the streets, just abandoned," Xu said.
So Chen's first works in Paris–when he was not earning money painting portraits of tourists in the streets outside the Pompidou Centre–were aimed at giving a second life to discarded consumer goods.
Set into the form of shrine altars, Chen married objects such as an old typewriter and a window blind, rescuing them and reconverting them into a work of art.
"People's desires lead to an excess of material goods that upset the balance of nature with negative effects on human existence. It's a vicious circle," Chen said, explaining the inspiration behind his works.
In the early 1990s he turned his eye on the press, creating large installations burning hundreds of newspapers and displaying the ashes, to illustrate his belief that the media has nothing of lasting importance to say.
It was following his first solo exhibition in Paris in 1990, that Chen's career began to take off as he fast gained a reputation for making art that married Western and Eastern concepts and spirituality, as well as his interest in medicine and the human body.
Some of his works no longer exist, having been conceived as ephemeral–such as a giant installation on a Dutch landfill site featuring a truck equipped with wooden wings and dragging a net tied with plastic bags over a 35-hectare (86-acre) site.
Others are dismantled and well stored such as Precipitous Parutition, a dragon made out of hundreds of old bike tires, a comment on the arrival of capitalism in China when old bikes were being cast aside in favour of new cars.
Xu, who managed to join her husband with her son a few years later in Paris, remains wary of the censors that forced Chen to adapt his Gaming Table in order for it to be displayed at the Shanghai Biennale in 1996.
With the help of an Italian gallery, Galleria Continua, which supported Chen during his lifetime, she organized an exhibition of her late husband's work in Beijing last year, which is now set to open in the Shanghai Art Museum.
But she admits she was careful in selecting which works to put on display.
"Why take the risk? Things are better in China than they were, but you still can't say and do just anything you like. It's still quite closed.
"There is no law saying you can't do something. It all comes down to one person on the day, and I'm not going to take the risk. Better to make a selection first."
Chen's show "Transexperiences" opens in Shanghai on Feb. 24 and runs to March 19. Gaming Table, a stylised pool table featuring 36 balls daubed with military strategies resting on a bed of Chinese coins, with chamber pots waiting for use underneath, will not be on show.
But visitors will get to see and play his huge work Fifty Strokes to Each, which contains 55 chairs, and 10 wooden beds stretched with skins and hung from a wooden loom to represent a huge drum.
The aim is meant to be therapeutic, said Xu, a kind of gigantic communal massage for the body and soul. "I want to pass on Chen's message, that we can transform our lives, realize our dreams through contemporary art but at the same time question our actions."
by Jo Biddle, Copyright 2006 Agence France-Presse
Late Shanghai Artist to Get First Hometown Solo Show
"Daily Incantations," a work by artist Chen Zhen
SHANGHAI, Feb. 9, 2006 - Almost a decade after artist Chen Zhen angered Shanghai censors with his acerbic work Gaming Table, which linked money, chamber pots and military strategy, the city is to host his first solo exhibition.
But Chen, who died in December 2000, won't be able to reflect on the changes in China and the contemporary art scene which has enabled 14 of his works to go on display in his first solo show in his hometown.
The Shanghai-born artist was just 45 when he died in Paris from an incurable blood disorder from which he had suffered for some 20 years.
The knowledge that he was living on borrowed time fuelled Chen's artistic passion, and drove him to complete an extraordinary number of works, many of which are gigantic installations, in a little over a decade after moving to France in 1986.
"Chen Zhen was someone extraordinary, with a huge heart. He could really do things. He can contribute to humanity, and he had an important mission to show the world through his art," said his widow, Xu Min.
She has now adopted that mission as her own, determined that his artistic vision should live on as long as possible.
After first training as a painter in Shanghai, Chen quickly abandoned the medium once he arrived in Paris, humbled by the masterpieces he saw in museums such as the Louvre and fascinated by the consumer society he found in the West.
"He was so shocked by the excesses. In China everything was kept in the back of the stores and there were only one or two things on display. Yet here he saw things lying about in the streets, just abandoned," Xu said.
So Chen's first works in Paris–when he was not earning money painting portraits of tourists in the streets outside the Pompidou Centre–were aimed at giving a second life to discarded consumer goods.
Set into the form of shrine altars, Chen married objects such as an old typewriter and a window blind, rescuing them and reconverting them into a work of art.
"People's desires lead to an excess of material goods that upset the balance of nature with negative effects on human existence. It's a vicious circle," Chen said, explaining the inspiration behind his works.
In the early 1990s he turned his eye on the press, creating large installations burning hundreds of newspapers and displaying the ashes, to illustrate his belief that the media has nothing of lasting importance to say.
It was following his first solo exhibition in Paris in 1990, that Chen's career began to take off as he fast gained a reputation for making art that married Western and Eastern concepts and spirituality, as well as his interest in medicine and the human body.
Some of his works no longer exist, having been conceived as ephemeral–such as a giant installation on a Dutch landfill site featuring a truck equipped with wooden wings and dragging a net tied with plastic bags over a 35-hectare (86-acre) site.
Others are dismantled and well stored such as Precipitous Parutition, a dragon made out of hundreds of old bike tires, a comment on the arrival of capitalism in China when old bikes were being cast aside in favour of new cars.
Xu, who managed to join her husband with her son a few years later in Paris, remains wary of the censors that forced Chen to adapt his Gaming Table in order for it to be displayed at the Shanghai Biennale in 1996.
With the help of an Italian gallery, Galleria Continua, which supported Chen during his lifetime, she organized an exhibition of her late husband's work in Beijing last year, which is now set to open in the Shanghai Art Museum.
But she admits she was careful in selecting which works to put on display.
"Why take the risk? Things are better in China than they were, but you still can't say and do just anything you like. It's still quite closed.
"There is no law saying you can't do something. It all comes down to one person on the day, and I'm not going to take the risk. Better to make a selection first."
Chen's show "Transexperiences" opens in Shanghai on Feb. 24 and runs to March 19. Gaming Table, a stylised pool table featuring 36 balls daubed with military strategies resting on a bed of Chinese coins, with chamber pots waiting for use underneath, will not be on show.
But visitors will get to see and play his huge work Fifty Strokes to Each, which contains 55 chairs, and 10 wooden beds stretched with skins and hung from a wooden loom to represent a huge drum.
The aim is meant to be therapeutic, said Xu, a kind of gigantic communal massage for the body and soul. "I want to pass on Chen's message, that we can transform our lives, realize our dreams through contemporary art but at the same time question our actions."
by Jo Biddle, Copyright 2006 Agence France-Presse
迟的上海艺术家拿第一场家乡独奏表演
" 每日的诀语 ",艺术家陈 Zhen 的一个工作
上海,2006 年二月 9 日 -几乎十年在艺术家陈 Zhen 之后用他的 acerbic 激怒上海检查员工作赌胜负桌子,联编了钱,放在枪膛内壶和军事的策略,城市是主办他的第一单独的展览。
但是陈,在 2000 年十二月死,将会无法思索在中国和已经使他的工厂中的 14个能够继续进行他的第一独奏的展览他的家乡表演的同时代的艺术现场方面的改变。
出生于上海的艺术家是只有 45 当他死在来自不能医治的血巴黎他已经遭受的混乱时候达 20 年从。
他倚赖被激发陈的艺术强烈的感情, 而且使他完成一个工厂的特别数字，哪一是巨人般的安装多数的余生生活的知识, 在十年以来稍微在在 1986 年搬到法国之后.
" 陈 Zhen 是某人特别的,藉由一颗极大的心。 他可以真的做事物。 他能成为人性的因素，而且他有了一个重要的任务透过他的艺术表示世界,"他的寡妇，北越货币单位最小说。
她现在已经采用任务如她自己的,决定了他的艺术视觉应该尽可能长的倚赖生活。
在第一训练之后如一个画家在上海，陈很快地抛弃了媒体，一经他抵达巴黎, 被他被他在西部中发现的消费者社会见到在博物馆 , 像是罗浮宫中而且被令人入神的杰作贬抑。
"他被过度如此震动。 在中国每件事物中在商店的后面被保持并且只有在展览上的一或二件事物。 然而这里他见到在街道中无所事事地混日子的事物,刚刚抛弃,"北越货币单位说。
因此巴黎–的陈第一个工厂当他没有在赚在 Pompidou 中心–之外在街道中油漆旅游者的肖像钱时候被针对提供第二个生活丢弃生活消费品。
进入圣地神坛的形式之内设定,陈娶了物体 , 像是一台旧的打字机和一个窗户盲人,援救他们而且使再改宗他们进一个艺术的工作之内。
"人们的欲望导致一个用在人类的存在方面的否定效果颠复自然平衡的物质商品的过度。 资讯科技是一个恶性循环,"陈说,解释在他的工厂后面的灵感。
在 1990 年代早期中他转向了在新闻媒体上的他眼睛,创造燃烧数以百计报纸而且显示灰烬的大安装, 举例说明他的信念媒体有长备重要的无说。
资讯科技正在 1990 年在巴黎跟随他的第一单独的展览, 当他斋戒的时候，陈的事业开始起飞为作得到了名誉艺术已婚的西方人和东方观念和灵性 , 连同对药和人类的身体他兴趣。
一些他的工厂不再存在, 有在一个荷兰的垃圾掩埋场上被构思同样朝生暮死– , 像是一个庞大的安装以一辆卡车为特色装备木制的翅膀而且拖拉一张网以在一个 35 公顷 (86 英亩) 位置上的塑料袋子系。
其它被拆除并且储存得好如此的如险峻的 Parutition ，一条龙数以百计旧的脚踏车轮带了解 , 在资本主义的抵达方面的一个意见在中国当旧的脚踏车正在支持新的汽车被投旁白的时候。
北越货币单位, 和她的儿子设法参加她的丈夫一些数年之后在巴黎,强迫了陈适应他的赌胜负桌子以使它被在 1996 年在上海 Biennale 显示的检查员保持小心.
藉由意大利回廊,大型拱廊连续的帮忙在他的终生期间支援了陈, 她去年在北京组织了她的已故丈夫的工作展览,哪一现在被设定来在上海艺术博物馆中打开。
但是她承认，她在选择方面很小心哪一工作穿上展览。
" 为什么轮流危险? 事物在中国比他们更好是,但是你仍然不能说而且仅仅做任何事你相似的。 资讯科技仍然相当被关闭。
"没有说你不能做某事的法律。 资讯科技全部在那天对一个人受到下来的影响，而且我不将轮流危险。 更首先作出一个选择。"
陈表演 " Transexperiences" 公开在二月 24 日在上海而且跑向三月 19 日. 赌胜负桌子, 一使～个性化以 36个与停留在一张中国硬币的床上军事的策略一起涂抹的球为特色的池桌子,藉由室在下面等候使用的壶,不将会展出。
但是访客将会开始见到而且玩他的极大工作五十笔划到每个,这包含 55张椅子，而且 10张木制的床以皮肤伸展而且从一台木制的织布机吊表现一面极大的鼓。
目标必须是治疗的,说了北越货币单位,对于身体和灵魂的一种巨人般的公有按摩。 "我想要传递陈的信息,我们能转换我们的生命,除了同时问题之外了解我们的梦完成的同时代的艺术我们的行动".
藉着情人比德尔,版权 2006 Agence 法国-Presse
" 每日的诀语 ",艺术家陈 Zhen 的一个工作
上海,2006 年二月 9 日 -几乎十年在艺术家陈 Zhen 之后用他的 acerbic 激怒上海检查员工作赌胜负桌子,联编了钱,放在枪膛内壶和军事的策略,城市是主办他的第一单独的展览。
但是陈,在 2000 年十二月死,将会无法思索在中国和已经使他的工厂中的 14个能够继续进行他的第一独奏的展览他的家乡表演的同时代的艺术现场方面的改变。
出生于上海的艺术家是只有 45 当他死在来自不能医治的血巴黎他已经遭受的混乱时候达 20 年从。
他倚赖被激发陈的艺术强烈的感情, 而且使他完成一个工厂的特别数字，哪一是巨人般的安装多数的余生生活的知识, 在十年以来稍微在在 1986 年搬到法国之后.
" 陈 Zhen 是某人特别的,藉由一颗极大的心。 他可以真的做事物。 他能成为人性的因素，而且他有了一个重要的任务透过他的艺术表示世界,"他的寡妇，北越货币单位最小说。
她现在已经采用任务如她自己的,决定了他的艺术视觉应该尽可能长的倚赖生活。
在第一训练之后如一个画家在上海，陈很快地抛弃了媒体，一经他抵达巴黎, 被他被他在西部中发现的消费者社会见到在博物馆 , 像是罗浮宫中而且被令人入神的杰作贬抑。
"他被过度如此震动。 在中国每件事物中在商店的后面被保持并且只有在展览上的一或二件事物。 然而这里他见到在街道中无所事事地混日子的事物,刚刚抛弃,"北越货币单位说。
因此巴黎–的陈第一个工厂当他没有在赚在 Pompidou 中心–之外在街道中油漆旅游者的肖像钱时候被针对提供第二个生活丢弃生活消费品。
进入圣地神坛的形式之内设定,陈娶了物体 , 像是一台旧的打字机和一个窗户盲人,援救他们而且使再改宗他们进一个艺术的工作之内。
"人们的欲望导致一个用在人类的存在方面的否定效果颠复自然平衡的物质商品的过度。 资讯科技是一个恶性循环,"陈说,解释在他的工厂后面的灵感。
在 1990 年代早期中他转向了在新闻媒体上的他眼睛,创造燃烧数以百计报纸而且显示灰烬的大安装, 举例说明他的信念媒体有长备重要的无说。
资讯科技正在 1990 年在巴黎跟随他的第一单独的展览, 当他斋戒的时候，陈的事业开始起飞为作得到了名誉艺术已婚的西方人和东方观念和灵性 , 连同对药和人类的身体他兴趣。
一些他的工厂不再存在, 有在一个荷兰的垃圾掩埋场上被构思同样朝生暮死– , 像是一个庞大的安装以一辆卡车为特色装备木制的翅膀而且拖拉一张网以在一个 35 公顷 (86 英亩) 位置上的塑料袋子系。
其它被拆除并且储存得好如此的如险峻的 Parutition ，一条龙数以百计旧的脚踏车轮带了解 , 在资本主义的抵达方面的一个意见在中国当旧的脚踏车正在支持新的汽车被投旁白的时候。
北越货币单位, 和她的儿子设法参加她的丈夫一些数年之后在巴黎,强迫了陈适应他的赌胜负桌子以使它被在 1996 年在上海 Biennale 显示的检查员保持小心.
藉由意大利回廊,大型拱廊连续的帮忙在他的终生期间支援了陈, 她去年在北京组织了她的已故丈夫的工作展览,哪一现在被设定来在上海艺术博物馆中打开。
但是她承认，她在选择方面很小心哪一工作穿上展览。
" 为什么轮流危险? 事物在中国比他们更好是,但是你仍然不能说而且仅仅做任何事你相似的。 资讯科技仍然相当被关闭。
"没有说你不能做某事的法律。 资讯科技全部在那天对一个人受到下来的影响，而且我不将轮流危险。 更首先作出一个选择。"
陈表演 " Transexperiences" 公开在二月 24 日在上海而且跑向三月 19 日. 赌胜负桌子, 一使～个性化以 36个与停留在一张中国硬币的床上军事的策略一起涂抹的球为特色的池桌子,藉由室在下面等候使用的壶,不将会展出。
但是访客将会开始见到而且玩他的极大工作五十笔划到每个,这包含 55张椅子，而且 10张木制的床以皮肤伸展而且从一台木制的织布机吊表现一面极大的鼓。
目标必须是治疗的,说了北越货币单位,对于身体和灵魂的一种巨人般的公有按摩。 "我想要传递陈的信息,我们能转换我们的生命,除了同时问题之外了解我们的梦完成的同时代的艺术我们的行动".
藉着情人比德尔,版权 2006 Agence 法国-Presse
