张恩利策划群展“画室”微博播报
发起人:叮当猫  回复数:0   浏览数:1630   最后更新:2013/12/17 17:21:23 by 叮当猫
[楼主] ovgallery 2013-12-17 17:21:23

钳制效应

OV画廊新闻稿

展览时间:2013年12月21日~2014年2月18日

开幕式:2013年12月21日,下午5~8点
在群展《钳制效应》中,三位艺术家分别探讨了权力与文化之间的屈从、寄生、互利的关系。白宜洛的系列雕塑作品呈现了抽象形式和人物,它们披戴着无数的符号,诸如轮子、刀片、十字架和五角星等标志性装饰——这些都是社会化资本的外在表现形式。
张灏在其最新创作的系列作品《帽子戏法》(Hat Trick) 中通过特定服饰开展着对身份的解读 。书中描绘了包括女王、护士、农民以及知识分子等不同身份的人物,而通过这些人头上夸张的头饰,我们可以掂量出他们手中职权的轻重。
张灏的另一部作品叫做《奖状》。在此作品中艺术家重绘了一系列上个世纪五六十年代的奖状,并将其与来自欧美国家的奖项结合,形成诸如“懦辈尔奖”(诺贝尔奖)、“拗撕擖奖”(奥斯卡奖)等奖项。这些奖状抛出了种种疑问:“天赋”和“能力”是如何被辨识并确认的?到底是谁决定了我们文化的发展方向?尽管在此第二问已经有了答案——通常是由外国精英的小圈子一统天下。
李牧在其仍在进行的《 仇庄项目 》中也探索了西方文化的影响力。在这个得到了Van Abbe美术馆和Arthub Asia赞助的项目中,艺术家复制了诸如索尔·勒维特、沃霍尔及乌雷和阿布拉莫维奇等知名艺术家的作品,并将它们安置在他江苏老家所在的小村庄里。项目内容包括有在当地建造的一座图书馆,专藏艺术类书籍。后来这个图书馆演变成李牧记录乡亲们和艺术的互动和其项目进展情况的大型部落格。
在项目的进程中,李牧给布置在村中的艺术作品拍了照片,并用一块布将这些照片罩了起来,布上则是艺术品原作的丝印。艺术家就这样颠覆了艺术作品惯常的输出方向,即由城市向乡村输出、西方向东方输出。布料的运用暗示了这个项目仍在进行中,尚未完成;而只有那些真正好奇的观众才会揭开罩布,一睹作品真容。



Dec 21- Feb 18, 2014
Opening 5-8pm, Dec 21, 2013

In “Under the Influence” three artists explore the subservient, parasitic and mutually beneficial relationships between power and culture. Bai Yiluo presents a series of sculptures, both abstract forms and human figures, festooned in myriad symbols — wheels, blades crosses and stars — the outward manifestations of social capital.

Zhang Hao plays with the idea of identity-specific clothing in a newly-produced artist book entitled “Hat Trick” with depictions of queens, nurses, peasants and scholar officials — using the exaggerated forms of their headwear to examine their power or lack thereof.

A second series by Zhang Hao entitled “Award Certificates” features a number of 50-60s era certificates of merit bearing the names of various Western awards, such as the Academy Awards and the Nobel Prize to examine how “talent” and “ability” are recognized. In this work, Zhang Hao asks questions about who determines the direction of culture — in this case a small coterie of usually foreign elites.

And finally Li Mu also explores the influence of Western cultural forces in his ongoing “Qiuzhuang Project.” This piece fostered by the Van Abbemuseum and Arthub Asia, involved the works of artists such as Sol LeWitt, Warhol and Ulay and Abramovic which were replicated and installed in his native village in Jiangsu. The project also included the creation of a library of art books and an extensive blog where Li Mu chronicles the villagers’ interactions with the art and the progress of the project.

Now in this itineration of the project, he takes images of these works installed in the village and puts them in the gallery covered by a cloth which features a small silkscreened image of the work, thereby reversing the flow of art from the city to the country, West to East. The use of the cloth points to the fact that that project is in a sense still under wraps only the curious will venture forth to unveil what lies behind the curtain.


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