观念艺术,观念艺术,观念艺术,观念艺术,观念艺术Conceptual Art
Liu Wei
Don’t Touch
650 (l) x 350 (w) x 270 (h) cm
Oxhide, wood, metal
2011
Composed of sewn together ox-hides, Liu Wei’s rendering of the Potala Palace in Tibet, Don’t Touch, is the largest work to date from the artist’s series of sculpted dogchews representing a disarray of global headquarters. The mock-ups demonstrate Liu Wei’s early interest in questions of power, the relationship between landscape and architecture and the material condition of the visual.
Originally intended to sit amongst a spread of floor-hugging maquettes in his 2007 Love it, Bite it series, Liu Wei ultimately severed the Potala structure and hung it from the rafters in his studio, feeling he couldn’t find a place for it anywhere, aesthetically or emblematically.
Two years after the last ox-hide series appeared in exhibition, and long after new works have shown us Liu Wei’s expansive use of materials and intuitive vision, the piece that remained for so long untouched reappears here, nestled into a majestic mountainside and suspended over our heads, at once splendid and dilapidated, simultaneously asserting life-force and disclosing a cluttered, almost brittle interior framework.
Standing higher than any other palace in the world at over 3,700 meters above sea level, the Potala Palace is a conspicuous but almost passé religious, political, and cultural symbol, presented to the world with pride and yet a stain on the reputation of many. Perhaps dispelling politicization, perhaps creating a fantastical pseudo-religious object, perhaps pointing to a dystopian mutation stemming from a larger social lack of spiritual direction, we can’t be sure. But Liu Wei “lets it hang”, and advises, irony intended, “Don’t touch”.
Don’t Touch
650 (l) x 350 (w) x 270 (h) cm
Oxhide, wood, metal
2011
Composed of sewn together ox-hides, Liu Wei’s rendering of the Potala Palace in Tibet, Don’t Touch, is the largest work to date from the artist’s series of sculpted dogchews representing a disarray of global headquarters. The mock-ups demonstrate Liu Wei’s early interest in questions of power, the relationship between landscape and architecture and the material condition of the visual.
Originally intended to sit amongst a spread of floor-hugging maquettes in his 2007 Love it, Bite it series, Liu Wei ultimately severed the Potala structure and hung it from the rafters in his studio, feeling he couldn’t find a place for it anywhere, aesthetically or emblematically.
Two years after the last ox-hide series appeared in exhibition, and long after new works have shown us Liu Wei’s expansive use of materials and intuitive vision, the piece that remained for so long untouched reappears here, nestled into a majestic mountainside and suspended over our heads, at once splendid and dilapidated, simultaneously asserting life-force and disclosing a cluttered, almost brittle interior framework.
Standing higher than any other palace in the world at over 3,700 meters above sea level, the Potala Palace is a conspicuous but almost passé religious, political, and cultural symbol, presented to the world with pride and yet a stain on the reputation of many. Perhaps dispelling politicization, perhaps creating a fantastical pseudo-religious object, perhaps pointing to a dystopian mutation stemming from a larger social lack of spiritual direction, we can’t be sure. But Liu Wei “lets it hang”, and advises, irony intended, “Don’t touch”.
不要看最好
刘韡
《别碰》
650 (l) x 350 (w) x 270 (h) cm
牛皮、木头、金属
2011
《别碰》是刘韡迄今为止最大规模的狗咬胶作品，这次“缝制”的对象是西藏的布达拉宫。作为刘韡最重要的系列作品之一，狗咬胶系列是艺术家用制作狗咬胶的牛皮缝制的多个重要的全球标志性建筑，取名为《爱它、咬它》。此次对于布达拉宫所做的“权利”“建筑”的“视觉”改写，延续了刘韡将物质和权利问题化、抽象化、视觉化的创作思路。
与《爱它、咬它》系列作品不同，这次的布达拉宫离开地面，以悬挂的方式示人。无论是出于工作室场地，或是美学和象征意义上的考虑，刘韡决定将布达拉宫挂起来。时隔两年再次出现的狗咬胶牛皮作品，选取宏伟的布达拉宫建筑群，使用狗咬胶缝制后高悬于我们的头顶。破败与壮观共存，高悬的布达拉宫具有独特生命张力的同时也显露其腐败、脆弱的内部构造。
坐落在海拔3700米的布达拉宫，无疑比任何全球标志性建筑更具有独特的宗教、政治和文化象征意味。或许是为了消解建筑自身的政治性，抑或为了再现一件独特的伪宗教象征物，又或者是彰显植根于信仰缺失社会的反乌托邦式的异化手法。《别碰》没有给出明确的答案，只是将它悬置，并叮嘱“别碰”。
《别碰》
650 (l) x 350 (w) x 270 (h) cm
牛皮、木头、金属
2011
《别碰》是刘韡迄今为止最大规模的狗咬胶作品，这次“缝制”的对象是西藏的布达拉宫。作为刘韡最重要的系列作品之一，狗咬胶系列是艺术家用制作狗咬胶的牛皮缝制的多个重要的全球标志性建筑，取名为《爱它、咬它》。此次对于布达拉宫所做的“权利”“建筑”的“视觉”改写，延续了刘韡将物质和权利问题化、抽象化、视觉化的创作思路。
与《爱它、咬它》系列作品不同，这次的布达拉宫离开地面，以悬挂的方式示人。无论是出于工作室场地，或是美学和象征意义上的考虑，刘韡决定将布达拉宫挂起来。时隔两年再次出现的狗咬胶牛皮作品，选取宏伟的布达拉宫建筑群，使用狗咬胶缝制后高悬于我们的头顶。破败与壮观共存，高悬的布达拉宫具有独特生命张力的同时也显露其腐败、脆弱的内部构造。
坐落在海拔3700米的布达拉宫，无疑比任何全球标志性建筑更具有独特的宗教、政治和文化象征意味。或许是为了消解建筑自身的政治性，抑或为了再现一件独特的伪宗教象征物，又或者是彰显植根于信仰缺失社会的反乌托邦式的异化手法。《别碰》没有给出明确的答案，只是将它悬置，并叮嘱“别碰”。
这小骗子已经被霹雳开除了
