Workshop: Unordinary Vision

June He 何涓涓

Biography

June He: Artist, designer, and author.

In this video, June HE shared her creative stories during the pandemic by answering the questions provided by R-Lab. She also introduced two specific art projects: the “Home Studio Artwork Series” and the “Flag Project”, the former of which was the focus of the workshop she held in the video – how to create collages from materials around us.

何涓涓:艺术家,设计师,作家

在这个视频中,何涓涓通过回答R-Lab提供的问题,分享了她在疫情期间的创作故事。她还介绍了两个具体的艺术项目:”家庭工作室艺术作品系列 “和 “旗帜项目”,前者是她在视频中举办的工作坊的重点–如何利用我们身边的材料进行拼贴创作。

Event Overview

There are three parts of this event:

  1. Artist’s personal presentation, creative ideas, and artistic projects
  2. Workshop on collage (starts at 21 minutes into the video)
  3. The artist’s concluding remarks

The collages you will learn about: June HE’s collages are mixed-media collages made with oil paints, some of them are installation mixed-media and some of them are mixed-media on linen or canvas. June HE uses materials mostly from newspapers and magazines, and she also designs glasses in various shapes as one of the common materials.

该活动分为三个部分:

  1. 艺术家的个人陈述,创作思路和艺术项目;
  2. 拼贴画的教学工作坊(从21分10秒开始);
  3. 艺术家的总结发言。

你将会学习到的拼贴画内容: 何涓涓所做的拼贴画是用油画颜料做的混合媒体拼贴画,其中有些是装置混合媒体,有些是亚麻布或帆布上的混合媒体。June HE所用的素材多来自于报纸和杂志,她也会自己设计各种造型的眼镜作为其中较常见的素材。

What you need to prepare

  • Scissors 剪刀
  • Glue 胶水
  • Canvas 画板
  • Water 水
  • Brush 刷子
  • Newspapers, magazines ( which can express your themes, ideas)报纸,杂志(可以表达你想传达的主题和想法)

 

Are you ready to start making your own collage?

STEP 1: Cut out the content you need from newspapers and magazines Just cut out roughly what you want, whether it’s keywords, pictures or whole news articles, but always remember that they need to be relevant to your topic and the ideas you want to convey.

第一步:从报纸和杂志上裁剪你需要的内容 大致裁剪即可,剪下你想要的内容,不管是关键词,图片还是整篇新闻,但始终记得他们需要和你的主题以及想要表达的想法有关。

 

STEP 2: Lay out your cut-out material on canvas You will need to roughly lay out your collage in this step and do some simple trimming of the material to see if you need to add or remove any more material. Don’t forget to take a photo of your collage.

第二步:在画板上摆放你裁剪下来的素材 你需要通过这一步大致排版你的拼贴画,并对素材进行一些简单的修剪,看看是否还需要增加或去掉一些素材。同时别忘了给你排版好的拼贴画拍张照片。

 

STEP 3: Dip the material into water The wet newspaper and magazine material will fit more easily on the canvas and avoid air bubbles.

第三步:将素材浸泡进水里 湿润后的报纸和杂志素材会更容易贴合在画板上,避免产生气泡。

 

STEP 4: Brush the glue onto the canvas If your canvas is small, you can simply brush it full of glue, adding a little water for better results. But if you have a larger canvas, you should brush the glue on in specific places before putting the material on to prevent the glue from drying out.

第四步:在画板上刷上胶水 如果你的画板比较小,你可以直接将画板刷满胶水,加点水效果更好。而如果你的画板比较大,你应该在将素材贴上之前,在特定位置刷上胶水,以防胶水变干。

 

STEP 5: Stick the material on in order, following the previous layout

第五步:按照之前的排版将素材依次贴上去

 

STEP 6: Brush another layer of glue over the pasted material The glue on the bottom is to hold the material in place and the glue on the top is to protect the collage from smudging and damage.

第六步:在贴好的素材上再刷一层胶水 底部的胶水负责固定素材,顶部的胶水则是为了保护拼贴画不被弄脏和损坏。

 

STEP 7: Wait for the collage to dry

第七步:等待拼贴画风干

 

EXTRA STEP: Personal creativity

You can draw some patterns on the board in advance to your liking or overlay some of your favourite elements on the finished collage, like June HE’s own design for the glasses.

额外步骤:个人创意

你可以根据自己的喜好在画板上提前画一些图案,或在完成的拼贴画上叠加一些你喜欢的元素,就像June HE自己设计的眼镜。

Feel free to share your collages with us by submitting them to our email: r-lab.curating@outlook.com

欢迎投稿至我们的邮箱,和我们分享你的拼贴画作品!

Text Version of Video

English subtitles can be generated automatically in the video, so only the Chinese version is available here.

大家好,我是何涓涓。我是一名艺术家、设计师和作家,目前居住在美国纽约市区,很高兴有机会和你们进行交流。今天我想向你们介绍我的一些作品并回答一些相关问题,同时与你们分享我是如何在疫情期间进行我的艺术创作的。无论你现在身在何处,如果你有任何问题,都在这个视频的底部找到我的Instagram和微信公众号,欢迎随时与我交流。

首先,我将对一些疫情创作的相关问题进行回答。

第一个问题是:疫情爆发时你在哪里?

在2020年的春天,我在纽约和新泽西地区工作。所以在疫情爆发之后,我就回到自己的家里进行创作,一切看起来都很正常,但我没有料到这一年会发生这么多事情:在这一时期,我的心态、作品和生活都发生了变化。唯一幸运的是,我仍然可以在我的家中与艺术相伴。

第二个问题:你能描述一下你的艺术创作在疫情之前和之后发生的变化吗?

我一直在思考这个问题,所以关于这点,我有很多话要说。这一时期主要导致我呆在家里的时间比以前长了很多。除了去买菜或做一些杂事,如购物等必要的生活活动,我几乎不出门,这导致我已经很久没有见到我的朋友了。我以前每年都会回中国,但现在我已经不能去了,所以这让我有点难过。在疫情爆发之前,我经常会在纽约市中心,以及纽约、新泽西的其他地区,参观博物馆,看看艺术展览,参观各种艺术活动,与朋友聊天,与同事一起聚会。但之后,在去年(2020年)3月的封锁之后,我们的生活被完全打乱了,虽然仍有餐厅和许多博物馆还在营业,但其实去的人屈指可数。大多数人不敢出去,他们更愿意以足不出户来尽量避免传染的可能。因此,一方面,我们不能继续以前的生活—这真的很悲哀,另一方面,我们开始使用大量的互联网媒体,如Zoom,谷歌会议,我们可以进入这些平台并与人交谈,就像现在,你们在线上听着我的讲述,这使世界各地的人都可以聚集在这里,而不仅仅局限于地理位置。某种程度上这为我们打开了一扇新的大门。我能想象在疫情过后,即使人们都回到当地的画廊、博物馆进行线下活动,但网上的展览形式仍然会存在,甚至可能比原先更完备,因为我们已经更加习惯了互联网对于我们生活的融入,所以我们会越来越开放,并能通过互联网去更多地获取信息等等。我认为这是一件伟大的事情,我们的技术在不断进步,比如AR、VR、广播技术,我们可以做很多事情,其中的潜力是无限的。

在这个环节,我想和大家分享一下我在疫情之后创作的一些作品,即“家庭工作室艺术品系列”。正如你从视频中看到的那样—巴雷特艺术中心—这是一个位于纽约波基普西的艺术中心的集体展览。很荣幸他们选择了我的作品作为他们网页上的特色作品,并同时在他们的展览手册和明信片上进行展示。在此我想谈一谈我一直在做的这个系列,这幅画就是其中一个。这是用油画颜料做的混合材料拼贴画,并将这种混合材料的手段运用在整个系列中,取名为“非同寻常的视觉”,其中有些是装置混合媒体,有些是亚麻布或帆布上的混合媒体,其中大小尺寸不一。我做这个艺术系列的原因在于,自从疫情爆发以来,我在家里封闭了太久,所以并不清楚外面发生了什么。我为数不多的信息来源就是互联网,报纸,电视,手机上的应用程序等。因此,我每天都在不断地阅读新闻,以便于去了解发生了什么,这其中大多数是关于疫情时期的负面新闻—关于各种种族歧视、暴力,关于人们正在死亡和世界性爆发的危机,各种阴谋论。每个人都很有压力,我认识的一些人开始变得非常沮丧。在所有这些信息中,有些信息是会相互矛盾的,比如一些人在一些新闻中说A,另一些人却在其他新闻来源中说B,而A和B可能是完全相反的意见,所以我应该选择相信谁?我感到非常困惑,这种困惑使我紧张,使我无法感受到心灵的平静,所以我决定去探索,去看不同国家不同语言的报纸、杂志上的不同新闻,去试图弄清楚世界上发生的真相是什么。但我无法弄清楚,所以我选择了一种方式,即我从不同的新来源中策划了一些零碎的信息,并把它们拼合在一起。这不是绝对的真理相,绝对不是,但它是不同的意见承载在一起,这是我自己独有的记录历史的方式,这可以使我自己能够探索我的情感,弄清楚发生了什么,并给我一些启示。结果就是这一系列的艺术作品,它们确实代表了我对自己的治疗过程。由于除了艺术家,我也是一个设计师,我的专长之一是设计眼镜,各种眼镜:太阳镜、光学眼镜、阅读器……所以我想把我的观点放入这个混乱的世界。我设计了很多不规则的眼镜,例如,不对称的作品。眼镜代表人们的愿景,代表不同的阶级,不同的性别,风格,意见……我把眼镜与不同的形状和不同的矛盾,与来自新闻的不同意见结合在一起,创造出这个混乱的世界。我们生活在其中,我们能时刻感受到混乱的存在,所以我们试图为自己找出一条路,这就是我在这一系列艺术作品中一直想要去思考和表达的东西。通过观赏我的艺术作品,我希望观众能意识到这个世界上存在的差异和矛盾,这样他们就不会仅仅栖息在自己的“舒适区”,他们会洞悉到外面正在发生的一切,你可以赞同,你甚至不必赞同,但事实就在那里,洞悉事实,并对身边的人更有同情心和同理心,而非排斥。

“你是什么时候开始创作混合媒体拼贴画的?为什么使用这种方式?”

坦率地说,在疫情之前,我并没有运用过这种方式。我的创作方式是,我确定一个我想追求的问题、难题或话题,然后寻找媒介,寻找我需要获得的技能从而去实现我的目标。所以拼贴画是我认为能最好的呈现我的作品意义的方式之一,因为我想把不同的报纸和杂志策划成我的艺术作品,有什么比拼贴更好的方式呢?所以我通过不同的媒体学习了拼贴的技术,并结合其他技术开发了这一系列的作品。

“由于疫情,许多展览都被转移到了网上,甚至于一些研讨会和讲座也转为线上。你对这种趋势有什么看法?”

我认为这是一个很好的趋势,因为在疫情之后,一切将恢复正常,事物运行的或许会与以前不同,但仍然会是合理的。我们可以回到博物馆和画廊,但网上的形式将会持续下去,这是伟大的,因为你可以访问世界上任何有互联网接入的内容。这将带来一个新的趋势,一个数字化的趋势,这很好,我也乐于接受这种转变。

我想谈的另一个项目是纽约市洛克菲勒中心的旗帜项目。这是一个公共艺术的作品系列,幸运的是我的旗帜设计从全世界1200多份提交的作品中脱颖而出。这个公共艺术项目在去年夏天的2020年8月曾一度火热,它被广泛流行发表在各种媒体上,如墙纸杂志和无数的线上新闻媒体等。也有一些世界知名的艺术家参与了这个项目,如杰夫·昆斯、KAWS、汉克·威利斯·托马斯、玛丽娜·阿布拉莫维奇……那是一个非常令人兴奋的项目。自从疫情爆发以来,我有半年时间都没有去纽约市中心,直到这个旗帜项目发布。我总觉的曼哈顿太空旷了,去那里不会有太多的意义,但这个项目吸引了无数人去到曼哈顿洛克菲勒中心的中城,他们把那里弄得非常漂亮,有旗杆,旗子上飘着漂亮的旗子,人们坐在旗杆下的公共椅子上,有冰激凌店和一些像小吃店,人们坐在长椅上,看书,吃东西,喝东西,享受他们的美好时光。这就像沙漠中的一片绿洲,这使我瞬间充满了干劲,也很高兴,因为这一现象重现了之前纽约市的生动。你可以从图片上看到,从我的设计中,你能感受到能量的流动,其生动的感觉和明亮的心情。这是我想表达的对于纽约的印象,这是我的感受,其概念基于不同种类的手:男性、女性、跳舞的手、工作的手、喝酒的手、旅行的手;缝纽扣的手、画画的手、测试疫情的手、拿火炬的手、遛狗的手、吃甜甜圈的手、参观博物馆的手。这是一个如此充满活力的地方,我想给人们这种感觉。我喜欢纽约市,这是我选择来这里的原因,但在疫情期间,这个城市失去了很多活力,这是我想寻回的东西。而且还可以看出,这些手有不同的颜色,这表达了这个城市多样的文化和种族,这都是我非常欣赏的。我记得那次,《世界日报》的记者来问我这个问题—《世界日报》是北美最大的中文报纸。你对美国人对亚裔的歧视有什么看法,你想通过你的作品对这个问题说些什么?我告诉她,我们不能沉默,我们必须大声说话,发声。作为一个女性艺术家,我要用我的艺术来发声,使人们能对彼此更加宽容、富有同情心和同情心,而不是相互分裂和排斥。这也是我想通过我的旗帜设计传达的信息之一。

“是否有其他艺术家的作品特别吸引你?”

在这个过程中,有很多我遇到了很多我非常欣赏的艺术家。由于我们的作品被洛克菲勒中心的旗帜项目选中,所以我们在Facebook上组成了一个小组,我们会在其中定期发布这个项目之外的事情,互相支持,我们甚至会去参加其他艺术家的艺术展,支持他们,我们为一些在国外不能来美国看的艺术家们把旗帜拍摄下来,并与他们分享。这是一个以支持为核心的艺术团体,我非常幸运可以成为其中的一分子,在此我想感谢所有参与这个项目的艺术家,这对于我来讲是一次伟大的经历。

“你有什么新的创作方向吗?你是否在寻找新的工作?”

这是一个十分复杂的问题,因为疫情一定程度上阻碍了艺术行业的发展,但也打开了很多新的视角和思维。就我自己而言,我是一个跨行业艺术家,我不仅专注于我的艺术创作,我也做设计,我会与其他人合作,被委托,与他人达成伙伴关系,我会为企业做顾问,同时我也是一个作家,因为我也会在报纸和社交媒体上写专栏。我喜欢以上的一切工作,并不是说必须做的非常多,只是就我个人而言,我是一个喜欢从一个领域跳到另一个领域的人,这让我一直感到兴奋和快乐,并会给我不断向上的动力。所以我认为我不需要去寻找新的工作,因为我已经有了这么多个身份,这么多不同的事业。我从疫情中学到的一件事,就是我是真的希望去与人分享,与人联系。在这之前,我很少有这样的感觉,因为我从没有像这样与世隔绝过,我总会想 “哦,让我们去和人们交谈是个很好的点子”,但我并没有认为这尤其重要,然而在一年多的封锁期间,我真的觉得一个互相支持的团体,同行合作的艺术家,作家或一些组织,它不一定是你的工作相关,它可以是其他如爱好相关,阅读俱乐部,任何东西。一个支持性的团体对你应对这种情况和向前发展是非常重要的。我们还需要继续这样做,即使一切都恢复正常,这对你的心里健康、对你周围的人和社区都有积极的影响。由此我定了一个目标,我想为自己的学生打开更多的机会,我正在试图去与高等教育和学术界建立沟通,我想与更多的学校、大学的学生合作,与他们交谈,与他们沟通,看看以后会发生什么。

“作为一个艺术家,你想通过你的艺术作品向公众表达什么?”

当我的艺术作品在外展览的的时候,公众其实是我无法控制的,因为他们是有自己的主观意识的,你无法控制每一个步骤,或者对他们进行微观管理,因为艺术作品的第二次创作是艺术作品本身的交流,每个观众都是不同的,他们有不同的经历、性格,他们从你的作品中得到的信息、情感是不同的。你不能说我的每件作品都有一个正确的答案,这是不存在的,他们可以用他们想要的任何方式来理解。我对此表示理解并尊重,我希望从我的作品中公众可以获得对于他们具有积极意义的内容。

“对观众有什么建议吗?”

我想给观众的建议有四点。第一,对待自己的感受要诚实、真诚。第二,在你不知道的时候不要妄下定论,不要在你开始对一个主题做调查之前就先下结论。第三,多多地去探索,有很多事情都是我们所不了解的,所以要不断学习,不断前进,探索未被发现的领域。最后,对新的想法、新的人、新的环境希望你们保持开放的心态,以上。

那么在这个环节,我将与你们一起交流如何用我的方式做一些基本的拼贴画。

其实,做拼贴画本身并不难,只是其思考的过程需要很长时间,所以在这里我想先给大家介绍一下我所用的工具。首先当然是一把剪刀,因为我需要用这把剪刀来剪裁我的拼贴材料。这是一块画布,最终我将把所有的报纸、杂志、什么拼贴材料粘在这块板子上,这将是我最终呈现的作品,我还使用某种丙烯酸胶水,我使用的是金色的普通胶水,我喜欢哑光的效果,所以我使用哑光的,你可以选择任何其他胶水以替代。最后也是最重要的是我的材料—即我想把什么放在这个面板上。我已经收集了很长时间的报纸,各种各样的报纸。英文、中文、杂志、报纸,因为我的项目就需要收集尽可能多的报纸,并确保它们可以随时为我所用。由于这是我个人的艺术作品,所以我不会展示一些以我不了解的其他语言进行展示的报纸,毕竟这与我个人相对关系较少,同时由于报纸取决于地域,所以这些其他语言的报纸也很难获得。为了这个项目,我从亚马逊上买了报纸,也通过其他网站买了一些,或者从我当地的熟食店买到,有些是免费的,你可以从当地的小便利店买到。所以基本上这些报纸可以比较具体地呈现我所在地区的人们正在阅读的东西,同时我以一种主观的方式对它们进行了筛选,比如,我认为某些新闻对我的目的有价值,所以我想在我的拼贴画中呈现这个时期的新闻的某种价值和不同的意见。我之所以只用中文和英文,是因为我不懂其他语言,如果我用其他语言,就意味着我必须问其他的人,这不是我的观点,我不熟悉这些信息,所以我只是做我熟悉和舒服的东西。

同时,报纸的选取时间取决于你的项目,即你想呈现你的艺术作品的时间线,你也可以选择这周或这天的新闻。以演示为目的,现在我将只使用我手中现有的报纸,这是我在2021年和2020年期间收集的。

所以首先,由于我喜欢这个新闻,那就让我们从这里开始。首先,报纸名叫The Star-Ledger,这是我住的地方的报纸,所以我想从这里剪下一些东西。这一步就是我需要思考我要在我的作品中呈现哪些信息。”强生公司的疫苗提供保护”,这是1月31日的新闻,稍微早了一点,现在我做的这个已经是4月了,但是以演示的目的来说的话足够了。由于我认为这是一个重大的新闻,这是一个持续性的信息,我想把它包括在我的作品中,那么现在我们就把这部分剪掉。现在这一阶段,我只剪一个大概的片子,包括图片和一些文字,以后在我的作品中做排版的时候,我会把它们还原成某种排版,再进一步编辑它们,现在我只需要大致筛选出我想要的东西。

第二步,我们先把这个放在一边,我想展示一些中文的新闻:3月25日,这是有关停止亚裔歧视的话题,我认为这与我密切相关,这对我十分重要,所以我把这个剪下来。不必要担心歪曲的边缘,因为我们以后还要再修改它们。我想再多加一点中文新闻的信息,让我们看看我们能放什么。这是美国国内旅游的一些新东西,从4月1日起,到达纽约的旅客不必再进行检疫。这是主流新闻,我要把这个剪下来。很明显,现在我们正处于疫情期间,所以很多新闻都与疫情有关,对我来说,它影响了我的生活,而且十分具有历史价值,所以我会把这个放在这里。下一份报纸,这是《纽约时报》。艺术与休闲。这是2020年5月17日的,所以这是相当久远的,但仍然是在疫情期间,所以它依旧是相关的。”这是我眼前的直播吗:所有有互联网连接的世界现在都是一个舞台……”,这仍然是相关的,因为我们仍然处于疫情的封锁期,所以让我把这个剪下来,因为我认为我们可以用它的某个部分来做一些修饰,我喜欢大标题,因为它们引人注目,所以我也要把这个标题剪掉,让我们再继续看看其他的新闻。这里有一些非常有趣的新闻,例如,查尔斯·伊姆斯夫妇,我真的很喜欢他们的作品,但这与我在艺术作品中谈论的内容有关吗?也许并不。因此,即使我真的喜欢这些图片和文字,我可能也不会把它们放到我的作品中。我很喜欢这个标题 “没有比家更合适的地方”,也许我会把它放进去,因为在疫情期间,我们已经在家里呆了这么长时间,我们中的许多人已经改变了对生活的看法,可能我们以不同的层面去爱我们的家,所以我认为这里有一个不同层次的意义,它也有一个隐喻的意义,这是我想要的内容。这里 “为启示录而烦恼”,我喜欢这个句子,它也很有意义,所以让我把这个剪下来。另一份中文报纸《世界日报》,有时我会在这份报纸上发表我的文章。最重要的新闻 “停止对亚裔的仇恨”,由于我们已经把有关这个话题的内容放进去了,所以这个信息我们不需要了。”30岁以上的纽约人今天可以开始预约疫苗”,我认为这与疫苗相关,那么让我们提取出这个信息。坦率地说,我认为我们现在有足够的材料来创作,如果有什么不足,我们可以随时回到报纸、杂志上再提取我们想要的内容。

这是我的画板,不是那么大,因为我有这些大板块,现在让我们看看应该如何布局。这是一个巨大的新闻,实际上我只需要几个元素,现在我们来做这个。关于疫苗,我想要的是它的关键词,并且它不一定是规则的形状。因为我们的画布很小,所以我们只需要新闻的一些部分,所以也许我只需要弄一个标题。你总是可以覆盖它的一部分。就个人而言,我非常喜欢文字而不是图像,因为有时图像会让人困惑,比如这些图像不是很好,因为它们非常相同,所以我在这里暂时得到了文字。我们总是可以重新审视那些我们刚刚扔掉的景象。我想呈现一些想法和人们在疫情期间的感受,以及他们所追求的意义。”Live Stream “仍然很有意义,我们一直在做Zoom call,所以我们把 “Live Stream “放在这里。我觉得这个标题过大了,那就选一个小一点的部分吧。现在我看这些,我觉得我们缺少一些东西,我需要增加一点信息。因为我住在纽约,所以让我把纽约人放在这里。而且我想多放一点图片,让我搜索一些有趣的图片。我花了一些时间来找到所有的图片和文字,字体的类型,以及我想要的尺寸,我一般会把它们铺在这个面板上。

现在,我可以开始把它们粘上去了,为了做到这一点,首先我需要准备一些水,我需要把所有这些报纸,杂志的纸张浸入水中。这样做的原因是,如果它们没有被弄湿,最后在干燥的拼贴画上会有很多褶皱。此外,我还需要用刷子来剜出胶水,以把报纸粘在画布上。首先,我想给这个布局拍张照片,因为如果这是我想要的,当我把它们浸入水中后,我可能会忘记这个布局原先是什么样子的,所以我需要拍张照片。之后我会逐渐思考,我首先需要把什么东西放进水里,也就是最底层的东西,我不想把所有的东西一起放进去,因为我想按照一定的顺序来记住它们。那么现在让我把最下面的部分放进水里,我也可以把这些放进水里,因为它们需要一些时间来湿润。现在所有的纸都沉在水底了,之前它们都是浮在水面上的,现在既然它们在水底,就意味着它们已经准备好了,它们被完全浸湿了,那么我们现在可以开始把它们粘在画布上了。首先,我需要把我的画笔浸入水中,让它也被浸润,然后很快,我会在画布上涂上一层胶水。因为这是小画布,所以我可以很快地把胶水涂满它,在它们干之前,我会把所有的纸放上去。但是如果画布很大,我就要把胶水分开上,因为如果我把它们全部放上去,胶水可能很快就干了,那就会浪费胶水。我现在要在胶水里放一些水,这样他们就会干得慢一点。我喜欢让它干得慢一点,这样我就可以调整,这就是为什么我也喜欢油画,因为你可以一直调整,它需要很长时间才会干。我们总是可以不断地添加胶水层。首先,让我们把我们的底层放上。在你把它放到订好的布局上后,尽量不要移动它们,因为它们会因为胶水而很快粘住。还有一件很重要的事情是,你不能只在底部放胶水,也要在顶部放。因为上面的胶水的作用是隔离层,以确保这些纸在未来会有一个保护层在上面,这样就可以让灰尘等不会出现在这些纸上。如果你做丙烯画,这就像一个保护层。现在画面还很湿,但别担心,它很快就会干,之后我们来放第二层。我选择了一些元素,手表的组件和代表时间的背景,因为从疫情开始,我们就一直呆在家里,时间对我们来说是一个非常有趣的元素,时间的概念在某一层发生了变化,在某种程度上,有些人会觉得时间比平时长很多,而有些人觉得时间过得非常快,每个人对世界的认知是不同的,我想把这个元素加进去,让人们去思考。我使用的这张图片是澳大利亚森林火灾后期的一只袋鼠。那是2019年底或2020年,我记不清楚了,那是一个非常悲伤的事故。现在我们把所有的元素放上,我需要在这些纸上面再加一层,但是要小心,不要过多的移动它们,我不想改变它们的位置,因为它们已经在我想要的位置了。要确保给它们足够的介质,并保持它们在同一位置。不要忘记清洗画笔,因为胶水很快就会凝固。

下一步,我们只需要等它干了,然后工作就完成了。对我来说,通常我会在上面添加更多的媒体或混合媒体元素,或者分散在不同的位置,因为这些东西会给我以灵感,我觉得它们是我展示的一部分。至于拼贴画的部分,我们已经完成了,你只需要等待它全部干透,它就会变成哑光效果,上面就不会有这种光的反射,这将会是一个有趣的作品,会在不同角度给人以启发,不同的观众看它也会有不同的想法,这是我肯定的。

所以我们的拼贴部分的环节就暂时完成了,现在让我们进入下一步。

很多人问我在疫情期间如何进行艺术创作,有没有什么应对策略?我认为首先,非常重要的是,你需要学习一些交流的软件和平台,如Zoom、Youtube Live或Google会议等,这些对与其他人交流非常重要。对我来说,我之前对电影拍摄和剪辑一无所知,但在疫情期间,我必须做很多由各种组织主办的研讨会和讲座,有时他们不想做现场,他们希望它是可控的,所以我需要事先准备一下,并把它们剪辑成我想要的样子。为此我看了很多教程,自己研究了一些视频编辑技术,现在你可以看到这个研讨会,是我自己拍的,自己编辑的。所以你可以看到我的演讲,这是我应对的方式,学习的新技能。还有很多虚拟的资源,这是非常好的,因为我以前意识到,有很多艺术创作资源,你需要付钱,或者你必须到现场去谈,参加一些研讨会讲习班。但是现在,自从疫情爆发以来,他们几乎把所有的这些资料都搬到了网上,其中一些,原来是很贵的,但现在免费向公众开放。另外,例如,一些博物馆有开设虚拟画廊,你可以从互联网上,从你的家里访问它们,也可以从图书馆下载数字书籍。这实际上是一个非常好的开始,如果这个趋势继续下去,我们可以减少很多不必要的地方的消耗,以节省我们的时间,也可以保护地球,产生更少的温室气体,减少我们的碳足迹。就像我说的,一个支持性的团体是非常重要的,找到你自己的基地,找到你的朋友,他们和你有一些共同的东西,比如爱好,你感兴趣的东西,种植,花园,阅读,跳舞,并定期一起做事情。这将会对你有极大的帮助。

既然你们在这里看我的演讲,我相信是因为你们对艺术或创意领域具有热情,我为你们感到高兴。希望你可以去追求你的梦想,去采取任何必要的行动,不要因为疫情而气馁沮丧,疫情终将会结束,一切都会以更强大的姿态回归正轨。如果你有任何问题,或有任何项目想与我合作或探讨,请随时与我联系。最后,祝愿你们好运,并且可以终生追求并享受你与艺术的相生相伴,感谢你的参与!

Staff

Contact Person: Ifance FAN
Planner: Christy YANG, Ifance FAN
Text: Christy YANG
Translator: Jiaqi GAO, Christy YANG
Proofreading: Jiaqi GAO, Christy YANG

 

Closer to Nature

Velasco & Hu

Velasco & Hu already worked from home before the pandemic. Since the start, they have focused on projects relating to flower blooming, bringing them “Closer to Nature” than ever before. This experience changed their relation with nature and opened up their sight on flower art.

The couple also made a series of “Pills” which are short 1-minute videos, which they call “Visual Poems.” In 2020, they made 6 pills in total.

Closer to Nature – 30 days challenge / Beauty and the Dust

Pills

Two short films Velasco & Hu believe reflect their lives and thoughts during the quarantine and the post-quarantine:

QUARANTINE.  (visual poem #3)

This is a mini short film Velasco & Hu made during the lock-down. The intention was simply to do a visual diary but it has somehow turned into a visual proof of the common emotions they all shared back then.

LA NONNA INVISIBILE

Velasco & Hu made this short film at the end of 2020. It presents an invisible grandma by representing her culinary heritage through a visual feast consisting of beautiful still life pictures in motion. Through the story, they want to pay tribute to many grandmas who lost their lives, silently, during the pandemic, and keep them close in their memories.

Biography

Velasco & Hu is a creative couple formed by Carlos VELASCO from Madrid and Kate HU from Taipei. They teamed up to create transcendent, story-telling, artistic and cinematic photographs and films across Europe and Asia. They are commercial photographers by day and fine art photographers by night, specializing in still life photography.

Interview

The names would be abbreviated as “Isabel” (Isabel DIERINGER) and “Velasco & Hu” (Carlos VELASCO and Kate HU).

(之后姓名分别写为“Isabel”、“Velasco & Hu”)

Isabel: How did you organise your work and life during the pandemic?

Velasco & Hu: As our home is our workspace (apart from the shootings in rented studios), we organized our work and life in the same way as before, trying to get a balance in between.

Isabel:请问疫情期间你是怎么安排工作和生活的?

Velasco & Hu:封锁期间,我们变为在家进行创作(除租用的独立工作室以外),但是我们的工作和生活还是和往常一样,依旧希望在这两者之间尽量寻求平衡。

 

Isabel: What is different from before the pandemic?

Velasco & Hu: We used to work from home and we used to shoot still life photos at home, so it hasn’t been so different. But indeed, we stayed more time at home during the pandemic so we’ve tried to look for more projects to do at home.

Isabel:这与疫情爆发前有什么不同吗?

Velasco & Hu:我们之前就会在家工作,并且会拍摄一些日常,所以并没有什么不同。但其实,由于在家的时间更长了,所以我们已经疲于从居家生活中寻找素材。

 

Isabel: What is the biggest change you have been through or found? In other words, what is your Covid-pivot?

Velasco & Hu: We were very fortunate to be commissioned to work on a series of photographs and videos about a flower blooming during the pandemic. We spent lots of time studying the flowers before the shooting, by reading books, buying flowers to observe, testing flower arrangement and time-lapse at home. This experience changed our relation with nature and opened up our sight on flower art. We feel so much connected with nature and the changes of seasons, and all this has given us more inspiration throughout the pandemic.

Isabel:您经历过或发现的最大变化是什么?换句话说,您的“转折点”的是什么?

Velasco & Hu:我们很荣幸被允许在疫情期间拍摄有关鲜花盛开的一系列照片和录像。拍摄前,我们花了很多时间研究花,通过看书,买花等等,并会在家中测试拍摄角度和拍摄的延时设定。这次经历改变了我们与自然的关系,并打开了我们对于花卉艺术的视野。我们与自然和季节变化联系的日益紧密,所有这些都在疫情时期给我们带来了的非常多的灵感。

 

Isabel: What is your most proud creation since the pandemic started?

Velasco & Hu: We made a series of “Pills” which are very short, around 1-minute videos, which we call “Visual Poems”. In 2020 we made 6 pills in total.

Isabel:自大流行开始以来,您最喜爱的创作是哪个?

Velasco & Hu:我们制作了一系列简短的“药片”,大约1分钟左右的视频,我们称之为“视觉性的诗歌”。在2020一整年期间,我们总共制造了6粒“药片”。

 

Isabel: When did you start this project/artwork?

Velasco & Hu: It actually started before the pandemic back in the beginning of 2020, but we continued the project during the pandemic with lots of footage shot at home.

Isabel:您是什么时候开始创作这个项目/艺术品的?

Velasco & Hu:它实际上是在2020年初疫情爆发之前开始的创作的,但是我们在疫情期间继续进行了这个项目,并在家里拍摄了许多创作过程的影像。

 

Isabel: What inspired you to embark on this project/start creating this artwork?

Velasco & Hu: We wanted to visualize our emotions, feelings, and tangled sentiments.

Isabel:是什么驱使您着手进行此项目/开始创建此艺术品的?

Velasco & Hu:我们想具像化我们的心情,感觉以及复杂的情绪。

 

Isabel: What does this artwork mean to you?

Velasco & Hu: An inner picture of our emotions, an encounter of lost feelings, a visual diary of moments, a journey of artistic search.

Isabel:这件艺术品对您意味着什么?

Velasco & Hu:意味着我们内心的情感,一次与失落的相遇,一个记录瞬息之间的视觉日记,一次关于艺术探索的旅程。

 

Isabel: Has the pandemic had an impact on your work/work plan? (Was there any change in your thinking focus?

Velasco & Hu: Yes, unfortunately, we become more hesitant in planning projects that will involve many people, and we would have to think of a plan B to execute our projects in a smaller scale. That’s also why we made those “pills” as the footages could be made at home, on the street, during our trips without involving others.

Isabel:大流行对您的工作/工作计划有影响吗?您的思维重点是否有所改变?

Velasco & Hu:是的,不幸的是,我们在计划涉及多人的项目时变得更加地犹豫,我们不得不进行一些妥协,并以较小的规模去策划我们的项目。这也是我们制作这些“药丸”的原因,这使我们可以在家中,在街上或在不涉及其他人的旅途中去进行拍摄。

 

Isabel: If this applies, is there any funding for freelancers or artists in your city or in your country?

Velasco & Hu: There are subsidies and loans provided by the government in general.

Isabel:如果适用,您所在城市或您所在国家/地区的自由职业者或艺术家是否有任何援助基金?

Velasco & Hu:一般而言,政府会向我们提供补贴和贷款。

 

Isabel: Have your feelings about art now changed from your first encounters with it, or rather before the pandemic? If so, how?

Velasco & Hu: Our feelings about art are constantly changing, but with the pandemic, we now look for connections with nature and inner emotions more than ever.

Isabel:从您第一次接触艺术开始,或者在疫情爆发之前对艺术的感觉和现在相同吗?如果不尽相同,哪里被改变了呢?

Velasco & Hu:我们对艺术的感觉在不断变化,但是由于疫情的爆发,我们现在比以往任何时候都更希望去寻求自然与内在情感之间的联系。

 

Isabel: Do you think the arts will mostly remain/move online after the pandemic?

Velasco & Hu: Not at all, we think most of the arts still need to be appreciated “in person”.

Isabel:您认为艺术在疫情之后还会持续在线上发展吗?

Velasco & Hu:并不,我们认为大多数艺术仍需要我们“亲自”去欣赏。

 

Isabel: How do you see the relationship between technology and art?

Velasco & Hu: Positive, as technology serves as a good tool to create art and a good platform to exhibit art.

Isabel:您如何看待科技与艺术之间的关系?

Velasco & Hu:科技会为艺术带来积极的影响,因为科技既是表达艺术的辅助工具,艺术的展示平台。

 

Staff

Host: Isabel DIERINGER
Contact Person: Isabel DIERINGER
Planner: Isabel DIERINGER
Text: Isabel DIERINGER
Translator: Jiaqi GAO
Proofreading: Calum BAIRD

 

Posthuman View

Xiaolei TIAN 田晓磊

The words “fragility” and “collapse” are often reflected in Xiaolei TIAN’s work, specifically, the sense of vulnerability and crisis that threatens to collapse. For him, the pandemic is the result of a chain of events, similar to a cascading reaction. No one realised at first that the virus would be so radioactive and that it would also lead to the interruption of all activities throughout society. Restrictions appear from country to country, people to people, and eventually, all life was messed up.

“脆弱“和“崩塌”这两个词时常体现在田晓磊的作品上,具体地说,是脆弱和有可能发生崩塌的危机感。对他来说,疫情是由一件事产生了许多链条,类似于一个连带反应。一开始谁都没有意识到这个病毒会有这么强的辐射性,还导致全社会中断了一切活动。国家与国家之间,人与人之间的限制,最后一切生活全都乱掉了。

Thrilling stabilization

惊险的稳定

The astronaut is a symbol of man’s exploration of himself or a human figure cultivated by the spirit of science. He is constantly exploring new planets, and when he gets to the next one, it becomes a ball light in a ballroom, but it slowly blows up like a self-cracking explosion. And when he goes to the next one, the last one is restored, and man is like a locust, passing and exploring one by one.

其中宇航员象征的就是人类对自己的一种探索,或者是一种科学精神培养出来的人类形象。他在不断得探索新的星球,走到下一个星球的时候,那个星球就变成了舞厅的球灯,但是它慢慢会自裂般得炸掉。而当他再次走到下一个的时候,上一个又恢复了,人就像一个蝗虫一样,一个个得去经过和探索。

Before reboot

重启之前

Even though they are dancing wildly, those two have started to take on distorted and dead features, and the background has changed from a starry sky to a blue screen, reflecting a kind of revelry before the reboot.

即使在狂欢跳舞,但是那两个人已经开始有扭曲和死机的特征,背景也由星空变成蓝屏,体现了一种重启之前的狂欢。

Sisyphus

西西弗斯

Islet

孤岛

Biography

Xiaolei TIAN: Young Chinese artist, a pioneering force in Chinese new media art

“The post-pandemic era may accelerate the arrival of the post-human era; the pandemic is actually accelerating the speed of man’s incubation in the virtual world, as well as man’s dependence on the internet, while also moving further towards a world like cyberpunk. In general, man is actually getting more comfortable with the evolution of machines and technology, and at the same time they are cycling faster and faster on man.”

田晓磊:中国青年艺术家,中国新媒体艺术的先锋力量

“后疫情时代可能会加速后人类时代的到来,疫情其实是加速人在虚拟世界的孵化速度,以及人对互联网的依赖程度,同时也向赛博朋克这样的世界更进一步。总的来说,人对机器,科技的进化其实也越来越适应了,同时它们对人的循环也越来越快了。”

Interview

The names are abbreviated as “Jackie”(Jackie GAO) and “TIAN”(Xiaolei TIAN)

下文中,人物姓名将被缩写为 “高”(高嘉齐)“田”(田晓磊)

Jackie: As R-Lab is an organisation that explores the transformation and changes in Art during the pandemic, so our discussion will focus on the potential discourse that the pandemic provides for the transformation of art.

First, have there been any changes in your life and work since the outbreak that have impacted you?

高:由于R-Lab是一个以后疫情视角,去探究艺术在经历疫情这一转折点时所发生的转向以及变化的组织,所以我们的话题会主要围绕疫情为艺术进行转向提供的潜在话语进行讨论。

那么首先,在疫情爆发后,您的生活和工作有发生一些另您印象比较深刻的变化吗?

TIAN: At the beginning it was very intense, but now I feel it has become very easier in Beijing, apart from that, sometimes, we still wear masks when going into public places.

田:一开始的时候会很强烈,但是现在我在北京感觉已经变得很微弱了,除了有时候大家在公共场所会戴口罩。

However, when the pandemic first broke out, the feeling of change was very noticeable, as if there was tension around us all the time. The city management also tended to be stricter and more closed off.  Whenever we went to some places, we needed to have proof of access and went through many checks which inevitably created more stress for us.

但疫情刚爆发时,变化的感觉非常强烈,仿佛时时刻刻都充满紧张感。城市管理也趋于严格和封闭,出入很多场所,都必须有相关的证明,并且还有很多环节,这也无形中为我们带来了更多压力。

This change has affected all aspects of society, the main impact was about traveling, and we all had to take activities indoors mostly. Everyone was like an island, seeking information with the outside world, and the only option had become the internet and our phones.

这种变化涉及到生活的方方面面,主要的影响就是出行,大家都基本在室内活动。所以每个人都像一座孤岛,在寻求跟外界的一个信息交流,工具就变成了互联网,和手机端。

Jackie: Right, we must be more proactive in order to connect with people.

高:对,我们要更主动一些才能和别人建立联系。

TIAN: Exactly. I think it is the same all over the world. During the pandemic, people’s emotions became negative, so we just had to go through such a lonely period. I was one who adapted quickly and was not too sensitive to this change. Then, I have made good use of this period because I was used to being alone, so instead I felt that I suddenly have plenty of time without so much strife.

田:对。 关于这个,我认为全球应该都是这样的。在疫情下,大家的情绪都会变得消极,所以我们就必须要经历这样一段孤独的时期。其实我是适应比较快的,对这种变化不是太敏感。我后来好好的利用了这段时间,因为我很习惯一个人呆着,所以反而觉得自己的时间突然变的非常充裕,没有那么多纷扰。

Jackie: Agreed, it needed to take a process and it might be negative at first.

高:对,这需要一个过程,一开始会比较消极。

TIAN: Exactly.

田:对,没错。

Jackie: Then after the pandemic, do you think your perception of art has changed compared to before? Like the focus of your Art creating or enjoying art.

高:那么在经历了疫情后,您认为您现在对于艺术的思考相较于疫情爆发前会有什么不 同吗?比如思考的重心,或者是关注的层面是否有所不同呢?

TIAN: I think the key words I am thinking about now are “fragility” and “collapse”. This may also be reflected in my work, specifically, the fragility of the status quo and the sense of crisis that there is a possibility of collapse. As the pandemic caused a series of events triggered by a single event, it is like a chain reaction. It was not acknowledged at the beginning that it would be so destructive, even leading to a state of almost stagnation throughout society. There were all sorts of restrictions between regions and between people, and eventually everything just went haywire.

田:我觉得我目前思考的关键词是脆弱和崩塌。这个也在作品上可能也会有一些体现,具体地说是,现状的脆弱和有可能发生崩塌的危机感。因为疫情是一件事引发的一系列事件,类似于一个连带反应。其实一开始也没有意识到这个病毒会有这么强的辐射性,甚至导致全社会几乎处于一个停滞状态。区域之间,人与人之间的存在各种限制,最后就一切都乱掉了。

It is as if our current situation cannot withstand any fluctuations, and a problem of any aspects could bring the whole society to a status of standstill. This vulnerability was much stronger than we thought. A problem in one area seemed to mean the whole world went wrong in an interconnected way. It felt like the current world order was not actually very solid, it only appeared stable on the surface, and it could not adapt to the change as quickly as we thought; like a wound, it takes a long time to heal, and its pain is global and continuous. So, I might rethink some of the topics about the sense of vulnerability, or the instability, etc.

我们的现状好像经不起任何的波动,任何一个层面出现了问题,就会导致整个社会发展停滞。这种脆弱性其实比我们想象中要强烈的多。一个地方出现了问题,全世界都会联动的出现问题。感觉本身井井有条的世界,其实并不是很坚固,只是表面看起来很稳定,而且它对变化的适应能力也没有想象的那么快,就像一个伤口一样,它需要很长的时间去调养,而且它的痛感是全球性持续的。 所以我可能会重新思考一些关于脆弱感的话题,或者是平衡崩溃和不稳定的关系等等。

Jackie: Yes, these two words are very concrete, and they are reflected in your work. In fact, I have noticed that you have used some visual expressions in many of your works, such as the LED gallery in Hangzhou, the ‘specimen form appeared on the flat screen’ presentation in Posthuman Zoo, and the ‘screen formalin’ concept. I think the concept of “screen formalin” is very clever, so how did you come up with the idea of using this kind of presentation? Do these works have a reflective effect on the context of the pandemic?

高:是的,我觉得这两个词非常的具象化,并且是您的作品当中有所体现的。其实我有注意到,您在自己的很多作品中都有运用到一些视觉性的表达手段, 类似于在杭州的led长廊,和《后人类动物园》中,这种在“二维屏幕上标本式”的呈现,以及“屏幕福尔马林”概念的提出都十分地巧妙,那么请问您是如何想到运用这种方式进行展示呢的?这些作品会对疫情这一语境有辐射作用吗?

TIAN: Actually, those works started as an attempt to do it inside a box, to create the screen itself as a space. I think that was a little proposition I gave myself or a little restriction. It was a spatial restriction so that it would be better organised. From a formalism point of view, I focus more on the spatial relationship of the content, that is, the relationship between the content itself and the container. Later, I felt that this was making patterns, so I created some of these imaginary patterns that I imagined to be related to post-humanism. Of course, it is a long-term project that will probably take a few years to develop and refine, and eventually it will become a series. And it will all be displayed side by side, probably in many boxes, each with a different object in it, and eventually it will be displayed like a museum and could be collected on screen.

田:其实那些形式一开始是想做在盒子里面,把屏幕本身当成一个空间来创造。我觉得这是我给自己的一个小命题,或者是一个小限制。那是一个空间上的限制,这样的话它会比较好的被整理。从形式感上来看,我会更着重于内容的空间关系,也就是内容本身跟容器的关系。到后来我就觉得这其实是在做标本,于是我就创造了一些我想象中的与后人类相关的这些假想标本。当然这是一个长期的计划,可能会用几年的时间去发展和完善,最后会变成一个系列。并且都会是并列展示的,可能有好多盒子,每一个盒子里都是不同的东西,最后会像一个博物馆一样进行展示,并且可以在屏幕中被收藏。

Jackie: I think this is a particularly great concept because including the ‘screen formalin’, which you mentioned earlier is a developing concept, which has porosity. What is also interesting is that long before the outbreak you proposed this concept, but once again when you look at it through the lens of the pandemic, its meaning has changed. I think this point also proves that the work does have an extensibility about it and a kind of prophetic quality too.

高:我觉得这个是一个特别好的概念,因为包括屏幕福尔马林,你刚才也提到它是一个发展中的概念,有多孔性的。同样有趣的是早在疫情爆发前其实您就提出过这个概念,但再次通过疫情的角度去看,它的意义又会发生变化,我觉得这一点也是证明这个作品确实有可延伸性和一定的预言性。

TIAN: Actually, I am better at working on the computer, which probably allows me to be more open and flexible than I would be. Because there are a lot of specific constraints, such as materials, costs, space, and time, and even a lot of mechanical or other specific problems, but on the computer, these are not really problems. In the future, it could be made into VR — VR is already being done, wearing 3D glasses, the world would be real, it’s like we are looking at exhibitions in a virtual museum, so the experience could be better.

田:我比较擅长在电脑上去创作,这可能会让我比在现实中更加放得开,或者更灵活一点。因为现实中有很多具体的限制,比如说材料,费用,空间和时间,甚至还有好多机械或者其他一些具体问题,但是如果在电脑中其实就不算问题了。现在展示出来的话,我觉得还不是最完美的状态,如果在未来,可以做成VR的—VR其实已经在做了,戴着3d眼镜看,那个世界它就是真实存在的,就真的是在逛一个虚拟的博物馆,这样体验感可能会更好一点。

Jackie: Right, so do you think the concept of ‘screen formalin’, is there some overlay or overlap of context between this concept and the pandemic?

高:对的,那么您认为屏幕福尔马林的概念,它和疫情有没有一些相覆盖的或者相重合的语境?

TIAN: The pandemic has catalysed the fulfillment of the concept.

田:疫情催化了这个事的发生。

Jackie: As an audience, from my point of view, the pandemic is a continuation of the concept of this series of works. You just said that the pandemic is akin to a push for the fulfilment of these ideas, which I think is indicative of the prophetic nature of the post-human perspective of this work, the pandemic is akin to a validation, which is also interesting.

高:以一个观者的角度来看,疫情其实会对这一系列作品的概念进行一个延续。您刚说疫情类似于推动了一这些观念的应验,我认为这是能体现出这个作品的后人类视角的预言性的,疫情类似于一场验证,这个也很有意思。

TIAN: Yes, the audiences are free to make associations. Although they might have different perspectives to what the artist initially thought, however, it is very normal and the artist would like the audiences to do so, to have various interpretations.

田:对,观众联想是很自由的。虽然这跟艺术家一开始的想法会有不同的角度,但其实这是特别正常的,而且艺术家也希望是这样的,拥有各种解读。

Jackie: It is. I think that is also one of the charms of art. Therefore, it has brought a lot of changes due to the pandemic, so what might be the most impressive change that the pandemic has imparted on the art world?

高:是的。我觉得这个也是艺术的魅力之一。那么,由于疫情带来了很多的转变,那么对于您来说,艺术界里面发生的,另您印象深刻变化是什么样的呢?

TIAN: I think it is the fact that there are more artworks online, or that people have a stronger desire to showcase it. It used to seem like people were a bit secretive and would not always post their ideas on public platforms. But then I found that people were trying to promote themselves in every way possible. However, there is probably so much information on the internet that even if you do speak up, you might not always be noticed. People only have a limited attention span and most of their attention was taken up by those platforms who have a way of knowing what could get people’s attention, even if it’s not necessarily what they really want or like. At the same time, because of the lockdown, there were more online exhibitions.

田:我觉得是线上的艺术变多了,或者说是大家的展示欲更强烈了。以前好像大家其实都有点深藏不露的感觉,有想法不会轻易发布在公共平台上面。但是后来我发现大家都想尽一切办法在宣传自己。然而,可能是在网上信息太多了,所以即使你发声的话也不一定会被人注意到。人的注意力是有限的,并且大部分的注意力都被有方法的媒体们给占据了,他们知道什么能博人眼球,虽然那并不一定是人们真正想要或喜欢的。同时,因为封锁,线上展览也变多了。

Jackie: That is right, you have been very specific about the profound shifts in the Art world. So, let us go back to your work. I have seen some short videos on your Weibo account, such as Before the Reboot and the Mythology series, which have some astronaut and planet elements in them. What are your thoughts on applying these elements in a post-human context?

高:对的,关于艺术界比较深刻的转变,您刚刚已经说的很具体了。那么我们还是回到作品,我在您的微博上看到了的一些短视频,比如说“重启之前”,然后“神话系列”等等,都会有一些宇航员还有星球的元素在,那么,您将这些元素运用在后人类语境中的思考是什么呢?

TIAN: These astronauts relate to the stability, fragility, and collapse that we just talked about. In The Thrill of Stability, for example, the astronaut actually symbolises a human exploration of himself, or an image of a human being cultivated by the spirit of science. He is constantly exploring new planets, and as he goes onto a planet, that planet would become a ball light in a ballroom, and then slowly collapse and blow itself up, and as he is walking towards the next one, the last one resume, which could give a feeling of a human being as like the locust, going from a planet to another for plundering.

田:这些宇航员其实就跟刚才聊的稳定,脆弱和崩塌都有关系。 比如说《稳定的惊险》,其实宇航员象征的就是人类对自己的一种探索,或者是一种科学精神培养出来的人类形象。他在不断的探索新的星球,走到一个星球上的时候,那个星球就变成了舞厅的球灯,然后它慢慢就会自我崩溃并炸掉,当人在走向下一个的时候,上一个又恢复了,这会给人一种人如蝗虫一般,一个个星球去掠夺的这种感觉。

That is also what Before the Reboot is about. They are having a carnival dance, but the man has started to take on a distorted and deadly character, and the background has changed from a starry sky to a blue screen, a sense of one last carnival before the end. That is how I interpret it, but audiences may see it differently.

《重启之前》也是这个意思。在狂欢跳舞,但是那个人已经开始有扭曲和死机的特征,背景也是由星空变成蓝屏,一种末日来临之前的狂欢之感。我个人是这样去解读的,但每个人的看法不一样。

Jackie: I think this is also a wonderful piece of work. And as an artist who mainly works in the field of new media art, what do you think is the relationship between Technology and Art?

高:我觉得这个也是很妙的一个作品。那么,作为一个主要以新媒体为领域尽行创作的艺术家,您认为科技和艺术发展之间的关系是怎样的呢?

TIAN: Technology and Art are closely linked. Historically speaking, technology and art are one and the same, but I think it is basically technology that drives art. Because art is only beneficial if people are well fed and clothed. Like the technological revolution, which invented so many technologies that are particularly useful for life, such as CT, and technology has in turn contributed to the development of art, rather than art contributing to the invention of technology. Because art does not have that much objective energy, it’s the economy that’s behind the technology, and the economy drives the technology, and then the technology drives the whole society from all aspects.

田:科技和艺术我认为是紧密连接在一起的。从历史上来说,科技与艺术是一体的,但我觉得基本上是科技在推动艺术的发展。 因为艺术其实是在人们丰衣足食的前提下才能体现出它的益处。 所以这就像科技革命,它发明了好多对生活来说特别有用的科技,比如CT。科技反向促进了艺术的发展,而不是说艺术促进了科技的发明。因为艺术并没有这么大的物质能量,科技的背后是经济,经济推动了科技,然后科技带动了整个社会各种层面的运转。

In fact, from the invention of pigments to the computer, the Internet, including VR and artificial intelligence, all these inventions have been promoting art and finding new possibilities for it. Some of them are material, some are directly conceptual. In fact, art and technology are one and the same, but technology comes first, and art comes second.

其实从颜料的发明,一直到现在的电脑、计算机、互联网,包括VR和人工智能等这些一系列发明,都是在推动艺术和在为其寻找新的可能性。有的是从材料上,有的是直接从观念上去转化。其实艺术与科技就是一体的,只不过科技在前,艺术在后。

Jackie: Well, yes, the economic base determines the superstructure. Then we come to the next question, the concept of the post-pandemic era was proposed in a way that overlaps with the context of the post-human era that you proposed earlier, can you talk about what would be potentially illuminating about the post-human era for what we call the post-pandemic era?

高:嗯,是的,经济基础决定上层建筑。 那么我们来到下一个问题,后疫情时代这个概念的提出,其实在某种程度上和您之前提出的后人类时代的语境是有所重叠的,您能谈谈关于后人类时代会对我们所说的后疫情时代有什么潜在的启发性吗?

TIAN: I think the post-pandemic would accelerate the post-human era because the pandemic is accelerating the rate at which people are incubating in the virtual world, people are becoming more dependent on the internet, and we are taking a step further towards a cyberpunk-like world. In general, man has become more and more adapted to machines, to the evolution of technology, and conversely man has become more and more updated to them. There is a heavy dependence on technology, especially in some big cities, people there has reached an unrealistic level of dependence on technology. It is as if people are handicapped once they have been removed from certain technologies. For example, if you do not have navigation app on your mobile phone, you may not even know where you are driving. The use of the Internet for express delivery, ordering food, having fun, etc. has also increased our dependence on it. So, I think people would probably be happier in the virtual world, and this process may last for a few hundred years. As the technology becomes more and more mature, people will spend more time in the virtual world than, for example, gaming time now feels like a lot, as well as brushing Jitterbug or some other social media software. Excitement and entertainment, this is the next direction. People’s time has slowly been taken over by some technology, so I think the pandemic is a kind of acceleration, I guess.

田:我觉得后疫情会加速后人类时代的到来,因为疫情其实是在加速人在虚拟世界的孵化速度,人对互联网的依赖更强烈了,我们也向类似于赛博朋克的世界更进了一步。总的来说,人对机器,科技的进化变得越来越适应了,反过来说人对它们的更新换代也越来越快了。人对技术有严重的依赖,尤其在一些大城市里,人对科技的依赖程度已经到达不太现实的程度了。好像人一旦脱离了一些技术,就像残疾人一样了。 比如,手机上如果不安装导航软件,可能开车都不知道向哪里行驶。还有互联网对一些快递,订餐,玩乐等这些生活中的技术运用,也加强了我们对它的依赖。所以我觉得人可能在虚拟世界会更快乐,这个过程其实可能会持续个几百年,随着技术发展越来越成熟,大家在虚拟世界里面的时间会比在现实中更多,比如说游戏时间现在感觉就会花上很多,还有刷抖音或者一些其他社交媒体软件,再下一步就是戴上VR眼镜,在另一个世界中沉浸,去寻找刺激和娱乐,这个肯定是下一个方向。 人的时间其实慢慢已经被一些科技给占领了,所以我觉得疫情是一种加速吧。

Jackie: According to what you have just said, technology might gradually take over our physical world and art world. Do you think this form of online art exhibition may gradually become mainstream in the future or even replace the physical art exhibitions completely?

高:那么根据您刚刚说的,科技可能渐渐的在占领我们的现实世界或者艺术世界,那么您认为线上的这种艺术展览形式,它是否在未来会有可能逐渐的主流化,或者甚至完全取代线下的艺术展览?

TIAN: It is impossible to replace the physical ones, because people have not lived completely online yet after all, and it’s only when they live completely online that offline is likely to be replaced. Exhibitions could become like games, where you could interact on your mobile phone, but right now we have not seen any exhibitions that are interactive enough to attract people, so there are still no big surprises comparing with physical exhibitions. A well-done online exhibition could complete the exhibition in the process of playing it, rather than still being a simple viewing experience.

田:取代肯定是不可能,因为人毕竟还没完全生活在线上,只有完全生活在线上,线下才有可能被取代。展览或许会变成游戏一样,在手机上就可以互动,但现在我们还没看到有能做到足够吸引人的这种展览互动,所以,与现场展览相对比,目前还是没有太大的惊喜。做得好的线上展览应该是在玩的过程中就把展览给完善了,而并非还是一个人的观看的感觉。

Jackie: It is saying that the development of online exhibitions is not very mature now, isn’t it?

高:等于说现在的线上展览的发展还不是很成熟,是吗?

TIAN: Yes, but I rarely see physical exhibitions now. It depends on who the audience is. For young people, they have a demand to go to physical exhibitions, for dating or socialising. They must be the main audience for physical exhibitions. However, the cost of physical exhibitions is relatively higher, mainly in terms of time. For example, if you are busy at work, the time cost of watching a film on your mobile phone is different from watching a film in the cinema. In the latter case you must spend several hours, or even half an hour preparing before leaving home. So now the exhibition must be attractive enough and famous enough or have a following to go and attract people. Otherwise, it is satisfied for people to go through exhibitions online.

田:对,但是线下展览我现在就很少看。这主要看受众是谁,对于年轻人来说,他们有需求去线下展览,比如说约会或者是社交。这部分人一定是线下展览的主要受众人群。但是线下展览的成本相对更高,主要是时间成本。 举个例子,如果你的工作很忙,那么在手机上看部电影,与在电影院看部电影的时间成本就是不一样的。后者你得花好几个小时,甚至出门前准备时间就得花半小时。所以现在展览必须足够吸引人,而且足够出名或者是有粉丝才有可能去吸引到人。除此之外一般,在线上看一看就满足了,人的注意力是会被转移的。

Jackie: Yes. There was some discussion about technology pushing art forward, could you talk about the impact this has on the future of the art industry? And how might this affect your future work?

高:是的。刚刚有讨论到科技推动艺术发展的一些话题,那么您可以谈一下这对艺术行业的发展前景会带来什么影响吗?并且这对您之后的创作会有一个怎样的辐射意义呢?

TIAN: In fact, the combination of technology and art in China is quite hot right now. Because to some extent, art has fallen into a big dilemma, so it needs technology to give it a new breakthrough. Firstly, there is a lot of potential for technology, because it appeals to young people and it is easy to create a buzz, and secondly, commerce likes it, for example, many shopping malls and advertisers would like to incorporate new technologies into art in their exhibitions. In China, the combination of technology and art has been very popular in recent years.

田:其实现在中国科技与艺术的结合还挺火的。因为某些程度上,艺术已经陷入了一个挺大的困境了,所以需要科技来给它一些新的突破口。首先科技它有市场,因为它比较吸引年轻人,并且也非常容易引起话题,其次商业也很喜欢,比如说很多商场,广告商。这些展览都喜欢把一些很新的科技融入艺术。 在中国,近几年科技与艺术的结合就很热门。

But I think artificial intelligence would be the thing most interesting in future. I think that artificial intelligence and mechanics could be combined with more virtual things. We could find a lot of potential directions in this area, and it will be interesting to see how each direction could be promoted. There is no direction that is better or more futuristic, so I think the state of technology now is that it is full of the possibility to be explored and rediscovered. Because there is no breakthrough in basic theory right now, it needs a process of accumulation, and there is a rhythm of quantitative change producing qualitative change. So, I think there is going to be a slow mix of technologies, there is going to be a lot of subdivision of new ways to play. I think it is going to be very great.

但我觉得未来更有意思的其实还是人工智能这方面。我觉得人工智能和机械,之后还可能跟虚拟的东西结合。从这方面我觉得其实能找到很多的出发点,每个点的拓展都会很有意思。它现在没有在特定哪个方向是被认为更好或者是更有未来的,我觉得现在科技的状态就是在各个点都有深挖和重新发现的可能。 因为其实现在基础的理论并没有较大的突破,这需要一个积累的过程,量变产生质变,这是有节奏的。所以我觉得各种技术会慢慢混合,但是这也会有很多细分的新玩法。我觉得这会是很热闹的。

Jackie: This reminds me of your previous work in which you mentioned that technology has a life of its own. Do you have an idea or thought about this?

高:这让我想起您之前在作品中提到过,科技是有自身的生命力存在的。您是有过这样一个想法或者是思考的吗?

TIAN: Technology itself is like a kind of life. Kevin Kelly wrote a trilogy that is actually talking about this. People are nurturing technology into life and trying in various fields to make artificial intelligence become like a life form, for example, it can control itself, make itself, and then he also wants it to be conscious at the end, in fact, they are all working on this. I think that after continuous experimentation, once the direction of evolution is determined, it will evolve successfully. It is just a matter of time because human beings have evolved over a long period of time. However, this is just a natural and slow evolution, but the time it took for man to cultivate technology was actually very short, and perhaps in another 1,000 years, this could break through even faster. It is giving a sense that human is cultivating a strong and powerful life from the point of view of the evolution of living things.

田:科技它本身就像一种生命。凯文·凯利写的三部曲,其实就在说这个事。人是在培育技术变成生命,人会在各种领域的尝试让人工智能变得像个生命体,比如它能控制自己,制造自己,然后他最后还想它有意识,其实都在这方面去努力。 但我觉得经过不断的实验,其实演化的方向一旦确定的话,他一定能演化成功的。我觉得只不过是时间长短的问题,因为人类的演变也经过了漫长的时间。这个只是自然的缓慢的演化,但是人培育科技的时间在很短的时间内就有了这种雏形了,或许再过1000年的时间,可能这个会突破的更快。 这是从生物的演化的角度来说,人在培育一个强而有力的生命的感觉。

Jackie: This is a brand-new point of view.

高:对的,这真的是一个全新的视角。

TIAN: All of these points are actually mentioned in Kevin Kelly’s book, which I do prefer, and some of them I’ve put it out in another way in my work.

田: 这些观点其实都是凯文·凯利的书中有提到过的,我是比较喜欢这种说法,有些说法会我在作品中用另一种方式将它表现出来。

Jackie: Exactly, I could feel your self-interpretation in your work. So that concludes our interview for today, thank you for sharing.

高:是的,能在您的作品中感受到您的自我解读。那么我们今天的采访就结束了,谢谢您的分享。

Staff

Host: Jiaqi GAO
Contact Person: Ifance FAN, Christy YANG
Planner: Christy YANG
Text: Ifance FAN, Christy YANG
Translator: Jiaqi GAO
Proofreading: Calum BAIRD

 

Taking / Scar

Zidian YAN 晏资典

Rust-like elements often appear in my art, like scars, negative effects, etc. My thinking in using these elements is: when we’re faced with some issues, recognising their existence and balancing their relationships with us is precisely what we should do.

我的艺术创作中经常会出现锈类元素,类似于伤痕、负面影响等等。对于这些元素的运用,我想表达的是:认可它、承认它的存在并平衡它,才是我们面对问题时所应该做的。

Biography

As a young artist in the field of contemporary art, Zidian YAN aims to consider the social situation by combining his visual language and the realisation of philosophy.

YAN hopes to break with the constraints of traditional Chinese aesthetics and explore the future context of the Art world by communicating through a combination of Western and Chinese culture.

He wants his works to build a world of “Poetic Utopia”, and his main artistic intention is to promote “poetic revolution” and “rebuilding life”. He, therefore, regards artwork as a reflection of intention and the content involved in it as evidence of his artistic concepts. He also believes that, as a medium, the form of artwork is merely about presenting meanings.

晏资典作为一名当代青年艺术家,其致力于通过视觉艺术语言与中西哲学 话语进行融合,从而表达当对下社会环境思考。并希望以东西方文化交流为手段,摆 脱中国传统审美的桎梏,并对艺术世界未来的发展语境进行探索。 他希望让作品进入到一个“更为诗意的乌托邦世界”,并以“诗性的革命”以及“重塑生 活”为创作的主要意图。他认为,艺术作品其实是一种意图的再现,作品所表达出的内 容才是艺术观念的见证,而形式仅作为传达观念的介质存在。

Interview

The names would be abbreviated as “Ifance” (Ifance FAN) and “YAN” (Zidian YAN).

(之后姓名分别写为“范惠冰”、“晏资典”)

Ifance: Could you tell us how did you organize your work and life? Like, what have you been up to lately during the pandemic? And was there any aspect of your work and life that has changed by the pandemic?

YAN: During the pandemic, I spent most of my time painting at home, and my social life was less than normal. Recently, I’m trying to change myself and breaking through some limitations, in order to explore some new views. The change might be that I had more awareness of the crisis, just as a Chinese old saying goes, “If we live with sorrow, we would die with happiness”. Therefore, being in such a serious circumstance, all of us should inspire ourselves to be more aware in order to deal with the challenge.

范惠冰:在新冠期间,你是如何组织工作和生活的?最近都在忙什么?与新冠之前有什么不同?

晏资典:在新冠期间,多数时间是居家以架上绘画为主。出门社交比以往较少。最近在尝试改变自己,突破自己,在不断探索新的自己。与疫情之前不一样的地方是更加有危机意识了,生于忧患死于安乐嘛。越是乱世越该用更好的状态去迎接挑战。

 

Ifance: Could you tell us about what kind of impact the pandemic might have on your art creation? such as the changes you‘ve experienced or discovered? or what could be taken as your Pivot during this period?

YAN: If we just talk about art creation, I have to say that actually, it might have more positive impacts. As the result of lockdown which directly caused by the pandemic, I’ve spent a quiet period at home by creating some oil paintings, or reading some poetry masterpieces and anthologies. As for my Pivot, it might be more about the new things that happened during this period, such as the process of engaging with the new stuff or new friends and understanding and accepting them as time went by. This was also presented in my paintings I’ve created with my heart.

范惠冰:这次疫情对你的艺术创作有怎样的影响?你经历过或发现的变化是什么?你认为自己在疫情下的的转折点是什么?

晏资典:其实疫情对我的艺术创作更多的是积极的影响。因为新冠直接导致户外活动都有感染的风险,所以我静心在室内创作油画为主,并且期间有阅读很多诗歌名著和文集。在创作过程中变化和转折点多为遇到新朋友,接触一些对于自己陌生的东西并且去了解和接纳。并呈现在自己赋予情感的作品画面中。

 

Ifance: Just mentioned that you read a lot of poems and anthologies at that time. Could you share them with us?

YAN: Yes, in particular, there will be more poetry anthologies recently. Like” Thus Spoke Zarathustra” by Nietzsche, and “Walden” by Henry David Thoreau. Interestingly, they were also in the stage of solitude in their lives when they wrote these masterpieces. Meanwhile, I’m reading books by Xiaobo Wang and Rainer Maria Rilke.

范惠冰:刚刚有提到当时读了很多诗歌和文集,可以跟大家分享一下吗?

晏资典:是的,特别是近期阅读的诗歌文集会比较多。比如尼采的查拉图斯特拉如是说, 比如卢梭的瓦尔登湖。有趣的是,他们写出这些神作之时也是处于人生中独处的阶段。还有在看王小波和里尔克的文字等等。

 

Ifance: During this special time, what has impressed you the most? does it have any connection with your intention of the artwork?

YAN: The thing that impressed me most was our attitude toward the pandemic. After the outbreak, we instantly implemented the lockdown strategy to control its spread. This attitude also could be found in the process of art creating similar: when we discovered a problem, the thing we need to do is not avoiding it, but to recognize it and solve it, I also express this opinion in my works.

范惠冰:在疫情这段特殊的时间里,令你感到印象最深刻的事是什么?这件事与你这次的创作初衷有什么联系吗?

晏资典:印象最深刻的是中国国内对疫情的控制严格且高效。和作品创作的联系有一点是相通的:我在画面中经常会出现锈类元素,类似伤痕、负面影响、病毒、污点等等。我们发现问题不去回避它,而是正视它、认可它、承认它的存在,并平衡它治理它。这点我在作品画面中也是如此表现的。

 

Ifance: What was the source of inspiration for these works? And when did you start two conceive it? What kind of relationships are involved among them?

YAN: The idea of the artworks mainly came from the phenomenon of the pandemic, my mood state, and the poems and articles I’d read at that time. Ideas could emerge in every moment of living a life. When these artworks were finished, virtually, it was not the same as its conception at first, because it’s varying with my feeling and thinking during my process of creation.

范惠冰:这些作品的灵感来源是?是从什么时候开始构思的?它们之间有什么联系?

晏资典:作品的灵感主要来源于疫情本身和当时的情绪状态和所读的诗歌和文章。构思会一直存在在生活的每一刻。作品完成时其实并不是构思时最初的样子,而是会随着自己情绪想法和思考的不断改变而改变。

 

Ifance: From the bonus scene in the video, it can be seen that you’ve changed to another idea just before creating. Why does this happen? What kind of information do you want to express by this?

YAN: The idea appeared after Easter. At first, I was focusing on experimenting with new materials to make a breakthrough of the scenes, and after attempts, I found that it was quite good. Therefore, this bonus scene was created and wasn’t public until one year after the outbreak. What I wanted to depict was not only that we were all affected by the time and the destiny, but also the clear moonshine, the bright sky, the endless sea, and the stars covered the sky, they were all in my mind.

范惠冰:从视频的彩蛋可以看出你在创作时提前有了不一样的构思,这个想法是在什么时候出现的呢?你想从中传递怎样的信息?

晏资典:想法出现在复活节之后。最开始是想着是实验新的材料让画面有所突破,但不断的尝试后发现效果不错。就因此埋下了这个彩蛋,直到疫情一年之后才公开。我想描绘的不止我们都被岁月和命运感染,还有记录我心中的皓月明空与星辰大海。

 

Ifance: Have you ever counted how many artworks were created during that time? Which one do you like best? What do you think should be the most difficult part during the whole creating process?

YAN: There were nearly 30 artworks, not just paintings, but also performed with the form of conceptual art and installation art. My favourite work is The sunshine is falling like dust when we are breathing quietly.

The most difficult part of the whole creating course was my mental issue. This was due to the fact of my standard of taking an artwork as completed because I wouldn’t think an artwork as finished unless I’ve passed the hurdle that emerged in my mind during its creation.

范惠冰:在疫情期间有没有统计过一共制作了多少件作品?你最喜欢的是哪一件?你觉得整个过程中最难的部分是?

晏资典:在疫情期间有创作大约近30件作品,不全是架上绘画,也有实验性的观念和装置。最喜欢的是《阳光如粉尘跌落 我们安静地呼吸》,整个过程中最难的一部分是在自己的心理问题。比如如何才能判定这幅作品已经画完,当心里没有过那道坎就会一直没有画完。

 

Ifance: Did these works capture or record the changes or influences that appeared during the pandemic? Could you tell me which one gave you the deepest feeling during the creation? and what its story was like?

YAN: It is true that these works recorded the changes in my thoughts. Cutting off the prosperous moon on the earth and my thought of never contacting initiatively was the most impressive one for me because I am not an active person in life and relationships, I always miss some of my friends, but wouldn’t contact them on my own. I can only miss them deeply in my mind.

范惠冰:这些作品中是否捕捉记录了在疫情期间内心所产生的变化或影响?哪件作品是在创作中给你感受最深的,能否再多讲讲这些作品背后的故事呢?

晏资典:是确实有记录疫情期间内心所产生的变化,《割下大地繁华的月亮 与我从不主动联系的惦记》是感受最深的,因为我在生活和感情中并不是一个很主动的人,常常会想起一些思念着的朋友,但不会去主动联系。只能放心里淡淡地惦记。

 

Ifance: Who are your favourite artists?

YAN: There are four artists. The first one is Anselm Kiefer, and then Joseph Beuys, Olafur Eliasson and Anish Kapoor.

范惠冰:你比较欣赏的艺术家是?

晏资典:一共有四位艺术家。基弗、博伊斯、埃利亚松、安尼施卡布尔。

 

Ifance: I have noticed that you’ve used the creating methods of paintings, installations, sculptures to reflect on the difficulties and considerations in your life. Is this the focus of your art creation? What are you thinking of when you selecting different methods to perform creation? What is the relationship between these artworks and your other works?

YAN: There are many ways of expressing my thoughts, and my focus is to purely express and vocalize my mind through those works. The perception that emerged from the dilemma is the most inspirational for creation. There are different creative methods but the purpose is the same.

范惠冰:我有注意到你的作品有通过绘画,装置,雕塑这些艺术创作方式来反思生活中的困境和感想,这是你的创作的关注点吗?你在进行不同的创作方式时是怎么思考的呢?这些作品和你的其他作品又有什么样的关系呢?

晏资典:创作的表达方式有很多种,关注点是想纯粹地表达和发声做作品。困境感悟是最能激发创作灵感的。有不同的创作方式但目的都是一样的。

 

Ifance: I’ve noticed that you held a solo exhibition online last year. Is there anything you want to share with the audience from this experience? What made you want to hold this exhibition? What do you think is the relationship between curation and creation?

YAN: Well, I’d like to share but I feel that I am still not good enough, I should put more energy into my creation to present better works. Haha, the reason for holding this online exhibition was because I had nothing to do during the epidemic, so I thought that I should make an annual summary for my whole-year creations. Maybe I would hold such an online exhibition every year in the future. Art creating is like the arm, and curatorial work is more of overall planning, summing up, like joints.

范惠冰:留意到你去年在线上做了个人作品展览,从这次经历中是有什么想与观众分享吗?是什么原因促使你想办这次的展览?你觉得策展和创作之间的关系是什么呢?

晏资典:想分享的是觉得自己还不够好,应该投入更多精力在创作中,呈现出更好的作品。哈哈哈哈办这次线上展的原因是因为疫情这一年什么其他事都没有做,创作总应该给自己做一个年度总结吧。可能以后每一年都会做一次这样的线上展吧。创作是生产像是手臂,策展的工作更多在于统筹总结归纳,像是关节。

 

Ifance: Since your first exposure to art, or before the special period, has your perception of art been changed? Is there anything you want to say to the artists? Especially the ones who are still in school.

YAN: My ultimate goal hasn’t been changed for more than ten years, what changed was my attitude towards the “rules of the game”. I want to say that, “This road might not be as easy as you imagined, so if you’re taking Art as a pure belief, just try your best to live your life.”

范惠冰:从第一次接触艺术开始,或者在新冠之前,你对艺术的感觉现在是否发生了变化?有没有什么话是想对其他艺术家说的?特别是还在校的艺术学者。

晏资典:最终的目标十几年了都没有改变,改变的看待这场“游戏规则”的态度。想对其他艺术家说:这条路可能没有想象中轻松,如果艺术也是你纯粹的信仰,那就努力生活吧。

Staff

Host: Ifance FAN
Contact Person: Ifance FAN
Planner: Ifance FAN
Text: Ifance FAN
Translator: Jiaqi GAO
Proofreading: Calum BAIRD

 

Vipassana Meditation

Lulu 陆晨

During the pandemic, Lulu created two sets of photographs. 2020 is her hope to preserve this special memory through images to keep everyone from forgetting it and, if possible, to pass on the memory and with the images to those who will come after. At Home was created because, during the pandemic, time spent alone became more frequent and all the senses heightened, details not normally noticed were magnified and recorded

在疫情期间陆晨创作了两组摄影作品,其中《2020》这一组作品是关于她希望用图像来保存的这段记忆:相对于抽象的思维,图像的可延续性和可传播性,可以使这段记忆留存的更为永久,不至于被快速淡忘,并且如果可能,希望能将这段记忆连同图像传递给未来的人们。

而《在家》的创作灵感来源于疫情期间,由于独处时间变多,感官都变得更为敏感,故平时关注不到的细节都被放大并被记录。

2020

At Home 在家

Biography

Lulu: Independent Photographer

陆晨,独立摄影师

Interview

The names would be abbreviated as “Christy” (Christy YANG) and “Lulu” (Lu CHEN).

(之后姓名分别写为“杨艺珊”、“陆晨”)

Christy: How did you organise your work and life during the pandemic? How was it different from before the pandemic?

Lulu: My work and life were basically integrated, but during the pandemic, I was more regular and disciplined than before.

杨艺珊:疫情期间,你是如何安排自己的工作和生活的?与疫情发生前有什么不同?

陆晨:我的工作和生活基本上融为一体,但我在疫情期间反而比疫情前更加的规律和自律。

 

Christy: What changes have you experienced or noticed? What do you think was the turning point for you during the pandemic?

Lulu: The change in my life leading to the search for new work possibilities, the first two changes have made me feel that the present moment is more important than any other moment. I spent more time alone, had more limited space to move around and started to focus more on reading and thinking.

杨艺珊:你经历或发现的变化是什么?你认为自己在疫情下的转折点是什么?

陆晨:因为生活的变故导致寻找新的工作可能性,前两者的变化让我觉得当下比任何时刻都重要。疫情下独处的时间更多,活动的空间更局限,开始更注重阅读和思考。

 

Christy: When did you start this series of photography?

Lulu: After spending a few weeks at home, I realized that there was more and more information around me, complex and diverse, and needed an outlet for expression.

杨艺珊:你是什么时候开始这组摄影作品的?

陆晨:我在家呆了几周后,发现身边的信息越来越多,复杂多样,需要一个表达的出口。

 

Christy: What inspired you to start this sets of work?

Lulu: I took two sets of photographs. One is about the state of the city: 2020, and the other is about the state of isolation at home: At Home.

2020 uses images to preserve memory. Images are permanent so that people don’t forget it all. And, if possible, to pass the memory on to the future, along with the images.

At Home was created because the time spent alone at home let me become more sensitive and the details that are not normally noticed are magnified.

杨艺珊:是什么启发了你着手这组作品?

陆晨:我拍了两组照片。一组是关于城市状况: “2020”,一组是关于居家隔离状态:“在家”。

“2020”用图像来保存那段记忆,图像是永久的,能让大家不至于忘记这一切。并且如果可能,将记忆连同图像传递给以后。

“在家”的创作来源则是因为在家中独处时间变多,感官都变得敏感,平时关注不到的细节都被放大。

 

Christy: What does this series of work mean to you?

Lulu: It means that I can remind myself to be a person with a memory imprint. To remind me to think independently and to remain rational and human.

杨艺珊:这组作品对你来说意味着什么?

陆晨:意味着,能够提醒自己做一个有记忆烙印的人。提醒自己要有独立思考、保持理性和人性。

 

Christy: Has the pandemic had any impact on your work/work schedule?

Lulu: My workload has decreased and has only recently recovered.

杨艺珊:这场疫情对你的工作/工作计划有影响吗?

陆晨:我的工作量减少,最近才有所恢复。

 

Christy: How do you feel about photography now compared to your first encounter with it, or to before the pandemic? How has it changed?

Lulu: I think it has changed from just recording and outputting to a more conscious output. I can observe, feel and experience more deeply before outputting, and I value the number of times I press the shutter more.

杨艺珊:现在你对摄影的感受与你第一次接触摄影,或者说与疫情之前相比,有什么变化吗?如何改变的?

陆晨:我认为是从单纯的记录和输出变成更加有意识的输出。我可以更加深入得观察、感受、体会,然后再输出,更珍惜按快门的次数。

Staff

Host: Christy YANG
Contact Person: Christy YANG
Planner: Christy YANG
Text: Christy YANG
Translator: Christy YANG
Proofreading: Jiaqi GAO