ArtSlant - Current exhibits en-us 40 Wang Keping - 10 Chancery Lane Gallery - November 23rd, 2012 - February 16th, 2013 <p><a name="top"></a>Katie de Tilly is honoured to present new works by acclaimed Chinese sculptor<br /> <br /> WANG KEPING<br /> <br /> Wood flesh Form Nothingness<br /> <br /> Reception with the artist Friday November 23rd, 6:30 - 8:30 pm at 10 Chancery Lane Gallery<br /> <br /> "If ever form spoke directly to the eye of the viewer, it is here...and what from! If, as I believe, what has been called the :inner core" of art is the way in which the artist transforms feeling into form, then what can we see that mysterious process taking place before our eyes, in Wang Keping's passionate engagement". - Michael Sullivan, Fellow Emeritus of St. Catherine's College, Oxford University<br /> <br /> "In my sculpture, I strive to find that which is universal in primitive Chinese form and the further I go back to the origins of this art, the closer I am to my idea of contemporary art". - Wang Keping</p> Wed, 06 Feb 2013 02:00:37 +0000 Mitsuru Watanabe - A Gallery Hong Kong - January 24th, 2013 - February 21st, 2013 <p>a Gallery is proud to present a series of art works by Mitsuru Watanabe, an established Japanese artist. Inspired by Western artists like Rousseau’s and Bosch’s iconic paintings, Watanabe transfuses the classic backgrounds with his forever subject matters, his two daughters. Portrayed in school uniform, the little girls appear to be traveling and exploring the different realm of reality and fantasy in the mysterious dimension. </p> <p>Watanabe’s excellent painterly technique and unique vision in his subject matter has expanded the horizon of contemporary Japanese art, where the possibility of the old and the new, the Oriental and the Western, the reality and fantasy can co-exist to create something completely unique yet familiar.</p> Sat, 19 Jan 2013 22:33:48 +0000 Wong Kai Kin, David Smith - Amelia Johnson Contemporary - February 7th, 2013 - March 1st, 2013 <p>Amelia Johnson Contemporary presents My Space, an exhibition featuring two Hong Kong artists, Wong Kai Kin and David Smith. <br /><br />Working generally in small scale the work of each artist is figurative but otherwise wholly divergent in context and treatment. Wong uses the compact canvas to focus on tightly constructed views of apartments. His images evoke a sense of sterility and even isolation. Wong observes our projection of dreams and desires into the spaces we inhabit. <br /><br />In contrast the modest dimensions of Smith’s paintings are conceptually polarizing, depicting expansive subjects intimately. He employs washes and the chemical qualities of oil to produce vast sweeping vistas that unsettle but involve us. His images call to mind atmospheric pollution or perhaps a post apocalyptic afterglow. <br /><br />Like Wong, Smith’s work concerns a sense of space and an uncompromising consideration of the state of our existence within it. <br /><br />ABOUT Wong Kai Kin <br /><br />Wong Kai Kin is a young, emerging Hong Kong artist and recent graduate of RMIT. This is Kin’s second exhibition with Amelia Johnson Contemporary. The artist has said he is interested in the way we project our dreams and desires through imagining owning material possessions. <br /><br />ABOUT David Smith</p> <p>David Smith is an Irish artist based in Hong Kong. He graduated from the University of Ulster in 2003 with a Masters of Fine Art. More recently Smith’s painting has been included in the first and second edition of INPA (International Painting Annual).</p> Sat, 02 Feb 2013 22:55:55 +0000 Gao Ge - Art Projects Gallery - January 12th, 2013 - February 28th, 2013 <p>Art Projects Gallery is delighted to present Chinese artist, <strong>Gao Ge</strong>'s first solo show in Hong Kong, "<em>Lucid Dreaming</em>". Gao Ge (b.1984) is an emerging talent from China's Post-80s generation of artists who are set to redefine the future of artistic expression and development in China. </p> <p>Based in the artist's village of Song Zhuang in Beijing, Gao Ge's works depict mesmerizing dreamlike imageries that on closer inspection, reveals the artist's inner psyche and personal emotions. Gao Ge's paintings often feature surrealistic settings of intricate details and soothing colors, in which she poetically places her subjects, sometimes tiny in comparison to the extent of the canvas ("Legend") and at times partially obscured ("Seeking Phoenix Tree"), or even absent ("Come and Gone"). The play of scale, juxtapositions and pictorial space are skillfully used by the artist in her works. <br /><br />Gao Ge's works are inherently melancholic, introspective and sophisticated. Perhaps, in her paintings, the artist has choreographed her own fantasy worlds to replace actual events in her life; a virtual realm in which she can ease her emotions and to find her true self. <br /><br />Gao Ge graduated from Tianjin Engineering Technical Institute, Department of Art in 2005. Her works have been exhibited in various shows in China, South Korea and Taipei, including solo shows in Beijing, Zhengzhou, Shanghai, and Tokyo in recent years.</p> Sat, 05 Jan 2013 04:04:16 +0000 Feng Shu, Na Wei, Xia Hang, Fan Xiaoyan, Zaichang, Lee Hansu, Ko Kangcheol - Art Seasons Beijing - December 22nd, 2012 - March 10th, 2013 Tue, 01 Jan 2013 23:52:20 +0000 Zhang Lehua - Art+ Shanghai Gallery - February 3rd, 2013 - March 24th, 2013 <p>Zhang Lehua’s solo exhibition <strong>Love in a Golden Bowl</strong> explores how meaning is communicated and lost through a process of reading art. Deliberately miss translating text and employing ambiguity in his Chinese text are ways in which the Shanghai based artist plays with paradox and irony to peel away surface meanings. <br /><br />The English and Chinese subtext in his work often differ, a decision made by the artist to emphasize vagueness, and ultimately reveal contrary interpretations of life. In order to preserve the artist’s intended meaning two separate titles for the exhibition are used, in Chinese<strong> 鸾叹情</strong> (luan tan qing) is loosely translated into English as a male phoenix sighing. The reference to the phoenix sigh of affection plays with Chinese analogy of a happy phoenix symbolizes a happy couple. A slightly altered tone, however and <strong>鸾叹情</strong> (luan tan qing) sounds likedluan <em>乱弹琴</em> (luan tan qin), which translates to rambling nonsense, a meaning Lehua has also intended to convey. <br /><br />The English title for the exhibition is borrowed from Thel’s moto in the introduction to "The Book of Thel,” a poem by William Blake (1789). <br /><br /><em>Can the eagle see what is in the pit,</em><br /><em>Or wilt thou go ask the mole?</em><br /><em>Can wisdom be put in a silver rod,</em><br /><em>Or Love in a golden bowl</em><br /><br />The reference of Lehua as a post-modern Blake draws comparisons from the themes of maturation and sexual experience in Blake’s poetry to the young and naïve coming of age scenarios in Lehua’s artwork. Both poets share an interest with alienation of authority, Blake in his theological references and resentment towards the state church and Lehua in his animosity towards mainstream society and mockery of educational doctrine. While both artists are sincere in his criticism, an element of moronic satire is emphasized Lehua’s works.<br /><br />In a showcase of painting, video and installation,<strong> Love in a Golden Bowl</strong> discusses culturally sensitive issues via popular topics among China's youth. Join us on Saturday February 2nd for the exhibition preview opening. The artist will be present.</p> Wed, 20 Feb 2013 02:03:09 +0000 Yu Tao, Huang Youwei - Beijing Wan Fung Art Gallery - January 24th, 2013 - February 24th, 2013 Fri, 01 Feb 2013 00:42:43 +0000 Vik Muniz - Ben Brown Fine Arts Hong Kong - November 21st, 2012 - February 22nd, 2013 <p>Ben Brown Fine Arts, Hong Kong, is pleased to present the first solo exhibition in Asia of works by the internationally celebrated Brazilian photographer Vik Muniz. This exhibition will feature photographs from his recent Pictures of Magazines 2 series, in which the artist has carefully culled and torn pieces of paper from art, fashion and news magazines; amalgamated them into re-creations of iconic and historically significant paintings; and then photographed and magnified the images, resulting in evocative, exquisitely-detailed and entirely unique works of art. Muniz is renowned for his ingenious and laborious employment of unusual materials - dust, sugar, chocolate, diamonds, caviar, toys, paper hole-punches, junk, dry pigment - to reconstruct images, often art historically related, that tap into the spectator’s subconscious visual repository and beg for further investigation. Muniz’s elaborate material creations - in this case the magazine collages - are ephemeral; it is his masterly photographic documentation that is the final work of art, which is intentionally many steps removed from the original image that inspired it.<br />The exhibition features strikingly bold large-scale colour photographs based on visually resonant paintings by artists such as Michelangelo Merisi da Caravaggio, Paul Cézanne, Edward Hopper, Edouard Manet and George Stubbs. Muniz simulates the brushstrokes of these paintings with scraps of magazine paper carefully selected not only for their corresponding colour values but also their imagery - faces, body parts, text, advertisements - that collaged together suggest a tactile, impastoed surface. It is not just the final appropriated image that invites perusal, it is the minute components of the image - the bits of paper - that provide the irony, double meanings and visual associations for which Muniz is so well known. Highlights of the exhibition include optically rich renditions of Manet’s Bar at the Folies-Bergère, Annibale Carracci’s The Butcher Shop, Hopper’s Summer in the City and Mary Cassatt’s Picking Flowers in a Field.<br />About Vik Muniz<br />Vik Muniz was born in São Paolo, Brazil, in 1961 and currently lives in both New York City and Rio de Janeiro. He has had exhibitions at such prestigious institutions as the International Center of Photography, New York; Museu de Arte Moderna, São Paulo; Museu de Art Moderna, Rio de Janeiro; the Whitney Museum of American Art, New York; Fundació Joan Miró, Barcelona; the Menil Collection, Houston; Museo d’Arte Contemporanea, Rome and the Irish Museum of Contemporary Art, Dublin. His work is also included in the collections of the Museum of Modern Art, New York; the Art Institute of Chicago; the Solomon R. Guggenheim Museum, New York; the Metropolitan Museum of Art, New York; Museu de Arte Moderna de São Paulo; the Museum of Contemporary Art, Tokyo; the Museum of Fine Arts, Boston; the Museum of Fine Arts, Houston; the Tate Gallery, London; the Victoria and Albert Museum, London; the Walker Art Center, Minneapolis; and the Whitney Museum of American Art, New York. In 2001, Muniz represented the Brazilian Pavilion at the 49th Venice Biennale.<br />Vik Muniz is the subject of an Academy Award-nominated documentary film entitled Waste Land (2010), which chronicles the artist’s collaborations with a group of catadores - trash-pickers - in Jardim Gramacho, Brazil, the world’s largest garbage dump, located on the outskirts of Rio de Janeiro. Muniz spent three years working with these marginalized individuals using the collected recyclable trash to create monumental portraits of them, referencing Old Master paintings, that reveal both their dignity and desperation. Muniz was recently named a UNESCO Goodwill Ambassador for his contributions in education and social development, in particular for his work with the catadores.</p> Thu, 21 Feb 2013 09:57:52 +0000 Louise Bourgeois - Faurschou Foundation (Beijing) - October 27th, 2012 - March 24th, 2013 <p>Louise Bourgeois has throughout the years experimented with a wide range of media spanning across sculpture, painting, drawing, graphics, installation and sound. She has expressed herself in materials ranging from the classical marble and bronze, over latex and nylon, ripped and recycled garments, and found ready-mades.</p> <p>Louise Bourgeois was born in 1911 in France. In the late 1930's she married an American art historian and moved to America. Here she lived here she spent the rest of her life. In the 1980's she had her great international breakthrough and today she is internationally considered one of the most respected modern as well as contemporary artists.</p> Mon, 31 Dec 2012 22:31:03 +0000 Berlinde De Bruyckere - Galleria Continua / Beijing - December 22nd, 2012 - March 17th, 2013 <p>Galleria Continua is pleased to announce the first solo exhibition in China by the well-known Belgian artist Berlinde De Bruyckere.<br />An internationally acclaimed artist, since the 1990s Berlinde De Bruyckere (Ghent, Belgium, 1964) has used organic materials such as wax, horse hair and skin, wood and fabrics to produce disturbing, alienated and solitary images. The focus of her work is a profound meditation on the nature of sculpture, conducted by means of a careful observation of art history. She draws on a variety of artistic influences, ranging from North European Renaissance masters like Roger Van der Weiden, Van Eyck, Robert Campin and Lucas Cranach through to Luca Giordano and the magnificent art of the Italian Seicento, from which are borrowed sudden flares of light and looming shadows.<br />All the artist’s work stages the dualism between life and death, suffering and love. In her sculptures, De Bruyckere observes the precariousness of human existence; her works appear to be images of a widespread archetypal pain, offering themselves up in their vulnerable existence to the viewer’s gaze. The human body, represented in highly realistic postures, is articulated in all its different forms: the skin is furrowed by folds which, together with a lattice of veins and arteries, weave an intricate pattern; the muscles are rendered with a keen anatomical eye; while the pallor of the flesh is a reminder of the transience of life. The bodies are explored by way of subtraction: the figures, always incomplete and faceless, are the portrait of a fragmentary existence.<br />The group of works on display in the show have been chosen to provide an intense and fully representative sample of the work of an artist who, in the course of her career, has composed a gallery of works charged with sensuality and force, realized in wax or horse hide, which describe a world of emotions, fragile tenderness and love.<br />A central work in the exhibition is We Are All Flesh (Istanbul), made by slowly and carefully sewing together pieces of horse hide. Suspended and with essential features, the posture exalts the vigorous and powerful traits of the animal, in which human qualities and the dualism between life and death come together.<br />Actaeon, inspired by Ovid’s Metamorphoses, centres on the unfortunate fate of Actaeon, who was turned into a stag by the goddess Diana and then devoured by his own hounds. Scattered across a table, a simple plinth, is a tangle of branch-like stag antlers mixed up with strips of cloth, like an abandoned memory of the young hunter, an image of broken youth. The sculpture combines raw and delicate images, and of strength and power, sensuality and suffering.<br />Stag antlers, this time as an image of nature rather than as a metaphor of suffering, also feature in Rodt, interlaced branches in a precious wunderkammer.<br />009-, 2011-2012 is a large old glass display cabinet housing tree branches and trunks modelled in wax. The trees appear to be memories of the past, with knots and veining emerging from the texture of the wax. Wood, as an organic changeable element, is a powerful symbol associated with life.<br />Berlinde de Bruyckere was born in 1964, in Ghent, where she lives and works. She has shown extensively in recent years, with solo shows including We Are All Flesh, Australian Centre for Contemporary Art, Melbourne, Australia (2012); The Wound, Arter, Istanbul, Turkey (2012); Mysterium Leib. Berlinde De Bruyckere im Dialog mit Cranach und Pasolini, which opened at the Kunstmuseum Moritzburg, Halle, Germany, and then travelled to the Kunstmuseum Bern, Switzerland (2011); DHC / ART Foundation for Contemporary Art, Montreal, Canada (2011); Hauser &amp; Wirth Zürich, Switzerland (2010); Schmerzensmann, Hauser &amp; Wirth London, Piccadilly (2006); Eén, De Pont Foundation for Contemporary Art, Tilburg, Netherlands (2005).<br />The artist is going to represent Belgium at the 55. Venice Biennale in 2013.</p> Wed, 13 Mar 2013 00:21:21 +0000 Lewis Lau - Gallery EXIT - January 18th, 2013 - March 2nd, 2013 <p>Gallery EXIT is pleased to present <strong>In the Offing</strong>, the first solo exhibition of Lewis LAU Yin To with the gallery.</p> <p>"In the Offing" refers to the area where the sea touches the sky, the fine line where movement becomes stillness. Distant while at the same time visible, paintings by Lewis Lau revolve around the visual and experiential implications that the line of horizon imposes on our understanding of scenery. While using the photographic image as a point of departure, the featured works move away from their time bounded dimension and explore the possibility of portraying a timeless exposure of memory - the point where Sight and its objective dimension meets Absence and the imaginative power it brings. All the unnecessary signs, unseemly for the remembrance of an event, are in the works deleted from the original image and rendered into new and every time richer manifestations. Seemingly staged in every detail, the works in fact explore memory by means of brushstrokes. A gesture unrestrained from any mental or physical boundary, it enables the artist's interventions to explore fortuitous and unforeseen trajectories.  </p> <p>Roland Barthes in Camera Lucida notes that "Ultimately - or at the limit - in order to see a photograph well, it is best to look away or close your eyes. 'The necessary condition for an image is sight', Janouch told Kafka; and Kafka smiled and replied: 'We photograph things in order to drive them out of our minds. My stories are a way of shutting my eyes." The works by Lewis Lau quietly position themselves in the offing, where experience interjects with the memory of it.</p> <p>Lewis Lau obtained a Master in Fine Arts from The Chinese University of Hong Kong. He is the recipient of the Ting Yen Yung Creative Awards, 2009 and Y.S. Hui Fine Arts Award, 2010.</p> <p> </p> <p><strong>The Gallery will be closed for the festive season from 9 February and will re-open on </strong></p> <p><strong>19 February 2013.</strong></p> Fri, 08 Feb 2013 00:39:58 +0000 Gaël Davrinche, Zhang Dali - Gallery Magda Danysz - Shanghai - February 2nd, 2013 - March 9th, 2013 <p>The exhibition presents the French virtuoso artist, Gaël Davrinche and the famous Chinese artist Zhang Dali. Graduated from the Beaux-Arts of Paris, Gaël Davrinche constantly renews the great masters’ painting techniques and dares to take over their models. Exhibited for the first time ever in Shanghai, his work surprises us with its colors and textures. This show is an opportunity to discover an amazing work with a lot of references to the history of art. Zhang Dali, one of the most famous Chinese artist (collected by Charles Saatchi and such and ranked in the Top 100 of Chinese contemporary artists by artnet), he is exhibited in many museums, and was also shown at the Venice Biennial. For this exhibition, Zhang Dali presents the series Man and Beast, where humans and animals mix themselves through huge bronze sculptures reflecting a fantastic and wonderful universe.</p> <p>Keen observer of the society, Gaël Davrinche depicts with accuracy and humor human beings in huge portraits. Made famous since his first series, Les Revisités, in which he echoed with classics such as Velasquez or Van Gogh; Gaël Davrinche is noted for his spontaneous and precise touch. Using self-derision, he paints people wearing incongruous accessories such as colander or boxing gloves. In his Memento Mori series, the artist subtly paints faded flowers on huge canvases. As a real metaphor of life, these fragile flowers symbolize renewal and change, Gaël Davrinche suggests an optimistic view of the world to come and offer a vision of a renaissance with these flowers which will give life to new ones before disappearing rather than a desperate version of it. The artist evokes a reflection on man and his environment as the origin of this series.</p> <p>This reflection about human being is also present in Zhang Dali’s sculptures. Juxtaposing life-sized animals and human figures, the artist offers a powerful image, almost violent, of the ferocity of tyranny. The animal, with its open mouth, dominates with all its power an inert and impassive man. These bronze sculptures - about three meters long - refer to Confucius texts about tyranny. Set with Gaël Davrinche’s works, they become a broader reflection on the nature of things.</p> <p>Gaël Davrinche and Zhang Dali’s works raise questions about the relationship between the human being and his environment. The issues raised by Gaël Davrinche in his portraits about the link between man and the heritage of what is his identity, make a lot of sense in Shanghai. Through the exhibition, Zhang Dali sculptures give rhythm to this thought, as a reminder of the mythical relationship between man and animal. In a world where everything is going faster and faster Gaël Davrinche and Zhang Dali’s works establish a time for introspection.</p> Sat, 22 Feb 2014 16:02:53 +0000 Luis Chan, Wucius Wong, Fang Zhaoling, Nancy Chu Woo, Kan Kit-keung, Joey Ka-yin Leung, Koon Wai-bong, Wai Pong-yu - Grotto Fine Art - February 14th, 2013 - March 16th, 2013 Wed, 06 Feb 2013 02:12:46 +0000 - Guangdong Museum of Art - January 16th, 2013 - March 3rd, 2013 <p>继上海当代艺术馆及北京中国美术馆之后,《文化香奈儿》展览此次移师广州大剧院。<br /> 本次展览由广东美术馆协办,依然由主导前两届《文化香奈儿》的尚•路易•弗蒙负责策展。<br />展览于2013年1月16日至3月3日在广州大剧院举行,该建筑出自著名设计师扎哈•哈迪德之手。</p> <p>    本次展览精彩演绎了香奈儿品牌与艺术之间的深厚渊源。这一始自香奈儿女士的传统,由卡尔•拉格斐延续至今。一幅毕加索于1924年为芭蕾舞剧《蓝色列车》 所创作的巨型布景将串起展览的五个主题。这幅收藏于伦敦维多利亚和阿尔伯特博物馆的巨作,是特别为此次展览而出借的。</p> <p>    《蓝色列车》是一出由塞尔吉•迪亚吉列夫创作的芭蕾舞剧,剧名取自往返于巴黎与蔚蓝海岸之间的豪华列车。该剧由达律斯•米尧创作音乐、尚•考克多撰写脚本、亨利•劳伦斯设计舞台装置、毕加索负责节目单及布景创作、香奈儿女士则担任全剧的服装设计。<br /> 这次合作让参与《蓝色列车》创作的艺术家们与香奈儿的关系更为密切。与这些艺术界精英的友谊与互动影响了香奈儿的一生,为她带来了创作上质的飞跃。 “思想解放”与20世纪初所萌发的对“身体解放”的渴望(无论是通过体育或是舞蹈的形式实现)这二者皆为香奈儿风格最基本的要素。</p> <p>    通过对《蓝色列车》布景中不同元素的仔细剖析与解构,本次展览将围绕着五个主题展开:“呼•吸Breathe”,“行•动Move”,“爱Love”,“梦•想Dream”,“创•造Invent”。<br /> 五大主题完美契合了香奈儿品牌的创意美学及核心理念,将通过400件不同形式的展品呈现出来。展品包括照片、素描、油画、手稿、书籍、影片、时装作品(包括从香奈儿女士到卡尔•拉格斐的创作)、腕表、珠宝以及香水。</p> <p>    在此次展览中,参观者还将能欣赏到毕加索从未公开过的三十余幅画作,全都出自私人珍藏。此外,由莫迪里阿尼为与《蓝色列车》相关主要人物绘制的多幅肖像素描也将首度公开展出。<br />     本次展览,将以毕加索创作的巨幅《蓝色列车》布景为主轴,为参观者铺陈出环环相扣的五大主题。这些珍贵藏品,反映出那个时代的精神,勾勒出未来。文化香奈儿——《一幅布景与五幕传奇》展览,正是香奈儿创新轨迹的绝好见证。</p> Mon, 04 Feb 2013 02:24:10 +0000 - Guangdong Museum of Art - February 5th, 2013 - March 13th, 2013 <p>开馆十五年来,广东美术馆走过了一段拓荒式的艰辛过程,确立了以研究、典藏、展览陈列、教育、交流、服务为主要功能,以广东美术、中国近现代美术以 及当代艺术为收藏重点,围绕立足本土,关注国内,加强国际交流的思路,筚路蓝缕、从无到有,凭着对文化历史的尊重,努力以独立的学术品格和收藏定位,承担 起对艺术保存和传播的责任和推动当代美术发展的使命。为庆祝广东美术馆开馆十五周年,广东美术馆特举办“风•雅•颂——广东美术馆开馆15周年馆藏精品 展”。</p> <p>    广东美术馆以艺术史为线索在收藏工作中做了诸多积极的探索,展览从馆藏中遴选出包括主流经典、当代艺术、民间工艺等最具特色的代表作品,展现了各个时期的 艺术家针对社会形象及意义追寻的不同面向,从经济建设、社会生活、思想解放等各角度全方位地展现人民生活水平和精神面貌发生的巨大变化,这些作品既真切的 反映了当时的社会现实,也串联成了这一时期中国美术发展史的缩影。对于今天的人们来说,它们不但是象征性的图像符号,也成为了过去的时代不可磨灭的记忆。 此次展览是对广东美术馆十五年以来典藏工作的一次阶段性的回顾和汇报,同时也为学者、专家及观众提供一个讨论的平台,共同为美术馆的发展献计献策,推动美 术事业的健康发展。</p> Wed, 20 Feb 2013 02:13:12 +0000 Chen Chieh-jen - Hanart Square - December 18th, 2012 - February 28th, 2013 <p>陳界仁個人展覽《幸褔大廈 I》訂於十二月十八日在Hanart Square開幕,展出《幸褔大廈I》電影及其生產過程。開幕當日,下午1.30到 6.30有兩場座談會,由策展人高士明及漢雅軒總監張頌仁主持,敬邀閣下撥冗出席。<br style="line-height: 17.981481552124023px;" /><br style="line-height: 17.981481552124023px;" />在拍攝《幸福大廈 I》之前,陳界仁先邀請不同身分背景和無固定工作的年輕朋友,以詩或散文寫下其對個人生命史的片段感想,之後陳界仁再以虛構的敘事形式,將 這些案例串連成映射當代被原子化的個體。這種個體處於「在地流放」的生命狀態──亦即人不再有任何可真正依歸的社群、家族與家庭,而隻是社會原子化後被孤立的在地漂流者。<br /><br />影 片以一棟虛構的老舊出租公寓為背景──通過連結一個個「片段」故事的敘事形式,以及極低限的動作和無對白的表演方法,描述出租公寓在即將被拆除改建前,居 住其中的失業者、早已無任何家人的年輕女子、父親因長期失業而自殺的女同志、在父母離異後因無法忍受家庭崩解而離家的女聲音藝術家等人,陸續地準備搬離這 棟公寓......。而公寓外,因長期抗議「派遣制」以至疲憊不堪的單身女性、在電腦回收場從事拆卸電腦工作的年輕女工、長期參與「靜默行動」的身障小劇 場演員、因不滿學校教育而於退學後從事「樂生療養院史」檔案整理工作的女生,以及前來協助獨居老人搬家,卻隻見被遺留下的行李,而等不到老人們出現的年輕 社會運動者──這些原本互不相識的個體,在公寓即將被拆除前的下午,不約而同地聚集到這棟公寓的中庭內,在彼此沉默的眼神交流中,開始協助年輕社會運動者 搬運失蹤老人的行李……<br /><br />陳界仁將場景轉換成開放場域的行動,《幸福大廈 I》的創作計畫已不隻是生產一部影片。他將傳統電影的生產關係與觀看模式,質變為在原子化的社會中進行創造臨時社群的實驗行動;工作人員以個體視域呈現各 自觀點的展示,以及在與觀眾共構的交流平台上,讓各種意見可以針對社群的組構方式,提出各種想像與進行知識交換的場域。<br /><br />合辦:漢雅軒 香港城市大學創意媒體學院<br /><br />Hanart TZ Gallery and School of Creative Media at CityU jointly present Chen Chieh-Jen’s latest project Happiness Building I, showing the film Happiness Building I and its production process. Two sessions of discussion hosted by Gao Shiming and Chang Tsong-Zung will be held on the opening day. You are cordially invited to join us at Hanart Square on 18th, December 2012, from 1.30 to 6.30 for the talks, before opening cocktails.<br /><br />Before filming Happiness Building I, Chen Chieh-jen invited young people representing various segments of society and in need of steady work to compose poetry or prose describing parts of their lives. Next the artist wove together their impressions using a fictional narrative to explore atomism and exile at-home, which have resulted in a society of isolated wanderers deprived of real community, family or household on which they can rely.<br /><br />Chen constructed a set resembling an old rental-apartment building for this video. Using minimal movement and no dialog, Chen strings together the individual stories of fictional residents preparing to move from the soon to be renovated building. Characters include an unemployed man, a young woman orphaned at an early age, a gay woman whose father committed suicide as a result of long-term unemployment, and a female sound artist who left home after her parents separated because she could no longer face her broken home. Outside the building, Chen films a single woman exhausted from protesting against laws concerning dispatched workers; young women who work at dismantling computers at an electronics recycling center; a disabled stage actor involved in both Taiwan’s theater world and a long-term protest called Silent March; an archivist who dropped out of school due to dissatisfaction with the educational system; and a social activist who comes to help elderly residents living alone to move out, but is greeted only with piles of boxes…. These strangers gather in the courtyard of the building on the afternoon before renovation. Exchanging silent glances, they begin to help the social activist move boxes belonging to the elderly residents who had gone missing.<br /><br />Using the production set as a public space makes the Happiness Building I project more than just a film. It transforms traditional production relationships and viewing patterns into an experiment of temporary community formation in an atomized society, and gives a presentation of the perspectives of production assistants. The project also constructs a platform together with the audience, where views regarding the community fabric might be exchanged.</p> Thu, 27 Dec 2012 01:35:55 +0000