≡ 陶辉 Tao Hui
屏幕作为展示主体 Screen as Display Body, 2019
LED屏幕，手推车 LED screens, trolley
尺寸可变 Dimensions variable
? 图片由艺术家和马凌画廊提供
Image courtesy of the Artist and Edouard Malingue Gallery
开幕预览 Opening preview: 19.11.07-11.08
展期 Date: 19.11.09 - 11.10陶辉 Tao Hui
(Scroll down for English version)
马凌画廊很荣幸将在2019上海廿一当代艺术博览会中呈现中国艺术家陶辉的个人项目，以摄影、视频和装置等不同媒介的作品，探讨当今数字时代流行文化对个人和社会的影响，以及人如何感知区别真实与虚拟。
装置作品《屏幕作为展示主体》（2019）中的四个显示器被置于一辆手推车上，并使其分别展示红、绿、蓝、白四种主要的像素颜色。这四种颜色也是构成视觉传播的要素，陶辉希望由此来指出这些颜色是如何影响人们看世界的，无论是肉眼中的真实世界还是数字世界。这件作品还试图解释屏幕是如何被视为作品本身并升华其艺术地位和价值。此外，通过富有多种用途的屏幕，陶辉向观众展示其如何既可被用为娱乐工具又可被用为政治控制。
双屏影像装置作品《Double Talk》（2018）中，陶辉表现出对韩国流行文化的兴趣，讲述一位韩国偶像歌手从死亡中崛起，通过与追逐他的记者之间的问答，来探讨流行文化和大众媒体如何对个人产生影响。
陶辉为本次博览会制作了全新的全息图系列作品《无题（全息建筑03&04）》（2019）。这组全息照片以繁复的全息成像技术呈现建筑模型，利用激光作为成像光源，每一次拍摄的过程都是一次高精度的建设过程。作品诠释人和自然的关系并质疑如今透过视觉和触觉的感知方法，同时还探寻真实的定义以及如何在虚拟现实间找寻真实。
≡ 陶辉 Tao Hui
跳动的原子 Pulsating Atom, 2019
单频道高清彩色有声录像
Single channel HD video, color, sound
14 min 12 sec
? 图片由艺术家和马凌画廊提供
Image courtesy of the Artist and Edouard Malingue Gallery
展厅最里面的大屏幕播放着视频作品《跳动的原子》（2019）。在这件作品中陶辉着重于我们持续受数字时代影响的个人和集体状况。通过一个长高形的屏幕呈现由一相貌平常的中年晚会歌手播报每日生活的片段和来自电影短片中的旋律。这一作品反映当下社交网络的狂热现象，更特指中国社交软件“抖音”（Tiktok）。人们通过这一软件可以查看、创作、二次创造和分享各类用来短视频。作品中的晚会歌手和短视频并无关系，就如同通过抖音上的视频而产生连结但实际生活中毫不相干的人们一样。由此，呼应作品名称，这件作品试图阐述当下社会的原子化和一种出人意料的现象，即人们通过网络更加频繁地交流，孤独感却在与日具增。
摄影作品《德黑兰的黄昏》（2014）是陶辉2014年视频作品《德黑兰的黄昏》的静帧。在伊朗，很多女性的权利被以保护女性的名义所压制，婚姻法框架下的女性总是被动的。娱乐是被禁止的，女性歌手更是不能公开演唱的，而在香港这个有自由传统的地方，女性可以更自由的追寻自己的感情，理想，生活方式，陶辉选择让一个在剧院工作的伊朗女孩在私人汽车里重新演绎了香港已故女明星梅艳芳生前在演唱会上的一段与粉丝的对话，这段对话呈现了梅艳芳对爱情与婚姻的自由追逐，陶辉试图寻找不同民族，不同地域的人在相同故事的框架下，呈现出来差异性与共同点，也想通过这种“表演”当代伊朗女性对待生活感情的态度的方式来反观极权主义下的人民的自由空间。
≡ 陶辉 Tao Hui
德黑兰的黄昏 The Dusk of Teheran, 2014
艺术微喷 Fine art inkjet print
30 x 45 cm
? 图片由艺术家和马凌画廊提供
Image courtesy of the Artist and Edouard Malingue Gallery
Edouard Malingue Gallery is pleased to present at ART021 works by Tao Hui (b. 1987, China). His works of various media, such as photograph, video and installation, explore the impact of popular culture on individuals and the society in digital age, and how people perceive difference between reality and virtual reality.
The installation Screen as Display Body (2019) presents four screens on the floor aboard a shopping trolley, which respectively show the key tones of display pixels: red, blue, green and white. The core components of visual dissemination, Tao Hui points to how these colours are responsible for the way we view the world whether through our eyes in real life or digitally. The work, however, equally addresses how the screen can be considered a work in itself, elevating its status and value. Moreover, through its multifaceted use, Tao Hui addresses how it can be both a tool for entertainment and political control.
The double-screen video installation Double Talk (2018) shows Tao Hui’s interest in K-Pop culture, which depicts the story of a Korean singer idol who rises from death. Through a Q&A session with a journalist living after him, the artist explores how popular culture and mass media can have an impact on individuals.
≡ 陶辉 Tao Hui
无题（全息建筑01）Untitled (Holographic Building 01), 2019
全息摄影，玻璃 Hologram, glass
25 x 15 cm
? 图片由艺术家和马凌画廊提供
Image courtesy of the Artist and Edouard Malingue Gallery
Tao Hui creates a new series of holographic photographs for ART021 2019, Untitled (Holographic Building 03&04) (2019). These two photographs present through laser holography architectural models rendered with exacting precision. The works address our relationship with nature and question our modern ways of sensing, through sight and touch, while pointing to truth and how we seek it amidst the virtual.
The large screen innermost the booth presents a video work, Pulsating Atom (2019). Our individual yet collective condition as influenced by digitization is poignantly captured in the video. Pulsating Atom presents a commonplace, middle-aged gala singer conveying fractions of everyday life to the rhythm of short movie clips. The work relates to the frenzy of social networking, more specifically the Chinese phenomenon ‘Tiktok’, an app that shares short video clips that people can view, produce, reproduce and share. The gala singer and the clips share no actual connection, much in the way the people who relate to each other via these short clips, building on each other’s contributions. As such, and as highlighted by the work’s title, it addresses the atomisation of society as well as the dissonance between greater exchange and increased solitude.
The photograph The Dusk of Teheran (2014) is a video still of Tao Hui’s video work The Dusk of Teheran (2014). In Iran, the rights of women are suppressed in the name of protecting women. Within the framework of marriage law, women are always put in a passive position. Entertainment is forbidden for women and female singers are not allowed to give open performances. Hong Kong is a place that traditionally champions individual freedom; women there can freely pursue their own love interests, dreams and lifestyle. For this work, Tao Hui invited an Iranian girl who works for a theater to reenact the late Hong Kong female singer Anita Mui’s speech to her fans. The speech shows Anita Mui’s freedom in pursuing love and marriage. Here Tao tries to flesh out, within a particular narrative frame, the differences and similarities between people from different countries and geographies.
艺术家简介 About the artist
陶辉1987年出生于重庆云阳，毕业于四川美术学院的油画系，现工作生活于北京。虽然毕业于油画系，但陶辉的作品以影像和装置艺术为主，从个人记忆、视觉经验和大众文化中积累素材，通过提炼与改造形成崭新的叙事模式和影像风格。陶辉从社会身份、性别地位、种族问题和文化危机等问题入手，以荒诞、吊诡、夸张的场景搭建，充满隐喻和错位感的人物设置，呈现出当代人的集体经验，带动观者正视自身的文化历史、生存现状和社会身份。他曾于2008年获得四川美术学院的“当代艺术档案特殊奖”，并在2015年荣获三亚艺术季华宇青年奖评委会大奖。2015年陶辉在SESC巴西录像艺术节“南部全景”单元上获得特奖，又于2017年先后入选HUGO BOSS亚洲新锐艺术家大奖和KINO DER KUNST电影节“国际竞赛”单元。他的个展包括：OCAT西安馆的“一点儿不多余”（2017）和北京尤伦斯当代艺术中心的“新倾向：陶辉”（2015）。参加的群展包括：国立亚洲文化殿堂(ACC)群展（2019）；罗马当代艺术博物馆的“SESC巴西录像艺术节影像展”（2019）；第四届温哥华双年展"re-IMAGE-n"（2019）；上海外滩美术馆和Para Site艺术空间的”百物曲“（2019）；上海当代艺术博物馆的第11届上海双年展“何不再问”（2016年）；巴黎路易威登基金会的“本土：变革中的中国艺术家”（2016）；上海K11基金会的“骇客空间”（2016）；圣保罗SESC巴西录像艺术节“南部全景”单元（2013）。
? 图片由艺术家和马凌画廊提供
Image courtesy of the Artist
and Edouard Malingue Gallery
Tao Hui was born in Yunyang, Chongqing, China. He graduated from Sichuan Fine Arts Institute with a BFA in Oil Painting in 2010 and currently lives and works in Beijing, China. Tao traversed into the art of video and installation, drawing from personal memories, visual experiences and popular culture to weave an experimental visual narration, the focus of which is often our collective experience. Running throughout his work is a sense of misplacement vis-à-vis social identity, gender status, ethnicity and cultural crisis, prompting the audience to face their own cultural histories and living conditions.He won the special award of Contemporary Art Archive from Sichuan Fine Arts Institute in 2008 and ‘Art Sanya & Huayu Youth Award’ in Sanya in 2015. He also won the grand prize of 19th “Contemporary Art Festival Sesc Videobrasil”, and was shortlisted for “HUGO BOSS ASIA ART Award for Emerging Asian Artists” and International Competition sector of the KINO DER KUNST festival in 2017. His solo exhibitions include OCAT Xi’an, Xi’an, China, 2017; UCCA, Beijing, China, 2015. Group exhibitions include Asia Culture Center(ACC) group exhibition, Gwangju, Korea, 2019; ‘Collezione Videobrasil, Opere Vincintrici Del Contemporary Art Festival Sesc_Videobrasil’, MACRO ASILO, Rome, Italy, 2019; ‘re-IMAGE-n’, the 4th Vancouver Biennale, Vancouver, Canada, 2019; ‘An Opera for Animals’, Rockbund Art Museum, Shanghai, China / Para Site, Hong Kong, China (2019); 11th Shanghai Biennale’, PSA, Shanghai, China, 2016; Fondation Louis Vuitton, Paris, France, 2016; chi K11 Art Space, Shanghai, China, 2016; ‘Contemporary Art Festival Sesc Videobrasil: Southern Panoramas’, S?o Paulo, Brazil, 2013, 2015.
即将开幕 UPCOMING EXHIBITION:
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上海 Shanghai “居住在那些无法取得之物的 固体影子中” "Dwells in the Solid Shadow of the Unreachable" 何意达 He Yida 19.11.07 - 12.22
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