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≡ 马凌画廊 | 伦敦临时空间 | Madakaripura

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≡ 特罗拉马 Tromarama
Madakaripura, 2020
数码图像投影、软件、实时网络数据、声音
Digital image projection, software,
real-time internet-based data, and sound
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


新展开幕 Upcoming Exhibition

"Madakaripura"
特罗拉马
Tromarama

展期 Duration:2020.01.10 - 02.29

开放时间 Opening hours:

星期二至六,早上11时至傍晚6时,或提前预约

Tue - Sat, 11 - 6 PM or by appointment

地点 Address:

英国伦敦Aberdeen Park,前圣救主教堂

St Saviour’s, Aberdeen Park, N5 2AR, London, UK



(Scroll down for English version)

 

从东爪哇的角落穿越至伊斯灵顿的一座19世纪的教堂,马凌画廊(香港/上海)很荣幸呈现印尼艺术家团体特罗拉马(2006年成立于印尼万隆)在伦敦的首个个人项目“Madakaripura”。本次项目为画廊位于伦敦临时空间项目中的最后一个。特罗拉马将会把观者带至一个历史悠久的瀑布(Madakaripura瀑布)面前。那里据信是一位印尼文化的核心人物——曾为满者伯夷王国首领的加查·马达(约1290年至约1364年),在达到Moksa(即宗教术语中的“解脱”)前最后的冥思之地。

 

巨大的投影图像如葱郁的绿植和水般层叠倾泻而下,回应着软件收集的气象数据(温度、风速、气压)而相应产生失真、变形。这些气象数据都是从当地天气预报网站持续收集而来的。从世界的一个角落传输并共享至另一个角落,“Madakaripura”反思了我们如何随着技术发展而改变思考的方式。更进一步地说,这件沉浸式装置对我们如何从自然到数据领域,将自身与世界相联的方式提出了质疑。

 

“Madakaripura”试图透过其图像、声音和陈设,激励我们反思生态、技术,以及我们与这二者关系之过去、现在和将来。二者都在持续地改变,但是二者的发展之于我们联系事物的途径、体验事物的内容及方式,又意味着什么?在项目空间此前两个展览分别探讨过窥视和安宁之后,这次最后的展览则旨在质疑我们在现实与虚构之间划分的界限以及对这两者的感知。

 

特罗拉马结合了数字时代中超现实这一概念,不断探索虚拟世界与实体世界间的相互联系。自2006年成立于印尼万隆至今,三名成员菲比•贝比罗斯(Febie Babyrose),赫伯特•汉斯(Herbert Hans)和路迪•哈图瑁拉(Ruddy Hatumena)创作出涵盖视频、装置、电脑编程和公众活动等反映数字媒体影响对当下社会环境认知的各类作品。特罗拉马通过将语言、文本、智慧、序列和交互融入其多样的实践中,以一种全球的认知方式对印尼的政治和文化环境作出深刻思考[1]。

 

特罗拉马被视为印尼最具潜力的艺术家团体之一,他们的作品于世界不同的地方展出。特罗拉马曾于加拿大温哥华Center A(2017)、利物浦双年展周边项目(2016)、阿姆斯特丹市立博物馆(2015)、墨尔本维多利亚州国立美术馆(2015)、日本东京森美术馆(2010)等地举行个展。大型联展包括马尼拉当代艺术设计博物馆(2018)、新加坡美术馆(2017)、光州双年展(2016)、法兰克福艺术协会(2015)、阿德莱德Samstag美术馆(2014)、第七届亚太当代艺术三年展(布里斯本昆士兰艺术馆及新现代美术馆,2012)等。


[1] Enin Supriyanto,《如何将创伤融入影像艺术:关于特罗拉马》,关于“MAM Project 012:特罗拉马”的对话访谈,由森美术馆于2010年8月1日出版。


///

 

关于马凌画廊和项目空间


马凌画廊于2010年在香港创立,致力为亚洲与国际的新晋和著名当代艺术家在概念美学上建立极其显要的对话,积极展示影像、装置、绘画和声音等不同领域及创作媒体的艺术作品。在2016年,画廊于上海西岸成立第二个空间,为合作艺术家提供更广阔的交流平台。除了为艺术家举办个人展览外,画廊亦突破界限,不遗余力地与国际策展人合作,促进艺术交流及策划公共艺术项目。


位于伊斯灵顿的一级历史建筑物中,项目空间首先呈现的是概念艺术家王卫(1972年生于中国)的现场行为装置作品《听》。接下来的群展展出了知名艺术家杨嘉辉(1979年生于中国香港)、谢素梅(1973年生于卢森堡)和新兴艺术家黄天佑(1992年生于中国)的作品。座落于在过去30年间为艺术家们提供创作空间的前圣救主教堂(St Saviour’s) 工作室中,在EBBA Architects帮助下设计的项目空间作为一片互补性的区域,旨在透过主动的公共项目将策展人、学者和观众融于一堂,促进互相交流。

 

/// 

 

公共项目详情:


1月29日(周三) — 与Mark Rappolt(ArtReview主编辑)对谈

2月12日(周三) — 与Cleo Roberts(自由撰稿人)及Keshia Hannam(Camel Assembly创立者)对谈



Traveling from the corners of East Java to a 19th century church in Islington, Edouard Malingue Gallery (Hong Kong, Shanghai) is thrilled to present ‘Madakaripura’ the first solo presentation in London of the Indonesian collective Tromarama (est. 2006, Bandung). Marking the last exhibition in the gallery’s temporary project space, Tromarama transport us to a historical waterfall, which is believed to be the last place where Gajah Mada (c. 1290 - c. 1364) - a central figure in Indonesian culture who used to be a Mahapatih or Prime Minister in the Majapahit empire - meditated before he reached Moksa, a term for various forms of emancipation and enlightenment. 


As the luscious greenery and water cascades, the gigantic projected image distorts in response to software collecting weather data - temperature, wind speed, air pressure - each of which are continuously collected from a localised weather forecast website. Transmitted and shared from one corner of the world to the other, ‘Madakaripura’ reflects on how, as technology evolves, we shift the way we contemplate. More pointedly, the immersive installation questions how we channel our self with the world, from nature to the realm of data.  

  

‘Madakaripura’ - in its imagery, sound and setting - is engulfing, prompting thought on ecology, technology and our relationship with each: what it has been, is, and will be. Both are shifting continuously, but what do the developments of each mean for the way we connect and what, as well as how, we experience. Following from the two previous exhibitions in the project space that have investigated voyeurism and tranquility respectively, this final show calls into question the lines we draw between reality and fiction, and our consciousness of each.


Engaging with the notion of hyperreality in the digital age, Tromarama explores the interrelationship between the virtual and the physical world. Initiating as a collective in 2006 in Bandung, Indonesia, Febie Babyrose, Ruddy Hatumena and Herbert Hans create works that combine video, installation, computer programming and public participation depicting the influence of digital media on society’s perception of its surroundings. Channeling language, text, wit, sequence as well as interaction through their varied practice, Tromarama reflect on the cornerstones of Indonesia’s political and cultural environment [1], a form of perceptive engagement that applies globally.


Tromarama are widely considered one of Indonesia’s most exciting rising talents and have been exhibited around the world. They have held solo exhibitions at Centre A, Vancouver (2017); Liverpool Biennial Fringe, Liverpool (2016); Stedelijk Museum, Amsterdam (2015); National Gallery of Victoria, Melbourne (2015); and Mori Art Museum, Tokyo (2010) among other locations. Their group exhibitions include the Museum of Contemporary Art and Design (MCAD) Manila (2018); Singapore Art Museum, Singapore (2017); Gwangju Biennale, Gwangju (2016) ; Frankfurter Kunstverein, Frankfurt (2015); Samstag Museum of Art, Adelaide (2014); and the 7th Asia Pacific Triennial of Contemporary Art, Brisbane (2012).


[1] Enin Supriyanto, ‘How to Turn Trauma into Video Art: A Brief History of Tromarama’, for “MAM Project 012: TROMARAMA” catalogue, published by Mori Art Museum, (August 1 2010).


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About Edouard Malingue Gallery & Project Space


Founded in 2010, Edouard Malingue Gallery aims to build critical dialogue between Asian and international contemporary artists who combine aesthetic concern with conceptual enquiry, working across different disciplines from video and installation to painting and sound. In addition to presenting dynamic solo and group exhibitions, the gallery pushes the boundaries of art in public spaces and stimulates artistic discourse through collaborations with curators and institutions worldwide. 


Situated in a grade 1 listed building in Islington, Edouard Malingue Gallery’s London project space opened with the performative installation ‘Listen’ by conceptual artist Wang Wei (b. 1972, China) followed by the group exhibition, ‘Quest for Quiet’ that brought together the work of established artists Samson Young (b. 1979, Hong Kong) and Su-Mei Tse (b. 1973, Luxembourg) and emerging artist Tianyou Huang (b. 1992, China). Nestled in St Saviour’s Studios, which has a 30-year history of providing studio spaces for artists, the project space designed with the help of EBBA Architects sits as a complementary area for mutual exchange and will be accompanied by an active public programme bringing together curators, academics and audiences.


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Details of accompanying public programme:


Wednesday, Jan 29 

In conversation with Mark Rappolt, Editor-in-Chief, ArtReview


Wednesday, Feb 12

In conversation with Cleo Roberts, Freelance writer & Keshia Hannam, Founder, Camel Assembly





当前展览 CURRENT EXHIBITION:


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 - 20.01.12



   香港 Hong Kong

   “大动作”

   "The Great Movement"

   鲍蔼伦 Ellen Pau

   19.11.15 - 20.01.09





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