BANK | 参加巴塞尔艺术展迈阿密海滩展会线上展厅 Art Basel OVR | 12月2日-7日

 Michael Lin & Heidi Voet，BANK at Art Basel Miami OVR,2020

林明弘 & 海蒂·芙欧特，BANK 于巴塞尔艺术展迈阿密海滩展会线上展厅

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Heidi Voet & Michael Lin

海蒂·芙欧特 & 林明弘

Michael Lin, Untitled, Acrylic on canvas, 75x150cm,2020

林明弘，无题，布面丙烯，75x150厘米

Michael Lin, Untitled, Acrylic, Emulsion, canvas,wood，122x244cm，2020

林明弘，无题，丙烯，乳胶板，画布，木材 ，122x244厘米

林明弘的作品通过他标志性的文化符号学和花纹图案将绘画与建筑并相结合。全球的冲浪文化和波利尼西亚热带区域的遗产彰显在手绘于木板的夏威夷衬衫图案之中。艺术家强调绘画间的“争斗”应是一种介于图案之间的公平界限，图案之下的木板才因而彼此互补有余。林明弘感兴趣的是将业已复杂的文化混合体愈加复杂化，这些风靡全球的夏威夷经典服装实际上衍生自日本版画，因而它们就像国际艺术博览会上的烘干衣物一样挂在那里，更契合迈阿密巴塞尔的海滩文化和精神。

Lin’s practice conflates painting with architecture often through his signature cultural semiotics and floral pattern motifs. Here the legacy of global surf culture and Polynesian tropics are examined in the form of Hawaiian shirt patterns which have been meticulously hand painted onto wooden panels. The painterly fray that the artist emphasizes is the fair line between patterns which help to marry the panels to each other. Lin’s interest is in complicating an already complex mixture of cultures, whereby this quintessential Hawaiian garment, popularized worldwide, is actually derived from Japanese prints. Here they are hung up like drying laundry in an international art fair, all the more appropriate for the beach culture and spirit of Basel Miami.

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Heidi Voet

Come play a game with us

We have no one to trust

Imagine lost at sea

Imagine you see me

(yyttkaixin0)

Concrete, ceramic, wig, plexi, wood

170x50x50cm

海蒂·芙欧特

和我们玩一个游戏吧

无人可信

想象着在大海里迷失

想象着你看见了我

（yyttkaixin0）

混凝土，陶瓷，假发，树脂，木材

170x50x50厘米

林明弘的绘画在此为芙欧特最新的雕塑作品《和我们玩一个游戏吧…》作背景注脚，艺术家在网上搜寻黑客窃取的个人数据，再将这些数据作为雕塑半身像的基础。从网上采购的原始、复古、陶瓷花瓶由艺术家重新制作，然后装满浇铸在混凝土中的运动球。接着她的“数据受害者”的发型被精心复制在假发之上，并堆积在球上。花瓶和球曾经是空的，在此刻是人体的替代品，它们同样也是文化的产物。看似不相关的对象被同质化了，其实它们都是真实世界的投射。这些物体被放置在一个五颜六色的小隔间里，真实身份被遮蔽了，就像数据黑客游戏一样。芙欧特向我们展示了一个联想游戏，提醒我们在这个一切都是在线商品的时代，文化商品是如何被扭曲的，包括身份。

Lin’s paintings act to frame Voet’s newest body of sculptural works Come play a game with us… .  Here the artist has plied the web for hacked personal data that she then uses as a basis for sculptural bust portraits. Original, vintage, ceramic vases sourced online are recreated by the artist and then filled with sports balls that have been cast in concrete. The hairstyles of her data victims are then meticulously replicated in wigs and stacked atop the balls. The vase and balls, once empty of content, are now surrogates for the human body and at the same time cultural artifacts. The seemingly unrelated objects are homogenized by the fact that they are all proxies for the real thing. Placed in a multi-colored cubicle, the objects true identities are obscured much like the game of data hacking. Voet presents us with an associative reminder of how cultural artifacts are distorted in the age where everything, including identity is an online commodity.

Heidi Voet

Come play a game with us

We have no one to trust

Imagine lost at sea

Imagine you see me

(tunbong11)

Concrete, ceramic, wig, plexi, wood

170x50x50cm

海蒂·芙欧特

和我们玩一个游戏吧

无人可信

想象着在大海里迷失

想象着你看见了我

（tunbong11）

混凝土，陶瓷，假发，树脂，木材

170x50x50厘米

此次巴塞尔线上展厅，作为这对艺术家夫妇共同志趣与审美的一座温室，他们各自的作品彼此互相吸引，也如他们内核上盘旋缠绕的欧亚关系一般。芙欧特的花瓶同时回响又审慎着林明弘的花卉墙板绘画，正如艺术家夫妇，彼此陪伴又相互制衡。

The OVR booth becomes an incubator not only for the shared tastes and aesthetics of an artist couple whose obvious attraction to each other was their respective work, but for the convoluted nature of their Euro-Asian relationship. While both are wrestling with tenets of simulacrum, Voet’s vases, echo Lin’s floral wall panel paintings and at the same time interrogate them, as does Lin’s to Voet. 

关于艺术家 About the artist

海蒂·芙欧特现生活工作于布鲁塞尔和台北。海蒂·芙欧特跨学科的创作实践基于她旅居欧亚大陆的跨文化的生活经验，以寻常物件与日常生活的重新编译结合，作品常有著无常与变化的寓意存在，不断地在精神上将历史性与平凡的个体相融合，围绕著关于时间、民族、历史、人类的思考与想像。

她的作品曾在布鲁塞尔Wiels当代艺术中心、根特S.M.A.K.美术馆、上海双年展，杭州三年展、维尔纽斯当代艺术中心等多地展出。

Heidi Voet, lives and works in Brussels and Taipei. Heidi Voet’s multidisciplinary practice is informed by her transcultural experience of both residing in Europe and Asia and offers a critical approach on cultural conventions and belief systems, modes of production in consumer society, and the ubiquitous experience of time. Her works are infused with a wry humour that plays between material properties of everyday objects and the connotations they carry.

Her work has been exhibited in Wiels Contemporary Art Center, Brussels, S.M.A.K., Ghent, The Shanghai Biennale, The Hangzhou Triennial, The Center of Contemporary Art Vilnius, among numerous other venues.

林明弘 Michael Lin

林明弘是一名在台北与布鲁塞尔工作生活的艺术家。他不以绘画作为思考的主体，而将绘画视为可以让人安置、栖身，并有界限的物理空间。林明弘精心编排里程碑式的绘画装置，重新界定和重组公共空间。他的作品借鉴纺织品图案与设计，已在世界主要的机构与国际双年展展出：包括温哥华美术馆（2010）、十和田艺术中心（2011）、上海外滩美术馆（2012）、奥克兰三年展（2013）、加州太平洋三年展（2013）、亚特兰大高等艺术博物馆（2015）、马尼拉当代艺术及设计博物馆（2016），以及墨西哥城Jumex美术馆（2020）展出。林明弘非传统的作品改变了公共美术馆的建筑，邀请观众重新审视对于空间的既有印象并成为作品整体的一部分，释放空间互动、相遇、再创造的潜力。

Michael Lin is an artist living and working in Taipei and Brussels. Lin turns away from painting as an object of contemplation toward one of painting as a bounded, physical space, one we can settle into and inhabit. Lin orchestrates monumental painting installations that re-conceptualize and reconfigure public spaces. Using patterns and designs appropriated from textiles his works have been exhibited in major institutions and international Biennials around the world, The Vancouver Art Gallery, 2010, Towada Art Center, 2011, Rock Bund Art Museum 2012, The Auckland Triennial and the California Pacific Triennial 2013, High Museum 2015, Museum Contemporary Art and Design, Manila 2016, and at the National Gallery of Victoria. Transforming the institutional architecture of the public museum, his unconventional paintings invite visitors to reconsider their usual perception of those spaces, and to become an integral part of the work, giving meaning to its potential as an area for interaction, encounter, and re-creation. 

- 正在展出/ Current Show- 

陈哲 

Chen Zhe 

《你仍然知道的事》

A Slow Remembering of A Long Forgetting 

2020.11.13-2021.1.13

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