胶囊上海｜2021西岸艺术与设计博览会｜作品预览（上）

鲁迪·克雷莫尼尼1981年出生于意大利博洛尼亚，曾就读于博洛尼亚美术学院，目前在博洛尼亚生活和工作。克雷莫尼尼跟随直觉，创造出介于具象和抽象之间充满氛围感的环境，画中诗意的形象质疑着舒适与自由、保护与牺牲之间的交换关系。虽然他从周遭环境中选择图像、物品、人物和场景，但很少清晰地定义作品的情绪或形式。相反，他的作品以柔和、暗色调的抽象形式为特点，加以富有表现力的笔触和柔和哑色，成为了穿越时空的考古发现。

Rudy Cremonini was born in 1981 in Bologna, Italy and studied at the Academy of Fine Arts in Bologna, where he now lives and works. Continuing his use of intuition to create atmospheric environments that lie in-between figuration and abstraction, Cremonini creates poetic images that interrogate the exchange between comfort and freedom or protection and sacrifice. Although choosing images, objects, figures, and scenes from his immediate surroundings, seldom are moods or forms clearly define; instead characterized by abstract forms of soft and dark tones distinguished by brushwork or muted colors. Indulgent in expressionist brushwork, Cremonini’s works are archaeological finds of worlds to traverse into and through.    

我将这些鸟视为人类境况的隐喻，它们是理解自我的窗口。这里的鸟与浪漫关系紧密相关——对这种关系的渴望，或是身在关系中的渴望。在过去的一年里，我一直在思考人们是如何以不同的方式互相依赖。

——2021年奥斯汀·艾迪接受《Bomb Magazine》玛戈·奥格登（Margaux Ogden）的采访

奥斯汀·艾迪1986年出生于马萨诸塞州波士顿，目前生活工作于纽约布鲁克林。2010年从芝加哥艺术学院毕业后，艾迪在芝加哥生活和工作了数年，而后移居纽约。受二十世纪早期立体主义的影响，他的作品以扭曲的视角和平面性为特点。鸟的形象在艺术家的每一块画布上蔓延，这一意象牵引着各种相互冲突的情感，比如孤独与焦虑、浪漫与和谐、紧张与悲剧。艾迪对鸟类的描绘是理解人类体验本质的一种方式——无论是被关在笼子里或翱翔天际，还是介于两者之间。

I think of these birds more as metaphors for the human condition, so they exist as a window for understanding the self. The birds here are about romantic relationships—the longing for one or the longing in one. I have been thinking about people relying on each other in a different way during this past year.

- Austin Eddy interviewed by Margaux Ogden for Bomb Magazine, 2021

Austin Eddy was born in 1986 in Boston, Massachusettes. He currently lives in Brooklyn, New York. After graduating from the Art Institute in Chicago in 2010, Eddy spent several years living and working in Chicago before moving to New York City. Eddy's works are characterized by their skewed perspectives and dimensional flatness, influenced by Cubism of the early twentieth century. Birds, which sprawl across each of the artist’s canvases, are the driving subject matter and motif for conflicting sensations such as solitude and anxiety to romance and harmony to tension and tragedy. Eddy presents his birds as a way to understand the strain engrossed in the human experience—whether we are caged, soaring through the sky, or something in between.

莎拉·福克斯（1986年生于波士顿）在纽约布鲁克林生活和工作，并且于2015年取得耶鲁大学绘画专业艺术创作硕士学位。她于2009年分别取得布朗大学和罗德岛设计学院的文科学士和艺术创作学士双学位。莎拉·福克斯的绘画融合了具象表征和姿态抽象两种手法，其描绘的女性身体以一种临界、模糊的状态游浮在她构建出的感官情境里。福克斯常将画面主体切割，聚焦对象的身体局部，如此的构图处理将观众引入一个亲密的第一人称视角。由于无法轻易识别出身体的形象，我们凝视着平坦的色块，在揣摩那些若隐若现的场景时，嘴角不由挂起浅浅的笑。

关于她的报道在《Cultured Magazine》《i-D Vice》《artcritical》《Surface Magazine》《Modern Painters》《华尔街日报》《Hyperallergic》《Artsy》和《Artsy Asia》等杂志上均有发表刊登。

Sarah Faux (b. 1986, Boston) lives and works in Brooklyn, NY. Faux received her MFA in Painting from the Yale School of Art in 2015. She received a joint BA/BFA from Brown University and the Rhode Island School of Design in 2009. In her paintings, Sarah Faux merges the seemingly disparate strands of figurative representation and gestural abstraction to construct sensual situations where raw female bodies drift in a state of liminality. Faux crops her subjects to focus on specific body parts, a compositional strategy that pulls the audience into an intimate, first-person perspective. Unable to identify a pronounced figure, we find ourselves gazing into flattened fields of color, parsing the faintly discernible scenes with a curious grin.

Her paintings have been written about in Cultured Magazine, i-D Vice, artcritical, Surface Magazine, Modern Painters, The Wall Street Journal, Hyperallergic and Artsy, among others.

我把从碳纤维制作实践中积累的经验运用在新的试验中，制作一些具有功能性的器具。

把声音转换成图像一直是我黑白银盐相纸系列作品的创作方式，而在这个探索过程中浮现的一系列图像是偶然产生的结果。在2020年新的系列中，我使用声音合成器和激光在黑白相纸上勾勒出线条、形成图像。

—— 冯晨

冯晨1986年出生于中国武汉，2009年毕业于中国美术学院新媒体艺术系，并于2014年在荷兰阿姆斯特丹的Rijksakademie参加了为期两年的艺术项目。他目前在中国杭州工作和生活。

冯晨的录像，雕塑和装置作品将视觉和听觉同步，试图在不同的信号之间插入线索，引导我们重新审视对于感官的信任。艺术家通过将镜头对准构建起生活的人与事，并将其叠加、转译成具有迷惑性的视觉呈现，质疑媒介的操控力，重新构建相机运作和表达世界的方式。在他的作品中，感知和现实以迷宫般的方式相互作用，他重申经验是存在中最重要和真实的部分，是现实的最终本质。

冯晨的作品被澳大利亚白兔美术馆、中华艺术宫以及荷兰皇家视觉艺术学院收藏，并受到《艺术论坛》《燃点》《艺术当代》和《Flash Art》的报道。

The group of sculptures shown at West Bund is the result of my continuous experiment with carbon fiber.  Here I applied my experience with the material to creating functional objects. 

The series of silver gelatin prints is an extension of my photographic works, where sound is transformed into image. The images are incidental results of an open explorative process. In this new series created in 2020, I used a voice synthesizer and laser to “draw” lines on light-sensitive paper.

- Feng Chen

Feng Chen was born in 1986 in Wuhan, China, and graduated from the Department of New Media Art at China Academy of Art in 2009. In 2014, he joined a two-year program at the Rijksakademie in Amsterdam, Netherlands. He currently lives and works in Hangzhou, China. 

Feng Chen creates videos, sculptures, and hypnotic installations that investigate the synchronization between visuals and audio, inserting a wedge between different signals and leading us to question which of our senses we should ultimately trust. By pointing his camera at the things that constitute life – people and events – and further layering and translating them into confusing sights, Chen questions the manipulative power of media, reconstructing how cameras operate and represent the world. In his work, perception and reality interact with each other in labyrinthine ways reclaiming that experience is the most essential and authentic part of existence and the ultimate nature of reality. 

高源1986年出生于云南昆明，2009年毕业于中国传媒大学动画艺术专业，获学士学位。

高源的艺术创作中，动画和绘画互为补充，在丰富的图像中，二者之间产生瞬时关联。作品通过在梦想与现实之间徘徊的特殊经历来跟随主角的叙述。通过与其长期搭挡潘丽密切合作，高源的动画每一帧背后繁复的劳动时间，与生命本身的年轮交织在一起，每一部作品也成为了艺术家一个时段的生命容器。艺术家对叙事、色彩和超现实元素的掌控，使她可以在不断质疑何为现实的过程中，建立一种理解梦境的观念，而这种观念是个人化同时又精巧迷离的。

Gao Yuan was born in Kunming, Yunnan, China in 1986 and received her BA degree from the Communication University of China in Animation Arts in Beijing, China. 

Gao Yuan’s artistic practice is centered around the complementary relationship between animation and painting, illustrating the temporal relationship between the two through homogeneous imagery and rich symbols. Following the narratives of characters through peculiar experiences lingering between dream and reality, Gao Yuan, with her collaborator and partner Anita Pan, creates fictitious stories mirroring specific time periods of her life. Through Gao Yuan’s command of narrative, color, and the surreal, she creates personal yet intricately nuanced understanding of one’s relationship to dreamscapes amidst the constant flux in questioning one’s idea of reality. 

安东尼·艾柯诺1987年出生于纽约州奈阿克，现生活工作于纽约。他曾获得纽约视觉艺术学院艺术学士学位，以及弗吉尼亚州里士满的弗吉尼亚联邦大学艺术硕士学位。他于2013年参加Skowhegan绘画雕塑学校的驻留项目，并在 LMCC Workspace和艺术与设计博物馆（纽约）参加艺术家驻留项目。他于2017年获得了Toby Devan Lewis奖学金。他曾是Sharpe-Walentas工作室计划的驻留艺术家。

安东尼·艾柯诺将其手工绘制和裁切的剪纸碎片细致地拼合在一起，创作出独特的拼贴画。大胆的用色和平整的表面让人误以为它们是油画。这些拼贴画融合了人像与静物，营造出奇异的夜色中的情景。

他的创作探讨具象中的抽象绘画元素，同时也是对于色彩之潜力的生动观察。

Anthony Iacono was born in 1987 in Nyack, NY, and is currently based in New York. He received his BFA from the School of Visual Arts in New York and his MFA from Virginia Commonwealth University in Richmond, Virginia. He attended the Skowhegan School of Painting and Sculpture in 2013 and has been an artist in residence at LMCC Workspace and the Museum of Art and Design. In 2017 he was a recipient of the Toby Devan Lewis Fellowship Award. Iacono was a resident artist at the Sharpe-Walentas Studio Program. 

Anthony Iacono builds his distinctive collages by meticulously assembling hand-painted and cut fragments of paper. Seemingly masquerading as paintings due to their bold palette and slick, flattened surface, these collages merge the figurative with still-life to evoke strange night-time scenes. 

His works investigate the abstract pictorial elements of representation, but are at the same time spirited observations on the potential of colour.

伊丽莎白·耶格1988年出生于加利福尼亚州的旧金山，现生活工作于纽约布鲁克林。近期曾在Jack Hanley画廊、柏林Klemm’s画廊以及惠特尼美国艺术博物馆（Whitney Museum of American Art）、纽约现代艺术博物馆PS1（Moma PS1）和阿斯彭艺术博物馆（Aspen Art Museum）的展出。

耶格通过个人经历与事件，为雕塑注入一种神秘的不安感，以细长的身体、面具般的脸庞、截短的躯干、灰狗和鸟等形象出现在雕塑中。这些鸟在精神和物质领域盘旋漂浮，作为信使或残魂，制造出一种反映人类体验的不安感。耶格的作品探索了消亡时刻、日常物品和具象雕塑的概念，通过个人叙事来提醒那不可避免的终结。

Elizabeth Jaeger was born in 1988 in San Francisco, California. Jaeger currently lives and works in Brooklyn, New York. The artist recently exhibited with Jack Hanley Gallery and Brine at Klemm’s in Berlin, as well as Whitney Museum of American Art, Moma PS1’s Greater New York, and Aspen Art Museum. 

Jaeger imbues sculptures with a mysterious sense of disquiet through personal experiences and events underlying sculptures in form of elongated bodies, mask-like faces, truncated torsos, greyhound dogs, and dead-like birds. The birds hover and float between spiritual and physical realms perhaps as messengers or leftover remnants of souls, creating a sense of unease to reflect human experience. Exploring notions of momento mori, everyday objects and figurative sculptures underpin an inevitable reminder of death through a personal narrative.