胶囊上海将于2021年西岸艺术与设计博览会A218展位呈现二十余位国内外艺术家的绘画、雕塑、摄影等作品。
Capsule Shanghai is excited to participate in West Bund Art and Design 2021, presenting works by over 20 international and local artists, ranging from painting and work on paper to sculpture and photography at Booth A218.
Mevlana Lipp 梅夫拉纳·利普 | Magma 岩浆|2021|wood, velvet, acrylic color, ink, sand, aluminum stretcher 木材,天鹅绒,丙烯颜料,墨水,沙粒,铝制画框|80 x 60 cm
RACHEL RICKERT 雷切尔·瑞克特
CURTIS TALWST SANTIAGO 柯蒂斯·塔尔沃斯特·圣地亚哥
TAO SIQI 陶斯祺
陶斯祺1994年出生于湖北武汉,现工作生活于上海。2016年,她毕业于湖北北美术学院油画系,获学士学位。
陶斯祺的绘画实践源于其对物像背后隐喻的猎奇。物与物之间正负交缠的形态,引发了她以画面为基础进行的深藏着情愫的绘制探究。她以绘制的方式言说着话语,展开基于身体的写作。
灰蓝色的喷泉、柔软的金属武器、溶解的雪人局部等不常见的表达题材,都超越原图像的能指,映射出其画作中的真实与虚幻之间的张力。如何自然地建立、瓦解、延异现有的图示,并由此引发关于个人情感体验也成为她工作的轴心,其中饱含其对于生活着的时代的丰富、敏锐、独特的认知。
Tao Siqi was born in Wuhan, Hubei province in 1994, and currently lives and works in Shanghai. She graduated from Hubei Institute of Fine Art with a BA in painting in 2016.
Tao Siqi’s practice of painting originates from her seeking of metaphors hidden under the surface of an object. The positive and negative grounds of an object intrigue her to explore its emotional undercurrent on the canvas.
The unusual subjects in Tao’s paintings - the fountain in a haze of dusty blue, the softness of the metal weapon, and the melting snowman - transcend their signifiers, and reflect the tension between reality and illusion. Rooting in her keen observation and sensitive perception of the times we live in, her works aim to trigger personal emotional experiences through the construction, extension and deconstruction of images.
ALESSANDRO TEOLDI 亚历山德罗·泰尔迪
Alessandro Teoldi 亚历山德罗·泰尔迪|Untitled (TAM, Emirates, Air India, Air France) 无题(巴西天马航空,阿联酋航空,印度航空,法国航空)|2021|inflight airline blankets, cotton and wool 飞机毛毯,棉,羊毛|165.1 x 231.1 cm
LEON XU 徐文譽
YAN XINYUE 闫欣悦
Yan Xinyue 闫欣悦|Shanghai Today 今日上海|2021|oil on canvas 布面油画|170 x 138 cm
MIRANDA FENGYUAN ZHANG 张丰渊
张丰渊(1993年生于中国上海,目前在纽约生活,从事艺术创作事业)一向追求文化的自然流露。张丰渊通过编织的手法使得看似是“废弃物”的断头绒线重获新生,整个创作过程传递着“回收和再利用”的初衷。张丰渊最初的“回收和再利用”灵感来源于她的外婆。在物质生活极度匮乏的时代,她的外婆将孩子们的旧绒线衫拆开,利用这些旧材料为孩子们重新编织合身的新衣物。这不仅仅是关于“回收和再利用”想法的发扬,更是关于父母之爱,关于内在和外在美交融的过程。在创作过程中,她首先感受到材料的颜色、质感和温度,然后手中的羊毛会引导着她,为其线条倾注神秘主义的觉醒,将脑海中的思想和内心深处的灵感具象化。如同中国水墨画一样,张丰渊的创作强调即时灵感和当下手法的运用。
Miranda Fengyuan Zhang (Shanghai, China, 1993, lives and works in New York City) embraces cultures and ties them together using fragments of wools. The concept of “recycling” what is considered abandoned is inspired by her grandmother, who, during difficult times, unraveled jumpers to knit new ones, creating interesting shapes and unexpected color palette, which goes beyond the idea of recycling, and speaks of parental love and the connection between external and internal beauty. She perceives the color, texture and temperature of the wool and lets the material tolled the way to mystical enlightenment in response to her palace of memories that captures the hidden powers of seemingly mundane objects. Like traditional Chinese ink paintings, Zhang’s way of working is led by momentary inspiration and technical skills.
“现场单元 xiàn chăng”
韩梦云(b.1989,中国武汉)现居伦敦,是一名艺术家和写作者。她的创作植根于不同文化间的传播与沟通,贯穿她对传统绘画媒介的着重考量,对工艺手法的延伸使用,以及对建筑构架的思考——旨在将图像生产背后的宗教和文化特征语境化。她的作品通过引用非西方的思想体系和史学图像,包括佛教、印度教等,来探索当代艺术实践与理论内可能存在的交替性,以挖掘被遗忘的历史,并在创作中唤醒、重译。
她2012年于美国巴德学院获得纯艺学士学位,后于京都大学研习梵文,并于2018年在牛津大学完成纯艺硕士学位,研究方向为古典印度学与印度美学。她曾就职于大英博物馆,曾任教于罗格斯大学。近期个展:“The Pavilion of Three Mirrors”, 沙特阿拉伯迪里耶双年展:摸着石头过河,沙特(2021); 玉屑集, 千高原艺术空间,成都 (2019); 游园, The Ertegun House, 英国牛津 (2019);无定, 今日美术馆,北京(2013) 等。
韩梦云的写作视角不仅跨文化、跨时空,还以跨媒介为手法来模糊边界,打破正统语系的规范。她的文章发表在Hyperallergic、 American Suburb X、《艺术界Leap》、《信睿周报》、《Luncheon Magazine》纽约新当代艺术博物馆(New Museum)三年展图册《Soft Water Hard Stone: 2021 New Museum Triennial 》。
Mengyun Han (b.1989, Wuhan, China) is an artist and writer currently based in London. Han’s practice is rooted in the belief of cross-cultural pollination. With a primary focus on paintingof various traditions, she has also explored the expanded use of craft and the conception of architectural spaces that aim to contextualize the religious and cultural specificities behind the production of image. Her work aims to create possible articulations of alterity in contemporary artistic practice and theory by referencing non-western systems of thought and reservoir of images in history. Han conducts textual archaeology, excavating forgotten narratives and undecipherable mythologies, thereby instigating reenactment through her personal artistic expressions.
Han Mengyun received her B. A in Studio Art from Bard College in the US in 2012 and has pursued the study of Sanskrit at various institutions such as Kyoto University before she completed her MFA at the University of Oxford with a research focus on Classical Indology and Indian aesthetic theories in 2018. She has worked at the British Museum and has previously taught at Rutgers University. Recent exhibitions include: “The Pavilion of Three Mirrors”, Feeling the Stones, Ad-Diriyah Biennale, Riyadh, Saudi Arabia (forthcoming, 2021); “Splinters of Jade”, A Thousand Plateaus Art Space, Chengdu (2019); “Garden of Rasa”, The Ertegun House, Oxford(2019); “In Between Islands”, Today Art Museum, Beijing (2013).
As a writer, Han Mengyun has also written extensively on the subject of painting from atranscultural and transhistorical perspective, forging a cross-media dialogue in order to break down the regime of the euro-centric normative discourse in contemporary art. Her writing can be found on Hyperallergic, American Suburb X, Leap, The Thinker, Luncheon Magazine and elsewhere. She has also contributed to exhibition catalogues, most recently to Soft Water Hard Stone: 2021 New Museum Triennial (Phaidon).
《天空的逻辑》(Logic of the Ether )是由两个木质结构组成的多媒体装置,其一模仿中国的传统木结构建筑里的藻井形制,其二则重新诠释了敦煌莫高窟的洞窟。2020年时,韩梦云造访了印度的斋浦尔,并收集了许多当地工匠印制花纹时用的木头雕版。在“藻井”结构中,她用这些雕版手工印制了布料并把它们交错悬挂在层层横梁上。“洞窟”结构里将呈现韩梦云拍摄的斋普尔风筝节前人们练习放风筝a的场景,伴以印度宗教文本《梨俱吠陀》(Rigveda)中《创世颂》(Nāsadīya Sūkta) 的梵文唱诵以及其中英译本的诵读。因为宗教和世俗生活的经历,韩梦云近年来着迷于宇宙的起源和宇宙的视觉构型。对她来说,这件作品汲取灵感的古代宗教空间揭示了世界曾如何被人类的双手和想象力测量和再造。比如,藻井的几何结构对应着世界的自然秩序,描绘其上的花卉图案在装饰之余也代表了在宇宙结构中蓬勃生长的元素。这件装置作品旨在捕捉韩梦云对古代宗教空间的迷恋和思考题目中的“天空”作为宇宙的代称,在今日仍然是极度神秘的事物,它承载诗意,也提问着已知和未知的一切。
Logic of the Ether is a multimedia installation consisting of two wooden structures — one reminiscent of traditional Chinese timber structure and the other a reinterpretation of the Dunhuang Buddhist Mogao caves. During her field trip to Jaipur India in 2020, artist Han Mengyun collected wooden blocks used by local craftsmen, with which she used to handprint textiles hung in this work. Accompanied is video documentations of kites flying in the sky prior to the kite festival in India against an audio backdrop of the chanting of the Nāsadīya Sūkta, the Hymn of Creation in Rigveda, the most ancient Indian sacred text, in its original Sanskrit language, followed by the reading of its English and Chinese translations.
Both religious and secular experiences led Han to ponder upon the origin of the universe. Thegeometric structure of the coffer ceiling in Buddhist caves and Indian temples is to Han the visual configuration of the natural order of the world. The floral motifs do not serve the mere purpose of decoration, but they represent the elemental component that thrives within the cosmic structure.
This installation aims at capturing Han Mengyun’s fascination with ancient religious spaces that reveal how the world was once fathomed and recreated by human hands and our imagination, how the ether still remains highly mysterious as it harbors poetry and evokes questions of both the known and the unknown.
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