胡庆雁参加“M+希克藏品：从大革命到全球化” | 香港M+视觉文化博物馆 - 麦勒画廊

胡庆雁参加“M+希克藏品：从大革命到全球化” | 香港M+视觉文化博物馆崇真艺客

2021.11.12 - 2023.7.23
香港M+ 视觉文化博物馆
希克展厅 Sigg Galleries

“从大革命到全球化”探索了当代中国由70年代初至今的文化发展。1978年中国实施对外开放政策，开启了一个新时代，对社会和经济带来了深远的影响。主要城市摇身一变成为国际商业中心，影响着成千上万人的日常生活。随着中国在世界舞台的崛起，艺术家积极进行国际艺术交流。艺术家通过展览以及对于新兴媒介和不同常规风格的尝试，来挑战传统思维和艺术实践方法。“从大革命到全球化”展示了这批艺术家勇于创新的精神及当代中国的变化，让国际观众能籍此了解今日中国。

From Revolution to Globalisation surveys the cultural dynamism of contemporary China from the early 1970s to the present. China’s open-door policy of 1978 began an era of profound social and economic change. Cities across the country grew into global commercial centres affecting the everyday lives of millions of people. Amid China’s rise on the world stage, artists sought to engage in international conversations about art with their contemporaries. Challenging traditional ideas and art practices, they staged their own exhibitions and experimented with new mediums and unconventional styles. From Revolution to Globalisation looks at how international audiences have come to understand China today and captures the bold generation of artists who defined the contemporary Chinese experience.

胡庆雁
HuQingyan

模仿的故事
The Story of Imitation
2008-2010

这件装置作品由一系列照片、录像和大理石碎片组成，照片和录像记录了艺术家雕刻物件的行为，他从一块大理石雕出各种体积渐小的物件，如盒子、骨头、肥皂和骰子，并以照片拍摄了每件雕塑作品及其原物。最后的物件是一颗黄豆，不过最终也给研成粉末。最后每件雕塑遗下的大理石碎片收集置于这个雕塑行为发生的那个工作台上。物料的转化是胡庆雁雕塑作品的重要主题，当中往往包括行为表演和录像。这件作品的创作历时三年（2008-2010），藉此回应中国当代艺术市场火爆笼罩之下的艺术家作品愈加庞大甚至景观化的趋势。作品也反映了胡庆雁对复制品暧昧本质的关注，它跟原物既相近又相分。在后期的泥塑和木雕创作中，胡庆雁进一步探究了转化和复制的议题。

This installation consists of a series of photographs, a video, and marble fragments. The photographs and the video document the artist sculpting objects. Starting as a marble block, each object is sculpted into smaller objects, such as a box, a bone, a bar of soap, and a die. The photographs show each sculpted object with the original. The final object, a soybean, is eventually ground into powder. The marble chips from each carving are gathered and placed on a table in the installation. The transformation of material is a key theme in Hu Qingyan’s sculptural work, which also incorporates performance and video. Made over a three-year period, this work was a reaction to the trend amongst Chinese artists of making increasingly large sculptures that require huge spaces to be displayed. The work also reflects Hu’s interest in exploring the ambiguous nature of the copy by simultaneously moving towards and away from the original object. Hu further examines these themes of transformation and reproduction in his later sculptures in clay and wood.

胡庆雁参加“M+希克藏品：从大革命到全球化” | 香港M+视觉文化博物馆崇真艺客

一根竹竿
A Stick of Bamboo
2011

胡庆雁以2008年四川大地震灾后的废墟中得来的旧木樑刻出四件雕塑，形态恍如竹竿。这是他一直进行的艺术实验的一部分，通过改变不同物料的外观来介入雕塑与现成物之间的暧昧关系。
Hu Qingyan carved these four sculptural pieces, resembling bamboo, from wooden beams found amid ruins after the 2008 Sichuan earthquake. The work is part of Hu’s ongoing experimentation with altering the appearance of materials and bridging the gap between sculpture and ready-made objects.

胡庆雁参加“M+希克藏品：从大革命到全球化” | 香港M+视觉文化博物馆崇真艺客