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胶囊威尼斯特别项目｜冯晨：律动 & 亚历山德罗·泰尔迪：绘画

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胶囊威尼斯

CAPSULE VENICE

冯晨：律动

Feng Chen: Beats?????????

展期 Dates?

2024.07.06 - 09.08

开幕 Opening

2024.07.06, 16:00 - 19:00?????

地址 Address

意大利威尼斯 Sestiere Dorsoduro 2525号 - 30123

scroll down for English

胶囊威尼斯荣幸推出中国多媒体艺术家冯晨（1986年生于武汉，现居杭州）的特别项目“律动”，呈现同名的场域特定装置。

冯晨在画廊花园小屋的二号项目空间呈现他标志性的场域特定声光装置《光的背面》和视频《无题》（2015）。通过控制百叶窗的开阖，艺术家将声音以肉眼可见的方式展现，创造了不同寻常的视听体验。在这个悬置而几近异域的房间中，声音塑造了空间，物质与非物质在此交叠，颠覆着感知的常识，唤起一种新的感官体验。进入空间的观者逐渐意识到自己与作品之间相互触发的事实，由此进入一种新的时间和空间的逻辑。同步的节奏成为体验的核心。声音被赋予了触感，投影的视频画面有节奏地脉动，仿佛空间本身的心跳。从远处看花园小屋，犹如一个幻影，一个外星脉动体，近乎催眠般地明暗闪烁。光线的跳动成为作品的另一鲜活特质。

在本次特别项目之际，策展人玛瑙与艺术家进行了以下采访。

Capsule Venice is delighted to present to the public Chinese multi-media artist Feng Chen’s (b. 1986 Wuhan; lives and works in Hangzhou) special project “Beats”, featuring his cognominal site-specific installation.

Feng Chen takes over the greenhouse in the garden as Project Space 2 to re-create one of his iconic site-specific pieces: The Darker Side of Light, a light and sound installation paired with the video Untitled (2015). Through the transformation and control of the blinds, Feng Chen creates an experience focused on stimulating visual and aural senses through which the audible becomes visible. In this suspended and almost alien room, sound sculpts space creating a disorienting field of experience in which the material and immaterial interlace; common rules of perception vanish to summon a new sensorial reality. Once entered into the space, the viewer is invited to embrace a new spatial and temporal logic in order to become fully aware of its function as another possible element activating the space or being activated by it. Synchronised rhythm becomes central to the experience of the works: sound is imbued with a certain tangibility, as in the projected video images that pulsate rhythmically, as in a sort of heartbeat of the space itself. The sight of the garden house from afar - appearing as a mirage, an alien pulsing body with its almost hypnotic lights, their alternate movements - becomes another vivid aspect of the work.

On the occasion of the project, curator Manuela Lietti conducted the following interview with Feng Chen.

Feng Chen 冯晨 | Beats 律动 | 2024 | site-specific installation conceived for Capsule Venice outdoor shed, including: 胶囊威尼斯花园小屋场域特定装置，包含：

玛瑙 (以下简称M.L.): 可以介绍一下《光的背面》作品的创作来源吗？它和你的研究、你的其他创作有什么联系？

冯晨（以下简称F.C.）: “光的背面”系列作品的初衷是我对光类型作品的一个尝试。当初制作《光的背面》（百叶窗）的同时，也做了《光的背面－色彩》。在《光的背面－色彩》里，展厅里的LED灯会发生微妙的闪烁。观众带上无线耳机，外界的声音被隔绝了。角落里的摄像头拍摄着展厅里的场景，并且画面被实时传输到几个显示屏上，不同的显示屏上是从不同的角度拍摄的同一间展厅。但屏幕上的画面呈现的是扭曲的现实，因为我控制摄像机只拍摄到高速频闪灯泡熄灭的瞬间。现实中的展厅有闪烁的光线，而屏幕中的展厅是一直昏暗的。同时耳机里播放着音乐，对于观众来说这是一个调动多感官的体验。我觉得这两件作品有一些共同点，所以“光的背面”这个名字就一直沿用了。这一系列和我很多其他作品都有直接或间接的联系，这是我对于自然和人造光的探索。

M.L.: “光的背面”这个标题本身很有意思，有一种矛盾感。光和暗在这件作品里扮演了什么角色？

F.C.: 名字是想强调如何去观看光的影子，光不仅是光的本身，也会关注光亮制造出的其他东西。

M.L: 这件作品在不同的展览空间会有怎样的变化？你会根据展览环境去改变作品的哪些元素？

F.C.: 我很多作品都是场域特定的。在这件作品中，百叶窗需要安装在窗户上。由于每次展览的窗户大小不同，作品最终的尺寸也因此改变。百叶窗的开阖是由声音来控制的，每个环境的声音都不一样。声音是塑造这件作品的一大元素。

M.L.: 这件作品和共同展出的《无题》有什么联系？

F.C.: 我的第一次胶囊个展就是搭配这两件作品在一起。《无题》视频里的声音和画面里镜头的对焦以及百叶窗的开阖是同步的，同样的声音触发着这些元素，控制着观众透过百叶窗看到的窗外风景，会有一些错乱感。

M.L.: 你提到了观众。对你来说观众扮演了什么角色？你会以观众的视角和体验为出发点来创作吗？

F.C.: 一开始不会设想观众的视角，一开始只是关注我的感受，我的视觉感受和体验是很个人的。但之后在一次次的展览中，观察积累了一些观众的反应。我的创作，无论是雕塑、声音还是碳纤维作品，很大程度上都是在关注信号的交换。我的每次个展对我来说都像一个心理学实验。比如我在胶囊的第一次个展里呈现《光的背面》装置的时候，我把它想象成一个压力反应实验。这次在胶囊威尼斯的项目也是一样。百叶窗的开阖，以及与之同步的视频的声音是在观众意料之外的，可能会让人吓一跳。我一直在尝试触发某些感知，改变信息接收的方式，我也很喜欢观察人和机器互动的方式。

Manuela Lietti (hereafter referred to as M.L.): Can you explain the genesis of the work The Darker Side of Light? What is its relationship with your research and your body of work in general?
Feng Chen (hereafter referred to as F.C.): The Darker Side of Light series of works was my first attempt to experiment with light and with light-focused works. At the same time of the series The Darker Side of Light(blinds), I also made the project The Darker Side of Light - Color. In this latter one, upon entering the cubed space, viewers were immersed in an ambience of white light augmented by subtly pulsing LED lights. When one put on a wireless headset, all external sound was blocked. From the upper-west corner, a camera recorded the viewer and the surrounding environment, transferring real-time images onto monitors, each displaying a different angle of the space. The images reflected partial reality, as I intervened into the space through an intricate system of synchronization of images and light. The bright space then appeared in darkness on the screens, while music played through the headset, created a multi-sensory experience. This work was about controlling the camera to only capture the high-speed strobe light bulb extinguished. I felt that the two works had something in common so, I kept on using the same title for both. On this basis, The Darker Side of Light has a strong relationship with my other works in a way that it explores the notion of light, no matter whether natural or artificial.

M.L.: The title itself - The Darker Side of Light - is quite evocative, grounded in an oxymoron. What role do light and dark play in this piece?

F.C.: The title is intended to emphasize how to look at the dark side of light; light is not only conceived as pure light itself; it contains and creates other things.

M.L: How does this piece keep evolving according to the different sites where it is staged? What main differences regarding the way in which the work is perceived do you find according to where the piece is installed?

F.C.: Many of my pieces are site-specific. In this case, the shutters need to be installed on a window; since the size of the window is different each time, there are differences in the final size of the work. This work controls the opening and closing of the shutters through sound, which can be used in different exhibition environments. Therefore, sound intervenes in shaping and moving the work.

M.L.: What is its relationship with Untitled, the other piece on view?
F.C.: The first exhibition I held at Capsule featured both these two works. At that time, I felt that the sound of Untitled synchronized the focus of the camera and the opening and closing of the blinds with the same sound control, which would cause some confusion when the audience saw this scene outside of the window.

M.L.: You just quoted the audience. What is the role of the audience? Do you take the role of the viewer and its experience of the work as a starting point for creating this kind of pieces?
F.C.: I don’t think about the audience’s perspective at the beginning. I just focus on my feelings. The visual feelings and experiences I feel are personal. But in the course of time, the experiences of the audience would accumulate. My work is much about a process of signal exchanging involving sculpture, sound, carbon fiber works. In every solo exhibition of mine, there is a hidden psychological experiment. The installation The Darker Side of Light in my first solo show at Capsule was a stress response experiment, for example. On that occasion, as in the installation in Venice, the unexpected opening of window blinds synchronized with the sound in the video startled the viewers. I try to find ways to trigger perception. I want to change the way information is perceived, and I want to observe the dynamic ways of interaction between humans and devices.

关于艺术家 ABOUT THE ARTIST

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。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。

冯晨于1986年出生于中国武汉，于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。他目前生活工作于中国杭州。

他分别于2017年、2019年和2023年在胶囊上海（中国上海）举办其同名个展以及个展“瞬间的瞬间”和“假作游戏”。 2018年，他在香港巴塞尔艺术博览会呈现个人项目"光的背面—色彩"（中国香港）。在此项目基础上，"光的背面—影"于2018年在复星艺术基金会（中国上海）的Annex空间展出。冯晨近期群展包括：“白洞”，798 CUBE（中国北京），"请注意——"，UCCA沙丘美术馆（中国北戴河阿那亚黄金海岸），"第六届广州三年展—诚如所思：加速的未来"（中国广州），"城市无界—静安国际雕塑展"（中国上海），上海OCAT群展项目"8102—与现实有关"（中国上海）。他的作品也曾在荷兰皇家视觉艺术学院Rijksakademie OPEN 2015（荷兰阿姆斯特丹）和Video Art | June Edition，孟买城市博物馆（印度孟买，2015）展出。

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》等媒体的报道。

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. 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.

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

His solo exhibitions Feng Chen Solo Show, Moment by Moment and Pretend It’s a Game have been presented in 2017 and in 2019 and in 2023 at Capsule Shanghai (Shanghai, China). In 2018 he participated at Art Basel Hong Kong Discoveries with the solo project The Darker Side of Light - Color (Hong Kong, China). A new iteration of this work, titled The Darker Side of Light - Shadow, was exhibited in 2018 at the Annex Project Space of the Fosun Art Foundation (Shanghai, China). Recent group shows include White Holes, 798 CUBE (Beijing, China), A Call to Attention, UCCA Dune (Aranya, Beidaihe, China), The 6th Guangzhou Triennial - As We May Think: Feedforward (Guangzhou, China), City Unbounded - Shanghai Jing'an International Sculpture Project (Shanghai, China), and 8102 - On Reality at the OCAT Shanghai (Shanghai, China) in 2018. His work was presented in 2015 at the Rijksakademie van beeldende kunsten OPEN 2015, (Amsterdam, Netherlands), and Video Art | June Edition, at the Dr. Bhau Daji Lad Museum (Mumbai, India).

Feng's institutional collections include the White Rabbit Contemporary Art Collection in Australia, the China Art Museum and the Rijksakademie van beeldende kunsten. His work has been written about on Artforum, Randian, Art China, Flash Art among others.

胶囊威尼斯

CAPSULE VENICE

亚历山德罗·泰尔迪：绘画

Alessandro Teoldi: Dipinti

展期 Dates

2024.07.06 - 09.08

开幕 Opening

2024.07.06, 16:00 - 19:00

地址 Address

意大利威尼斯 Sestiere Dorsoduro 2525号 - 30123

scroll down for English

胶囊威尼斯荣幸推出亚历山德罗·泰尔迪（1987年生于米兰，现居布鲁克林）的特别项目“绘画”，呈现艺术家最新创作的油画和纸本作品。

项目在胶囊威尼斯的一号项目空间展出。泰尔迪在最新的布面油画和纸本水粉中关注广泛而深远的绘画语言本身。这位艺术家先后在米兰和纽约学习摄影，近年来用飞机毛毯创作的作品备受关注。在本次展览中，他使用陌生的媒介，呈现了日常的居家场景、熟悉的脸庞、亲密的氛围和质朴的环境。与其他媒介相比，他的油画虽不那么广为人知，但泰尔迪对其有着长期的兴趣。新作中的画面既不壮观也不出奇，而像一种极为真实的个人日记。小尺幅加强了亲密感和描绘对象的朴素特质，从花朵到沙丁鱼，从风景到静物，作品显露出泰尔迪多次援引的乔治·莫兰迪（Giorgio Morandi）等艺术家的影响。画面还包括男性赤裸的背部、窗边的人影和沐浴的男性。泰尔迪以温暖的色调将这些百科全书式的日常瞬间转化为图像。

在本次特别项目之际，策展人玛瑙与艺术家进行了以下采访，探讨泰尔迪最新的创作方向。

Capsule Venice is delighted to present to the public artist Alessandro Teoldi’s (b. 1987 Milan; lives and works in Brooklyn) special project “Dipinti”, featuring his new paintings and works on paper.

The project is hosted in Capsule’s Project Room 1. Teoldi’s homages to the language of painting, no matter whether in his newest oil on canvas pieces or his gouaches on paper, are expansive and resonant. On this occasion, the artist – who studied photography, first in Milan and then in New York, and who, in recent years, has come to prominence for works with aircraft blankets, uses an unfamiliar medium to present daily domestic scenes, familiar faces, intimate atmospheres, and sober situations. While not a widely known aspect of his practice, oils have long been a longstanding interest for the artist. The depictions in these new works are neither spectacular nor extraordinary but exist as a sort of personal diary that is extremely true to life. The miniature size of the works stresses the idea of intimacy, the unassuming nature of his subjects which span from flowers to sardines, from landscapes to still lifes, and tributes to influences including Giorgio Morandi - one of the artists Teoldi indirectly quotes regularly. Also among the images is a naked male back, a body in front of a window, men showering. The works are a small encyclopedia of the quotidian that Alessandro’s warm palette translates into imagery.

On the occasion of the project, curator Manuela Lietti conducted an interview with Teoldi to shed light on the artist’s new body of works.

Alessandro Teoldi 亚历山德罗·泰尔迪 | Pesche 桃子 | 2024 | oil on canvas 布面油画 | 30.5 x 22.9 cm

玛瑙（以下简称M.L.）：绘画在你的生活和工作中扮演什么角色？
亚历山德罗·泰尔迪（以下简称A.T.）：绘画对我的创作来说一直非常重要。当我回想自己作为一名艺术家的成长时，我发现我在博物馆和画廊看到的绘画作品对我来说是更广泛意义上的艺术创作的切入点。很多人把我的织物作品称为绘画，我觉得这很有意义。在我专注于织物系列创作的那些年里，绘画和素描始终是作品的出发点，作品的形式和色彩都从绘画而来。

M.L.：为什么在你职业生涯的这个阶段，你觉得有必要通过绘画来表达自己，尤其是在没有正式的绘画训练背景的情况下？也许绘画是一条必经之路？
A.T.：没错，当我尝试把创作往前推进，绘画发挥着核心作用，所以在某种程度上，这是目前必要的练习。过去几年里，我在工作室里进行了很多尝试，哪怕是织物和拼贴作品，都避不开绘画的影响。我对不同的材料抱有极大的好奇心，所以很喜欢同时使用多种不同的媒介来创作。经常发生这样的情况：我一边画一幅画，一边在做雕塑和织物拼贴。我深信这种方式最终会形成我广义上的创作，不能把它们拆分开来独立看待。我很喜欢这种多样性。

M.L.：除了乔治·莫兰迪以外，还有哪些艺术家影响了你最新的作品？在画面上你参考了哪些绘画？更宽泛地说，是什么塑造了你的个人和职业审美？
A.T.：说实话，我的审美倾向一直在变。我关注哪些艺术家的作品更多是取决于我自己在做什么样的创作。在过去一年左右的时间里，我经常关注1920和1930年代的意大利画家，比如卡索拉蒂 (Casorati)、西罗尼 (Sironi)、罗马画派以及马法伊 (Mafai)、卡瓦利 (Cavalli)、詹尼 (Janni)、科拉多·卡利 (Corrado Cagli)和卡波格罗西 (Capogrosi)（他作品比较具象的时期）。当然，我非常喜欢乔治·莫兰迪——他的色彩和形式的简洁对我影响很深。

M.L.：你的作品有一种亲切熟悉的感觉，像一本日记，诉说着细微之物的庄重，哪怕这些事物经常被忽视。这是你想表达的本意吗？你是如何选择创作主题的？
A.T.：我很开心你在作品中感受到亲密和熟悉。为了传达这种感受，多年来我一直选择具有触感的、与个人和家庭经历相关的材料来创作。我也尝试表现亲密的动作，比如拥抱、双手和身体的交融。而至于绘画的主题，取决于具体情况，有时是完全想象的，有时是受到其他绘画的启发，有时是来源于我相机里的照片。它们通常结合了我的个人经历和我在博物馆或画廊爱看的作品。

M.L.：你未来的织物作品会和绘画有更加直接的关联吗？
A.T.：正如我之前谈到的，绘画已经渗透进了我的织物拼贴作品。在我看来，最新的作品是我过去一段时间创作的飞机毛毯作品的自然演变。在新作品里，绘画让我对材料做出了更多的尝试，增添了旧作里不曾有过的层次感。这非常令人兴奋！

Manuela Lietti (hereafter referred to as M.L.): What role does painting play in your life and work?
Alessandro Teoldi (hereafter referred to as A.T.): Painting has played a central role in my work for a long time. When I think about my growth as an artist, I think that it was the paintings I saw in museums and galleries that for me functioned as the entry point to artmaking in a broader sense. Many people refer to my fabric works as paintings and I think this is pretty meaningful. During the years when I was more focused on the creation of my textile series, paintings and drawings were always the starting point of the work both in its formal aspect and in the chromatic choice.

M.L.: Why did you feel the need to express yourself through painting at this stage in your career -- especially not having a formal background in painting? Perhaps painting could be considered an almost obligatory step?
A.T.: Yes, I think that painting and drawing are playing a central role in pushing my work further and so in a way yes, they are necessary exercises at the moment. In the last years spent in my studio, I found myself experimenting a lot and painting ended up making its way into my more textile and collage-based work. I have a great curiosity for different materials and working with different media at the same time has become an essential aspect in my practice. It often happens that I’d work on a painting and at the same time on a sculpture and on a textile-collage -- I am deeply convinced that the results of all of it becomes my work in a broader sense and could not be considered in its individuality. I love this multiplicity.

M.L.: In addition to Giorgio Morandi - whose influence can be noticed in these new paintings and also in some of your concrete works - what are the pictorial references that you took into account for these works? And more in general, what are the influences that have shaped your personal and professional taste?
A.T.: To be honest with you, my taste shifts quite often, and I look at different artists depending on what I am working on at a specific moment. In the last year or so, I have been looking a lot at Italian painters from the 1930s and 1920s: Casorati, Sironi, the Roman school and so Mafai, Cavalli, Janni, Corrado Cagli, Capogrossi (the more figurative years). For sure I deeply love Giorgio Morandi -- his colors and the formal simplicity of his work have always been a great reference for me.

M.L.: You can notice a very intimate and familiar feeling in the work, as if it were a personal journal, a story made up of ‘little things’ with their own dignity, even if they are often ignored. Did you want to express this? How did you choose these subjects?
A.T.: I’m happy that in the work you can see an intimate and familiar atmosphere. Over the years I have been trying to work on these subjects by choosing materials that are very tactile and connected to personal and domestic experiences. I have tried to do it also by representing intimate actions such as hugs, hands and effusions between bodies. As for the subjects of the paintings that depends -- they are sometimes completely invented, sometimes inspired by other paintings, and sometimes taken from a picture I have in my camera roll. They usually are the combination of both my personal experience and what I love to look at inside a museum or gallery.

M.L.: Is there, or will there be, a connection with your fabric creations in the future?
A.T.: As I was telling you earlier, painting has found its way in in my more textile and collage work. I consider these new series of wall pieces as the natural evolution of the works I made for some time using airlines blankets. Using drawings and painting on these new compositions really gave me the opportunity to play a lot with a certain contamination of materials that allows a layering that I was pretty much excluding in the older works – it’s very exciting!

关于艺术家 ABOUT THE ARTIST

亚历山德罗·泰尔迪（1987年出生于意大利米兰）于2013年从纽约国际摄影中心-巴德学院（ICP - Bard College）获得艺术硕士学位。他的创作包含织物、雕塑和绘画。

过往展览包括Ceramics Museum of Savona，意大利萨沃纳；Magazzino Italian Art，纽约冷泉；11 Rivington ，纽约；Marinaro，纽约；胶囊上海，上海；Klaus Von Nichtssagend画廊，纽约；Suprainfinit画廊, 布加勒斯特；Galerie Derouillon，巴黎；Palazzo Reale，米兰；Assembly Room，纽约；Baxter St at the Camera Club of New York，纽约；The Cabin，洛杉矶；国际摄影中心，纽约等。

他曾于2018年参与洛杉矶La Brea艺术家驻留项目，于2015年参与纽约Baxter St at The Camera Club of New York驻留项目，现生活工作于纽约布鲁克林。

Alessandro Teoldi (b. 1987, Milan, Italy) received his MFA from ICP - Bard College in 2013. His practice encompasses textiles, sculpture, drawing and painting.

He has exhibited his work at venues including Ceramics Museum of Savona, Savona; Magazzino Italian Art, Cold Spring, NY; 11 Rivington, NY; Marinaro, NY; Capsule Shanghai, China; Klaus Von Nichtssagend Gallery, NY; Suprainfinit Gallery, Bucharest; Galerie Derouillon, Paris; Palazzo Reale, Milan; Assembly Room, NY; Camera Club of New York at Baxter St, New York; The Cabin, Los Angeles; International Center of Photography, New York amongst others.

He was one of the 2018 residents at La Brea Artist Residency, Los Angeles, CA and a 2015 Workspace resident at Baxter St at The Camera Club of New York. Teoldi lives and works in Brooklyn, NY.

胶囊上海当前展览

Current Exhibition at Capsule Shanghai??????

闫欣悦：重游

Yan Xinyue: Revisit

将展出至2024年8月10日

Until August 10, 2024?