Distilled Revery 被蒸馏的遐想

          Exhibitions 展览

A Brief Introduction of J's Dream Universe 《J的梦境宇宙简介》
Chen Dongyan (Singapore) 陈东彦 (新加坡)

My works are primarily concerned with the realm of the unconsciousness and dreams, as well as the different process to discover and articulate the hidden messages embedded in them. After further research on dreams, psychology, and psychoanalysis, I get my inspirations from some mental illness cases such as Dissociative Identity Disorder (DID) and Schizophrenia. I constructed a story based on the three persons who came from different parallel universes but share the same identity. When one of them get into trouble, the two others have to help the one to solve the problem. I am interested in how texts, images, and sounds work together in montages as a process of remaking and reconstructing our memory bank, approximating the way our dreams work. This project challenges the traditional way of telling a story, it involved a video clip, some writings, and drawings. The audience is welcome to works as the detective who is investing in this murder case, to find out more about the story between the three persons.

我的作品的初衷师探索无意识和梦境的领域,以及各种用于发现我们内心深处隐藏着的潜意识的方法。在对梦境,心理学和精神分析进行了一些深入研究之后,我从一些精神疾病案例中获得了灵感,例如多重人格(DID)于精神分裂症。我构建了一个故事,是关于三个来自不同平行宇宙的人,但他们共享着同一个身份。他们的性格有相似的地方,也有完全不同的地方,就像是我们自身的性格也存在着许多不同的多面性。当其中一个人遇到麻烦时,另外两个人必须帮助解决问题。我感兴趣的时文本,图像和声音如何在蒙太奇中一起作为重建和重建我们的记忆库的过程,这种过程与我们的梦境的工作方式十分相像。这个作品挑战了讲述故事的传统方式,它包括一个视频,一些文字写作与绘画,这都是我提供的关于这个故事的线索。欢迎关注以一个调查这起谋杀案的侦探身份,通过这些线索去了解更多关于三人之间的故事。

Sitting Room 《起居室》
Claudia Sinigaglia (Italy 意大利) 

"Sitting Room" is a photographic project which investigates urban spaces, the way in which we use and transform public places into familiar spaces through individual and collective life stories. This series of photography portrays household effects which become "urban furniture" and explores the boundaries between the public and private sphere. Arranged outside houses and shop doors, these objects become the trace of a person's history. "Sitting Room" is a project about the character of an inhabited setting and temporary situations which become fixed moment in which we take our time and linger for a while.

《起居室》是一个探索城市空间的摄影系列,讲述了我们通过个体和集体如何把公共空间转化为私人空间的故事。这一系列摄影作品把家庭用品比作“城市家具”的影响,并探索了公共和私人领域之间的界限。这些被安放在房屋和店面外的“东西”,也成为某人存在的痕迹。《起居室》是一个关于居住的环境和临时情况特质的项目,这些看似短暂又相对稳定的时刻,总会让观者不禁驻留片刻。

Shadow On Concrete 《混凝土上的影子》
Théo KRIEF (France 法国)

I have always worked with architectural ruins. They are the scars of a past, space where time has eroded all traces of superficiality. I am struck by how new development in its early construction phase, with only a foundation and skeleton support, ironically resembles a ruin. The paintings in this body of work are a mental construction of imaginary places. These colored forms are built through an instinctive expression to capture the immediacy of a gesture in the manner of a child, devoid of ego. Metro 17 is a 40-minutes train ride in real time between Zhujiajiao and Shanghai. However the ancient town of Zhujiajiao embodies the past, Shanghai the future, and between the two resides the present. 《中》is a video that cuts into this continuous flow of time and extracts an isolated sliver of the present. By projecting the video on to the painting I am fusing the emotional impulse of creativity with the rational concept of development.

我一直基于建筑遗址为灵感而创作。建筑遗址市过往的伤疤,也是时间侵蚀了所有肤浅痕迹的空间。也让我感到,在新建筑公司早期阶段的地基和钢筋混凝土结构,也是某种具有讽刺意味的废墟。这系列作品中的绘画,是一个被想象出的地点上的精神结构。这些彩色的形状是通过本能的表达来建立的,用一种儿童般,毫不自负的方式去瞬间捕捉它们。从朱家角到市区搭乘地铁17号线需要40分钟,但朱家角的古镇体现了某种过去,上海则代表了某种未来,这两者之间仿佛就是某种现在。《中》是一个影像作品,切入这种持续的时间流,并萃取出“现在”的孤立的瞬间。通过把影像作品透射着画上,我也是把创作上情绪化的冲动和理性的概念发展融合在一起。

Yum-Yum
Yilu Xing 邢艺露 (Canada加拿大)

This series of ceramic Polaroid photos work as a documentation of the food I had during the residency. By recording these memories with the printing process and the long-lasting materials, these memories can be visualized and preserved. Unlike printed photos that faded over time, these ceramic pieces can hold the images permanently. However, ceramic and memory are both fragile. When a piece breaks, it represents a distorted memory, which cannot be fully restored. In terms of the process, finishing a ceramic piece and cooking a dish share the same notion. There are many steps that have to be followed in a specific sequence in order to complete the task. At its presentation, it is up to the public to interpret the final product.

这一系列拍立得形状的陶瓷瓷片用图像的方式记录了我在驻地生活期间吃过的食物,以及进而延伸到这段时间的记忆。这些瓷片通过使用石版画的印刷技术和陶瓷这一种可长期存在的材料,图像化和相对永久地保存了这段记忆。相较会随着时间推移越来越模糊不清的纸质照片,这些陶瓷拍立得在出窑的时候已经展现了这段记忆将会有的最高清晰度。然而,陶瓷和记忆同时又都是脆弱的。想让破碎的陶瓷和模糊的记忆回到最原始的状态是非常困难的。在我的想法中,烹饪食物和创作陶瓷作品分享相似的制作过程。这也是选用食物照片印在陶瓷上的原因。想烧制出美味佳肴和满意的陶瓷作品,特定的原材料、步骤以及正确的顺序都是至关重要的。在成品最终被展示在时刻/观众面前的时候,就是仁者见仁、智者见智了。