UИTITLEDSPΛCE July Upcoming ExhibitionOpening: 29th August (Sunday) 16:00
岑韵扬 Yunyang Cen
王成婧 Chengjing Wang
刘小川 Lucy X.C. Liu
宋思齐 Rita Song
展览导语 Exhibition Introduction
Winter kept us warm, covering earth in forgetful snow, feeding a little life with dried tubers.
—The Waste Land, T.S. Eliot
An artwork is a testimony. The artist’s description of descending and traversing a dark dreamscape gives visual and spatial dimensions to our usually dormant sub-conscience, which we often take to be too challenging to the established order in daily life. This exhibition sees this very subconsciousness as a little life under forgetful snow, worthy to fed with some dried tubers.
The four exhibited artists construct an immersive exhibition experience that magnifies the buried subconsciousness with their highly sensorial works. Lucy XC Liu’s works “The Other Side” and “House by the Lethe” transforms the exhibition space into a container of memories from our temporal world. Yunyang Cen’s artwork discusses the life of plants and people during the lockdown period due to the epidemic, Chengjing Wang’s oil painting “The Moon Puked on My Painting” navigates between the poles of abundance and emptiness. Rita Song’s work explores the tipping point between the authentic and delusional world by “marking” the subconscious track in this exhibition. Feed A Little Life provides rich and creative responses to the question “what is the power that nourishes life?”
参展作品（部分） Exhibited Artworks
岑韵扬 Yunyang Cen岑韵扬 , 青年艺术家。她的艺术创作包括但不限于行为表演、装置和摄影，近年来她把注意力放在关于佛学中的无常与灾难理论的主题创作上。对她来说，灾难不只是来自自然环境随机的控诉，个人层面的默然崩坏累积了社会不同层面的失败。在人类自信心爆棚的年代，像苏联狗狗莱卡被送上了太空这种事情常常不愿意被人在晚宴上提起。Yunyang Cen is an emerging visual artist with years of practice that spans across performance, installation, and photography. Latest years she spent time on the artistic practice in relates to theories of impermanence in Buddhism and catastrophe. A sense of sublime melancholy is embedded into the form of black humor/black comedy, which in her works presents the mixture of horror and the clownery in catastrophically events. She believes that the occurrence of catastrophe isn’t just about random natural disaster, but the accumulation of failures on different aspects and levels of the society. Within the era of bursting human-centrism, things like the Space dog Laika are not so polite to be brought up during dinner.雕塑、混合材质 sculpture、mixed media回在中文词汇里可组成回家、回归、回去，至于回哪儿是每个人都在寻找的。我喜欢回字的图像本身，它是包裹的圈，是圆满的，是保护性的，有张开怀抱包容的意思。“无名周六，世界还是一样乱，吃一整天垃圾食品，或谈一整天恋爱，都无法抓住傍晚六点的夕阳。”我在封城期间写下这些文字。那时在漫长的、无边界的时间中，太阳东升西落都仿佛在问你今天交白卷了吗。真是孤寂有时，焦虑不可竭。那时候网络流行一句话：封城期间请控制自己不要过度给你的植物浇水噢。我觉得照顾植物就是照顾自己的生活，希望这个作品能带出一点讨论：我们从重复轮回的无意义中，究竟怎样才能喂养自己生命的力量呢？“The world still remains entropy, as always, as every other Saturday. We eat and fall, packs of junk food, love could keep us busy all day yet still cannot ask the sunset to stay..” I wrote down these words during Melbourne’s endless COVID lockdown. Even the sun rising and falling seems too agitating within the boundless mist of time. A COVID meme was like: please control yourself to not flood your plants during lockdown . I figured, to look after the greens was also trying to look after myself. By showing this work maybe I could somehow bring up conversations about feeding a little vitality and energy, one can therefore not succumb to the cycle of meaninglessness.
王成婧 Chengjing Wang
It’s a very common theme that artists use their observation of the world as the theme of their works in artistic creation. However, such themes contain a perspective from the self, it usually contains self-recognition and self-exploration. What she wants is to use abstract language to show an abstract objective existence in nature that is not from the perspective of self. A pure concept without any emotions or sense. Now for her works, the concept of “connections” or “interweaving” is the main concept.
The Moon Puked on My Painting
布面油画 Oil on canvas
In this painting, the eye-catching yellow paint is pouring viscously on the canvas in a dynamic gesture of spraying downwards. There is no doubt that the yellow paint has an absolute dominant power permeating every corner and layer to that other colors and shapes. However, those laconic and concise lines that were immersed in the shadow of the moon light will forcibly rise to the surface to counterbalance the yellow in a contorted posture. This tugging struggle between viscous and brisk, bright and obscure forms a best counterweight.
Two Ways of Observing Bubbles
布面油画 Oil on canvas
Chinese ink dividing into five colors，which is also reflected in the circle pattern on the surface layer in this painting. Those transparent white circles disperse spontaneous like ripples. After each ripple is interwoven and overlapped, a layer of pattern as visional as the dream is finally drawn. This layer of white pattern is a metaphor for softness, fragility and unadulterated existence, which show a noncommittal attitude towards the rise of the bottom color.
刘小川 Lucy X.C. Liu
Lucy X.C. Liu is an artist and writer who wrestles with grief and historical residue by portraying hunger, uncanniness or individuality as challenges to the version of history often used to justify power.
丝绸刺绣 Embroidered fabrics
I embroidered “Death.” on 12 pieces of silk, and displayed the front side of the embroidery against the wall, so viewers can only see the reversed word and the fraying threads. As living beings we cannot fathom what is on the other side.
As a poet and artist, I am interested in defining and visualizing three-dimensional space with language. This simple gesture of inverting the line “Death.” divides the temporal space we live in from the unfathomable.
忘却之河畔的小屋 House by the Lethe
影像与综合媒介 Photography and mixed media
“We will forget the deceased” is still valid when stated backwards: The deceased will also forget us. The Lethe is one of the five rivers of the Greek underworld, the shades of the dead were made to drink from it to forget about their mortal lives. “House by the Lethe” is a concept that I invented which poetically describes the precarious state of existence when conscience is buried underground but still palpitant.
This imagined “house” is defined by large fabric prints on three sides. Clothes hangers laden with pungently fragrant dried roses are hooked to the ceiling with a rubber belt, dried branches intertwine with bronze chains, on the floor is still wet glue and a fresh bouquet…By the Lethe, memory gradually learns to forget, freeing themselves of their earthly origins.
宋思齐 Rita Song她的作品主要关注梦境与记忆的相互映射和重叠，从个⼈的视⻆不断接近，游离在介于真实和虚幻，记忆与遗忘，意识和⽆意识之间的状态，并尝试唤起存在于集体潜意识中的共有经验和感受。她近期的创作包括⼀些实验影⽚，通过关注物质的转化和消逝，重复的⾏为，图像之间的关联，试图重现梦境的逻辑，和以⼀种意识流⽅式进⾏的梦境叙事。她很好奇梦境是如何在清醒状态下被重新构建和叙述的。As an interdisciplinary artist, She views material as metaphor. Her practice includes experimentations in sculpture, painting, video and installation. She became interested in dream experiences, and in particular the relationship between subconscious activities and reality during the process of investigating the inner psychological world. Her works mainly focus on how dreams and memories reflflect each other, and reenact these moments by repeating and emphasizing certain behaviors or images in dreams. Starting from a personal perspective, she aims to approach the in-between space of real and surreal, conscious and unconscious, internal and external. Her work tries to resonate with others’ experiences and feelings that are shared in our collective unconsciousness. Her recent work has included experimental fifilms in which she explores how dream scenarios are reconstructed and narrated through the waking state.
视频装置 video installation