Wasteland 废墟

          Exhibitions 展览

“soma” and “spiritual pollutant”“身体”与“精神污染”- Emma Kearney (United States 美国)

Emma Kearney is a sculptor, installation artist and independent publisher who’s work reflects the imperfection and complexity of the natural, unnatural and supernatural world. In an ongoing investigation of art-as-process as a platform, my work is a representation of the continually evolving ways of personally reconciling our precarious and always passing present. Recirculation of the abject, the forgotten, and the mundane fosters a relation between the then and now, in order to reveal the mutations to the systems of value and production, pre- and post-industrial. In recovering scraps of physical narratives that were once materialized—glued, wrapped, stitched, pressed, drawn—together, the body of physical work marks polarities between desire and repulsion, the accepted and the rejected. By exposing parallel mechanisms that exist between the contested subjectivity of an object steeped in both the ideal and the idealized, the body of research examines disputed notions of personhood under extractive patriarchal capitalism.

Emma Kearney是一位工作和生活在上海的雕塑家,装置艺术家和独立出版人。她的作品反映了自然的,非自然的和超自然的世界,其中的不完美和复杂。在这个作为一个平台的艺术创作过程中持续调查,我的作品代表了不断发展的个人协调和我们不稳定和现在中永远过时的方法论。 遗弃,被遗忘和世俗的再循环促进了当时和现在之间的关系,以揭示工业前后的价值和生产系统的突变。 在恢复曾经物化的物理叙事碎片 - 胶合,包裹,缝合,压制,拉伸在一起,体力工作的身体标志着欲望和排斥之间的极性,接受和被拒绝。 通过揭示存在于理想和理想化的对象的有争议的主观性之间的并行机制,研究主体研究了在提取性父权制资本主义下有争议的人格概念。

Untitled 无题 - Lu Junyi 卢君意 (China 中国)

Junyi Lu is a painter from Guangzhou, China. Her works take a philosophical view on the absurdity of existence. Her paintings contain obscure expressionless figures set in whimsical and surreal scenes, leaving a humorous and speechless feeling to the viewers. Lu believes that there is inlaid energy in every creature including human beings. Such metaphysical energy in people may either generate from oneself or be acquired from others; it exists as an independent form apart from the outer world comprehensible by the six roots in Buddhism (eye, ear, nose, tongue, body, mind). Focusing on such energy unobtainable through senses or logic, the painting portrays the spiritual connection among people, which breaks through the restrictions of language and judgement influenced by mainstream social values.

卢君意是来自中国广州的画家。她的作品对存在的荒诞进行了哲学观察。她的画作中有在异想天开和超现实场景中,晦涩无表情的人物形象,给观众留下了幽默又无语的感觉。她认为,包括人在内的每一种生物都有镶嵌的能量。 人们的这种形而上学的能量可能是自己产生的,也可能是从别人那里获得的; 它作为一种独立的形式存在,除了佛教的六个根源(眼睛,耳朵,鼻子,舌头,身体,心灵)可以理解的外部世界。 这种绘画关注的是通过感官或逻辑无法获得的这种能量,描绘了人与人之间的精神联系,突破了受主流社会价值观影响的语言和判断的限制。

Tabea 塔贝亚 - Rexy Tseng 曾庆强 (Tainwan台湾)

Rexy Tseng (1986) is a visual artist who works primarily in painting and installation. His art practice derives from the dark humor and unrequited desires found within contemporary living conditions. The work depicts three female dancers moving against a dramatic background during a performance. Equivocally, the blue dancer could be read as being caught or thrown into the void behind. The work indirectly references the Greek mythology of the Fates, three sisters who assign individual destinies to mortals at birth. As the dancers spin and twist on an isolated stage, the scene renders a sense of controlled force and uncertainty. The dance, a union of predetermination and improvisation, mirrors that of our own decision making.

曾庆强(1986)是主要创作绘画和装置的视觉艺术家。他的艺术实践源于当代生活条件下的黑暗幽默和无回报的欲望。这件作品描绘了三位女演员在演出期间在戏剧性的背景下移动。 同样地,蓝色舞者可以被理解为被抓住或被抛入背后的虚空。 这项工作间接地引用了希腊神话中的命运,这三个姐妹在出生时将个人命运分配给了凡人。 当舞者在孤立的舞台上旋转和扭曲时,场景呈现出受控制的力量和不确定感。 舞蹈是预定和即兴的结合,反映了我们自己的决策。

Shanghai Towers 上海塔 - Simon Van Parys(Belgian 比利时)

Simon Van Parys (1986) is a Belgian artist who blends industrial design with science-fiction imagery. Though sculpture is his main medium, he compliments it with digital drawings, sketches, paintings and electronic soundscapes. By doing these things he makes his vision of the future a reality, today. For Untitled Space, Van Parys invites you to an interpretation of greater Shanghai. An exploding world of skyscrapers, unique urban planning and shanty towns, and its clash between futurism and tradition. You’ll see an installation of elaborate sculptures representing a ‘skyscrapercity’. All created from scratch using raw construction materials, goods found on the wasteland and local inspirations. Integrated speakers will play a pumping techno-logic soundscape, made from recordings in Shanghai. Digital hand-drawn drawings accompany the sculptures. These ‘blueprints’ include drawings and preliminary designs of the sculptures. They stress again the tension between modernity and tradition. Welcome to this outsiders experience of an ever expanding megacity.

比利时艺术家Simon Van Parys (1986),他将工业设计与科幻意境融为一体。虽然雕塑是他的主要媒介,但他的作品中也有数字绘画,素描,绘画和电音元素。以此来表达他对未来和现在的视角。在无题空间的驻地期间,艺术家邀请您对大上海进行解读。 摩天大楼,独特的城市规划和棚户区的爆炸式世界,以及未来主义和传统之间的冲突。 你会看到一个精美的雕塑装置代表一个“更摩登城市”。 所有这些都是从头开始使用原始建筑材料,在垃圾场里发现的废品和当地的灵感。 集成扬声器将播放由上海录音制作的电音音景。 数字手绘图纸伴随着雕塑。 这些“蓝图”包括雕塑的图纸和初步设计。 他们再次强调现代性与传统之间的紧张关系。 欢迎来到这个不断扩大的大城市的局外人体验。