不合适宜——王海元影像•装置展

不合适宜——王海元影像•装置展

开幕时间:2014年7月12日(周六)下午4点

展览场地:798北京荔空间 – 北京朝阳区酒仙桥路2号798艺术区中二街D06-6

展览日期:2014年7月12日— 2014年8月12日

开放时间:周二至周日10:30 — 18:00

策 展 人:顾振清、张海涛

艺术总监:杨荔

行政总监:杨楠

策展助理:吴天一、陈娟

合作媒体:艺术档案网(www.artda.cn)

联系方式:www.li-space.com; info@li-space.com; +86-10-59789542

Inopportune–Photography•Installation Exhibition of Wang Haiyuan

Openning: 4:00 p.m. July 12, 2014 (Saturday)
Venue: Li Space, D06-6, Middle 2 Street, NO.2, Jiu Xianqiao Road, 798 Art District, Chao Yang District, Beijing.
Duration: July 12 ,2014–Aug.12,2014
Venue opening time: 10:30 — 18:00 , Tuesday–Sunday
Curators: Gu Zhenqing, Zhang Haitao
Art Director: Yang Li
Administration Director: Yang Nan
Curator Assistant: Wu Tianyi, Chen Juan
Media Cooperator: Art Archives Website(www.artda.cn)
Contact Details : www.li-space.com; info@li-space.com; +86-10-59789542

 

“当心”——王海元影像•装置展

王海元这次的个展是针对荔空间环境做的精典空间案例,这是他对“空间”语言的个性表达。装置艺术的语言中,除了对现成品的运用,还有对空间的环境、造景、材料的个性把握。这个展览中王海元选择了“造景”的表达方式。这与他平时在剧组兼职工作积累的长处和经验有关,空间、造景是戏剧美术中的场景营造,海元也正好营造了一个戏剧、荒诞与陌生的超现实场景。造景在当代艺术中也成为重要的艺术语言,另外王海元的空间中四周墙面上还悬挂了造景的影像作品,影像与装置的配合形成了“影像•装置”的语言关系,而非影像装置的媒介关系,其所有的影像与装置都制造了一个个让人纠心的“命运”,这系列作品表达了当下人紧张的生存状态和生命寓言性。

王海元的装置作品将一块“石头”撞入了三个狭小的三度空间,石头下面支撑了木棍、竹子、香等物件,几个材料形成了体量悬殊的危机感,这与海元一次外出见到的场景很像,这也是他个人生命的体悟,这种命悬一线的感受,有很强的不确定性,不知道什么时候暴发,也不知道什么时候结束。

写在木棍上的“签挂”也预示了不同的人命运的困惑与福祸相倚的特征。我们时常祈祷上帝保佑,“写给上帝的信”也不能确定危机的到来,偶然性伴随我们一生,这种神秘的力量,也贯穿了海元的影像作品:“看车”、“直径 45cm”、“祸”、“5月15号”都让我们处处“当心”,然而是祸躲不过,我们只能以祸福相倚的道理平衡我们的心态,自然而然,顺其自然。

当今这个国际化信息时代,以经济资本衡量一切价值,人类为了舒适与快捷的欲望,不得不以道德与生态的危机作为代价,与天不合,破坏自然必定带来很多不确定而未知的横祸,每个人都充满的焦虚与紧张,每天都面对着荒诞、未知的信息与陌生事物,每个人都处于“当心、命悬一线”的境地,王海元也必然体会到了这一困惑。
张海涛于宋庄
2014年5月10日
Watch Out —Photography and Installation Exhibition of Wang Haiyuan

Curated specially for the Li Space’s layout ,the solo exhibition of the artist, Wang Haiyuan is a classical space case which is also the artist’ s personal expression about Space Language. For this exhibition, Wang Haiyuan used a unique express way we called Scenery Creation to creat a dramatic, absurd and strange surreal scene. The Scenery Creation has become an important art language in contemporary art. On the wall around the Wang Haiyuan’s space hung the photography works, with the installation works together ,they form a kind of language relationship rather than media relationship between photography and installation. All of these photography and installation series works express the survival condition and the life fable of human nervous which is also about the theme, randomness of destiny.

We often pray to god for blessing, even The Letter to God (paticipating art work) can not sure the arrival of the crisis, we dont know when the outbreak, when to end. Life is impermanent, full of randomness and uncertainty. This is the Wang Haiyuan’s personal perception of life. Such feeling also runs through his potography : Watch out, Diameter 45 cm , Disaster, May 15th , each work reminds us always to be vigilant. We can not escape the destined disaster, but can keep balance in mind, letting nature take its course, as the Chinese saying goes, the misfortune might be a blessing in disguise.

For the trend of internationalization in such an information age, the economic capital is the only standard to measure value of everything. In order to get more our own convenience and shortcuts, human have to pay the cost of morality and ecological crisis, thus will violate the law of nature,bringing a lot of uncertain and unknown disaster. Everyone was filled with anxiety and tension ,facing the absurd information and strange things everyday, shouldn’t be careless .We have been in such a state that life is always at stake. Wang Haiyuan must have realized this confusion.

Written by Zhang Haitao in Songzhuang                                                                                                                                                                                                                                                   May 10, 2014

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