2007艺术权力榜 影响中国当代艺术10人榜单
1. 方力钧Fang Lijun :Artist
2. 艾未未Ai Wei Wei : Artist
3. 尤伦斯夫妇Mr and Mrs Ullens : Collector收藏家、Ullens Foundation尤伦斯基金会、Ullens Art Centre尤伦斯艺术中心创始人
4. 陈东升:collector 收藏家泰康人寿保险股份有限公司董事长
5. 蔡国强Cai Guo-Qiang: Artist
6. 范迪安 : Director of China Museum Of Art, Curator中国美术馆馆长、策展人
7. 李达 : CEO Auction House北京保利国际拍卖有限公司总经理
8. 尹在甲 :Director of Korean Arario gallery 阿拉里奥艺术空间总监
9. 陈丹青 : artist, intellectual知识分子、艺术家
10. 皮埃尔·胡伯(pierre huber): collector收藏家、Director of Shanghai Art Fair上海当代艺博会总监, Art & Public Gallery owner, art& public画廊主人
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星期一, 2月 18, 2008
星期四, 5月 24, 2007
Artist Talk from Right Click
RIGHT CLICK: Open Source New Media Exhibition
Artist Seminars
Venue: GuLLDY, 9/F, Fu Tak House, 367 Hennessy Road, Wan Chai
Date:25/5/2007 (FRI)
Time:
6:00pm (Micro+Playground)
7:00pm (Joshua Minor)
Artist Seminars
Venue: GuLLDY, 9/F, Fu Tak House, 367 Hennessy Road, Wan Chai
Date:25/5/2007 (FRI)
Time:
6:00pm (Micro+Playground)
7:00pm (Joshua Minor)
星期二, 5月 22, 2007
Beatrix Pang talks about photography at VAC
A talk by Beatrix Pang on this Saturday at VAC. Please come if you have
time.
第12屆波蘭WRO國際媒體藝術雙年展 （12th International Media Art Biennale WRO 2007）
第12屆波蘭WRO國際媒體藝術雙年展於5月16日開幕，展至5月20日。本次雙年展競賽類共收到超過60個國家，1500件左右的作品，可分為錄像、裝置、表演、網路與互動、軟 / 硬體等類別；總獎金共8000歐元，其中首獎獎金即高達5000歐元。競賽類優秀作品將於Wroclaw的國立美術館(National Museum)及WRO藝術中心展至6月17日。
活動期間除展覽外也安排多場講座，探討媒體藝術在敘說與通訊的混種空間（hybrid space）裡，其作品、資料、文件、檔案等的展示、收藏、保存等策略；以及媒體藝術在當代藝術的發展脈絡下，所涉及之展覽實務與觀眾反應。此外，觀察各藝文單位如博物館、藝術中心、畫廊等之間的合作，以及它們對於新科技的運用，也是此次雙年展講座主題之一。主辦單位邀請多位研究媒體藝術（特別是在收藏 / 保存領域）之專家學者主講，包含Geoff Cox, Vincent Bonin, Sandra Fauconnier, John Thomson（ Electronic Arts Intermix行銷總監）, Joasia Krysa（KURATOR網站創始人）等人，講題則涵括媒體藝術的案例分析、電子藝術的文件化與保存（以V2_為例）、新媒體的傳播策略、網路策展、超文本藝術（Hypertext Art）等。另外尚有多項特別活動與計畫，如國際錄影藝術（International Video Art）單元－台灣藝術家崔廣宇的作品《十八銅人‧穿透系列》亦參與展出；而”The Archivists’ Night” 則展示歷史上各種有關記錄 / 再現藝術的技術與重要時刻。香港的林慧潔 Lam Wai Kit 及簫子文 Eric Siu亦入選。
除了WRO國際媒體藝術雙年展之外，5月份的波蘭尚有第9屆互動國際藝術節（Interakcje International Art Festival），甫於5月12日落幕。本屆藝術節的行為藝術單元中，亦有來自台灣的藝術家葉子啟及徐翠蓮參與。
波蘭WRO國際媒體藝術雙年展
互動國際藝術節（Interakcje International Art Festival）
星期六, 11月 11, 2006
星期二, 10月 31, 2006
星期三, 10月 25, 2006
Peter Fischli & David Weiss / Flowers & Questions at Tate Modern
Photo from http://www.artknowledgenews.com/Peter_Fischli-David_Weiss.html
While we are in London, we saw this favourite show. Highly recommended, full of wisdom, humorous and contemporary.
"The first major retrospective of Swiss artists Peter Fischli (b1952) and David Weiss (b1946) to take place in the UK will go on display at Tate Modern in October 2006. The artists’creative partnership began in the late 1970s and this exhibition will span nearly three decades of their collaborative practice bringing together more than twenty significant bodies of work."
星期二, 5月 02, 2006
Built to Order: New Works by Feng Mengbo
Coming Exhibition
定制
Feng Mengbo(馮夢波)
冯梦波1966年出生于北京，毕业于中央美术学院版画系。曾连续两届受邀参展德国卡塞尔「文件大展」，是中国当代新媒体艺术的重要人物。冯自93年沉迷于计算机艺术，去年起重新以「绘画」为媒介创作，以毛泽东作为他的古典绘画的主角，开始创作《定制历史》系列。文革期间一个广为流行的传说是，绘制毛主席的画像需要某种特殊的许可证。这不仅是因为绘画者需要高超的技巧足以胜任这个工作，也是由于绘制领袖像是一个严肃的政治任务。
4th May- 27th May, 2006
Hanart T Z Gallery, Hong Kong
地址：汉雅轩(香港中环皇后大道中5号衡恰大厦2楼202室)
History Built to Order
Feng Mengbo
During the Cultural Revolution there was a saying that only artists who had obtained an official permit were allowed to paint the portrait of Chairman Mao. This was not only because any artist attempting this task had to be an extremely skilled technician, but also because painting the image of the Great Leader was a grave political mission. I don’t know whether there is any truth to this story, but from looking at existing works of Cultural Revolution art, whether the political passion was real or feigned, behind every portrait there is certainly the shadow of a frightened artist.
In 1997 I was in Berlin and went with an Austrian friend to attend the spectacular opening ceremony of the Hamburger Bahnhof Museum. Afterwards, Harald Szeemann, Holly Solomon and I spent an enjoyable time crowded around a small café table talking together. Since then both of these friends have passed away, and the memory of their voices and faces on that day has also faded: But one memory is still etched clearly in my mind: the sight of Andy Warhol’s portrait of Mao Zedong hanging high up in the museum’s main hall. Andy definitely didn’t have an official permit.
After my obsession with computer art began in 1993, I gradually came to neglect painting altogether; yet every time I visited an art museum, it was always the paintings and sculptures that most attracted me. Last summer, after completing my teaching appointment in Salzburg, I took my whole family to Italy for a three-week holiday. What a wonderful time I had viewing so many great works of classical art---I felt like I was drunk with beauty. The glowing, pulsating images of the silver screen may easily draw the eye and captivate the attention, but in the end the powerful, rock-like stillness of classical art is so much more electrifying. And so I began to paint again.
To me the only truly iconic image in Chinese portraiture in that of Mao Zedong; and my return to ‘classical’ painting began from here..................
第一步：材料试验
VeeJet，一种以色列兵工厂参与制造的巨型喷墨打印机。
亚麻布。热压木板。铝。木炭。油彩。丙烯。凝胶。
第二步：定制3D模型
以一个毛泽东陶瓷胸像为蓝本制作出了一个完美模型，再从网络上找到的毛泽东画像从中一分为二，制作出一个对称图像作为贴图。至此模型完工，有了一个纯正的人物和一个虚拟的无限自由的摄影棚。
第三步：拍摄
在3D软件中调焦和布光。
第四步：底层处理
数据投影机将完成的3D图像投射到亚麻布上，以木炭勾勒轮廓。在画布上涂布黏稠的丙烯凝胶后，用带齿画刀仔细地按照结构分割刻画纹理。干燥后用粗大的画笔和银色丙烯颜料塑造出笔触。
第五步：印制
12张处理好的画布运抵印刷工作室，工人将画布一一用真空吸盘和胶带固定在VeeJet的台面上，颜料一行行地喷射到画布上，刺眼的反紫外线灯管时开时闭将颜料瞬间烘干固化UV保护层。作品完成。
《下一个鹰巢》是冯梦波最具政治性的作品之一。题材暗合了二战胜利60年，更直接的反映了当代太平盛世上空的战争阴云。战争作为终极暴力手段固然永远与金钱有关，而宗教之争和民族敌视更是今日热点，这一切都与历史相关。他要表达自己的不安，也是对他儿子这一代的未来的焦虑。
定制
Feng Mengbo(馮夢波)
冯梦波1966年出生于北京，毕业于中央美术学院版画系。曾连续两届受邀参展德国卡塞尔「文件大展」，是中国当代新媒体艺术的重要人物。冯自93年沉迷于计算机艺术，去年起重新以「绘画」为媒介创作，以毛泽东作为他的古典绘画的主角，开始创作《定制历史》系列。文革期间一个广为流行的传说是，绘制毛主席的画像需要某种特殊的许可证。这不仅是因为绘画者需要高超的技巧足以胜任这个工作，也是由于绘制领袖像是一个严肃的政治任务。
4th May- 27th May, 2006
Hanart T Z Gallery, Hong Kong
地址：汉雅轩(香港中环皇后大道中5号衡恰大厦2楼202室)
History Built to Order
Feng Mengbo
During the Cultural Revolution there was a saying that only artists who had obtained an official permit were allowed to paint the portrait of Chairman Mao. This was not only because any artist attempting this task had to be an extremely skilled technician, but also because painting the image of the Great Leader was a grave political mission. I don’t know whether there is any truth to this story, but from looking at existing works of Cultural Revolution art, whether the political passion was real or feigned, behind every portrait there is certainly the shadow of a frightened artist.
In 1997 I was in Berlin and went with an Austrian friend to attend the spectacular opening ceremony of the Hamburger Bahnhof Museum. Afterwards, Harald Szeemann, Holly Solomon and I spent an enjoyable time crowded around a small café table talking together. Since then both of these friends have passed away, and the memory of their voices and faces on that day has also faded: But one memory is still etched clearly in my mind: the sight of Andy Warhol’s portrait of Mao Zedong hanging high up in the museum’s main hall. Andy definitely didn’t have an official permit.
After my obsession with computer art began in 1993, I gradually came to neglect painting altogether; yet every time I visited an art museum, it was always the paintings and sculptures that most attracted me. Last summer, after completing my teaching appointment in Salzburg, I took my whole family to Italy for a three-week holiday. What a wonderful time I had viewing so many great works of classical art---I felt like I was drunk with beauty. The glowing, pulsating images of the silver screen may easily draw the eye and captivate the attention, but in the end the powerful, rock-like stillness of classical art is so much more electrifying. And so I began to paint again.
To me the only truly iconic image in Chinese portraiture in that of Mao Zedong; and my return to ‘classical’ painting began from here..................
第一步：材料试验
VeeJet，一种以色列兵工厂参与制造的巨型喷墨打印机。
亚麻布。热压木板。铝。木炭。油彩。丙烯。凝胶。
第二步：定制3D模型
以一个毛泽东陶瓷胸像为蓝本制作出了一个完美模型，再从网络上找到的毛泽东画像从中一分为二，制作出一个对称图像作为贴图。至此模型完工，有了一个纯正的人物和一个虚拟的无限自由的摄影棚。
第三步：拍摄
在3D软件中调焦和布光。
第四步：底层处理
数据投影机将完成的3D图像投射到亚麻布上，以木炭勾勒轮廓。在画布上涂布黏稠的丙烯凝胶后，用带齿画刀仔细地按照结构分割刻画纹理。干燥后用粗大的画笔和银色丙烯颜料塑造出笔触。
第五步：印制
12张处理好的画布运抵印刷工作室，工人将画布一一用真空吸盘和胶带固定在VeeJet的台面上，颜料一行行地喷射到画布上，刺眼的反紫外线灯管时开时闭将颜料瞬间烘干固化UV保护层。作品完成。
《下一个鹰巢》是冯梦波最具政治性的作品之一。题材暗合了二战胜利60年，更直接的反映了当代太平盛世上空的战争阴云。战争作为终极暴力手段固然永远与金钱有关，而宗教之争和民族敌视更是今日热点，这一切都与历史相关。他要表达自己的不安，也是对他儿子这一代的未来的焦虑。
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