2018第四届上海青年艺术博览会 “ 青艺•无界” — 国际当代艺术展
青艺 • 无界 ——国际当代艺术展
SHYAF·UNLIMITED International Contemporary Art Exhibition
主 办
Organizer
上海青年艺术博览会
Shanghai Young Art Fair
承 办
Undertaker
扫一扫当代艺术展
Sao Yi Sao Contemporary Art Exhibition
出品人：王 芳 策展人：万 军
Producer: Wang Fang Curator: Wan Jun
参展艺术家
Artist
Ajim Juxta 阿俊 卓斯塔（马来西亚）
Dedy Sufriadi 戴狄 苏非阿迪（印度尼西亚）
Dennis Bato 丹尼斯 巴托 （菲律宾）
Granular Synthesis 颗粒合成（奥地利/德国）
Indra Dodi 英德拉 多迪（印度尼西亚）
Jiang Miao 姜淼 （中国）
Kim Seok Jung 金石中（韩国）
Kyle Skor 凯尔·斯科尔（美国）
Ryuta Suzuki 铃木隆太（日本）
Perez Reiter 佩雷兹莱 伊特尔 小组（哥伦比亚 奥地利）
Park Jong Kyung 朴钟庆（韩国）
Ruzzeki Harris 鲁斯奇 哈里森（马来西亚）
Katsutoshi Yuasa 汤浅克俊（日本）
Teo Esguerra 提尔 爱世克拉（菲律宾）
Tromarama 特罗拉马（印度尼西亚）
Wen Wen 文雯（澳大利亚）
Xue Zheng 薛征（中国）
前 言
文 / 万军
互联网时代，当代艺术处于开放发展的状态，它拒绝固步自封。越来越多的国际性艺术交流展览在各个国家以多种形式不断展开，因此我特别策划了“青艺·无界”国际当代艺术展，旨在让观众除了了解国内青年艺术家的创作，也可以了解国外年轻艺术家作品，形成一个对比。这种对比不是为了比较，而是更多的艺术交流。
本次展览选择来自不同国度的青年艺术家。因为年轻艺术家具备更强的实验精神和充满活力的想象力，在创作中他们使用了多种媒介，去呈现当今社会的生存语境、生命意识等之间的联系。在当今信息化社会交流中，艺术家多视角地去提问和判断社会问题，采取新颖的创作手段来诠释不同社会背景下的人文关怀和文化输出，其艺术针对性也不尽相同，在此我们能够看到各国艺术家的作品有明显的地域性和多元化特点。
中国文化讲求“世界大同”，同时也讲差异化发展。当代艺术源于西方，但发展到今天，全世界各个国家，不同语言和文化背景下的当代艺术，已经逐渐形成了自己的独特风格。当我们身处一个国际化的当代艺术展时，视野就会自然扩大，可以了解这个艺术家所生活的国家以及他们的文化、习俗及艺术表达。这时看当代艺术，它们就变得更有吸引力。每位艺术家的想法迥然不同，世界因此而变得丰富多彩。
经常思考，当代艺术的发展过于碎片化，缺少脉络梳理以及国际化的接轨，这次展览试图进行一次尝试，通观国内外当代艺术。艺术是无边界的，不同视角下呈现的艺术创作，带着不同文化气息精彩纷呈，随着开幕时间的到来汇集在上海青年艺术博览会。来自11个国家近二十位艺术家的作品，相信可以启发我们思考当代艺术的持续发展中还存在哪些壁垒可以进一步突破？
多元化发展在中国各个行业已经是必然趋势，当代艺术尤其如此。“青艺·无界”国际当代艺术展在上海青年艺术博览会的呈现，就是想让来自不同国家的青年艺术家带来他们的创作，让这些作品传递他们的思想。
中西方文化的碰撞早已不再是新鲜话题，但国际化交流依然十分必要。
2018.9 崇文门
SHYAF—Unlimited International Contemporary Art Exhibition
The Preface
In the internet age contemporary art is open and developing and it stands still no longer. More and more international art communication exhibition are held in various forms around the world. Hence I scheme SHYAF﹒Unlimited Contemporary Art Exhibition with a aim that audience can see the art works of domestic young artists as well as that of the foreign young artists, both of them forming acontrast. Such contrast is not for comparing with each other but for art communication.
It is some young artists from different countries that are invited to participate in this exhibition. Because young artists are usually with strong desire to attempt and vital ideas, they tend to utilize multiple media topresent the relations between current social survival context and life awareness. In current information-based society, artists question and criticize social issues from multi-visions, taking new creation measures to interpret human care and culture export from diverse social backgrounds. Therefore, the points of their art works are diverse and we can found obvious regional features and diversity.
Chinese culture pursues “World Commonwealth” as well as diversity development.Until now,contemporary art rooted in Europe has formed itsspecial styles in diverse countries, languages and cultural backgrounds. When we are in an international contemporary art exhibition, our horizons will be broadened so that we can know artist’s country and their culture, custom, artexpressions.From this perspective,contemporary art will be more attractive.Artists’ diverse ideas make a world full of variety.
The development of contemporary art is so fragmentized, lack of ordersteasing and international connection that this exhibition is an attempt to melddomestic and foreign contemporary art. As the opening date draws near, more and more art works presented by different perspectives with diverse culture background are coming together on Shanghai Young Art Fair. All the art worksare created by nearly 20 artists from 11 countries. We believe that from this exhibition,we can find more barriers in sustainable development of contemporary to make further breakthroughs.
Diversified development in domestic industries has been inexorable, sohave contemporary art. SHYAF Unlimited International Contemporary Art Exhibition is to exhibit the art works of young artists from different countries and spread their thoughts through the works.
The impact between Chinese and western cultures is not fresh topic anymore, but internationalizing culture communication is still necessary.
by Wan Jun
Written at Chong Wen Men in Sept. 2018
Ajim Juxta 阿俊 卓斯塔
1983年出生于马来西亚 毕业于UiTM 建筑学学士
Born in Malaysia in 1983.
Graduated from the Bachelor Sc. Architecture UiTM
Tugu 2100 纪念碑 2100
Acrylic on Canvas 102×76 cm 2016
阿俊 卓斯塔是一个艺名，也是我作为乐队主唱的舞台名称。我来自一个拥有強大艺术和音乐背景的家庭，但我決定在我求学期间选择建筑系。随着我的成长，我意识到建筑系缺乏发挥我艺术能力的渠道。所以，从2011年开始，我深入研究美术和展览等領域，进一步尝试了解各种形式的艺术。至于我作为一个视觉艺术家的实践，音乐，科幻小说和建筑仍然是我想发展的灵感。我傾向于利用这些兴趣自由生长，并以他们的方式以及他们对周围环境的反应来激发自我。通过绘画，素描和装置艺术，我找到了以不和谐的方式来表达我对未来的看法，因此他成为了定义我作品的视觉语言和语气。
Ajim Juxta is a stage name for me as a frontman for my band. I came from a family thathas a strong art and music background and was enrolled into Architecture schoolonly to find that it is lacking as a channel for me to be artistic so I have delved onto various form of arts before focusing on fine arts and exhibiting widely since 2011. As for my practice as a visual artist; music, science fiction and Architecture remain as interests in developing my ideas and the way they grow organically and they are at times a respond to my surroundings. From drawing, painting and making installations I have find waysto express the ideas of the future in a dystopic manner hence it became the visual language and tone that define my work.
Dedy Sufriadi 戴狄·苏非阿迪
1976年出生于印度尼西亞 毕业于日惹美术学院
Born in Indonesia in 1976.
Graduated form the Yogyakarta Acadermy of Fine Arts
High art low cost 高艺术低成本
acrylic marker oil stick pencil on canvas 150 ×150 cm 2018
对我而言，绘画是一种智力创造性的作品，艺术家负责画布上的每一个元素，逻辑上证明他们在那里。但是，与直觉相比，难道合乎逻辑真的是扮演着一个着更重要的角色吗？
这是一个在我抽象绘画的早期一直困扰着我的问题。我相信逻辑智能可能被操纵，而直觉智能往往更纯粹，并在我们的生活中扮演更有影响力的角色。 在抽象艺术中，过去几年繁琐的“观念”和“叙事”的问题也许最终都得到解决了。
如今我很清楚抽象画提供了我一个持续创作的优惠范围. 我是一位操作于逻辑思维与直觉探索这两个领域之间的艺术家，在作品中将这两者融为一体。
For me, paintingis intellectual creative work, the artist responsible for every element on thecanvas, logically justifying their being there. But is it true logic plays amore important role compared to intuition?
This is a question that plagued me in my early days of abstract painting. I believe logical intelligence may be manipulated, while intuitive intelligence tends to be more pure and plays a more impactful role in our lives. In abstract art, the questions of “idea” and “narrative”, which for the past several years were burdensome, may finally be resolved.
What is clear is that at this point abstract provides me a favorable framework to continue producing art. I am an artist operating between the realms of logical intelligence and intuitive exploration, both worlds melding into one.
Dennis Bato 丹尼斯·巴托
1989年出生于菲律宾 毕业于远东大学 建筑学学士
Born in the Philippines in 1983.
Graduated from Far Eastern University.
Needles in a haystack1 大海捞针
polyester resin oil paint & wood on canvas 48 x 66 cm 2018
丹尼斯巴托 毕业后便在一家建筑公司工作，不久之后便转为美术专业。 他对工程和结构的热情在他的工作中尤其明显地表现出来。 最初，他是通过涂鸦的方式介绍视觉艺术的。 他很快将从街头文化融入他个人所学，并呈現在画廊中的动态装置艺术当中，这些装置艺术创造了一部社会纪录片，描绘了人与社会之间被遗忘的争论。
Not long after, Dennis Bate shifted to fine arts after working in an architectural firm upon graduation. His passion for engineering and structure has always been evident in his body of work. He was originally introduced to visual arts through graffiti. He soon incorporated personal teachings from the streets to his dynamic installations in gallery settings which generates a social documentary that depicts forgotten contentions between men and society.
Granular-Synthesis 颗粒合成
1991年至2003年，库尔特亨直奇杰(Kurt Hentschlaeger) 和乌尔夫郎海因里奇(Ulf Langheinrich)以Granular-Synthesis颗粒合成的名义合作。
Kurt Hentschlaeger and Ulf Langheinrich had collaborated in art creation from 1991 to 2003 under the name of the name of Granular-Synthesis.
Modell 5 模型 5
QT ProRes 1920×1080 5.1 sound track 20'' seconds(excerpt) 1994
Modell5（1994）是由奥地利艺术家KurtHentschlaeger和德国艺术家Ulf Langheinrich共同创作的艺术家二人组颗粒合成Granular Synthesis的视听装置。这个装置展示了奥地利日本舞蹈家，歌手和表演艺术家Akemi Takeya的脸，切割成头部动作和难以理解的声音的重复片段。艺术家们创作了这件艺术品，探索数字编辑，通常被认为是机械和无情的，可以让观众感受到各种情绪，如压力，痛苦，疲劳和暴力。装置中引发的负面情绪是对全球化的评论，以及速渐对陌生人的恐惧感。Takeya代表着对不熟悉的，“陌生人”或“其他人”的恐惧，他们带着异国情调进入当地社区，讲着一种不同的，难以理解的语言。
This installation shows the face of Akemi Takeya, an Austrian-based Japanese dancer, singer and performance artist, cut into repetitive fragments of head movements and incomprehensivle sounds. The artists created this artwork to explore how digital editing, usually perceived as mechanical and emotionless, can make the audience feel a variety of emotions such as stress, pain, fatigue, and violence. The negative rise in the fear of the unfamiliar. Takeya represented the fear of the unfamiliar,"the stranger" or "the other", coming into local neighbourhoods with a foreign face and speaking a different, incomprehenisible language.
Indra Dodi 英德拉·多迪
1980年出生于印度尼西亚 毕业于印度尼西亚美术学院
Born in Indonesia in 1980.
Graduated from Fine Art College of Indonesia.
Animal Kingdom No.3 动物王国
Acrylic on Canvas 200×200 cm 2017
从他的艺术之旅开始，英德拉多迪一直认为绘画是一项非常严肃的活动，需要很多个人的承诺，技术技能，知识，能量和想象力。但它也很有趣和调皮, 这也是他想看到最终在画布上展示的画面.
这种趣味和游戏感为我的作品提供了动力之源，描绘了日常生活中包含喜剧和戏剧，情感和奥秘元素的场景。
Since early in my artistic journey I have always considered painting as a very serious activity, requiring a lot of personal commitment, technical skills,knowledge, energy and imagination. At the same time, it is also fun and playful, which is what I want to see finally represented on the canvas.
This sense of fun and play provides one of my sources of motivation for my artworks,depicting scenes from daily life containing elements of comedy and drama,emotions and mysteries.
Jiang Miao 姜淼
1981年出生于中国 毕业于中央美术学院
Born in China in 1981.
Graduated from Central Academy of Fine Art.
Primordial Reincarnation No.1 始基之轮回
acrylic on wood Knife carving ø220cm 2017
东方古老神秘而又理性的黑白哲学思路引导和指引我，拉开了我内在所有感官世界的序幕。概念中的黑白为色彩的两极，给以我最最庞大的色彩想象的宇宙空间。这种包容无限的色彩，容许我在艺术的信仰中，完全自由的表现内心的存在，真实与真诚。
用刀来绘画，与黑白同出一辙，同样不留多余的重复与伪饰，我追求永恒，也相信真实便永恒。
感受是灵魂的语言，是人唯一高贵和纯净的领域，是神赐予我们的爱和恩典。黑白让我对感受表达更加纯粹和直接，我喜欢绘画在这个领域中稳、准、狠的透彻。也感恩艺术带给我们的幸福和幸运！
It is the ancient, mysterious and rational Black and White Philosophy that guides me and opens my inner world. In my mind, black and white are the two poles of colors, which allows me to image the largest universe space of colors. Such catholic colors give me full freedom to express my inner, reality and sincerity into art creation. Just like black and white, painting with knives also leaves no duplications and fabrication. I pursue eternity and believe that reality is eternity. Feeling is the language of soul, the only noble and pure field, the love and grace by God. Black and white makes me feel and express pure and direct, which is why I like painting. And thank art to bring us happiness and luck.
Kim Seok Jung 金石中
出生于韩国 毕业于京畿道大学
Born in Korea. Graduated from Kyonggi University.
Daily - Generate flower 日常-生成（花）
Mixed media 73×91cm 2018
金石中为了将亚洲的历史和文化融入画中开始了美术生涯。30岁后期开始从“我”的大前提出发，以“我活的样子，日常生活的样子”作为结尾的作品世界。因此，画家在15年以上的时间里一直画着手表，土器等事物和自然，高尔夫等生活的乐趣，还有朋友，家人等身边人物。《日常-生成》系列是重新诠释日常生活的基本形象的作品。他在30岁出头的欧洲留学时，曾考虑过色感。即使东方人模仿自尊心很强的西方人的说话方式，也很不容易受到好评。所以要想对等，就必须尝试东方特有的东西，即西洋没有的东西。于是他使用了韩纸。韩纸通过颜料和协同效果，实现了色彩和质感的深度。就这样韩纸重合，成功制造效果后，现在不直接使用韩纸，而是达到了制造韩纸深度的境界。并且他混合颜料时不用毛笔混合。由颜料使颜料溅起。利用这种偶然的结果，勾勒出画家想要的形象。这种独有的特别技法在欣赏画时，会形成巨大的辨别力，引发感动和兴趣。
Kim Seok Jung started his art career to put Asian history and culture into paintings. Since his late 30s, he started with theme "I" and ended by creating "What I Am Living, What Daily Life Is". During more than 15 years, he always put his attention to paint watches, earthwares and nature, golf and the likes, as well as friends, families and people surrounding. The series of Daily-Generate are the works to explain basic things of daily life. When he studied in Europe at his early 30s, he tried to do creation with color sense. However, it is too hard to win praises for a eastern to intimate western tongue with high self-respect. Therefore, if eastern would like to equal westerns in art field, it is necessary to try eastern specials that do not exist in western. Then he used Korean paper to paint with pigments. And won success in colors and texture. Now Mr. Kim doesn't paint directly on Korean paper any longer. He creates Korean paper. He use no brush to mix pigments, but make full use of the incidental results by splashing pigments to sketch the features he expects. This particular skills usually make great differentiation from others, which is easy to move and interest audiences.
Kyle Skor 凯尔·斯科尔
1983年出生于美国 毕业于哈佛大学
Born in America in 1983.
Graduated from Harvard University.
Dwarf star Autumn Dance 矮星与秋舞
Mixed media 160×120cm 2016
在我的“非静物”系列作品中，我试图颠覆传统的“静物”作品观念。通常的艺术史类别中，静物的世界具有某种理性，处于静止和可预测的状态，也是一种架构。当然，有的“静物”作品由生活中的物体组成，但它们不都是透过心灵的跃动与转瞬之灵气而渗出的么？梦境的静物由什么组成？在一间安静的房间里，我们的内心世界会产生怎样的互动？这些作品探索的，正是真实与想象、内部与外部之间那层丝薄间隙。
In my series of works 'Unstill Lifes', I seek to unhinge the traditional concept of the 'still life' work, an art historical genre in which the world appears as somewhat rational, immobile, predictable, and composed. Of course there are 'still life' compositions of the material objects of our lives, but are they not all filtered through the vibrant and fleeting sprites of the mind? What is the still life of a dream? How does our inner, mental world play with a quiet room? These works explore the gauze thresholds between real and imaginary, interior and exterior.
Ryuta Suzuki 铃木隆太
1984年出生于日本 毕业于伦敦艺术大学
Born in Japan in 1983.
Graduated from University of the Arts London.
Asymmetrical Experience 不对称
woodcut /Silk screen
71 x 97cm 2016
在经历了东京，伦敦，北京生活之后，对自我“文化身份“的思考成为了我创作中的核心。在日语里“学习“（Manabu）的语源来自于“模仿”（Maneru）。历史上日本从不同的国家引进了不同的文化，并对它们进行了模仿。“模仿”指的是有意识的对另外一个既存对象进行接近的过程。“复制”所指的是为了最终达到和另外一个实际物体完全相同的结果。在这两者之间的相同和不同产生的“不对称“，出自不同文化在理解上的细微偏差，深入思考这种偏差产生的根源是理解日本文化的重要手段，也是我创作思路的由来。
After experiencing the lives in Tokyo, London and Beijing, reflections on the self “cultural identity” became the core of my creations. In Japanese language, the etymology of Manabu (learning) arises from Maneru (imitating). Historically, Japan imported various cultures from different countries, imitating each of them. “Imitation” suggests the process of the conscious closing in towards another existing entity. “Copying” refers to the ultimate result derived from the complete sameness of another concrete object. The asymmetry in the similarities and differences between these two ideas comes from the nuanced differences in cultural understanding. A deep introspection into the source of such discrepancy is a key method towards understanding Japanese culture, as well as a source of my creative ideas.
Perez Reiter 佩雷兹莱伊特尔 小组
Perez Reiter小组在七年前由来自奥地利的Irmgard Reiter和来自哥伦比亚的Diego Perez-Espitia组成。他们曾经就职于知名建筑设计事务所，并由此为机缘建立起了深厚的创作合作关系。
Perez Reiter is a collaborative creative duo based between Colombia and Austria.And during the last seven years, they have worked for well-known architectural firms, and thus established a profound creative cooperation relationship for the establishment of the opportunity.
Beet Fur Elise 03 贝多芬第9交响曲第三乐章LQ #1
Pigment print on Art Canvas 96 x 96 cm 2018
佩雷兹莱伊特尔小组在建筑领域丰富的供职背景下，他们绘制图像的创作开始踏入视觉领域，让画面上的线条开始展现多科学门类交织后，呈现出的充满动态化的表达——从脚下地壳板块的运动到古典音乐的流动。
With rich experience in architecture, they begin to combine their pictorial creations with visual techniques and after various scientific technical fabrications,let lines present dynamic expressions - from tectonic plates' movements to the flowing of classic music.
Park Jong Kyung 朴钟庆
出生于韩国 毕业于启明大学美术学院西洋画专业
Born in Korea.Graduated from Keimyung University.
Dream-Richness 红豆梦想-丰饶
oil on canvas 227×182cm 2017
朴钟庆的画作，以收获的大豆在草席或凉席上铺平晒干的情景为主题。如果说大豆是主演的话，那么其他器皿就是协助主演的配角。正如画家所说，为了忆起故乡，作为象征性的隐喻（暗示，暗喻）借用了大豆这一形象。不只是大豆，其他器皿也能充分的勾起人们对故乡的回忆。可以说这些素材是象征故乡的典型题材。
Park Jong Gyeong's Paintings are themed with soybeans lying on the grassmats or bed-mats to be dried in the sun. If the soybeans is protagonist, the other objects on the painting are only to support it.As what the artist said, the soybeans here is the symbol of his yearning hometown. It is not only the soybeans but all other objects on the paintings that can remind him of hometown.Actually all these elements symbolize his hometown.
Ruzzeki Harris 鲁斯奇·哈里森
1984年出生于马来西亚 毕业于马来西亚美术学院
Born in Malaysia in 1984.
Graduated from the UiTM Academy of Fine Arts in Malaysia.
Imprisoned 囚禁
Oil & Spray Paint on Canvas 130×130cm 2016
我的作品以社会，政治和流行文化问题的批判性观点，以讽刺的方式解构人类的梦想. 流行文化的各个方面 - 街头艺术，社交媒体，时尚和独立音乐 - 在我的工作过程中产生了巨大的影响作品中人们所熟悉的视觉符号被相互交叠，产生梦幻的超现实波普艺术，在营造一种混乱与失控状态的同时，以相异物件的结合静待观者发掘其中的意义。
My artworks take a critical view of social, political and popular culture issues, deconstructing the dreams of humanity in a satirical way. Various aspects of popular culture – street art, social media, fashion, and independent music – have been huge influences in my work process. Familiar visual signs are conceptually layered, to produce dream-like, pop-surreal works, suggesting notions of chaos and franticness, uniting disparate objects whose intent awaits the viewer’s discovery.
Katsutoshi Yuasa 汤浅克俊
1978年出生于日本 毕业于英国伦敦皇家艺术学院
Born in Japan in 1978.
Graduated from Royal College of Art, London.
Death Of Beauty #2 死亡之美
Oil Print Pigments/Water-Based Pigments/ Japanese Paper
65×50cm 2014
版画通常被比喻为绘画的间接表现，通过版画特有的创作过程中产生的偶然性，可以表现出原本不属于创作者意图的效果。摄影是一种与肉眼的视觉体验截然不同的视觉方式。作为将肉眼看到的视觉图像转换或输出的表现方式，产生了包括摄影在内的一系列的以图像为表现方式的当代艺术作品。如将版画作为影像媒体看待，版画便成为了事物的主观与客观，摄影与被摄影物体关系中一种存在。汤浅克俊的作品以图像为原形，运用非传统的版画技术和图像的视觉表现方式，探讨版画在当代艺术中的位置以及它对当代艺术的影响。由此，我们将他的作品作为视觉输出的媒介－“影像媒体“来探讨。
Hanga are often metaphorically thought as the indirect representation of drawing. Through the spontaneity as part of the unique creative process in Hanga, it produces unintended effects that were not part of the creative intentions. Photographyis a visual methodology that is distinctly different from the visceral experience of the eyes. Through the transferring or outputting visual imagery that the eyes can see, a series of modern art pieces are produced, including photography and other image-based ways of representation. For instance,treating woodblock prints as visual medium, woodblock prints become the subjectivity and objectivity of the thing, a kind of existence for there lationship between photography and the photographed matter. In the works of Yuasa Katsutoshi, images serve as the foundations, and through unconventional woodblock techniques and visual representations of imagery, he explores the medium of woodblock printing in, as well as its impact on, contemporary arts.Thus, we consider and explore his works as the visual output medium - the“image medium”
Teo Esguerra 提尔 爱世克拉
1990年出生于菲律宾 毕业于远东大学
Born in Philippines in 1990.
Graduated from Far Eastern University.
Clouds turned to stone 云变成石头
acrylic on archival print 91×122cm 2018
提尔 爱世克拉长期致力于摄影。众所周知，他是少数仍在使用底片，并在暗室中处理工作照片的人之一。他的绘画风格采用了类似的暗室技术，以超越自我的心态建立起來，并同時巩固了他的身份。提尔 爱世克拉的照片保留了他无法控制的現实，但他的绘画有能力改变观点的印象。他的立意是本能和冥想，让观众有机会看到一种无法預料的情绪。
Teo Esguer ra long devoted himsel f to photography. Known for being one of the few
that still processes his own work in the darkroom. His style of painting employs the same darkroom techniques that he has built with a transcended state of mind in which cements his identity. Esguerra’s photos hold the realities he cannot control but his paint has the power to alter the impressions of his perspectives. His approach is instinctive and meditative which leaves the viewer to witness a glimpse of unforeseen sentiment.
Tromarama 特罗拉马
特罗拉马是一个印尼艺术团体，由Febie Babyrose,Herbert Hans和Ruddy Hatumena于2006年创立。
Tromarama is an Indonesian art community founded by Febie Babyrose, Herbert Hans and Ruddy Hatumena in 2006.
Ting 丁
stop-motion animation video（excerpt）20’‘ 2008
Ting*(2008)是由艺术家三人组 - 特罗拉马的成员Febie Babyrose，Herbert Hans和Ruddy Hatumena 共同创作的单格动画。视频展示了三个形状、尺寸不同的杯子，以此代表特罗拉马组合里的三位艺术家。在Ting*(2008) 里，各种日常的毫无生机的物体以一种意想不到的方式掰弯扭曲各种餐具。这里的餐具就像居住在拥挤城市的人们，周末的时候离开闹市，也只不过是将工作日通勤通过街道转向公园、海滩。特罗拉马用戏谑的方式，呈现给我们一部掩盖了人类辛苦工作的动画片。
Ting*(2008) is a stop-motion animation by artist-trio Tromarama, made up of Ruddy Alexander Hatumena, Herbert Hans, and Febie Babyrose. The video showcases three cups of different shapes and sizes to represent the three artists that comprise the Tromarama collective. Ting* (2008) personifies ordinary, inanimate objects to lend an unexpected twist to everyday utensils. Each utensil signifies people living in dense, urban communities who leave the city on the weekend, just for the day, following their commute through the streets to the park or the beach. The result is a playful animation that belies the large quantities of photographs and painstaking manual work involved in its production.
Wen wen 文雯
1985年出生于上海 毕业于澳洲乔德洛普学院
Born in Shanghai in 1985.
Graduated from Jondalup College, Australia.
Holocene 初始
oil on canvas 180×150cm 2015
一直以来，我对二元性都比较痴迷，比如：云与水，天与地，自然与超自然。近十年来，我也一直以此为创作主题，但是2014年可以说是我创作上的一个分水岭-这一年，我接触到了佛教。在进行哲理与精神探索的过程中，我所经历的变化也都反映在了我的近作《对与错》中，包含了对焦虑与从容的想象，具象与抽象以及现实与虚无之间模糊的边界。
I am fascinated with duality: clouds and water, heaven and earth, the natural and supernatural. Although my decade of work centers on this theme, it is 2014 – the year I was introduced to Buddhism – stands out as a creative watershed. The changes I have since experienced while on this philosophical and spiritual path are reflected in my latest series, What is True and False; imagery of tension and release, the representational and abstract, as well as the blurred boundaries between reality and the imaginary.
Xue zheng 薛征
出生于北京 毕业于中央工艺美术学院
Born in Beijing.
Graduated from Central Academy of Craft Art.
Red tide 红潮
Mixed Media 150×210cm 2018
薛征喜欢运用看似怪诞离奇的画面以及丰富冲突的色调阐释人类正常生活中以外的幻想世界，保罗·克利（Paul Klee）在他1915 年的日记里曾经写道：“一个人离开此时此地而建造起一个彼岸的世界，一个能够提供全部肯定东西的世界，真实世界越可怕，他建造的世界就抽象。”观念和批判无疑可以用视觉记录的方式来表达，审美知觉是建立在理解之上的，而理解是一个寻构过程欣赏者只有明晰作品中内容和形式的结构以及它们之间的各种关系，才能最终以某种程度格式塔式的审美理解得到满足。古代世界的绘画作为一种触觉思维把真实作为组成自然的各个部分来表达，文艺复兴后的传统则把一切融入空间，企图创造出更加逼真的景象。如何将内心的真实与绘画传统的空间感拼合，以一种和谐而有趣的形式来描摹艺术家创造的世界和感受一直是所有当代艺术家共同的追求。自上世纪初到现在，艺术家们一直不断寻求和完善以此出发点的视觉语言以达到震撼人心的效果，薛征的作品也许继承和发展了这种语言并且以一种更加符合时代的愉快方式充足地进行了表达。
Xue Zheng is keen on interpreting imagery world beyond daily life with absurd, odd pictures and abundunt conflicting hues. Paul Klee once wrote in his diary in 1915:"In the large molding pit are lying ruins, on which one partially hangs.They provide the material for the abstraction. The terrible the world, the abstract the art." Without doubts concept and criticism can be recorded by visual ways, aesthetic cognition built on understanding, and understanding is searching process. Appreciators only make clear the content, form structure and the relation between them so that they can be satisfied with Gestalt aesthetic understanding on some level. Ancient paintings as a touch thought utilizes the reality to compose each part of nature; tradition after Renaissance melt all into space and try to create lifelike scene. It is always the common pursuit for all contemporary artists that how to integrate inner reality and traditional painting space in harmonious and funny manner to describe the world they created and their feeling. Since the early of 19th century artists have pursued and improved visual language to become stirring. Xue Zheng's paintings inherit such visual language and develop it to express amply in a pleasant way fitting for present.
“新生万象”——2018第四届上海青年艺术博览会
2018 Shanghai Young Art Fair
展会地点
Venue
上海世贸商城展览馆
Shanghai Mart Exhibition Hall
地址
Address
上海市兴义路99号
No.99,Xingyi Road,Shanghai
VIP预展
VIP preview
2018年11月14日 18:00 — 21:00
开放时间
Opening time
2018年11月15日 — 11月19日 10:00 — 16:00
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