ONLINE EXHIBITION 2020

<<<CALENDAR MORTAL Sept-Dec

Iris garagnoux

Mary Wanida

Gibbon

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Pavelescu Alex

Vasile

Yi Dong

Lorraine Snape 

Xuhui Zhang

Ji Li

​线上展览《平凡人的日历 9月-12月,2020年

This exhibition is about the cancer experience. 10 artists came from different countries to express their understanding of cancer patients' experience. Using a variety of artistic styles to convey cancer patients' stories. Encouraging more people to pay attention to these patients' life after their treatment in daily life.

本次艺术展览是关于癌症的故事。六位来自世界各地的艺术家通过对五位患者经历的解读,结合不同的艺术表现手法将癌症患者的故事进行再加工。展现出不同患者在自我构建病后心理的积极态度,对于自我的再次认识。希望能够通过这次活动,让患者了解艺术治疗。通过参与艺术治疗项目,合理调节术后心理的恢复和重塑。同时也了解新的艺术介入治疗形式,鼓励患者加入到艺术治疗项目小组,和艺术家一起创作艺术作品。有机会展示自己的艺术作品,让更多的人能够愿意去了解患者的内心,也可以在实践活动中通过作品感染力鼓励到其他需要帮助的人。

             


This is a story of a broken fan that is transformed by the movement of light and simulating the environmental sound of a summer night and then realizes to get a second job. Even though this time it may only bring a breeze in the heart, but I believe that the power will not decrease.
Don't stop the pace of moving forward, we still need to live hard and gain something new and meaningful.

这是一个坏掉的风扇通过光的运动和模拟夏日晚上的环境声音进行改造,然后实现二次上岗的故事,即使这一次它带来的也许只是心中的微风,但我相信力量不减。不要停止前行的步伐,还是要努力去生活呀,获得新的意义呀。

Zhaoyi Li 李兆仪

To play, press and hold the enter key. To stop, release the enter key.

Untitled, Comprehensive materials,2020

Mary Wanuda Gibbon玛丽·瓦努达·吉本

Exploring the connection between object and communication; I am interested in how culture and society adapts around objects that they identify with. Using installation, I explore the value of cultural materials through the process of making, such as weaving, which takes a lot of attention and care to progress. Identifying as a dual citizen, I am drawn to how I can use materials in nontraditional ways to form a bridge between both of my cultures, and merge them into one. My current practice has extended to exhibiting in open spaces such as gardens and places where nature grows.

During this project, I wanted to put myself into the mind frame where I am able to find my own space of healing. Weaving individual threads over and over again surrounded by nature, with the sun shining. I was able to feel some form of serenity. Using time as an art form, I filmed myself weaving. As you watch the film, I hope you are able to let your mind go blank as mine does to find a space where you are able to find serenity.

探索对象和交流之间的联系;我对文化和社会如何围绕他们所认同的对象进行调整很感兴趣。我使用装置,通过制作过程探索文化材料的价值,比如编织,它需要大量的关注和小心翼翼的进步。作为一个双重国籍的人,我被吸引到如何以非传统的方式使用材料,在我的两种文化之间形成一座桥梁,并将它们融合为一体。我目前的实践已经扩展到在花园和自然生长的地方等开放空间进行展览。

在这个项目中,我想把自己放到能够找到自己治愈空间的心境中。在大自然的包围下,在阳光的照耀下,一遍又一遍地编织着个人的线。我能够感受到某种形式的宁静。用时间作为一种艺术形式,我拍摄了自己的编织过程。当你观看这部影片时,我希望你能够像我一样,让自己的大脑一片空白,找到一个能够找到宁静的空间。

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Peace of Mind,fabric, 2020

Iris Garagnoux艾瑞思.加拉格诺

The first approach to sculpture , video, 2020

The constant evolution of the human body, its mechanism and its plasticity are the core of my practice. I seek to capture a physical energy and to materialize it into organic forms, polarized colours and provoked situations. Painting allows me to create a re- pertoire of gestures, which then I transcribe into sculptural and performative fragments such as body extensions getting closer to the public. By bringing closer organic and synthetic materials, I connect them and generate a reaction of complete fusion, or then a symbiosis, referring to human behavior and social relationships. I imagine my installa- tions in space as choreographic sequences, a tension, relating to my practice of sports gymnastics in competition. I had the feeling that my body was metamorphosing in the effort, that split in the figures. By circulating between the macro and micro, I try to make visible an organic interiority which is never fixed responding to the environmental and technological conditions of today.

人体的不断演变,其机制和可塑性是我实践的核心。我试图捕捉一种身体的能量,并将其具体化为有机的形式、极化的色彩和引发的情境。绘画让我创造出对手势的重新认知,然后我将其转录为雕塑和表演的碎片,如身体的延伸,使其更接近公众。通过将有机和合成材料拉近,我将它们连接起来,并产生一种完全融合的反应,或者说是一种共生,指的是人类行为和社会关系。我把我在空间里的装置作品想象成舞蹈序列,一种张力,与我在比赛中的体操练习有关。我有一种感觉,我的身体在努力中蜕变,在数字中分裂。通过在宏观和微观之间的循环,我试图让一个有机的内部性变得可见,它从来没有固定的回应今天的环境和技术条件。

Xuhui Zhang 张旭辉

Untitled, 2m*1.8m*1.2m,Video media, 2020

This work is experiential installation art. It uses mosaic video and pure colored light to represent the monologues of breast cancer patients, and the interview dialogue is edited in the sound design to create a theater-like monologue. In the scene, the space like a window sill is like a heart leading to these patients, and scenes are played in this window.

The light of various colors combined with the mosaic video with obvious color tendency leaves more imagination space for the audience.

The patients' monologues are also positive words. I hope the audience can feel their strong power in the works and pay attention to breast cancer.

作品简介:这个作品是一件体验式的装置,它用马塞克的画面和纯粹的有色光来体乳腺癌患者的独白,而且在声音设计上剪辑了采访时的对话,来营造像独白的剧场。在场景中,像窗台一样的空间就像通往这些患者的心灵之窗,一幕幕场景在这个窗口播放。各种颜色的光配合带有明显色彩倾向的马赛克视频,给观众留下更多的想象空间。患者的独白也都是配合颜色的积极的话语,希望观众能在作品中感受到她们坚强的力量,并关注乳腺癌这个疾病。

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Pavelescu Alex Vasile

帕维列斯库. 埃里克森. 瓦利斯

The Opportunity for a Fresh Start, digital art, 2020

'I think my artwork almost speaks for itself.

As you can see, I used elements from 'Hand Shadow Theater' aesthetics and Photoshop aesthetics.

Making them an ensemble inspired by the times we live in.

Presenting the importance of the health system for the protection of the population of the globe.

Now it seems more than ever that the global feeling is present.

I hope that patients who see my artwork in the hospital exhibition feel that someone is taking care of them and aesthetically as much as health.

At the same time I want to inspire, comfort and give them hope.

'我认为我的作品几乎能说明问题。

正如你所看到的,我使用了'手影剧场'美学和Photoshop美学的元素。

使它们成为我们所处的时代所激发的合集。

呈现出卫生系统对保护全球人口的重要性。

现在看来,比以往任何时候都更有全球感。

我希望在医院展览中看到我的作品的病人能感受到有人在照顾他们,在审美上和健康一样。

同时我也希望能给他们以启发、安慰和希望。

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Yi Dong 董艺

This artwork depends on that a patient told her experience. She is very brave to accept her cancer. To my surprise, she makes friends with her cancer cells. Talking, eating, shopping, treating with these special friends. She doesn't fear cancer and death, she embraces her every cell. So I made these cells as monsters with different moods. They are adorable, unlovely, indignant, depressed, hopeful, etc. This ironside learns how to coordinate and advance equally, for complement and the helpmeet of these cells.

这组作品是关于一位患者的故事。她非常勇敢的去面对病情。令我惊奇的是,她说和癌细胞做朋友这件事。和它们讲话,一起同吃美食,逛街,共同治疗。她没有恐惧癌症和死亡,她去拥抱自己的每一个细胞。这组作品中像小怪兽一样的细胞各自有不同的情绪。它们有可爱的,讨厌的,愤怒的,沮丧的,充满希望的,等等。这位勇敢的患者学会如何与共同相处。

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Little monsters, paper clay, 2020

My work can be perceived as calming and meditative but at the same time be grating and irritating, inducing feelings of anxiety and tension. Within this the work is playful, with an anarchic element of humour, celebrating everyday moments of wonder. I want to invite the viewer to take notice, catch a glimpse, make one aware, reveal that which is unseen or hinted at, to highlight invisible forces, and make concepts tangible.

As a result of COVID- 19 lockdown in the UK, I turned to walk as a means of exercise and routine, but also as a form of escape. During my walks, I have been discovering alternative ways of exploring the environment and subsequently incorporated this into my art practice with a series of interventions which I documented.

I find walking can be very therapeutic, it gives time to contemplate and reflect. The pace of the walk adds a rhythm that is both purposeful and calming.

When I head out for a walk I make a point of taking a tool or medium with me. In my case, this can be a magnet on a string which I use to collect debris or a handheld mirror which I use to highlight and pick out an alternative perspective of the surrounding environment.

Sometimes I will seek out another way of engaging once I am out. This could be by walking through puddles of rainwater, creating mounds of fallen debris from a tree, or making a mark along my way with a chalkstone.

Art can be anything and everything. Outside of the studio, you can find many ways to investigate and express yourself. If you’re not able to go for a walk you can have a variety of experiences by taking an alternative perspective, perhaps in a garden or on the street outside.

For “Sea Painting: a paper’s journey” I took a roll of paper for a walk into the sea and out again onto the shore. Back on the sandy beach, my children walked along the paper and seagulls pecked at it. The performance was filmed and photographed before I later displayed the dried out paper in various configurations in the gallery. Having gone through a journey of cleansing and purifying, of labour and play, the paper has a strength and beauty as sculpture; like skin and the body it proudly displays signs of aging, history and decay in its’ marks and stains.

我的作品可以被认为是平静而沉思的,但同时又是刻板而令人讨厌的,会引起焦虑和紧张感。它充满趣味性,带有幽默的无政府状态,庆祝着每一天的奇妙的时刻。我想邀请观众参与到作品中,揭示那些看不见或暗示的内容,以突出看不见的力量,并使概念切实。由于新冠疫情我被隔离在英国,我把走路变成一种运动和日常活动,也是一种逃生方式。在行走过程中,我一直在寻找探索环境的替代方法,随后通过记录的一系列干预措施将其纳入我的艺术实践。我发现行走可以起到很好的治愈作用,让我有时间去思考和反思,这平静的漫步带来了一个即得益又恬静的节奏。当我出去散步时,我会带些工具或材料。对我来说,这绳子上的磁铁是我用来收集杂物的,我也会手持镜子来突出和寻找另一种参与方式表达周围的环境。这可能是通过在雨水坑中漫步,从树上撒下大量碎屑,或者用粉笔石在我的路上留下痕迹。艺术可以是任何事物。在工作室之外,你可以找到许多素材和表达自我的方法。如果您无法散散步,可以换个角度来看,这可能会带来各种体验,例如在花园或外面的街道上。对于“海洋绘画:纸上的旅程”,我拿一卷纸走进大海,然后再次走到岸上。回到沙滩,我的孩子们沿着纸走着,海鸥啄了一下它。在我后来在画廊展示各种配置的干纸之前,对表演进行了拍摄和拍照。经过了清洁和净化,劳动和娱乐的旅程,纸张具有雕塑般的力量和美感。像皮肤和身体一样,它自豪地显示出衰老,历史和痕迹和污渍的迹象.

Lorraine Snape 洛林·斯内普

Sea painting: a paper's journey,  paper, 2020
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