ART EXHIBITION 2020
IN MUSEUM OF MEDICAL SCIENCE
Pavelescu Alex Vasile
Mary Wanida Gibbon
Calendar Mortal is an art project that takes patients with diseases as the protagonist and explores life as the theme. It is composed of 10 Chinese and overseas artists who communicate with patients and explore the artistic language of life. As the track of time, "calendar" represents the past, present, and future. For patients, the disease is a special journey in life, and it will unconsciously lead the patient into another perspective of life. At the same time, every minute and moment is especially important for everyone.
The COVID-19 pandemic has affected the stable lives of all people, this is a disaster facing humanity. There are countless tragic stories, and these victims have experienced the torment of diseases. We can regard it as the end of the world because it brings direct pain to humans, but it is more like a new beginning, let us rethink what is "ordinary life", "value" and "meaning of life".
Throughout the entire development process of mankind, it has been ups and downs. Human beings have countless wisdom and experience accumulated in history, these must be something unchanged which is deep in the human heart in this process. The temperature of the feeling? Is it helping each other to get better? Is it still maintaining a positive attitude despite difficulties? For life, different perspectives of observation and practice will bring different thinking and experience whether it is from the macro or micro angle, when we look at life, life may look at us.
Therefore, we cannot ignore the energy carried by any life, what it contains is exactly what we need to think and explore in the process of pursuing the truth. This seemingly ordinary may have its extraordinary content behind it.
Writer: Wenbin Xia
Translator: Mingxi Hu
The plasticity of the human body, its mechanism and connections are the core of my practice. I seek to capture physical energy and to materialize it into organic forms, polarized colours and provoked situations. Painting allows me to create a repertoire of gestures, which then I transcribe into sculptural and performative fragments such as body extensions getting closer to the public. Inscribing myself in the practice of new sculpture, I explore the materiality of organic and synthetic elements by connecting them and by observing their reaction, referring to human behavior and social relationships. I imagine my installations 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.
Untitled for now, Around 5/7min, sound, video，2020
Lorraine Snape 洛林·斯内普
These subtle works on paper are made with ice and ink and created as the ice melts, pushing the ink outwards before it dries, creating a halo and texture. With a focus on traces and marks left behind, I see this as our transparent history. These material investigations and subsequent residues on paper are memory stains, tracing irrelevant records of the passing of time. They portray hints and glimpses, images sensed at the peripheries of vision, or through a familiar scent. Through this process, I feel I am examining what is left beyond memory when an act fades.
这些纸上微妙的作品是用冰和墨水制成的，并在冰融化时产生，在墨水变干之前将墨水向外推，产生光晕和质感。 着眼于留下的痕迹和标记，我将其视为透明的历史。 这些材料研究和随后在纸上的残留物是记忆污渍，可追溯到时间的不相关记录。 它们描绘出暗示和瞥见，在视觉外围或通过熟悉的气味所感测到的图像。 通过这个过程，我感觉到我正在研究行为消失后剩下的记忆。
"Ice trial: zygote"，"Ice trial: foetus"，"Ice trial: torso"
Material, ice, and ink on khadi paper，2019， 58cm x 58cm
Mary Wanuda Gibbon
Exploring the connection between material and culture; I am interested in how society adapts around objects that they create and interact with. Using installation, I explore the value of cultural materials through traditional processes of making, such as weaving, and sewing. Investigating and identifying the hybridity of material components through deconstruction, and using the reconstruction process to build a mind frame of nostalgia to acknowledge the happening of now and the past. Identifying as a dual citizen, I am drawn to how I can use materials in traditional and nontraditional ways to build my own house on the border of cultures and merge them into one. Investigating the mind frame a person must be in to heal, I look to my own methods of finding peace. Weaving in my garden on a cool summer day. I allow myself to be completely carefree, through the repetitive process of intertwining fabric and threads . I fall into a space of care and thoughtful nostalgia.
探索物质与文化之间的联系， 我对社会如何适应它们创建并与之交互的对象感兴趣。 通过装置，我通过传统的制作过程（例如编织和缝纫）探索文化材料的价值。 通过解构调查和识别材料成分的混合性，并使用重构过程建立怀旧的思维框架，以承认现在和过去的发生。 作为双重公民，我着迷于如何以传统和非传统方式使用材料在文化边界上建造自己的房屋并将其融合为一体。 调查一个人必须治好的心理框架，我期待着自己寻求和平的方法。 在凉爽的夏日编织在我的花园里。 通过使结构和线程交织在一起的重复过程，我让自己完全无忧无虑。 我陷入一个关心和沉思的怀旧空间。人体的可塑性，机制和联系是我实践的核心。我试图捕获一种物理能量，并将其具体化为有机形式，两极分化的颜色和挑衅的情况。绘画使我能够创建一个手势库，然后我将其转录为雕塑和表演性片段，例如身体延伸部分越来越接近公众。在新雕塑的实践中，我将自己与有机和合成元素联系起来，并观察它们的反应，探讨人类行为和社会关系，从而探索有机和合成元素的重要性。我想象我在太空中的装置是编排序列，是一种张力，与我在比赛中练习体育体操有关。我感到自己的身体在努力中变形，数字分裂了。通过在宏观和微观之间循环，我试图使有机内在性变得可见，而这种内在性永远无法响应当今的环境和技术条件。
Nature Weaving , video, 35 minutes, 2020
Pavelescu Alex Vasile
In this context we are in lockdown, in which chemists together with scientists are trying to find a vaccine to stop the spread of the pandemic. My artwork starts a discussion about the commitment of Rosalind Franklin. This chemist, an expert physicist in X-Ray interpretation, who came up with solutions for exterminating viruses from certain plants, gas masks that have proven to be very effective for British soldiers, and last but not least, the discovery of the structure of DNA. (all this has been overshadowed because she was a woman in those days)At the same time it talks about feminism, a bridge between science and art and DNA architecture.My artwork appears as a materialisation of the 100th anniversary of her birth,being a notable moment through which the Museum of Life Sciences, the Gordon Museum of Pathology, and the King's College London shows their special appreciation. Another thing my sculpture does and I want to point out is that no matter if the context you are in is not so fertile for you, if you are very passionate about what you do, in time your endeavour will come to light.
In Time Your Endeavor Will Come To Light,
Digital collage, 30.61cm*124.24cm, 2020
Mingxi Hu 胡明曦
The way of the body to archive the memory is invisible. Pain is its signal to remind you of past experiences as time accumulates. Long-term pain forms a chronic disease, which occurs based on personal life experience, wayof work, daily routine even family inheritance. This work is created to record my grandma's rheumatism, the formation of the cause is closely related to grandma's past, it is her life experience and a life archive. This work is composed of three parts, the firstpart is grandmother's feet plaster cast and the commonly used medicine bottle plaster cast; the second is the musculoskeletal story; the third is the medicine smell collection bottle. These three parts are my records of the formation and treatment of grandma's rheumatism. Through interviews, the process and feelings of grandma's treatment of rheumatism are embodied in sculptures, paintings and smells in multiple dimensions. The choice of plaster is because it forms its special shape under the influence of the surrounding environment like a stone, followed by its color like a human bone. The musculoskeletal story pictures are black-and-white line drawings created by grandma’s self-report of the cause of her rheumatism. These story pictures will be printed on transparent acrylic and hung on display. They are a statement of the body. Regarding the odor collection bottle, it is based on the fact that long-term medication will leave human skin with odor, which is an odor mark of rheumatism, so I collected the odor of the plaster in a glass bottle. These three parts are a file of my grandma's rheumatism experience, and also her physical memory.As the carrier of life, the body is the most important part of human beings. It is an optimistic and positive attitude to record the impact of diseases on people's lives in the form of art. Life is a complex and interesting process, so what kind of mentality should be used to face and treat it is worth thinking about. I hope this work can give rheumatism patients an objective and optimistic attitude towards life.
身体对记忆的记录是隐形的，随着时间的积累，痛感是它的信号来提醒你曾经的经历。长期性的痛感形成慢性病，它的发生基于个人的生活习惯，工作性质，日常习惯甚至家庭遗传。这个作品是为了记录奶奶的风湿病而创作的，病因的形成与奶奶的过去紧密关联，是她的人生经历也是生命的档案。 这个作品由三部分组成，一是奶奶的双脚石膏翻模和常用药瓶石膏翻模；二是肌肉骨骼故事图；三是药品气味收集瓶。这三个部分是我对奶奶风湿病形成和治疗的一个记录，通过采访的形式把奶奶治疗风湿的过程和感受通过雕塑，绘画和气味多维度的体现。选择石膏这种材料是因为它像石头一样在受周围的环境影响下形成其特殊的造型，其次是它的颜色如人的骨骼一样。关于肌肉骨骼故事图是通过奶奶对自己风湿病形成的缘由的自述而创作的黑白线描，这些故事图会打印在透明的亚克力上悬挂展示，它们是对身体的一个陈述。关于气味收集瓶，是基于长期用药会让人体皮肤留下气味，这是风湿病的气味标记，所以我把膏药贴的气味收集在玻璃瓶中。这三个部分是我对奶奶风湿病经历做的一个档案，也是她的身体记忆。 身体作为生命的载体，是人类最重要的一部分，用艺术的形式把疾病对人生活的影响记录下来是一种乐观积极的态度。生命是一个复合且有趣的过程，用怎样的心态去面对和看待它是一件值得思考的事，希望这个作品可以给风湿病患者一个对待生活更客观和乐观的态度。
73, Plaster，Glasses, Acrylic, Variable size, 2020.
Wenbin Xia 夏文斌
& Huijing Wang王会晶
This work is an artistic experiment and exploration that borrows from the "sick life" of the patient big brother Wang, and borrows from the transparent hanging vase commonly used in medical treatment, and uses the peonies in Wang's paintings as the medium. Another linguistic form for composition and expression.
In 2016, Mr.Wang suddenly suffered from a cerebral infarction, which interrupted his original life and trapped his right hand. At that time, he did not stay in the dreary state of the disease, but picked up his hobby of hand-painting, which he had put aside for a long time, and tried his best to study and paint peonies with his left hand. However, one can always face it with one's own potential and some methods, and gradually form a new habit of life. Compared to his devotion and concentration on painting, illness is more like a door reopened for Wang, through which more vitality and sunshine can be seen.
The works are mainly filled with liquid, which is formless in nature, but its qualities are very strong in shaping and containing, like the texture of life. In the limited living space, different life characteristics and personal states can reasonably occur, which makes the future infinite possibilities. What is interesting is that the edges between opposites seem to be blurred, day and night, high and low, good and evil, gain and loss, positive and negative, etc., while the problems we encounter seem to guide us to find ourselves and the relationship between past, present and future. When there is a fault in life, it can give us the opportunity to rethink the meaning of life.
此作品是借用患者“王哥”的“病假生活”而展开的艺术实验与探索，借用医疗常见的透明吊瓶作为媒介，把“王哥”笔下的牡丹用另一种语言形态进行构成和表述。 2016年，“王哥”突患脑梗，疾病打断了他原本的生活，困住了右手。这时他并没有在疾病的沉闷中停留，捡起搁置许久的手绘爱好着力用左手研画起牡丹。身体不方便的地方像是河流遇见了堤坝，原始固有行为会被阻挡，但是人总能用自身的潜力和一些方法去面对，并逐渐组成一种新的生活习惯。论起对于绘画的投入和专注，疾病对于王哥来说倒不如是重新开启的一扇门，从门里透进来的是更多的生机与阳光。 作品主要以液体作为填充，液体本无形，但它的特质又具有非常强的塑造性、容纳性，像极了生命的质地。在有限的生存空间里，不同的生活特征、个人状态都可以合理发生，这让未来存在无限的可能性。令人感兴趣的是所有对立事物之间的边缘总好似模糊不清，昼与夜、高与低、善与恶、得与失、积极与消极等等，而我们遇见的问题更像是在指引着我们去寻找自己，以及过去、现在和将来之间的关系。当生命出现了断层，断层可以给予我们的亦或是重新思考生命意义的机会。
Reboot, glasses, pigment, plants, Variable size, 2020.
Xuhui Zhang 张旭辉
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.
Untitled，Video media，2m*1.8m*1.2m ，2020
Yi Dong 董艺
Silence Voice， Cotton clothes， Variable size，2020.
The patient’s shirts are squeeze. These clothes will be distributed to different patients. The treatment journey is starting after they accepting. Patients shirts are a unified look and the same material in the beginning. However, these patients change to individualism after staying with some experience. During treatment progress, clothes could be witnesses to stay with arriving and leaving. Cancer patients feel daily stresses from many parts. Due to these kinds of troubles, their tears and blood soak shirts to warp and become tatty. These traces take many pains from the owner’s physical parts and psychology. During I have an interview with Mrs.X, she uses this shirt as her body language to express her emotions. She pulls shirt-tails with Nervous, sadness, and wipes tears with crying. The clothes stay together at this trough. Every Patient does not like dressing patients’ shirts for a long time. They do not want to label sickness tags. Most of them want to take off these shirts that would mean they return healthy again with happiness and relaxation. Few will keep this item for collection and remember this hospital experience. These wearing shirt-tails could be realized as the sentiment from the reader’ to write down inside a book. These clothes keep much memory of the vicissitudes of life. Taking off them, it could be an ending or a new beginning for once-owners.
Ji Li 李季
Every time I went back to see my grandma, she would stretch out her movable left hand to me and then pat my back while I was squatting next to her. Although we can no longer have a conversation, I still feel the power of gentleness. Hope the soft texture of wool felt can also convey this feeling.
Untitled ，wool felt，2020
In the summer of 2020, my father was diagnosed with cancer. I tried to use this work to record the complex emotions in my heart for a period of time after I learned the news. In my imagination, the sickbed was pressed out by my father's body in the form of a human dent. What was carried in the dent was my feelings - unknown, uneasy, fear, regret and other emotions turned into a pool of silent black water. I used this way to experience my father's pain. In my opinion, this period of time is the best of the worst days. Everything seems to have found a delicate balance after being broken, but I don't know how long this balance can last. The endless desire for this kind of balance for a longer time and the constant fear of its imbalance again is just like the tension between the black ink and the white sheet in the works. Maybe a subtle shaking and a slight wind blowing will spread the ink like cancer cells, breaking the peace at the moment.
Zhongyao Wang 王钟垚
When sorrow came one day earlier, I learned to sleep with silence，
Mixed media installation ，193×75×45cm ， 2020