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【聚焦】百川归海——国际青年艺术家成长计划!

作者:admin发布时间:2020-11-18分类:最新焦点浏览:8评论:0


导读:原标题:【聚焦】百川归海——国际青年艺术家成长计划!国际青年艺术家成长计划正式启动见面会此次首个项目板块是以川美学生...
原标题:【聚焦】百川归海——国际青年艺术家成长计划!

【聚焦】百川归海——国际青年艺术家成长计划!

国际青年艺术家成长计划正式启动见面会

此次首个项目板块是以川美学生为主体与国际学生以及青年艺术家之间的交流为基础而展开的,以四川美术学院造型艺术学院的在读学生为出发点与英国,意大利,美国,德国,波兰,日本,捷克等国家的多所高等艺术院校的学生展开线上展览,论坛以及沙龙。此次活动的第一个单元将首先与英国皇家艺术学院的学生展开。在接下来的项目持续推进中,将逐渐开启与各个国家的艺术院校的进程。

The first project is based on theexchange between students as the main body and international students as wellas young artists. Starting from the students in the College of Plastic Arts, weplan to launch online exhibitions, forums and salons with students from manyart colleges in Britain, Italy, the United States, Germany, Poland, Japan,Czech Republic and other countries. The first unit of the event will begin withartists from the Royal College of art, UK. In the future, the project willgradually start the process with each art institute in various countries.

百川归海——国际青年艺术家成长计划

(英国皇家艺术学院参与项目成员)

项目成员(排名不分先后):Thomas Moen,杨荔丹,梁娅杰,何逸飞,龚恒之,Barbara Alegre,方珉瑶,M. Jacinta Silva Armstrong

【聚焦】百川归海——国际青年艺术家成长计划! 作者:Thomas Moen作品名:Bring dark to my eyes尺寸:尺寸可变材料:生物树脂,镜子时间:2

展开全文

1994年出生,托马斯摩恩是一位居住于伦敦的艺术家。摩恩在2015年获得布莱顿大学摄影专业的本科学位后便移居伦敦,于2020年在皇家艺术学院取得摄影系的硕士学位。摩恩的艺术实践研究与探索雕塑与摄影的边界以及其交织的关系。摩恩的实践方法从焦虑本身出发,将感受物化。具体来说,他在实践中浇铸树脂的动作成为一种索引,指向摩恩在其中放置的图像碎片,对摄影物处理重复性。经过这一系列过程,摩恩的实践产物便是被个人经历,历史,强烈的物质性所共同塑造的图像雕塑。对旧材料的回收利用,将其重新注入新的艺术品也是摩恩实践中的重要一部分。

Thomas Moen (b.1994) is an artist based in London. He completed a BA in Photography at the University of Brighton in 2015, before moving to London, and completing an MA in Photography at the RCA in 2020. His practice sits at the border of the photographic and the sculptural and is an investigative process, intertwining these two disciplines. Moen’s method stems from anxiety and he attempts to manifest that feeling through artistic production. He uses the casting of resin as an indexical tool in which he contains fragments of imagery, as well as gestures of repetition on and with photographic matter. The resulting photo-sculptures are shaped by personal experience, history, and an intense engagement with materiality. Re-use of old material to supplement the new and continuing the lifespan of artworks is also integral to Moen’s practice.

【聚焦】百川归海——国际青年艺术家成长计划! 作者:杨荔丹作品名:情书尺寸:尺寸可变材料:数码打印,硅胶时间:2020

生活并工作于伦敦,杨荔丹的实践探索亲密关系作为一种巩固个人存在的经验。以图像为基础,杨荔丹也将她的实践伸展到雕塑,装置,移动影像和声音的方面。她的研究深入每日的平凡柔软与不适:失去,情欲,爱和他者化。她的作品在电子叙述中检讨当代亲密关系如何从欲望中脱离,成为新的资本物件,以及在科技漩涡以及人工智能兴起中,人类交往中的资本化。

Working and living in London, Lidan Yang’s practice deals with the of intimacy as a form of experience that consolidates our sense of being. Working primarily with images, Yang extends her practice into the realm of sculpture, installation, moving image and sound.

Her research delves into the tenderness and discomfort that resides in the everyday; in what is lost, in lust, in love and in othering. By her practise also lies within a digital discourse that reflects upon how modern intimacy detaches from the idea of desire and are made products of contemporary capitalistic system. In her work, she discusses capitalisation of human interaction in relation to technologies and the emergence of artificial intelligence.

【聚焦】百川归海——国际青年艺术家成长计划! 作者:梁娅杰作品名:心心相印尺寸:30 x 40 cm材料:架上油画时间:2019

梁娅杰 (b. 1995) 是一位居住在伦敦的艺术家和研究者,目前在皇家艺术学院艺术与人文学院攻读博士学位。娅杰于2018年在中央美术学院中国画学院取得学士学位,于2020年在皇家艺术学院取得绘画系的硕士学位。梁娅杰的实践通过考虑在当代中国背景下的种族,动物性,性别以及能力之间的持续抵抗,在绘画中同时交叉处理了身处异质正常化,种族主义,动物等级制度中的人类形象和动物形象。在这项关于古怪的动物性的实践中,她通过古典民俗和田野调查来探究动物和人类交织出的过去和投机的未来。她的参考文献从中国古代神话中的野兽到后人类亚文化中的⽪毛癖,寻求只有通过杂交才可能实现的身份流动性,测试动物作为一个半⾃传文本的替代品的可行性。最近相关展览包括:50/50,Fold Gallery,伦敦;Beacon,Jose Lilley Gallery,伦敦;Final,not Over,Unit 1 Gallery,伦敦;环形废墟,Hockney Gallery,伦敦;Oh, Dear, Safe House,伦敦;Plastic Tongue,White House Gallery,伦敦;Lay with me,Dyson Gallery,伦敦。

Born in China in 1995, Liang Yaya is an artist and a researcher based in London. She completed at China Central Academy of Fine Arts (BA Traditional Chinese Art, 2018), and at the Royal College of Art (MA Painting, 2020). Now she studies at the PhD program at the School of Art and Humanity in Royal College of Art. Yajie’s practice, build on painting, installation, and object that treat both animals and humans’ figures and spaces in heteronormativity, racialism, and animacy hierarchies intersectionally by considering the insistence collisions of race, animality, sexuality, and ability in the context of China. The references, of which artworks in this research, span from Chinese legendary Beasts, to the hybrid creatures combining objecthood and animality in posthuman subcultures of “furries”; in pursuit of a fluid queer identity only possible through hybridization, aiming to test “animal”s viability as an alternative from an autobiographical context.

Liang's work has exhibited in recent group shows: 50/50, Fold Gallery, London, UK; Final, not Over, Unit 1 Gallery, London, UK; The Circular Ruins, Hockney Gallery, RCA, London, UK; Oh, dear, Safe House, London, UK; Plastic Tongue, White House Gallery, London, UK; Lay with me, Dyson Gallery, RCA, London, UK.

【聚焦】百川归海——国际青年艺术家成长计划! 作者:何逸飞作品名:所有的树都会开花尺寸:尺寸可变材料:多种材料时间:2018

何逸飞,艺术家,研究学者。皇家艺术学院暑期课程客座讲师。其博士研究方向为中西方当代艺术家工作室以及相关艺术实践方法论的分析与实践。博士研究课题由国家留学基金委艺术类人才培养特别项目资助。她于2020年在英国皇家艺术学院艺术与人文学院取得博士学位,于2016年在英国皇家艺术学院绘画系取得硕士学位,于2012年在湖北美术学院油画系取得学士学位。曾担任客座讲师策划并教学于皇家艺术学院暑期短期课程,曾于伦敦大学金匠艺术学院等大学担任短期课程讲评。

在其绘画实践和研究中,绘画作为一种思考媒介存在于观念和行动之间。其实践涵盖绘画,影像,装置等。相关展览以及获奖经历包括:2018 个展“所有的树都会开花” J:Gallery画廊;提名“华宇青年奖”2018;2017 个人项目入围参评“14 届德国卡塞尔文献展”合唱团项目部分;“破晓计划群展”马维瑞克项目空间,伦敦;2016“余光中心”个展,荔枝一号,伦敦。

Artist, researcher. Visiting Lecturer in Royal College of Art, Summer Course. Her research project on the usage of artist’s studio and the related practice methods at the Royal College of Art, School of Arts and Humanities. She has teaching experiences at the University of Northampton, UK; Goldsmiths and Royal College of Art. She completed a PhD, Fine Art Research at Royal College of Art in 2020. Her PhD study is supported by the Special Program for the Development of Art Talents from Chinese Scholarship Council. In 2016 she completed a MA in Painting Program at Royal College of Art. Before that she had an exchange study at Headmaster Jean Marie Bustamante Studio, École nationale supérieure des Beaux-Arts, Paris in 2015, and completed a BFA in Oil Painting Department at Hubei Institute of Fine Arts in 2012. In her research and practice, painting functions as a mode of thinking and sense that embodies a conceptual and affective engagement with the technical processes of painting. Her practice involving painting, video and installation art is exhibited throughout the UK and China. Related exhibitions and awards: 2018 Solo Show, Emotional Labour, J-Gallery, Shanghai, China. Nominated in Huayu Sanya Youth Award 2018. 2017 Longlist for the Chorus Program, Documenta 14, Kassel. Daybreak Show, Maverick Project, Asylum, London. 2016 Unwitting Center, Solo Show, Lychee One Gallery, London UK.

【聚焦】百川归海——国际青年艺术家成长计划! 作者:龚恒之作品名:夏夜尺寸:100cm x 120 cm材料:架上油画时间:2019

龚恒之是工作于伦敦和重庆的艺术家。他于2018年获得北京理工大学工业设计学士学位,并于2020年获得皇家艺术学院绘画硕士学位。他的作品在中国,英国和美国等地进行展览,展览包括:Wintergreen Boxwood,No. 20美术馆,伦敦;50/50,Fold美术馆,伦敦;未完待续,Unit 1美术馆,伦敦; 信标,Josh Lilley美术馆;快照,Hockney美术馆,伦敦;夏季展,皇家美术学院,伦敦; 便宜得到,泥美术馆,西雅图;一个笑话,水果空间,重庆。龚恒之绘画中的意象来自他的个人经历和梦境;他用荒诞和幽默的叙事,将意象联系在了一起。这种叙事来源于他对当代社会的认识,并可能赋予他画里的意象另外的意义和内涵。这些平凡的来自于日常生活中的意象不仅代表着他们本身,还代表着某种别的东西:一种盈余(surplus)。他的这种创作过程带有一种天然的批判性元素,并让他的画里有了一种讽喻。另外,除了荒诞和幽默外,他的绘画中还有一种自嘲:一种作为中国文人并试图传承文人画的无力感;这种无力感给他的画带来了一种巨大的悲伤,而这种悲伤往往隐藏在喜悦里。总之,龚恒之不仅通过绘画来记录自己的经历,梦境和想象,也把它当成另一种声音,来说出他的身份,观点和在日常生活中他不愿大声表达的其他东西。

Hengzhi Gong (b. 1995) is an artist based in London and Chongqing. In 2018 he graduated with a BA in Industrial Design from the Beijing Institute of Technology and in 2020 with an MA in Painting from the Royal College of Art. His work has been exhibited internationally in such shows as: Wintergreen Boxwood, No. 20 Arts, London; 50/50, Fold Gallery, London; Final, Not Over, Unit 1 Gallery, London; Beacon, Josh Lilley Gallery, London; Snapshot, Hockney Gallery, London; Royal Academies Summer Exhibition, Royal Academies of Arts, London; Get It for Cheap, Soil Gallery, Seattle; What a Joke, Fruit Space, Chongqing. The figures in his paintings come from his personal experience and dreams. These add an absurd and humorous narrative that connects one figure to another. The narrative, always stemming from his opinions to contemporary society, might lend these figures allegorical meaning and content. In this way, these quotidian images do not just speak for themselves, but also represent something else–a surplus. This process is a critical element that helps him conduct allegory in his work. Besides their absurd and humorous qualities, his paintings also reflect an element of self-mockery aimed at his powerlessness towards nature as Chinese literati. This, he finds, brings an immense sadness that is hidden in their happiness to his paintings. Overall, he does not merely want to document his experiences, dreams and imagination through his paintings, but also utilise forces as another voice to express his identity, opinions and others thoughts which he could hardly speak out loud in his real life.

【聚焦】百川归海——国际青年艺术家成长计划! 作者:Barbara Alegre作品名:Naigo尺寸:130cm x 90 cm材料:架上油画时间:2020

Barbara Alegre是居住在伦敦和巴塞罗那的西班牙视觉艺术家。她在英国皇家艺术学院获得了绘画硕士学位,之后在切尔西艺术与设计学院获得了艺术学士学位(荣誉),并在巴塞罗那获得了艺术与手工艺学士学位。最近,她的作品在Saatchi画廊和Kristine Hjellegjerde画廊展出。 她曾在Archieve 00艺术杂志上亮相,该项目旨在为《黑色生活》筹集资金。2018年,Barbara在Alzueta画廊举行了第二次个展。她被选为2017年第31届宝马绘画奖。在过去的作品中,Barbara一直在关注可能会伴随着孤独感的“生命形成问题”。关于时间,记忆和过期,寻找起源,家谱和身份,或关于父母身份和价值传递的问题。这些当前的绘画代表意义,并在图像,主题和客体之间振荡。她的实践探索了博爱和移情这一无形方面的身体感觉和思想之间的相互作用。由于主题的无形方面,偶然性在其概念化中发挥了作用。与此同时,她对物质上的褶皱,褶皱和皱纹以及通过视觉感知的感觉感兴趣。画作以一组相关作品的形式线性显示,并且变化的表面和框架暗示了将自己置于另一个位置的能力。该工作在不同类型的油基介质表面上进行。该作品支持将艺术作为“庇护所”或“安全场所”的想法。返回和反思的地方。安静,亲密,沉思和精致的地方旨在带来保护和自由。照顾和拥抱的母亲行为。

Barbara Alegre is a Spanish visual artist living in London and Barcelona. She studied an MA in Painting at Royal College of Art, previously a BA (Hons) in Fine Arts at Chelsea College of Art and Design and a Bachelor in Arts and Crafts in Barcelona. Lately, her work has been presented at Saatchi Gallery and Kristine Hjellegjerde Gallery. She has been featured at Archieve 00 art magazine, a project to rise money for Black life Matters. In 2018, Barbara had her second solo show at Alzueta Gallery. Alzueta represents her work in Barcelona. She was selected for the 31st BMW Painting award in 2017. In past works she have been attentive to ‘life forming questions’ which are probably accompanied with loneliness. Questions on time, memory and expiration, on the search of the origin, genealogy and identity, or on parenthood and the transmission of values. These current paintings stand for signification and oscillate between image, subject and object. Her practice explores the interaction between bodily senses and thoughts around the intangible aspect of fraternity and empathy. Serendipity plays a role in their conceptualisation due to the intangible aspect of the subject matter. She is interested in the agency of folds, pleats and wrinkles on matter and the perception of touch through sight. Paintings are displayed linearly as a group of related works and the varying surfaces and frames suggest the capacity to place oneself in another’s position. The work is carried out on different types of surfaces for oil based mediums. The work supports the idea of art being a ‘shelter’ or ‘safe place’. Somewhere to return and reflect. Where quietness, intimacy, contemplation and delicacy aim to bring protection and freedom. A motherly act of care and embrace.

【聚焦】百川归海——国际青年艺术家成长计划! 作者:方珉瑶作品名:飞行之眼时长:4分钟材料:动态影像时间:2019

飞行之眼是利用无人机在世界第一条水下隧道布鲁内尔博物馆现场拍摄的录像作品。在一种有先见之明的生物模仿行动中,布鲁内尔受到海洋软体动物特雷多·诺瓦利斯(Teredo Novalis)(通常被称为commonly虫)的启发而建造了该隧道。 它通过船上的木材进食,将挖掘的木材从身体中排出,以便在向前钻探时排成一行并加固它们后面的隧道。 为了应对这个充满技术中介的世界,人们创造了现实与虚构之间的复杂性叙述。作品以第一人称叙述了一个虚构展览在各个方位上的所见所闻。虚构展览中的地理位置与真实在场的作品位置形成对应。该视频首先在小组展览《眩晕布鲁内尔世界》中展出。方珉瑶于2018年获得清华大学雕塑系学士学位,并于2020年获得皇家艺术学院雕塑系硕士学位。

Flying Eyes is a video work shot on site by drone in Brunel Museum, world's first underwater tunnel. In a prescient act of biomimesis – Brunel was inspired to construct the tunnel by the marine mollusc Teredo Novalis- commonly known as shipworm. It eats its way through the timbers of ships excreting the excavated wood out of its body to line and reinforce the tunnel behind them as it burrows forwards. A narrative of complexity between reality and fiction was created in response to a world that swarms with technological mediation.This video was first shown in the group exhibition A World In Vertigo Brunel Museum.

【聚焦】百川归海——国际青年艺术家成长计划! 作者:M. Jacinta Silva Armstrong作品名:Archipelago尺寸:55cm x 65 cm

M. Jacinta Silva Armstrong是一位智利艺术家。 她在圣地亚哥的智利天主教大学获得了艺术学士学位,在此生活和工作直到搬到伦敦就读皇家艺术学院。她在伦敦最近的展览包括RCA Hockney画廊中的 ‘SnapShot’ 和Unit 1 Gallery的 'Final,Not Over’。她的实践始于智利长大的悖论,智利是在潜在的破坏可能性之上建立的地震领土。该领土的地形陡峭而崎.。安第斯山脉是一望无际的高耸天际线,限制了视野-景观是一堵墙。Jacinta最近的工作集中在寻找一种非线性方法来理解山脉的概念及其所隐含的孤立性,并将其扩展到其他相关地形,例如岛屿和群岛。她将绘画实践作为学习和分析其周围地区的一个位置。她将此视为一种主动的迟钝:根据自己的衡量标准,努力主动地学会世界,并寻找新的组织方式。尽管最近Jacinta也从事绘画和手工装订的工作,但她所做的视觉散文会产生绘画效果。她对碎片,褶皱,半透明和模糊性感兴趣,这些介质可以在图像中创建脆弱的气氛和一定距离。这些成为围绕观察或奇观的练习的集合,答案似乎难以捉摸且无法翻译成语言。Archipelago系列是在艺术家的房间里第一次锁定时制作的。它的出现是对孤立,孤独和相互依赖的反映。

M. Jacinta Silva Armstrong is a Chilean artist. She completed a BA in Art in the P. Universidad Católica de Chile in Santiago, where she lived and worked until moving to London to attend the Royal College of Art. Recent shows in London include The Distance Between and SnapShot in RCA Hockney Gallery, and Final, Not Over in Unit 1 Gallery/Workshop. Her practice starts from the paradox of growing up in Chile, a seismic territory built on the latent possibility of destruction. The topography of the territory is abrupt and rough. The Andes are an invariable, high skyline limiting the view - the landscape is a wall. Jacinta’s recent work focuses on finding non-linear ways to understand the concept of a mountain range and the isolation it implies, extended to other related topographies, such as islands and archipelagos. She approach the painting practice as a position from which to learn and analyze the territory surrounding herself. She exercise this as an active slowness: an effort to actively unlearn the world and look for new ways of organizing it, according to her own measures. Jacinta make visual essays that result in paintings, although lately she have been working on drawings and hand-bound books as well. She is interested in fragments, folds, translucency and blurriness as mediums to create fragile atmospheres and a distance within the image. These become a collection of exercises around an observation or wondering, to which an answer appears elusive and untranslatable into language. The Archipelago series was produced during the first lockdown in the intimacy of the artist’s room. It came out as a reflection on isolation, solitude and co-dependance.

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