澳洲当代摄影第一刊物Photofile的最近一期的封面，用了中国摄影师李广锌的作品，里面有一篇文章描写了在虚荣与脆弱中成长的中国新消费主义一代。 
Generation C: New Chinese Photomedia in an Age of Change 展将于2月1日至3月8日在 Australian Centre for Photography举行。
策展人： Alasdair Foster
艺术家： CHEN NONG, CHEN XIAOLING, LI GUANGXIN, LIU LIJIE, LIU DAWEI, QIU ZHEN, YANG GUOWEI, ZHANG BING
介绍：
Complex, contrary, creative: this exhibition showcases work by young photomedia artists from mainland China who reflect the ambivalence of their times. Born in the seventies they are the first 'me' generation - consumerist, connected and self-aware. They are vain yet vulnerable; wired yet lonely. They ride the rollercoaster of 'progress' while wistfully dreaming of the past. Abandoning any notion of the photograph as a document of the real each work is a performance, a visual fable that finds its truth in imaginative resonance rather than hard evidence.
Playful yet earnest, while some artists wield satire like a sword others evoke a quiet melancholy for lost tradition. Others still, weighed down by the burden of duty to family, ancestors, community, state and the competitiveness born of consumerism, simply imagine what it would be like to fade into another world or fly away like a butterfly emerging from a chrysalis.
  
IMAGE
© Li Guangxin Hero's Pledge 2006-07
IMAGE © Qiu Zhen My Bride and I #4
2006
IMAGE © Yang Guowei Things Longed For -
Lidong 2006
posted by jeuce 2008-01-20 11:11 | permalink | edit | comments?(4) | trackback(0)
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The Hours: Visual Art of Contemporary Latin America -[ 艺术 | art]
即将于9月2日结束的 The Hours: Visual Art of Contemporary Latin America，是迄今为止在澳大利亚境内展览过的最全面的拉美当代艺术展，一共展出30位拉美艺术家的130余件装置、摄影、录像作品。 假如艺术的意图之一是反映政治面貌与社会的意识形态，那么近10年来在国际艺术市场上愈受瞩目的拉美艺术家们就是奔走在这条线最前沿的游击队员。在这片支离破碎的后殖民大陆上，整体经济水平的并不发达、贫富悬殊剧烈；宗教早在400多年前就被入侵的西班牙帝国重构；文化受到地图上方的美利坚合众国的侵略；而在政治方面，一个左派与右派的差异可以导致生死。所以，这次展览的作品许多都具有浓烈激进的政治与宗教气息 --- 它们将拉美民族的传统价值观念的颠覆、政治格局的动荡不安、个人身份的日益模糊化、以及西方文化的侵略重塑成为各式各样的艺术语境与符号。下面让我快速介绍展览中的三个艺术家作品。 阿根廷艺术家Nicola Costantino的Human Furrier（人类毛皮商）作品，是一套Haute
Couture（高级定做）的时尚衣物，这些时尚衣物的表皮纹路却是惊世骇俗男性乳头和屁眼，而它们棕色的皮革更是象征了拉美人的肤色本身。如此讽刺的手法让我叹为观止。
Haute
Couture（高级定做）源于18世纪的法国，早期的Chiristian Dior就是的其代表。而今天的Haute
Couture（高级定做）可以视为西方时尚文化对拉美以及全世界的侵蚀，更是最纯粹，最权贵、与最高级时装的象征。而Haute
Couture（高级定做）由于它的量身定做性，往往销量极少所以商业意义可以忽略不计，唯一评价它的标准就是 --- 美与本真性。更具有讽刺意味的是，Nicola Costantino 这套“Haute
Couture（高级定做）“的Human Furrier（人类毛皮商）被顶级美术馆（如MOMA）高价收藏了。 
哥伦比亚艺术家Nadin Ospine的Mistico系列雕塑作品，被精心陈列在博物馆专用的高档密封展示柜中，每个展示柜上方都安置了一个射灯。乍眼看去，还以为是拉美的古文物。而走近展示柜后，才发现这些雕塑的是变型后的米老鼠和唐老鸭。这些笑眯眯的米老鼠和唐老鸭被伪造成古文物，衣服却被艺术家扒了个精光，取而代之的是拉美的土著涂绘。而它们的形状也似乎不同于传统的米老鼠和唐老鸭，它们是一群扭曲了的、裸体的、胖瘦不均匀的符号。 
危地马拉艺术家Dario Escobar的装置作品则体现了后殖民的伤痕 --- 被单上的天主教油画，麦当劳饮料杯上的古玛雅画纹。这些代表性的符号被艺术家巧妙的连系起来，体现了曾作为古玛雅文明中心的危地马拉，如今却完全被天主教会与西方商品经济“殖民“了。
（背景资料：1523年西班牙人来到危地马拉，他们摧毁了当地的玛雅文化并开始在危地馬拉殖民。由于西班牙殖民者的消灭政策，几乎所有此前的玛雅书籍都被销毁了，只有很少的书籍被保留到今天。......
危地馬拉军队对当地玛雅人的迫害近似种族灭绝，仅1982年9月就有9000玛雅人被杀。从1983年开始危地馬拉政府方面的迫害开始减少，国家重新开始民主化，1985年重新组织大选。危地馬拉最近一次大选是在2003年组织的。但国家人民贫富不均的现象依然没有能够被解决，今天1%的居民拥有60%以上的可耕地和财富。来源: wiki） 
最后，请在悉尼的朋友一定要去看，这个展览是一个本很棒的拉美政治、历史与文化的教科书。我今天匆忙路过，只停留了1个小时，连相机都没有带。我建议大家30号那天去最好，还可以赶上澳大利亚女性艺术家JULIE RRAP: BODY DOUBLE个展的开幕。
posted by jeuce 2007-08-13 18:35 | permalink | edit | comments?(3) | trackback(0)
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andreas gursky
left: olivo barbieri right: walter niedermayr 
是在Art Gallery of NSW里的An incomplete world的展览。包括了31最重要的当代艺术家的作品 - Andy Warhol, Roy Lichtenstein, Sarah Morris, Damien Hirst, Andreas
Gursky, Alex Katz,Walter Niedermayr, Thomas Ruff, Naoya Hatakeyama, 荒木経惟, Lucian Freud, Cindy Sherman.... 希望悉尼的朋友去看。
我最近买了10本进口书，一共花了将近$500澳币（3000多人民币），真的好贵。list 在这里。
我最近学习的东西已经结束，重新开始无可救药的买杂志。6月份的杂志照片我过几天拍上来。4月份的照片在这里。
posted by jeuce 2007-06-22 22:49 | permalink | edit | comments?(2) | trackback(0)
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第二个版本，男性化身。新增一些新的镜头（5分49秒，背景音乐 River of Crystals by Kimiko Itoh）：
第一个版本，独白介绍，女性化身：
下载：
我把两个video的文件也传到自己空间了，会比youtube清楚一些。请选择“连结另存为...” Gottfried Helnwein Wikipedia 介绍 [节选]：Helnwein's early work consists mainly of hyper-realistic watercolors, depicting wounded children, as well as performances - often with children - in public spaces. Helnwein is concerned primarily with psychological and sociological anxiety, historical issues and political topics. As a result of this, his work is often considered provocative and controversial.
The Child
A clarity of vision in his subject matter was emerging in Helnwein's art that was to stay consistent throughout his career. His subject matter is the human condition. The metaphor for his art, although it included self-portraits, is dominated by the image of the child, but not the carefree innocent child of popular imagination. Helnwein instead created the profoundly disturbing yet compellingly provocative image of the wounded child. The child scarred physically and the child scarred emotionally from within.
Steven Winn, Chronicle Arts and Culture Critic, wrote: "Helnwein's large format, photo-realist images of children of various demeanors boldly probed the subconscious. Innocence, sexuality, victimization and haunting self-possession surge and flicker in Helnwein's unnerving work". 'Helnwein’s oeuvre embraces total antipodes: The trivial alternates with visions of spiritual doom, the divine in the child contrasts with horror-images of child-abuse. But violence remains to be his basic theme, - the physical and the emotional suffering, inflicted by one human being unto another.'
Gottfried Helnwein, "Beautiful Victim", watercolor, 1974
Self-Portraits
The self-portrait for the artist's blindfolded unbent head covered with blood occurs twice in Helnwein's triptych The Silent Glow of the Avantgarde (1986). The visual montage of the modern artist as Man of Sorrows with Friedrich's landscape painting projects the dashed hopes of the romantic rebellion into the present, to the protest thinking of modernity, which has become introverted and masochistic, and its crossing of aesthetic boundaries. Is romanticism making a comeback? - No; actually, it had never left modernity. But its rebellion is confining and introverting itself in the "body metaphysics" of contemporary artists to its own flesh and blood. Thus, the comeback of romanticism leads for Helnwein, too, to stressing just one of its partial aspects, the stylizing in the form of a self-portrait of a protest introverted to martyrdom which historically was once linked in a contradictory way with social opposition, rebellion, and utopia.
 "God of the Sub-humans" (detail, self-portrait, right panel of the
Triptych),
Gottfried Helnwein, 1986, Photography, Oil and Acrylic on
Canvas,
Collection Leopold Hoesch Museum, Düren References to the Holocaust
Mitchell Waxman wrote 2004, in The Jewish Journal, Los Angeles: "The most powerful images that deal with Nazism and Holocaust themes are by Anselm Kiefer and Helnwein, although, Kiefer’s work differs considerably from Helnwein’s in his concern with the effect of German aggression on the national psyche and the complexities of German cultural heritage. Kiefer is known for evocative and soulful images of barren German landscapes. But Kiefer and Helnwein’s work are both informed by the personal experience of growing up in a post-war German speaking country...
Of all of Helnwein's paintings, one of the most famous is Epiphany I (1996). This Austrian Catholic Nativity scene has no magi bearing gifts. Madonna and child are encircled by five respectful Waffen SS officers palpably in awe of the idealised, blonde Virgin. The Christ toddler, who stands on Mary's lap, stares defiantly out of the canvas. Helnwein's baby Jesus is often considered to represent Adolf Hitler. 
Gottfried Helnwein, "Epiphany I (Adoration of the Magi)", mixed media on canvas, 1996
posted by jeuce 2007-06-02 08:25 | permalink | edit | comments?(4) | trackback(0)
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今天我去second life的Ars Virtua画廊参观了Elena Dorfman的最新展览－Fandomania: Characters & Cosplay。我第一次在second life里看到正经的当代艺术家展览，感觉还是很兴奋的。这种体验和去现实世界的画廊，相似却又很不一样。作品是很棒的，有点像马修巴尼悬丝的味道（这里专门不用英文，因为如果被艺术家本人google到这里看我三言两语的把他和马修巴尼比较，一定会很不高兴，当然我这样的评论也是不负责任的，所以用中文）。 资料： In Fandomania, photographer Elena Dorfman examines the pop culture phenomenon of "cosplay," in which participants dress up in costumes—and live part of their lives—as characters from video games, animated films, and Japanese graphic novels. This exploding subculture flourishes at convention centers, college dorms, private clubs, and in homes across the country. Dorfman puts herself quietly behind the scenes of these fan-based events to create a remarkable collective portrait. As she describes it, "The theater of cosplay has no boundaries, is unpredictable, open-ended. It includes both the fantastic and the mundane, the sexually aberrant and innocent, female characters who become samurai warriors and brainy scientists, and male characters who magically change their sex." Explorations of identity through portraiture are at the forefront of Dorfman's work, with the blurred lines between fantasy and reality a continuing theme. She allows each individual a spotlight in which to enact their fantasy. The effect is pointedly evocative of this new world of role playing and narrative, one in which scenery is secondary and persona is everything. 来源 aperture Opening April 5 @ 1pm SLT thru May 25
Avatars express identity. The life of and choices made in creating ones avatar are processes that are well known and long lived in real life. Fandomania is an exhibit of works by Elena Dorfman from the soon to be released book by Aperture of the same name. The work is represented through portrait photography and provides an interesting window into the world of “cosplay.” “The theater of cosplay has no boundaries, is unpredictable, open-ended. It includes both the fantastic and the mundane, the sexually aberrant and innocent, female characters who become samurai warriors and brainy scientists, and male characters who magically change their sex,” as described by Dorfman.
In contrast to this both through medium and subject we are presenting the lifesized Fur-Suit portrait paintings of Jay Van Buren. These paintings are executed through lengthy ten hour sittings of the subject in a traditional painting studio. Three of these were exhibited at the BRAVO! art space in Rotterdam, a project of the Foundation D.S.P.S.Ars Virtua finds the contrast of photography and painting interesting especially in the synthetic environment. The discussion of constructed identity is particularly relevent in this new medium and context.ELENA DORFMAN’s work has appeared in the Village Voice, International Herald Tribune, Art & Auction, and Artweek. Her series, Still Lovers, appeared in museum and gallery exhibitions internationally and is the subject of two monographs. An exhibition of her work at Edwynn Houk Gallery, New York, opens on April 5.Ars Virtua is a new media center and gallery located in the synthetic world of Second Life. It is a new type of space that leverages the tension between 3-D rendered game space and terrestrial reality, between simulated and simulation. Ars Virtua is sponsored by the CADRE Laboratory for New Media. 来源ars virtua 拍了些照片，请去chara oh的相册欣赏。blogbus上传不上来了，不知道为什么。 又可以传照片了！ 
posted by jeuce 2007-05-09 13:14 | permalink | edit | comments?(0) | trackback(0)
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freestyle: new australian design for living exhibtion -[ 设计 | design]
今天去了object gallery和national art school看了一个叫做freestyle的设计展览。展览的两个场地都不大，但空间布置的极别致。是那种只有身处在那样的空间之中，才能体验此空间的妙处的那种好。而且两个场地之间的道路和周围建筑上都安置了各式各样不同的痕迹和符号，使周遭环境都渲染上了这股子蓝色的freestyle。于是这天地和你就很微妙的融合为一体。不由自主的在心中拍案叫好，“这才像是设计展嘛！“。 展览上有一个我非常喜欢的作品，在这里和大家分享一下。 Schamburg + Alvisse设计的名为'Stop Playing with Yourself'的椅子，看上去像一个特大号的智力魔方，其实可以拆开作为椅子和朋友享用。所以，我想Schamburg和Alvisse是想问观众这样一个问题：你是想孤独的坐在客厅玩一个人的智力魔方，还是找些朋友来一次下午茶聚会呢？ 不过从他们的网站上来看，这个“椅子“好像现在还有没有量产计划。 
这里有今天展览的一些照片，是我用手机拍。
posted by jeuce 2007-04-08 18:48 | permalink | edit | comments?(0) | trackback(0)
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