Dream Home

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Curator: Alasdair Foster Hillerbrand+Magsamen Viktoria Sorochinski Magdalena Bors Suk Kuhn Oh Sian Bonnell



梦 想 · 家 园

Dream Home

梦想·家园 Hillerbrand+Magsamen Viktoria Sorochinski Magdalena Bors Suk Kuhn Oh Sian Bonnell

 curator and writer

策展人兼作家 Alasdair Foster


内容 Introduction



Viktoria Sorochinski



Magdalena Bors



Suk Kuhn Oh


吴硕坤 (音译)

Sian Bonnell






Biographical Information



About CDC



© Hillerbrand+ Magsamen Family Portrait 2015

希勒布兰德+玛格萨蒙 全家福 2015

梦想·家园 该展览中的四位艺术家和一个艺术组合 探索了各种心理错位现象,这些现象在 消费至上主义的“梦想”、家庭习俗和 复杂而混乱的个人内心生活之间显现无 疑。由于四位艺术家来自于不同地域, 个人经历和文化背景颇有差异,每个人 对最私密的处所“家”所蕴含的奢华与 传统反应不同,因此他们在作品中呈现 的理念也各不相同。

广告语中,“梦想家园”是一个物质概 念:客厅的精美家具、厨房的各色小工 具、浴室的豪华设施、五星级的卧室等 等,每一个角落都弥漫着奢华的味道。 奇怪的是,这些与人们对“家”的常规 深层理解并不匹配,因为“家”是以人 为 主 而 形 成 的 —— 正 是 他 们 之 间 的 各 种 关系将一个室内空间变成了家,使得 “家”的概念有别于房子。 所有家的概念都是要回避压力与偏见, 当商家在吹捧各种奢华消费的时候,各 种传统习俗却在制约着人们在家庭中的 各种角色:男人女人、成人儿童、实干 家与梦想家......


Dream Home

In the language of advertising, a ‘dream home’ is a materialistic notion: beautiful furniture in the lounge, fancy gadgets in the kitchen, luxurious fittings in the bathroom, a five-star bedroom… everywhere enslaved to the luxuries of ‘interior décor’. This is strangely at odds with the deeper and more commonly understood meaning of home, which grows from those who live there – it is their mesh of relationships that hold the domestic space together. This is, after all, what distinguishes a home from simply being a house. Concepts of home negotiate pressures and preconceptions on all sides. While contemporary consumerism sings the siren song of affluence made manifest, habits and mores silently seek to define and constrain the roles of those who share this familial dwelling: man and woman, adult and child, doer and dreamer…

In this exhibition four artists and one artistic partnership explore the psychological dislocations between the consumerist ‘dream’, domestic custom and the complex, sometimes dissonant, interior life of the individual. Hailing from four continents, they bring a range of perspectives shaped by personal experience, community culture and an equivocal response to the commoditisation and conventions of that most intimate place of sanctuary: home.







Viktoria Sorochinski




Connection is at the heart of the work of Viktoria Sorochinski, but it is a wistful yearning for connection, for something just out of reach, as though mislaid at some time in the past. In her series ‘Daddy’ she explores the relationship between Andrew and his daughter Lucy. Andrew is an insecure and conflicted young man. He feels as though he is still a child who needs love and protection, but at the same time he is now a parent: he must be strong and himself take care of a child. Over a number of years, Viktoria Sorochinski has worked with father and daughter to help them act out his fears and explore the multiple layers of their relationship in a way that is both playful and profound.

维多利亚·索罗钦斯基的作品中心是 “联系”,但更多的是对“联系”的一 种渴望和怀念,就像某种东一遗失在了 过去的某个时刻,再也无法触摸。系列 作品《爸爸》所表现的是安德鲁和他女 儿的关系。安德鲁是一个不安分的年轻 人,他觉得自己还没有长大,还需要别 人的照顾和保护,但同时他又是一个父 亲,要照顾孩子,自己必须强大起来。 多年来,维多利亚一直在拍摄这对父 女,帮助父亲克服恐惧,以诙谐而深沉 的方式探索他们之间的各种关系。

© 维多利亚·索罗钦斯基

© Viktoria Sorochinski Unfulfilled Wish 2008 (detail)

未竟之愿 2008 (详情) 9

© 维多利亚·索罗钦斯基

© Viktoria Sorochinski Night Revelation 2008

夜之启 2008 10

© 维多利亚·索罗钦斯基

© Viktoria Sorochinski Morning Revelation 2008

晨之启 2008 11

© 维多利亚·索罗钦斯基

© Viktoria Sorochinski Endless Childhood 2008

童年无尽 2008 12

© 维多利亚·索罗钦斯基

© Viktoria Sorochinski Adult Thoughts 2008

人小鬼大 2008 13

© 维多利亚·索罗钦斯基

© Viktoria Sorochinski Bath 2008

洗澡 2008 14

© 维多利亚·索罗钦斯基

© Viktoria Sorochinski Stream 2009

溪 2009 15

© 维多利亚·索罗钦斯基

© Viktoria Sorochinski Dinner with Daddy 2008

与爸爸共进晚餐 2008 16

© 维多利亚·索罗钦斯基

© Viktoria Sorochinski Dark Adventure 2008

黑夜探险 2008 17

© 维多利亚·索罗钦斯基

© Viktoria Sorochinski Secret Letters 2014

秘密来信 2014 18

© 维多利亚·索罗钦斯基

© Viktoria Sorochinski Siblings 2012

姊妹 2012 19

© 维多利亚·索罗钦斯基

© Viktoria Sorochinski Puzzle 2012

困惑 2012 20

© 维多利亚·索罗钦斯基

© Viktoria Sorochinski Another Day 2014

另一天 2014 21

© Viktoria Sorochinski Looking into the Future 2014 © 维多利亚·索罗钦斯基

眺望未来 2014 22



Magdalena Bors


The Seventh Day


Magdalena Bors’ photographic series, ‘The Seventh Day’, conjures the entanglement of creation and compulsion. In each, an iconic landscape has been recreated in an unlikely form and location. Jigsaw puzzles coalesce into a vivid coral reef; stacks of old newspapers are sculpted into the likeness of an Australian geological tourist attraction known as The Twelve Apostles; laundry becomes a jungle. Yet for all their industry, the makers regard the results of their labour with a look of perplexity. Are these driven figures haunted, possessed or simply struggling for a meaning that, as yet, remains beyond their grasp? And do we, like them, go about our daily lives with a sense of urgency that we barely comprehend; our personal aspirations smothered in the honeyed seductions of advertising and constrained by the invisible bonds of conformity. Were we to realise our deepest dreams, would we even recognise them?

在摄影系列《第七日》中,玛格德琳娜· 鲍斯表现了创造与冲动之间的关系。每一 个景观符号都以一种不可能的形式放置在 一个不可能的环境中。游戏拼版拼出了活 灵活现的珊瑚礁;一堆堆旧报纸塑造出了 澳大利亚著名旅游景观十二门徒;各种衣 物堆出了雨林。尽管创作者们花了很多功 夫,但最终还是对自己的劳动成果充满疑 惑:这些景象是否具有某种意义,亦或者 仅仅是为了传递某种出乎意料的意义?我 们是不是也像他们一样,每一天都在莫名 的焦躁中度过;我们的愿望被广告的甜蜜 诱惑所淹没,被看不见的舒适所限制。我 们是否还记得自己最深切的梦想,或者, 我们是否还辨得出自己的梦想? © Magdalena Bors Reef 2010 (detail)


© 玛格德琳娜·鲍斯 《暗礁》2010(详情)

© Magdalena Bors Autumn 2011 © 玛格德琳娜·鲍斯

《秋》2011 26



© Magdalena Bors Apostles 2011 © 玛格德琳娜·鲍斯

《门徒》2011 29

© Magdalena Bors Jungle 2010 © 玛格德琳娜·鲍斯

《丛林》2010 30


© Magdalena Bors Reef 2010

© 玛格德琳娜·鲍斯 《暗礁》2010 32

© Magdalena Bors Bungle Bungles 2010 © 玛格德琳娜·鲍斯

《荒乱之境》2010 33

© Magdalena Bors Reef 2010 © 玛格德琳娜·鲍斯

《暗礁》2010 34


South Korean textbooks for children are filled with didactic images


© Suk Kuhn Oh The Text Book (Chulsoo & Younghee) Back Cover 2006 © 吴硕坤 (音译)

《教科书(哲秀与英姬)封底》2006 36

Suk Kuhn Oh

吴硕坤(音译) 教科书(哲秀与英姬)

The Text Book (Chulsoo & Younghee) Suk Kuhn Oh explores the psychological tension between idealised notions of childhood and the darker domestic realities. Korean textbooks for children are filled with didactic images in which every-boy and every-girl figures such as Chulsoo and Younghee play out stereotypical stories with an uplifting moral. However, the day-to-day lives of children growing up in Korea in the seventies, eighties and nineties were more complex and troubling. Suk Kuhn Oh’s work portrays the sad reality that for many adults their memories of childhood are of humiliation, guilt, trauma, shock and stress. The American military presence in the country following the end of the Korean war; the dislocation between adult sexuality and childhood exploration of identity; the contrast of dilapidated traditional buildings and anonymous new housing blocks, the impact of Western culture… Here, Chulsoo and Younghee re-enact truer stories of childhood growing up in a rapidly changing world.

吴硕坤研究的是童年理想和残酷现实所 造成的心理压力。韩国的教科书里满是 各种说教式的图片,图片中的每个男孩 和女孩就像哲秀和英姬一样,都是道德 典范。但是韩国的70后、80后、90后们 所经历的生活却更加复杂,更加麻烦。 摄影师的作品描述了成年人对童年的悲 惨记忆:屈辱、自责、创伤、惊恐、压 力等等;朝鲜战争结束后美国在韩国驻 军、成年人性欲和儿童个性探索的错 位、残破的老建筑和千篇一路的新社区 之间的对比、西方文化的影像等等,在 这里,哲秀和英姬再现了孩子们如何在 一个变化多端的世界中长大成人。


© Suk Kuhn Oh The Text Book (Chulsoo & Younghee) p277 2008 © 吴硕坤 (音译) 《教科书(哲秀与英姬)第277页》 2008



© 吴硕坤 (音译) 《教科书(哲秀与英姬)第49页》2006.

© Suk Kuhn Oh The Text Book (Chulsoo & Younghee) p49 2006 40

© 吴硕坤 (音译) 《教科书(哲秀与英姬)第19页》2006.

© Suk Kuhn Oh The Text Book (Chulsoo & Younghee) p19 2006 41

© 吴硕坤 (音译)

© Suk Kuhn Oh The Text Book (Chulsoo & Younghee) p172 2007

《教科书(哲秀与英姬)第172页》2007. 42

© 吴硕坤 (音译)

© Suk Kuhn Oh The Text Book (Chulsoo & Younghee) p181 2007

《教科书(哲秀与英姬)第181页》2007. 43

© Suk Kuhn Oh The Text Book (Chulsoo & Younghee) p139 2007 © 吴硕坤 (音译)

© Suk Kuhn Oh The Text Book (Chulsoo & Younghee) p191 Tear Gas 2007

《教科书(哲秀与英姬)第139页》 2007

© 吴硕坤 (音译)

《教科书(哲秀与英姬)第191页 (催泪弹)》2007 44



© Suk Kuhn Oh The Text Book (Chulsoo & Younghee) Cover 2007

© 吴硕坤 (音译) 《教科书(哲秀与英姬)封面》2007

© Suk Kuhn Oh The Text Book (Chulsoo & Younghee) Prologue Page 2007

© 吴硕坤 (音译) 《教科书(哲秀与英姬)序幕》 2007 47

© 吴硕坤 (音译)

© Suk Kuhn Oh The Text Book (Chulsoo & Younghee) p151 2007

《教科书(哲秀与英姬)第151页》2007. 48

© 吴硕坤 (音译)

© Suk Kuhn Oh The Text Book (Chulsoo & Younghee) p31 2006

《教科书(哲秀与英姬)第31页》2006. 49

© 吴硕坤 (音译)

© Suk Kuhn Oh The Text Book (Chulsoo & Younghee) p127 2006

《教科书(哲秀与英姬)第127页》2006. 50

© Suk Kuhn Oh The Text Book (Chulsoo & Younghee) Epilogue Page 2006 51

© 吴硕坤 (音译) 《教科书(哲秀与英姬)结语》2006.


Sian Bonnell


Everyday Dada


Sian Bonnell employs an absurdist strategy in her work which, like a sugar coating, encases a less palatable conundrum. Her photographic series have raised many questions: about the role of advertising in defining the nature of the domestic, turning it from a nurturing nest into a showroom of aspirational affluence; about the assumptions made as to the role of women in the home; even about the madness of war initiated for commercial ends. While the scenes portrayed in her photographs are whimsically nonsensical, the underlying issues at which they hint – the realities of our human-made world – are what remain truly absurd. Sian Bonnell’s touch is deft; she is modest in her approach, self-effacing in her manner. She does not push herself forward, but rather she stands back from the scenes she has created and leaves us to contemplate our own absurdities.

希恩·博奈尔在创作中采用荒诞的手法, 就好像把难吃的东西裹了一层糖衣。她的 摄影作品系列提出了许多问题:广告对家 庭性质的影响——它们把温馨的小屋变成 了奢华的陈列室;女性家庭角色的定位; 甚至因商业利益引发的疯狂战争等等。照 片中的各种景象荒诞不经,而隐藏在背后 的各种问题——我们人类世界的现实—— 却是也是荒诞离奇。希恩·博奈尔采用巧 妙的手法,在作品中抹去了自己的痕迹, 她没有把自己推到前台,而是静静地站在 各种景象背后,让我们自己思考和面对我 们的荒诞行径。 © Sian Bonnell ‘House Beautiful #15’ from the series ‘Everyday Dada’ 2003–05 © 希恩·博奈尔

屋中丽景#15 选自《每日达达主义》2003-05 53

© Sian Bonnell ‘Serving Suggestion #2’from the series ‘Everyday Dada’ 2003–05 © 希恩·博奈尔

© Sian Bonnell ‘House Beautiful #18’ from the series ‘Everyday Dada’ 2003–05


© 希恩·博奈尔

《屋中丽景#18》选自《每日达达主义》2003–05 54

Š Fernando Montiel Klint Linea [line] 2010


Š Fernando Montiel Klint Acto de Fe [act of faith] 2010


© Sian Bonnell ‘House Beautiful #11’ from the series ‘Everyday Dada’ 2003–05 © 希恩·博奈尔

© Sian Bonnell ‘House Beautiful #2’ from the series ‘Everyday Dada’ 2003–05


© 希恩·博奈尔

《屋中丽景#2》选自《每日达达主义》2003–05 57

© Sian Bonnell ‘Serving Suggestion #9’from the series ‘Everyday Dada’ 2003–05 © 希恩·博奈尔

《饮食指南#9》选自《每日达达主义》2003–05 58

Š Fernando Montiel Klint Linea [line] 2010


© 希恩·博奈尔

© Sian Bonnell ‘Scrub’ from the series ‘Domestic Meets Wild’ 1999

《矮树丛》 选自《家之野“趣”》1999 60

© 希恩·博奈尔 《金盏花》 选自《家之野“趣”》1999

© Sian Bonnell ‘Marigold’ from the series ‘Domestic Meets Wild’ 1999 61

© Sian Bonnell ‘Nip’ from the series ‘Domestic Meets Wild’ 1999 © 希恩·博奈尔

《夹子》 选自《家之野“趣”》1999

© Sian Bonnell ‘Beach Clean’ from the series ‘Domestic Meets Wild’ 1999 © 希恩·博奈尔 《纯净沙滩》 选自《家之野“趣”》1999 62

Š Fernando Montiel Klint Linea [line] 2010


© Hillerbrand+Magsamen Publicity 2015 © 希勒布兰德+玛格萨蒙

宣传照 2015


Hillerbrand +Magsamen

希勒布兰德+玛格萨蒙 高地

Higher Ground

Hillerbrand+Magsamen, create interdisciplinary artworks that explore family identity, consumer culture and the struggle for meaning. These works are often made in collaboration with their two children, Madeleine and Emmett. In the series entitled ‘Higher Ground’, the family ransack their suburban home for materials with which to build space ship. Their quixotic endeavour reflects both the historic work ethic of the early settlers and the contemporary mirage of the ‘American Dream’ as exemplified by the narratives of Hollywood. The family’s eventual triumph is not of this world, but in the alternate reality of the cinematic escapism that can be traced back to the early silent movies of the French film pioneer, George Méliès.

夫妻组合希勒布兰德和玛格萨蒙所创作 的艺术作品主要探讨家庭特性、消费文 化、以及生活的意义。这些作品通常都 有他们的两个孩子玛德琳娜和艾麦特的 参与。 在系列作品《高地》中,这家人把他们 家里的东西“洗劫”一空,搭建了一个 “宇宙飞船”,这种唐吉坷德式的行为 不仅反映了早期居民的道德观,而且表 现了好莱坞式“美国之梦”的当代幻 境。他们的最后胜利不是现实世界的胜 利,而是在电影空想主义世界中的胜 利 —— 那 甚 至 可 以 追 朔 到 法 国 默 片 鼻 祖 乔治·梅里埃的时代。

‘Higher Ground’ was commissioned by the Houston Airport System and the City of Houston for semipermanent display in the airport terminal buildings.

受休斯顿机场系统和休斯顿市委托,“高地”已经在各机场 航站楼不定期播出。


© Hillerbrand+Magsamen from the series ‘Higher Ground’ 2015


© 希勒布兰德+玛格萨蒙

选自《高地》2015 67

© Hillerbrand+Magsamen The Rocket from the series ‘Higher Ground’ 2015 © 希勒布兰德+玛格萨蒙

《飞船》选自《高地2015 68


© Hillerbrand+Magsamen from the series ‘Higher Ground’ 2015


© 希勒布兰德+玛格萨蒙



© Hillerbrand+Magsamen from the series ‘Higher Ground’ 2015 © 希勒布兰德+玛格萨蒙





© Hillerbrand+Magsamen from the series ‘Higher Ground’ 2015 © 希勒布兰德+玛格萨蒙

选自《高地》2015 75

© Hillerbrand+Magsamen ‘Satellite: The Parents’ Bedroom’ from the series ‘Higher Ground’ 2015


© 希勒布兰德+玛格萨蒙


© 希勒布兰德+玛格萨蒙

© Hillerbrand+Magsamen ‘Satellite: The Living Room’ from the series ‘Higher Ground’ 2015

《人造卫星:父母卧室 》选自《高地》2015 77

curator 策展人

Alasdair Foster


Alasdair Foster was born in the United Kingdom in 1954 and lives in Sydney, Australia. He has 20 years’ experience heading national arts institutions and over 35 years of working in the public cultural sector. He was the founding director of Fotofeis, Europe’s largest photo event of the nineties (1991–1997) and director of the Australian Centre for Photography (1998–2011). A Sydney-based writer and award-winning curator, he currently runs an international consultancy that initiates intercultural art and photography projects globally. Recent projects have been staged in China, Colombia, Denmark, Poland, Russia, Spain and USA, with forthcoming projects in Guatemala and Russia.

阿拉斯戴尔·福斯特具有20多年执掌艺术 机构和35年公共文化机构的工作经验,是 九十年代欧洲最大摄影活动Fotofeis (1991-1997)的创始人,曾任澳大利亚摄 影中心主席(1998-2011)。现居悉尼,作 家、策展人(曾获多种奖项),同时经营 一个国际咨询公司,在全球各地开展文化 艺术和摄影项目活动。最近的活动主要在 中国、哥伦比亚、丹麦、波兰、俄罗斯、 西班牙、美国,下一步将在危地马拉和俄 罗斯开展项目。


artist 艺术家

Sian Bonnell


Sian Bonnell was born in the United Kingdom in 1956 and lives in Cornwall. She is an artist and curator, and Associate Professor of Photographic Concepts at University College Falmouth, in the southwest of England. She has exhibited extensively across Europe and in both North and South America. Her work is held in a number of prestigious public collections including The Victoria and Albert Museum (London, UK), Houston Museum of Fine Arts (Texas, USA), The Ransom Center (Austin, Texas, USA) and the Bibliothèque Nationale (Paris, France).

希恩·博奈尔1956年出生于英国,现居英 国康沃尔。艺术家、策展人,英国西南部 法莫斯大学副教授,主讲摄影观念。她的 作品在欧洲和南北美洲多次展出,并且被 诸多重要机构收藏,包括英国伦敦维多利 亚阿尔伯特美术馆、美国德克萨斯奥斯汀 市兰瑟姆中心、法国国家图书馆等。


artist 艺术家

Magdalena Bors


Magdalena Bors was born in Belgium in 1976 to Polish parents and now lives Melbourne, Australia. She began her formal education in the field of architecture, subsequently studying photography at RMIT University, Melbourne, and graduating in 2006. Her work has featured in various solo and group shows in Europe and Australia, and is currently touring Spa i n fol l owi ng hi g hl y successful presentations in Denmark and Poland. She has won a number of awards, including ‘Best Staged Photo-Media Work’ in the 2007 Moran Contemporary Photographic Prize.

玛格德琳娜·鲍斯1976年出生于比利 时,父母是波兰人,现居澳大利亚墨尔 本。最初她的专业是建筑学,后在墨尔本 皇 家 理 工 学 院 学习 摄 影 , 2 00 6 年毕 业 。 她的作品在欧洲和澳大利亚多次举办个展 和参加群展,继丹麦和波兰的巡展后,作 品目前在西班牙展出。玛格德琳娜曾多次 获奖,其中包括2007年莫兰当代摄影 奖。


artist 艺术家



Stephan Hillerbrand was born in 1965 and Mary Magsamen in 1969. They live with their daughter Madeleine and son Emmett in Houston, Texas, USA. As an artistic partnership, they have established a growing reputation both in the United States and overseas. Stephan Hillerbrand is Associate Professor in the Faculty of Art and Art History, University of Houston, and Mary Magsamen is Curator at Aurora Picture Show, a not-for-profit media arts centre. Their creative collaborative artworks have featured at international events in Asia, Europe and North America.

斯蒂芬·希勒布兰德出生于1965年,玛丽 ·玛格萨蒙出生于1969年,目前与他们的 孩子玛德琳娜和艾麦特居住在美国德克萨 斯休斯顿。作为艺术组合,他们在美国和 其他国家都获得了良好的声誉。斯蒂芬希 勒布兰德是休斯顿大学艺术与艺术史专业 的教师,玛丽·玛格萨蒙是一个非盈利艺 术中心的策展人。他们合作的作品在亚 洲、欧洲、北美的许多国际活动中展出。


artist 艺术家

Suk Kuhn Oh


Suk Kuhn Oh was born 1979 in the Republic of Korea and lives the city of Incheon. He has exhibited in many countries including Argentina, Australia, Japan, the Republic of Korea, Mexico, the United Kingdom and the United States. His work has featured in a number of important festivals, among them the Liverpool Biennale (UK), Houston F ot oF est (U SA) a nd D o ng G a ng International Photo Festival (Korea) and his work is held in a number of prominent public collections including Houston Museum of Fine Arts (USA) and Kiyosato Museum of Photographic Art (Japan).

吴硕坤1979年出生于韩国仁川。他的作品 在阿根廷、澳大利亚、日本、韩国、墨西 哥、英国、美国等国展出,曾参加过多个 重要摄影节,如英国利物浦双年展、美国 休斯敦摄影节、韩国东港国际摄影节等; 作品被众多国内外公共私人机构收藏,如 休斯敦艺术博物馆、日本清里摄影艺术博 物馆等。


artist 艺术家

Viktoria Sorochinski


Viktoria Sorochinski was born in Ukraine, USSR, in 1979 and currently lives in Berlin, Germany. She has a bachelor of Fine Arts from Concordia University, Montreal, Canada and a Master of Fine Arts from New York University, USA. She has won numerous internationally acclaimed photography competitions, fellowships and prizes including ‘Discovery of the Year’ at the prestigious Lucie Awards, a worldwide photography competition. Her monograph ‘Anna & Eve’ was published in 2013 by Peperoni Books, Germany.

维多利亚·索罗钦斯基1979年出生于前苏 联乌克兰,现居德国柏林,获得加拿大蒙 特利尔康科迪亚大学艺术学士学位和美国 纽约大学艺术硕士学位,她的作品在欧 洲、南北美洲、亚洲等地展出。2012年, 维多利亚获得著名的露西奖“年度发现 奖”,该奖项是在纽约组织的一个世界性 年度摄影赛事;2013年出版著作《安娜与 夏娃》艺术(Peperoni图书公司出版)。



文化发展咨询事务所(CDC)致力于以创新、专 业、严谨的态度,为客户提供聚焦未来的视觉艺 术专业服务,促进文化交流与合作。

CDC深信艺术属于大众,而非少数人的专利,因此 CDC致力于促进视觉艺术领域的国际、国内、及地 区间“对话”。 工作领域如下: - 创意内容 - 战略规划 - 高端研究

CDC创办人阿拉斯戴尔·福斯特立足于未来视觉文 化的塑 造, 撰写 摄影 及艺术 研究 方面 的各 种文 章,并且为学生、社团、艺术家、及展览组织者



艺术家 84

Cultural Development Consulting Cultural Development Consulting (CDC) combines creativity, expertise and research to provide a range of future-focused professional services that promote greater cultural dialogue through the visual arts. Founded on the firm belief that art is the territory of the many and not the province of the few, CDC works to extend visual ‘conversations’ locally, nationally and internationally. This is achieved through three interlinked areas: Creative Projects; Strategic Planning and Advanced Research With an emphasis on broad involvement in shaping the visual culture of tomorrow, CDC’s founder Alasdair Foster writes extensively on photography and arts issues, and delivers presentations in professional development for students, communities, artists and exhibition organisers.

exhibitions artists 85

Exhibition PIP Festival Artistic Director: Zhang Guotian PIP Director of the International Program: Liu Xiaoxia Exhibition organised by: Alasdair Foster Artists: Sian Bonnell, Magdalena Bors, Hillerbrand+Magsamen, Suk Kuhn Oh and Viktoria Sorochinski Dream Home is a Cultural Development Consulting exhibition prepare especially for Pingyao International Photography Festival 2015.

Catalogue Texts: Alasdair Foster Chinese translation: Amy Liu Design: CDC Cover image: © Sian Bonnell ‘Serving Suggestion #9’ 2003-05 (detail) Back cover images: (upper) © Viktoria Sorochinski ‘Night Revelation’ 2008 (detail) (lower) © Suk Kuhn Oh ‘The Text Book (Chulsoo and Younghee) p277’ 2008 (detail)

Copyright Publisher: Cultural Development Consulting (CDC) Published September 2015 Catalogue © Cultural Development Consulting Text © Alasdair Foster All photographs remain © copyright to the artist/photographer

All rights reserved. This publication is for private and educational use only. All quoted texts must be attributed. Images remain copyright to the artist/photographer who made them. No part of this publication may be reused without the express written permission of Cultural Development Consulting.




Dream Home


In this exhibition four artists and one artistic partnership explore the psychological dislocations between the consumerist ‘dream’, domestic custom and the complex, sometimes dissonant, interior life of the individual.

 该展览中的四位艺术家和一个艺术组 合探索了各种心理错位现象,这些现 象 在 消 费 至 上 主义 的“梦 想”、 家 庭 习 俗和复杂而混乱的个人内心生活之间 显现无疑。

Cultural Development Consulting :: Sydney

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