Our Future
2022年11月30日至2023年1月7日，独立映像艺术空 间推出群展《我们的未来》。
From November 30, 2022 to January 7, 2023, Independent & Image Art Space is glad to present a group exhibition “Our Future”.
Art can express a stunning array of diverse and compelling perspectives capturing humanity’s resilience and undaunted hope for a brighter future; a profound awareness of our interconnectedness; a deep aspiration for equality, justice, and inclusion; and a sense of awe for nature’s beauty and its power to sustain all life.
参展艺术家：阿德里亚娜·库克拉、AVE22、陈锦麟 Bobby Kim Ling Chen、乔治·杰拉尔迪、亨利·克莱门 、让·舍 鲁尼、拉莱斯·佩特罗斯、Lee Ellis、梅特·戈麦斯-莫 利纳、米里亚姆·库尔曼、Palirina、Pelulya、彼得·惠 腾伯格、西格琳德·维尼尔、Szilágyi Imola NelliSINA、许亚敏 Yamin Xu、Yuho
The artists in the show are from several countries and have shared their views and suggestions about the future by answering the question: within the context of the “new normal” that has unfolded post-COVID-19, and as we plan and re-build to recovery, what will the future look like?
Participating artists: Adriana Kukla, AVE22, Bobby Kim Ling Chen, Giorgio Gerardi, Henry Clemin, Jean Cherouny, Lales Petros, Lee Ellis, Mayte Gomez-Molina, Miriam Kurman, Palirina, Pelulya, Peter Whittenberger, Sieglinde Verniers, Szilágyi Imola Nelli - SINA, Yamin Xu, Yuho
参展艺术家 Artists
阿德里亚娜·库克拉 Adriana Kukla pag.08
AVE22 pag.14
陈锦麟 Bobby Kim Ling Chen pag.20
乔治·杰拉尔迪 Giorgio Gerardi pag.26
亨利·克莱门 Henry Clemin pag.32 让·舍鲁尼 Jean Cherouny pag.38
拉莱斯·佩特罗斯 Lales Petros pag.44 Lee Ellis pag.50
梅特·戈麦斯-莫利纳 Mayte Gomez-Molina pag.56
米里亚姆·库尔曼 Miriam Kurman pag.70 Palirina pag.78 Pelulya pag.84 彼得·惠腾伯格 Peter Whittenberger pag.90 西格琳德·维尼尔 Sieglinde Verniers pag.96
Szilágyi Imola Nelli - SINA pag.102 许亚敏 Yamin Xu pag.108 Yuho pag.116
In Brazil, currently on every corner we find a pharmacy. I lost my mother at the beginning of 2022 and in her final cancer treatment she was taking 14 medications a day. We have our life expectancy increased on their own, but at what cost, under what conditions? What are we hungry for? Does our future depend on medicines?
Adriana Kukla has always been enchanted by landscape, nature and everyday photography, but it was only in 2015 that she began to dedicate herself more deeply to the subject. She studied at Solar do Rosário and at Escola Portfolio in addition to participating in lectures and workshops. She had her photos displayed at the opening of sessions at Espaço Itaú de Cinema (January 2017 and January 2018), highlights in the Photography Competition of the Curitiba Winter Festival (July 2017) and in the 1st Photographic Contest of the Curitiba Municipal Market (March 2017 ). Had photos published in the prestigious magazine Fotografe Melhor – Editora Europa (September 2016 and December 2018). In 2019 she received an Honorable Mention in the BPS Contest. In 2021 she participated in the collective exhibition “Olhar sobre a Pandemia”, at galeria Mosaico in Vitoria -ES. Some photos of Adriana also illustrate pictures on the walls of friends and customers.
我的作品试图去探讨我们是谁、我们与其他物种有何不同的问题。因为我认为，如果我们找到这些问题的答案，那么就能够改善人 类所生活的世界。
过去几年我们经历了疫情，现在战争把世界的一大部分卷入其中。这种情况下人们难以保持乐观，然而依然需要克服困难，让生活 继续。
In my works I am trying to ponder on who we are and what differs us from other species. I assume that if we find an answer to this question, we will be able to improve the world we live in.
In the past years we have come through the pandemic and now a large part of the world is involved in a war. It is hard to be optimistic in this setup; yet, we need to overcome these disasters and move on.
1978年生，2020年开始艺术生涯。展览记录有： 2022年2月在俄罗斯莫斯科举行的群展 Snezhana Syndrome；2021年11月在俄罗斯莫斯科 Street Culture Gallery 举行的个展。曾获得2022年4月 Fighting Corruption with Art 入围者，2021年 11月 SuperStART Contest 获奖者。
Born September 13, 1978. Started an artistic career in 2020. Exhibitions: February 2022 – Snezhana Syndrome (Group Exhibition) – Moscow, Russia; November 2021 – Street Culture Gallery (Personal Exhibition) – Moscow, Russia. Contests: April 2022 – Fighting Corruption with Art (by Amnesty International) – Finalist; November 2021 –SuperStART Contest – Winner.
陈锦麟 Bobby Kim Ling Chen
Bobby 展出的两件作品表现出他对衍生艺术的喜
爱大于绘画；在过程中，它们会使用到相似或超
越于Adobe，PowerPoint等等的图像处理和展示 软件。还有经常出现在 Bobby 作品中的元素也
包含在此作品里：（1）光（闪亮/对比）；（2） 空间（深度和三维）；（3）时间（比如《团聚》 的静态和《旅行》的动态）。
In the artworks submitted, Bobby favors derivative arts over painting, using similar image processing and presentation software such as Adobe, PowerPoint, and beyond. Bobby’s normal elements in artworks were also met: (1) Light (e.g., shining/contrast); (2) Space (e.g., depth, 3D); (3) Time (e.g., still in “Reunion”, and motion in artwork “Travel”).
团聚，生成和衍生技术，数字艺术，1080 x 1920 pixels，2022 Reunion, Generative and Derivative Technique, Digital Arts, 1080 x 1920 pixels, 2022
品的范围之外，出现在手机、VR眼镜等等“数字设备”上。
Bobby is an “end-to-end” digital artist (who does all the works himself) with specialised skills in image/video processing, digital generative and derivatives arts, etc., using diversified methods, multiple software, and techniques to derive his creatives. In terms of style and themes, Bobby likes colourful stuff. Although some of his works may carry similar themes, he believes “while imagination has no border, art has no limit”, and that includes injecting of digital science into the presentation process of the creatives. Bobby believes that most artworks existed due to the intention of the artist to “communicate” his/her feelings to others. In recent years, the rapid advancements in digital science may have added more venues and techniques for an artist to “communicate” his/her feeling, which may otherwise be lacking in traditional arts. These more advanced techniques could include using AR, multimedia (e.g. Audiovisual), website, 3D modelling, metaverse, etc., This application of digital science on traditional arts created a hybrid known as “Digital Arts”, which is understood by many as “artistic work or practice that uses digital technology as part of the creative or presentation process”. However, in Bobby’s opinion, whereas digital technology is mostly used on the creative process, it is currently underutilised in its use on the presentation.
Bobby further believes the introduction digital science into arts would eventually bring about a paradigm switch as to how arts would be appreciate in the future, particularly in its physical form and related presentation. For one and for example, expression may no longer need to be confined to the creative itself as additional elements of surprise, participation, interaction, engagement, etc., may now be “extended” outside the realm of the original creative with the help of technology onto other “digital devices” such as mobile phones, VR glasses, etc.
Giorgio
Gerardi
The future will be like the past, a continuous becoming, like clouds, which are a subject that has always fascinated me; they are something that changes constantly, to remind us of the continuous becoming of reality. They are something that has no shape of its own, but changes moment by moment, in ways that are always different and unrepeatable. They are light, elusive. They cannot be grasped, they cannot be touched, they remain something indefinite, almost unclassifiable.
2022年8月12日，11.50（v.18 细节1），图像，15000×10000 pixel，300dpi, 2022 12 August 2022, 11.50 (v.18 detail 1), image, file, 15000×10000 pixel, 300 dpi, 2022
I live in Italy, in Favaro Veneto (Venice), Italy. Around the age of twenty, I approached the study of the History of Art, as an autodidact, and I began my personal photographic research. I got fascinated by the artistic Avant-garde of the late Nineteenth and early Twentieth centuries, and also the currents of Minimalism and Conceptual Art. All these artistic phenomena attracted me mostly because they focused on the analysis of the visual medium, than to the staging of reality and its representation, as the history of Art and Photography had instead accustomed us. In recent years, I have focused on some details of the environment around me: clouds, leaves and everyday objects.
Clemin 新冠起初轻松传遍世界，之后在物理隔离当中人们的生活由数字轻松驱动，无不体现出当今世界紧密相连。还有全 球文化在屏幕背后的顺畅交流，由此创造了新的“数字跨文化”（digital inter-culture）。
The initial ease at which Covid spread around the world and then our digitally-driven lives in physical isolation, highlighted how globally interconnected we are. And more so, how our global cultures are interchanging fluidly behind the screen, and in doing so create a new “digital inter-culture”.
结局、变化、过度、转变，数字墨水，1800 x 1200 pixel，2022 Endings, change, transition, transformation, Digital ink, 1800 x 1200 pixel, 2022
Henry Clemin is a conceptual artist based in the UK. Having lived in China and the UK, his practice centres around how cultures form and dissolve.
未来是不确定的。技术存在将定义我们成为什么。从有机角度，我看到一种源自现代进步的新生命形式。
The future is uncertain. We will define what we become by our technical existence. In an organic vision I see a renewed life form that came from our modern advances.
戏颜色的过程中速度让我疯狂。”舍鲁尼2018年创作的第一幅大尺寸轮滑绘画，以及小幅的“轮子作品”都没有使 用画笔。她的作品色彩亮丽、视觉灵动，给观众和艺术家同行持续的启发。舍鲁尼在美国佛蒙特大学获得艺术教育学 士学位，她还是一位有竞争力的滑雪者。2010年在佛蒙特大学获得艺术硕士学位。她曾在美国和欧洲展出艺术创作； 在世界多地画画，目前与伯灵顿城市美术馆合作在公共空间展示其艺术品。
Moving and making have interested Jean Cherouny for decades. When she entered grade school she was a ballet dancer. She is familiar with “feet movement” from her years of skateboarding, biking, skiing, playing baseball and soccer. Her kinesthetic interests left her curious about how her mind and body bring paint and sport together and call it fine art. In college, where she created large futuristic bike racers for her senior thesis, she began to discover her visual voice in paint. “Speed pushes me to the brink while using my rollerblades to play with colors”. Jean’s large-scale rollerblade paintings, first executed in 2008, as well as smaller-scale “wheel work,” all go beyond the brush. They are brightly colored, visually dynamic, and enduringly inspiring to viewers and fellow artists. Jean studied at the University of Vermont for a BS in Art Education, where she was also a competitive skier. She earned her MFA from Northern Vermont University in 2010. She has shown her work in juried and commercial shows in America and Europe. While Jean paints all over the world, she currently exhibits her art in public spaces with Burlington City Art Gallery.
Lales Petros
《时间旅行者》这幅数字图像作品探问了数字化时代个性和自省的本质，以及在广阔宇宙之中体现这一本质的事件的短暂价值。此外，照 片能把信息在几代人间传递下去，凝结此刻、揭示过往，但在这里它被一种自我的永恒表现打断。关乎个体性的位置概念消失了，图像就 像一张平铺的世界地图。对落伍的人而言，科技进步有许多残酷的想法。空间从自我的边缘开始并终结；时间正在日渐减少的互动缝隙中 消失。
“The Time Traveler” is a digital picture that questions the nature of character and self-reflection in the era of digitalization and the ephemeral valuing of the events it represents inside our vast universe. At the same time, the ability of the photograph to transfer information through generations, forming our present and revealing our past, is here interrupted by a timeless representation of one’s self. The idea of location, thus individuality, has vanished, similar to a two-dimensional unwrapped map of the earth. The technological advancements have turned into a field of cruel ideas in the eyes of those who are left behind. Personal needs have been transformed into ideologies trying to survive in their uninhabitable society. Space is starting and ending at the edges of one’s self, and Time is vanishing between the gaps of declining interactions.
Petros Lales is an interdisciplinary artist based in New York City. His latest work investigates how interactions between mythology and personality shape our cultural realities. He received his MFA from the School of Visual Arts, New York, and his BFA from the Athens School of Fine Arts, Greece. He is the recipient of the Gerondelis Foundation scholarship, the School of Visual Arts Paula Rhodes Memorial Award, and the Alice Beck-Odette Scholarship for Exceptional Achievement in MFA Photography Video and Related Media. His work has been shown internationally, including in New York City, Greece, and Poland. Lales has exhibited his work at various New York venues, including A.I.R Gallery, Greenpoint Gallery, AAA3A, O’Flaherty’s Art Gallery, and SoMAD studio. His work was presented at several festivals, including the Re: Karya International Video Festival, Video Art Festival Miden, and Athens Video Art Festival.
me some of my greatest memories are the smallest details, the sound of my mother car, the smell of food at the Fair. I think many people have this same feeling, however the world constantly bombards us with an overload of things that seem great but upon closer look wasn’t what we thought at first.
I am an American Artist currently living in France. Started working primarily as a chalk muralist creating large scale works for outdoor festivals and museums. I transition to create a less public art practice around 2020 where I found myself drawn to smaller works. After being forced inside during Quarantine I started creating a series of works now where I put hundreds of post it notes with individual drawings on to a canvas. Having my first group show being in my hometown of Cleveland before I left for France and being published in Voyage Ohio and a Canadian contemporary art magazine, I’m excited to share my work with more people and letting my new environment shape my work.
The future is not something that will come one day. The future is happening already, every day. I believe that technology has many good things to offer to us, but also many devices and websites are designed so we don’t stop looking at them. Therefore, we become addicted, and start seeing the world as technology is teaching us to see it.
《玻璃碎了》，包含五张图像的系列作品，灵感来自将身体看作谜题的想法。身体被扭曲、分裂、打碎，看起来残缺不全、支离破碎，但 是依然有一双人的眼睛在看着我们。这些数码科学怪人式的人物在寻找一个外部的旁观者，把他们的身体重新组接起来，拼合成原来的样子。 这些图像的灵感来源于：在社交媒体和数字空间内身份被打破、变得多样，许多人注视着我们，让我们难以成为自己心目中的样子。
Broken ( 玻璃碎了 ) is a five-image series inspired by the idea of the body as a puzzle. Distortion, fragmentation, and shattering have happened to bodies that now appear incomplete and divided, yet they still look at us with human eyes. Digital Frankenstein’s, these figures are searching for an outside spectator that brings their pieces back together, waiting to be whole again. These images are inspired by the way identity is broken and multiple in social media and digital spaces, and how hard it is to become who we want to be when so many people are looking at us.
玻璃碎了 迭代4，3D静图，124.4x70cm，5个限量版
Broken(玻璃碎了) iteration 4, 3D still image, 124.4 x 70 cm, Limited edition of 5
玻璃碎了 迭代5，3D静图，124.4x70cm，5个限量版
Broken(玻璃碎了) iteration 5, 3D still image, 124.4 x 70 cm, Limited edition of 5
The other work is a single image work called New Martyrs, a picture that imitates a picture by Caravaggio called Saint Cataline of Alexandria, a woman who died because of the things she believed in. In my interpretation of Caravaggio’s work, the saint is surrounded by new temptations (likes, followers, and other things of the digital world) and must be strong to don’t be fooled by them.
New Martyrs, 3D still image, 250 x 140.6, Limited edition of 3, 2022
Mayte Gomez-Molina (Madrid, 1993) is a Spanish new media artist and writer whose practice is based in 3D animation, VR and digital video appropriationism as tools for expanded poetry. Her work explores the body as a political subject and perception as a social agreement. Her work has been exhibited in the Supernova Digital Art Festival (Denver, US), the Future Bodies Symposium (Virginia, US), the VII Frame & Frequency Show (Maryland, US) and at Tabakalera Media Center (Spain), La Casa Encendida (Spain), AIFA Artificial Intelligence conference (Luxembourg). Thanks to a Fulbright Scholarship, she did her MFA in Film, Video, New Media and Animation at the School of the Art Institute of Chicago. She is currently working as a researcher and animator at Karlsruhe’s Institute of Technology.
《在模糊的失落与渺茫的希望之间》探索了一个高能量的世外桃源般的空间。作品让人感到不安，同时也是一种邀请。油画和素描的结合 让作品产生模糊的负空间，营造出错位感。 在这些严肃紧张、有动感的作品中，鸟的形象不自觉地出现了，在明处或者被负空间稍微遮蔽。偌大的城市陷入不寻常的寂静，街上的噪 音听不到了，鸟叫声成了每天的主角。人们失去地越来越多，而这个对自然世界的普通提示给人以希望，尽管希望是渺茫的。
“Between Ambiguous Loss and Tenuous Hope” explores an otherworldly space of highly charged energy. My work unnerves and invites. Mixing painting and drawing it often evokes ambiguous negative spaces to create a sense of dislocation.
What unconsciously emerged in these intense, kinetic works were glimpses of bird imagery, in light or slightly shaded negative space. In the unnatural silence of a great city without its usual street noise, the sounds of songbirds became a prominent daily occurrence. As losses escalated, this reminder of the natural world prevailing gave hope, however tenuous.
Between Ambiguous Loss and Tenuous Hope, No.5, Painting/ Drawing, Acrylic, China marker, ink, graphite on paper, 30.48×22.86cm, 2021
Between Ambiguous Loss and Tenuous Hope, No.6, Painting/ Drawing, Acrylic, China marker, ink, graphite on paper, 30.48×22.86cm, 2021
Miriam Kurman is a New York based visual artist. She attended the Rhode Island School of Design and received a BFA with Honors from Pratt Institute in Brooklyn, NY where she was distinguished as a Studio Scholar and awarded a Ford Foundation Grant.
Kurman will be in an upcoming exhibition in 2023 at the CICA Museum in Gimpo-si, South Korea. Her work has been exhibited in New York City at the Maggi Peyton Gallery-Manhattan Borough President’s Office; the Makor/ Steinhardt Center of the 92nd Street Y; Synagogue for the Arts; and Just Above Midtown/Downtown. Other exhibitions include: The Esther Allen Greer Museum at University of Rio Grande, OH; The John E. Anderson Graduate School of Management at UCLA, Minot State University, ND; Bloomsburg University, PA; Cazenovia College, NY; Northport Galleries, NY; Morehead State University, KY; Vermont College of Union Institute & University, VT; Bristol Art Museum, RI; Appalachian State University, NC; Museum of the Hudson Highlands, NY; and Rockland Center for the Arts, NY. Artist in Residence programs include: Makor/Steinhardt Center of the 92nd Street Y, NYC; Palenville Interarts, NY; Cummington Community of the Arts, MA; N.Y. Mills Arts Retreat, MN; Ucross Foundation, WY; and the Woodstock School of Art, NY.
Kurman has been reviewed in the New York Times; New York Newsday; the Observer, Long Island, NY; and the Lexington Herald-Leader, KY, amongst other publications.
My field of interest as an artist is ecological issues, the preservation of human worth in the modern world, and mutual assistance between people.
Conveyor, video (the animation of physical artwork), high resolution video 2886×3852 px, 30fps, duration: 1 minute 11 seconds, 2022
According to my position as an environmentalist I minimize the waste of the creative process. All possible leftovers are transformed by me into components of new paintings. Including parts of microelectronics, which are difficult to recycle.
Irina Safronova, aka Palirina, was born in 1982. She lives and does creative work in Minsk, Belarus. Irina works in collage, assemblage and mixed media on such topics as ecology, the latest technology and man’s place in the future. She is an environmentalist. Took part in more than 20 international and national exhibitions, was awarded 3 prizes of international competitions.
