参展艺术家 Artists 安杰利卡·普拉帕 Angelika Prapa
pag.08
安·梅赫林克 Ann Mechelinck
pag.16
阿蔺 Chenyu Lin
pag.22
道格·温特 Doug Winter
pag.28
费德里科·阿尔卡罗 Federico Alcaro
pag.36
费尔南多·科隆·冈萨雷斯 Fernando Colón-González pag.40 朴熙善 Heesun Park
pag.46
伊霍尔·格纳蒂夫 Ihor Gnativ
pag.52
伊内斯·托伦蒂诺 Ines Tolentino
pag.58
尼克·梅 Nick May
pag.64
潘托·特里夫科维奇 Panto Trivkovic
pag.70
涉田薰 Kaoru Shibuta
pag.76
刻石 Carve Stone
pag.82
托马斯·拉古纳维奇 Tomas Lagūnavičius
pag.88
特雷西·佩恩 Tracy Penn
pag.96
展览前言：后新冠时代
Exhibition statement: Post-COVID-19 Era
2020 年 9 月 26 日 -10 月 24 日，独立映像艺术空间推出展 览《后新冠时代》。
From September 26 to October 24 2020, Independent & Image Art Space is glad to present a group exhibition “Post-COVID-19 Era”.
对于 21 世纪的人类，新冠肺炎疫情的爆发彻底打乱了正常 的生活秩序和生存状态。它的影响持续扩大，在方方面面 引发的变化将会越来越凸显。 未来即在眼前。后新冠时代，我们将生活在怎样的社会里？ 来自全球的 15 位艺术家，用艺术表达各自的看法，用各自 的视角看待我们与世界的关系。
In the 21st century, the outbreak of the COVID-19 has wholly disrupted mankind's usual order of life and state of survival. Its influence continues to expand, and the changes caused in all aspects will become more and more prominent. The future is here. In the post-COVID-19 era, what kind of society will we live in? 15 artists from all over the world use art to express their views and see our relationship with the world from their own perspectives.
6
7
安杰利卡·普拉帕 Angelika Prapa
后新冠时代已经成为我关注的方向，这包括对个人 理想生活环境的思索，我想要生活在什么样的理想 之地和隐匿之所。新冠疫情促使我去重新思考自己 习以为常的生活方式，重新评估，寻找值得为之付 出的事物。 The post -COVID 19 era just increased my personal field of interest, which includes my ideal environment, the desired place but also the hidden place in which I wish to exist. The whole COVID experience just intensified the need to reconsider the way I used to live. I had to reevaluate, and find what is worth living for.
《带我离开》布面油画 17x12cm 2020 Take me away, oil on canvas, 17x12cm, 2020 8
9
我选择用风景画来表达自己，将对自然的描摹 和想象的元素结合在一起。我的创作基于浪漫 主义的绘画传统，将风景画看作一种心灵的状 态，用画反射个体的信念、希望和恐惧。 I choose to express myself by painting landscapes which include particles of life nature painting with imaginative elements. My work is based on the Romantic painting Tradition ,in which a landscape appears as a state of mind - the reflection of beliefs, longings and fears of a single individual.
《怎么了》布面油画 20x30cm 2020 What is going wrong? oil on canvas, 20x30cm, 2020 10
11
《只有我们俩》布面油画 50x35cm 2020 Just the two of us, oil on canvas, 50x35cm, 2020 12
《谁来了？》亚麻布油画 180x140cm 2020 Who is coming? oil on linen, 180x140cm, 2020 13
安杰利卡·普拉帕出生在奥地利格拉茨，成长于 希腊的萨罗尼加。获得比较文学和心理学学位后， 她开始从事教育和心理医学书籍的写作和编辑工 作。学者生涯的初期她有幸与歌德学院、萨罗尼 加德语学校等知名机构合作，但对绘画的热爱让 她选择进入希腊萨罗尼加亚里士多德大学美术与 应用艺术系学习，并以优异成绩毕业。安杰利卡 已经举办过三次个人展览，并参加了许多群展。 Angelika Prapa was born in Graz, Austria, and was raised in Thessaloniki, Greece. After her studies in Comparative Literature and Psychology, she followed a professional career in writing and editing didactic and psychologicalmedical books. Her initial academic career included collaborations with well-known institutions, such as the Goethe Institute and the German School of Thessaloniki, but her interest in painting led her to the Department of Fine and Applied Arts of Aristotle University of Thessaloniki in Greece, where she graduated with excellence. She participated in a number of group exhibitions and has given three personal exhibitions. 《我们形单影只？》布面油画 100x150cm 2020 Are we alone? oil on canvas, 100x150cm, 2020 《我是可爱先生》布面油画 80x60cm 2020 I am Mr. Lonely, oil on canvas, 80x60cm, 2020 14
15
安·梅赫林克 Ann Mechelinck
封城期间呆在家里，让我有机会重 新关注我生活的地方——西科克 郡的一处乡村。这里的美景，特别 是周边生长的植物，它们的自然形 式和肌理再一次给了我灵感。 Being confined at home during the lockdown, I was given the time to refocus on the beauty of where I live – a rural area in West Cork, Ireland - and became, once again, inspired to explore natural forms and textures found in plant life in my immediate surroundings and neighbourhood.
《增强》手工编织、缝纫 多种羊毛和纱线 80x60cm 2020 Enhanced, Hand-weaving and hand-stitching, various wools and yarns, 80x60cm, 2020 16
17
我喜欢手工缝纫和编织，那种慢节奏和双 手重复的动作让我获得沉思，沉浸在自己 的小小世界和思绪之中，远离周遭的纷繁 复杂。 I like to hand-stitch or hand-weave. The slow pace and the repetitive movement of my hands become quite meditative and contemplative and often makes me withdraw in my own little world and thoughts, away from all the suffering that is surrounding us at the moment.
《治愈 II》手工编织、缝纫 多种羊毛和纱线 100x80cm 和 40x47cm 2020 Healing II, Hand-weaving and hand-stitching, various wools and yarns, 100 x 80 cm and 40 x 47 cm, 2020 18
19
安·梅赫林克曾长期从事管理工作，这份传统的 职业让她不得不把艺术创作放到一边。直到 2005 年，安从比利时搬到了爱尔兰，她渐渐意识到深 藏在内心、被压抑的艺术热情，渴望重拾并实现 儿时的梦想——成为一名艺术家。2009 年她决定 不再等待“恰当时机”的来临，开始踏上她的艺 术之旅。她曾在爱尔兰麦克鲁姆的麦克埃根学院 学习艺术、手工艺和设计课程，之后在科克的圣 约翰学院接受专业的绘画课程训练，2015 年从科 克克劳福德艺术与设计学院的纺织品应用艺术专 业毕业。2017 年开始，她将所有精力投入到艺术 创作中，成为了一名独立艺术家。
《自然地毯》手工编织、缝纫 多种羊毛和纱线 直径为 70cm 2020 Nature's carpet, Hand-weaving and hand-stitching, various wools and yarns, 70 cm diameter, 2020 20
Coming from a traditional background where creative impulses were something to be pursued 'on the side', Ann spent decades working as an administrator. It wasn't until 2005, when she moved from Belgium to Ireland, that she slowly began to realise how deep she had repressed her genuine passions and how she longed to recapture and fulfil that childhood dream of becoming an artist. In 2009 she decided to stop waiting for the 'right time' and set off on her creative journey, studying an Arts, Crafts and Design course at McEgan College in Macroom, followed by a Professional Painting course at St. John's College in Cork, to finally graduate in 2015 in Applied Arts - Textiles at the Crawford College of Art and Design in Cork. Since 2017 she has been working full-time as a self-employed artist. 21
阿蔺 Chenyu Lin
面对当下疫情，阿蔺 Chenyu Lin 希望用作品为观众 传递快乐，而不要被沉重感笼罩。 During the current worldwide epidemic, Chenyu also hopes to bring a sense of joy, rather than heaviness, to the audience through his work.
《自画像》拼贴 便利贴 107x152cm 2020 Self-Portrait, Collage, Post-it notes, 107x152cm, 2020 22
23
《变黑的香蕉》视频 3 分 39 秒 2020 Browning Banana, Video document, B anana and post-it notes, 3'39", 2020
隔离开始之后，我们的社区每晚 8 点会举办灯光派对。这种氛围给了我启发，我也希望以自己的方式参与进来。我看见其他人常 常在窗户上用便利贴贴出“爱”、“支持”、“谢谢”等词语，这让我感觉很庄重，而不止是支持帮助他人。我经常在窗户上贴 出一些问题和日常对话，比如“猫还是狗”，“晚餐吃的什么”，“讨厌我”。我希望用作品向观众传递一丝快乐，而不是沉重感。 这个最新的项目是这样的：我用黄色便利贴贴了个大大的香蕉，随着一根真香蕉每天的变化，我用黑色便利贴替换黄色的一些部分。 我的邻居可以看到香蕉便利贴是怎么一天天变黑的，从而感到隔离期间时光的流逝。 Since quarantine started, our community has been having a lighting party every night at 8 o’clock. I’ve been inspired by the atmosphere a lot and wish to join it in my way. I usually saw some others’ window post-it notes, such as LOVE, SUPPORT, and THANK U, and I can only feel solemn more than supportive. I usually posted some questions, and a normal conversation on our windows, such as CAT OR DOG, WHAT’S YOUR DINNER and MON. HATES ME. I hope to bring a sense of joy, rather than heaviness, to the audience through my work. The latest project is: I posted a giant banana by yellow post- its. Then I’ve followed what has happened to a real banana, replacing these yellow post-its with black ones. My neighbors can see how the post-its banana turns to black and feel time passing during this isolation period. 24
25
阿蔺 Chenyu Lin，来自中国的艺术家，2017 年 在哈尔滨获得艺术学士学位，2020 年全球新冠 疫情期间在芝加哥艺术学院攻读艺术硕士。他 的作品有两个基本要素：适应能力和幽默感。 他常说自己是一个需要“做作业”的艺术家， 这并不是指他需要外在的压力才能工作，而是在 面对有限而具体的创作环境时，他更有动力去 挑战“作业”所代表的规则。此外，幽默感是 他最有力的武器，让更多的观众接受他的作品， 以放松的方式理解他的创作意图。
他的作品有两个基本要素：适应能力和幽默感。 There are two essential elements in his work, adaptability and humor.
Chenyu Lin is an artist from China. He received his BFA degree from Harbin, China, in 2017, and then his MFA from the School of Art Institute of Chicago during the 2020 global epidemic. There are two essential elements in his work, adaptability and humor. He often refers to himself as an artist who needs assignments, which is not to say that he needs external pressure to work, but that when the creative environment becomes very limited and concrete, he is more motivated to challenge the rules represented by “assignments”. Humor, on the other hand, is his most potent weapon, able to get a broader audience to accept his work and understand his creative intentions in a relaxed way.
《我不想面对即将到来的一天》绘画 丙烯 35.56x50.8cm 2018 I Don't Want To Face the Coming Day, Painting, Acrylic, 35.56x50.8cm, 2018 26
27
道格·温特 Doug Winter
视线本身是独特的。当完美视力受损并分解为模糊 的结构和不确定的边缘时，它将如何影响人对物体、 房屋、地点的既定认知？ Sight unto itself is unique. When perfect vision becomes impaired and dissolves into blurred structures and undefined edges, how does it affect established cognition of objects, home and place?
《反射光的光 #7》摄影 染色铝板 182x122cm 1/1 2020 Light Inside Light Reflection #7, photograph on dye-infused aluminum panel, 182x122cm, 1/1, 2020 28
29
《东北，第 3 天》摄影 染色铝板 182x122cm 1/1 2020 North East, Day 3, photograph on dye-infused aluminum panel, 182x122cm, 1/1, 2020 30
《雪天 #8》摄影 染色铝板 122x182cm 1/1 2020 Snow Day #8, photograph on dye-infused aluminum panel, 122x182cm, 1/1, 2020 31
这件作品讨论的是，下降的视力水平与记忆、色 彩轮廓和光线之间分离、共享又独特的互联关系， 以及它们如何共同构成个人现实和历史的叙事。 This body of work speaks to the separate, shared and unique connection degraded eyesight has to memory, color contours and light and how collectively they comprise a nomenclature of personal reality and history.
《鸢尾花，第 14 天》摄影 染色铝板 182x122cm 1/1 2020 Iris, Day 14, photograph on dye-infused aluminum panel, 182x122cm, 1/1, 2020 《黎明 #20》摄影 染色铝板 182x122cm 1/1 2020 Dawn of Day #20, photograph on dye-infused aluminum panel, 182x122cm, 1/1, 2020
32
33
道格·温特是一位艺术和新闻出版类的摄影师， 对社会意识方面给予关注。他的作品涵盖抽象和 具象摄影，以大幅的染色铝板抽象摄影为人所知。 Doug Winter is a fine art and editorial photographer with a focus on social awareness. He works in both abstract and representational photography. He is best known for his large scale abstract photographic images on dye-infused aluminum panels.
《夏季天空流过的雨水，第 10 天》摄影 染色铝板 122x122cm 1/1 2020 Rain through Summer Sky, Day 10, photograph on dye-infused aluminum panel, 122x122cm, 1/1, 2020 34
35
费德里科·阿尔卡罗 Federico Alcaro
我的创作过程从当前的问题着手，我认为，我们 需要去关注改善我们的生活（和环境）以及子孙 后代的生活。通过 19 世纪的数字拼贴插图和当 代照片，最终图像具有批判性和挑衅性，以反乌 托邦的形式出现，建筑物充满具有内涵的符号和 图标。此外，使用现代元素打破插图的节奏，使 图像在当今背景下更加贴近现实环境，从而彰显 所表达主题的真实性。 The process that I follow starts from a current issue which, in my opinion, requires attention to improve our life (and the environment) and the life of future generations. Through the Digital Collage of 19th century illustrations and contemporary photos the final images are always quite critical and provocative in the form of dystopias with an architectural connotation full of symbols and icons. Moreover, the use of contemporary elements to break the rhythm of the illustrations makes the image more contextualized to the present day so as to mark the actuality of the themes expressed.
《普通隔离》数码拼贴 纸张打印 40x40cm 2020 Common Isolation, Digital collages, Print on paper, 40x40cm, 2020 36
37
费德里科·阿尔卡罗，是一位意大利建筑师，主 要从事社会建筑方面的工作。他喜欢研究建筑、 紧急状况和不同程度发展中国家之间的关系。目 前他生活在威尼斯，与 Studio TAMassociati 事 务所保持合作。 Federico Alcaro is an Italian architect working in the social architecture field. He has always been interested in the relationship between architecture, emergency contexts and developing countries on different scales. Currently he lives in Venice and collaborate with Studio TAMassociati.
《第二次接触》数码拼贴 纸张打印 40x40cm 2020 Second Contact, Digital collages, Print on paper, 40x40cm, 2020 38
39
费尔南多·科隆·冈萨雷斯 Fernando Colón-González
我探索理性和情感之间的灰色地带。在我的 整个创作过程中，我经常遇到想法与执行之 间的挑战。我避免呈现特定的实体，而是选 择把解释权交给观看者。
《无题》漆板绘画 27.94x35.56cm 2012 untitled-untitled, Flashe on primed board, 27.94x35.56cm, 2012 40
I explore the gray area between the realms of the rational and emotional. Throughout my creative process, I often encounter challenges between idea and execution. I avoid making references to specific entities, choosing to cede interpretation to the viewer. 41
《无题》漆板绘画 27.94x35.56cm 2012 untitled-untitled, Flashe on primed board, 27.94x35.56cm, 2012 42
43
费 尔 南 多· 科 隆· 冈 萨 雷 斯， 出 生 于 波 多 黎 各 的 圣 胡 安。 他 的 作 品 曾 在 纽 约 The Drawing Center, Howard Scott Gallery, Marta Cervera Gallery, Howard Scott Gallery, Philippe Briet Gallery and Nina Freudenheim Gallery、 宾 夕 法 尼 亚 Larry Becker contemporary art、 加利福尼亚 Stop Art、迈阿密 Silvana Facchini Gallery、 芝 加 哥 ARCO、 哥 斯 达 黎 加 Galería Jacob Karpio、 墨 西 哥 城 Galería GUAM、 法 国 L’Ecole D’Beaux Arts 等地展出。 Fernando Colón-Gonzalez, born in San Juan Puerto Rico. He has exhibited in New York venues such as The Drawing Center, Howard Scott Gallery, Marta Cervera Gallery, Howard Scott Gallery, Philippe Briet Gallery and Nina Freudenheim Gallery. Also nationally in Larry Becker contemporary art, Pennsylvania, Stop Art, San José, California, Silvana Facchini Gallery, Miami, ARCO, Chicago and Miami art fairs, Galería Jacob Karpio, San José, Costa Rica. Galería GUAM, México City, L’Ecole D’Beaux Arts, Lorient, France
《无题》漆板绘画 27.94x35.56cm 2012 untitled-untitled, Flashe on primed board, 27.94x35.56cm, 2012 44
45
朴熙善 Heesun Park
笑声、新鲜空气、沙沙作响……我们日常生活中的 一系列动态影像在远处播放。我希望观众坐在倾斜 的椅子上，椅子陷入黑色之中，把观看者完全孤立。 Laughters, fresh air, rustling noises… A series of moving images from our daily lives play at a distance. The viewers are encouraged to sit on a tilted chair. The chair, sinking into blackness, places the viewer in complete isolation.
《恐惧：这里》视频装置文献 数码照片 63x42x2cm 50 版 2020 F e a r : H e r e, Documentation of Video Installation, Digital Photography (c-print), 63 x 42 x 2 cm, 50 editions, 2020 46
47
《恐惧：这里》视频装置文献 数码照片 63x42x2cm 50 版 2020 F e a r : H e r e, Documentation of Video Installation, Digital Photography (c-print), 63 x 42 x 2 cm, 50 editions, 2020 48
49
朴熙善出生并成长于韩国首尔，她是一位视觉艺 术家，创作装置、摄影、动态影像等作品。她的 作品扩展了她在青少年时代对韩国文化的体验， 打破了经常施加与人的社会标准。随着她继续挖 掘自己的身份，她希望分享自己的时刻，以引起 对我们社会的关注。 Heesun Park was born and raised in Seoul, South Korea. She is a visual artist who loves to work with installation, photography and moving images. Her works expand upon her experience of Korean culture as a teenager, breaking away from the standards that are often imposed by society. As she continues to grow her identity, she hopes to share her moments—to draw attention to our society.
《恐惧：这里》视频装置文献 数码照片 63x42x2cm 50 版 2020 F e a r : H e r e, Documentation of Video Installation, Digital Photography (c-print), 63 x 42 x 2 cm, 50 editions, 2020 50
51
伊霍尔·格纳蒂夫 Ihor Gnativ
我的作品哲学是这样的：无论你是谁，无论男 人或女人，贫穷或富裕，黑人或白人（所以《生 命几何》系列里的人都没有有脸）。重要的是， 你获得了生命这个礼物，生活取决于您，你要如 何度过，哪一天更快乐，哪一天更忧郁。我们 的生活可以用“从阿尔法到欧米茄”来解释—— 生命的开始到结束。对我们来说，最重要的是 生命的本质，是它的过程。 The philosophy of my work depicts just that, no matter who you are in life, man or woman, poor or rich, black or white (so the figure of a man in my paintings "Geometry of Life" without a face). What's important that you received the gift of life, it only depends on you, how you will live this life and which days there will be more white or black in it. Our life can be interpreted by the expression "From alpha to omega" - The beginning and the end of our existence. The most important thing for us is the essence of life, its process.
《强度》超现实主义 布面油画 60x80cm 2020 《生命几何》系列 Intensity, Hyperrealism, Oil on canvas, 60x80cm, 2020, Geometry of life 52
53
《辐射》超现实主义 布面油画 80x60cm 2020 《生命几何》系列 Radiance, Hyperrealism, Oil on canvas, 80x60cm, 2020, Geometry of life 54
55
伊霍尔·格纳蒂夫，出生于乌克兰的泽洛齐夫， 从小就开始绘画。2011 年开始在利沃夫装饰与应 用艺术学院的绘画修复系学习，获得学位后，继 续在利沃夫国家艺术学院宗教艺术系学习。专业 的艺术培养给了他经验，并帮助他的艺术事业发 展。 Born in the city of Zolochiv, and from an early age he began to draw. He graduated from Lviv College of Decorative and Applied Arts named after I. Trush on the Department of Restoration of Works of Painting, where he joined in 2011. After receiving a bachelor's degree, he continued his studies at the Lviv National Academy of Arts at the Department of Sacred Art. Professional education gave him experience and contributed to the development of art.
《休息》超现实主义 布面油画 60x80cm 2020 《生命几何》系列 Rest, Hyperrealism, Oil on canvas, 60x80cm, 2020, Geometry of life 56
57
伊内斯·托伦蒂诺 Ines Tolentino
《隔离》系列是对流行病和自己艺术世界的反思。 起点是意大利文艺复兴时期的艺术。我用为人熟 知的作品来表达时间如何停滞不前，过去和现在 变成一个统一体，邀请观众去反思他们在时间和 空间上的持久性。 "QuarantIne" is an intimate reflection on the pandemic and my artistic universe where the past and the present meet. The starting point is the Italian Renaissance. I appropriate recognizable works to express how time has stood still. The past and the present are transformed into a unity which invites the spectator to reflect on its permanence in time and space.
《内部》素描 彩色铅笔、墨水和文件夹 29x46cm 2020 Inside, drawing, color pencil, ink and folder, 29x46cm, 2020 58
59
《挣扎》素描 彩色铅笔、墨水和文件夹 29x46cm 2020 The struggle, drawing, color pencil, ink and folder, 29x46cm, 2020 60
61
伊内斯·托伦蒂诺，1962 年出生于多米尼加共和国 的圣多明哥。她曾就读于巴黎高等美术学院（19801985 年），并在巴黎第一大学获得造型艺术和艺术 科学的学士和硕士学位。她还从事美学和民族人类学 的专业研究。 她曾在多地举办个人展览，包括多米尼加修道院（圣 胡安，1990）、格里马尔迪城堡博物馆（滨海卡涅斯， 1995）、现代艺术博物馆（圣多明哥，2002、2017） 等。她曾参加第 6 届哈瓦那双年展（1997）等群展。 Ines Tolentino was born in Santo Domingo, Dominican Republic, on June 30, 1962. She studied at the École Naionale Supérieure de Beaux-Arts de Paris (1980-1985) ; she received both her B.A. and her M.A. in Plastic Arts and Art Sciences from the University of PARIS-1, PanthéonSorbonne. She also pursued specialized studies in aesthetics and ethno-anthropology (1986). She has exhibited individually at the Convento de los Dominicos, San Juan P.R. (1990), at the Château-Musée Grimaldi in Cagnes-sur-Mer, France (1995) ; at the Museum of Modern Art, in Santo Domingo, Dominican Republic, (2002, 2017), tec. She has participed in group exhibitions at the Sixth Havana Biennal in Cuba (1997), etc.
《你的手和我的手》素描 彩色铅笔、墨水和文件夹 29x46cm 2020 Your hand and mine, drawing, color pencil, ink and folder, 29x46cm, 2020 62
63
尼克·梅 Nick May
《世界起源》水彩 65x65cm 2020 L’ Origine du monde, Watercolour, 65x65cm, 2020 64
65
当世界因为新冠疫情而瘫痪，我们意识到每个人和 每个地方都是相互联系的。至关重要的是，我们（无 论是集体还是个人）都有机会重新评估我们与自然、 食物和气候之间的关系。这要求对几乎所有已建立 的行为做出根本性的改变。 As the world remains paralyzed by Covid-19, we realize that everyone and everywhere is connected - and crucially, we (collectively and individually) have a chance to reassess our relationship with nature, food and the climate. This requires fundamental changes to pretty much all established behavior.
《万物相连》水彩 73x95cm 2020 Eveything is connected, Watercolour, 73x95cm,2020 66
67
尼克·梅使用多种媒介进行艺术创作，目前主要创作 纸上作品。他曾在英国国立电影电视学院圣马丁艺术 学院学习雕塑。他的个人展览包括： 《直到母牛回家》， 电影和摄影，塔利之家美术馆，卡莱尔，2006 年；《食 物链》，电影和摄影，光之屋，伍尔弗汉普顿，2009 年（获 Prix Pictet 摄影奖提名）；《食物链》，电 影和摄影，亚瑟画廊，林肯（2011）。 Nick May is an artist working in various media - currently concentrating on work on paper. He studied Sculpture at St. Martin's School of Art and Film Direction at The National Film & Television School. Solo exhibitions include: Till the Cows Come Home, Film and Photography by Nick May, Tullie House Art Gallery, Carlisle 2006; FOODCHAIN, Film and Photography by Nick May, LIGHT HOUSE, Wolverhampton 2009 (Photography nominated for Prix Pictet); FOODCHAIN, Film and Photography by Nick May, Usher Gallery, Lincoln (2011).
《滤泡》水彩 74x97cm 2020 The Filter Bubble, Watercolour, 74x97cm, 2020 68
69
潘托·特里夫科维奇 Panto Trivkovic
不再需要用于防止病毒隐形危险的口罩了，它最 终被丢弃在垃圾桶里。但是在没有口罩的时候， 人类已经失去了彼此的信任，有必要重新认识对 方。 The mask as protection against the invisible danger of the virus is no longer needed and ends up in the trash. But through the time without the mask, mankind has lost trust in each other. It is necessary to get to know each other again.
《没有口罩》纸本水彩 24x32cm 2020 Without mask, ink and watercolour on paper, 24x32 cm, 2020 70
71
《惊讶》纸本水彩 21x29.7cm 2020 Astonishing, ink and watercolour on paper, 21x29.7cm, 2020 72
73
潘托·特里夫科维奇 1967 年出生于波黑，1990 年起 在奥地利维也纳生活工作。从 2004 年起持续使用热 蜡创作绘画。2018 年在奥地利 pantoART Studio and Gallery 画廊举办个人展览。2020 年成为国际蜡画协 会会员、奥地利职业视觉艺术家协会会员。 Panto Trivkovic was born in 1967 in Bosnia & Herzegovina, and lives and works since 1990 in Vienna, Austria. He continues to painting with hot wax from 2004. He presented first solo show in pantoART Studio and Gallery in Vienna. In 2020, he became the member of International Encaustic Artists and member of Professional association of the Austrian visual artists.
《向往》纸本水彩 21x29.7cm 2020 The yearning, ink and gel-pen on paper, 21x29.7cm, 2020 74
75
涉田薰 Kaoru Shibuta
《不能停止感受》布面丙烯、墨水、水粉 100x175cm 2020 Can't stop feeling, Acrylic, ink, gouache on canvas, 100×175cm, 2020 76
77
涉田薰将音符转换成图像和当代装置。此外， 通过当地文化和环境能量，他创造了一种由 图像、色彩与和谐组成的诗意交响曲，是自然、 音乐和艺术之间的完美融合。 Kaoru Shibuta translate musical notes into images and contemporary installations. In addition, through local culture and energy of atmosphere, he create a poetic symphony composed of images, colours and harmony, which is a perfect fusion between nature, music and art.
《欢乐》纸上丙烯、墨水、水粉 80x110cm 2020 JOY, Acrylic, ink, gouache on paper, 80×110cm, 2020 78
79
涉田薰（1980 年生 / 北海道 / 在京都生活），2003 年 在佳丽宝化妆学院学校，2000 年毕业于潘化妆学校。他 在北海道的自然风光里自由成长，曾担任过化妆师、植 物商店店员和厨师，之后开始艺术创作。他将音乐和研 究演绎为绘画。2018 年参加了巴塞罗那艺术与文化中心 Espronceda 的公开征集驻留制作项目。他还参加过世界 各地的驻地艺术家创作项目，比如伊丽莎白·琼斯艺术 中心、圣莫尼卡艺术博物馆、NCCA 俄罗斯国家当代艺术 中心和梅加拉亚的艺术角。在日本，他参加了京都 Re： Search 项目，在京都丽嘉皇家酒店表演行为艺术，并与 当地音乐家合作制作壁画。2020 年，他在 2019-20 年第 14 届艺术拉古纳奖评选中获得特别奖，扩大了他的艺术 活动范围。
《生态系统》油画布打印 40x50cm 2020 Ecosystem, Print on canvas, 40×50cm, 2020 80
Kaoru Shibuta (born 1980 / from Hokkaido / based in Kyoto) 2003 Kanebo Make-up Institute, 2000 Graduated from Pan Make-up School He grew up freely with the nature of Hokkaido, he started producing works after working as a SDF, makeup artist, plant shop, and cook. He translates music and research into paintings. Participated in a stay production project in 2018 with the open call of the Barcelona Center for Arts and Culture Espronceda. He has made presentations at artist-in-residence locations around the world such as Elisabeth Jones Art Center, Santa Monica Museum of Art, NCCA of the Russian National Center for Contemporary Art and Artist's Point Meghalaya. In Japan, he participated in Kyoto Re: Search, performed at RIHGA Royal Hotel Kyoto, and collaborated with local musicians to produce murals. In 2020, he won a special award at 14th Arte Laguna Prize 2019-20, expanding his range of activities. 81
刻石 Carve Stone
《我们的觉醒》雪花石 38x30cm 2019 Our Awakening, stone alabaster, 38x30cm, 2019 82
83
作为选择用岩石来创作，并在其中发挥构想的艺 术家，聆听人们对新冠疫情的不适感以及死亡人 数的攀升，在精神上来说，是具有挑战性。 为了保持头脑清醒，保持有创造力的思考，我必 须限制自己看新闻、听消息的时间，否则可能会 影响我的创造力和创作能力。 As an artist that chooses a rock and envisions a design within it, It's mentally challenging hearing of people being ill with Covid-19, and seeing the death toll climbing. To remain clear headed enough to think creatively, I've had to limit watching and listing to the news, otherwise it can affect my creative self and ability to be productive.
《邪恶循环》雪花石 38x23cm 2019 A Vicious Cycle, Stone, Alabaster, 38x23cm, 2019 84
85
刻石是一位雕塑家，他通过粗糙与光滑两种石 材表面的鲜明混合创造了当代美术。最近的工 作开始于，对自我以及周围人与人之间关系的 深入研究。刻石获得多个奖项，并在大学、博 物馆和美术馆展出，作品被公共机构和私人藏 家收藏。 A sculptor, creating contemporary fine art with a stark mix of rough and smooth textural stone surfaces, the recent body of work began as an intensive investigation of the self, and of relationships amongst people in their environments. An award winning artist exhibiting in universities, museums and art galleries, as well as held in public and private art collections.
《人类疾病》雪花石 50.8x30cm 2019 Human Illness, Stone, Alabaster, 2019 86
87
托马斯·拉古纳维奇 Tomas Lagūnavičius
《命运 1》布面丙烯 60x80cm 2020 One's Fate 1, acrylic on canvas, 60x80cm, 2020 88
《命运 2》布面丙烯 60x80cm 2020 One's Fate 2, acrylic on canvas, 60x80cm, 2020 89
《命运 3》布面丙烯 60x80cm 2020 One's Fate 3, acrylic on canvas, 60x80cm, 2020 《命运 4》布面丙烯 60x80cm 2020 One's Fate 4, acrylic on canvas, 60x80cm, 2020
新冠疫情将我们变成存在空间中的一个个单 元，失去与他人的真正联系，因为我们必须采 取保护措施并保持安全距离。因此，当您靠近 另一个人时，可以感觉到，比如闻到气味、看 到面部表情、触摸的感觉都消失了，这一切都 成为问题。结果，我们的命运被忽视了，因为 没有人可以分享。 Covid-19 turns us into units in the spaces of existence. Real contact with others is lost because we have to use protective measures and keep a safe distance. Therefore, senses that can be felt when you are next to another person, such as smelling, seeing facial expressions or touching, disappear; it all becomes problematic. As a result, our fates become unnoticed because there is no one to share them with. 90
91
《命运 5》布面丙烯 60x80cm 2020 One's Fate 5, acrylic on canvas, 60x80cm, 2020 92
93
托马斯·拉古纳维奇是一位跨学科的混合媒体 艺术家，他的艺术一直是他对世界愿景的体现。 他的创作包括视觉和表演艺术。他还是国际视 觉艺术家协会（IAVA）、全国视觉艺术协会 （NAVA）、国际视觉文化协会（IAVC）、立陶 宛版权保护局（LATGA）等协会的成员。 To m a s L a g ū n a v i č i u s i s a m a m u l t i disciplinary, mixed-media artist and his art has always been a manifestation of his vision of the world. His creative work includes visual and performing arts. He is also a member of various associations, such as International Association of Visual Artists (IAVA), National Association for the Visual Arts (NAVA), International Association for Visual Culture (IAVC), Agency of Lithuanian Copyright Protection (LATGA), etc.
《命运 7》布面丙烯 60x80cm 2020 One's Fate 7, acrylic on canvas, 60x80cm, 2020 94
95
特雷西·佩恩 Tracy Penn
我的工作涉及构建多层肌理，有时还刮掉一 些层次，展示出隐藏在下面的内容。 这个过 程使我可以随着时间的推移改变自己的作品， 去犯错，去尝试新的技术，重新开始。 My work involves building layers of texture, and sometimes, scraping away layers to reveal what is hidden beneath. This process allows me to transform my work over time. To make mistakes. To try new techniques. To begin anew.
《此刻更强大》蜡画 木板上烧蜡和可再生材料 91x61x4cm 2020 Stronger by the Minute, Encaustic Painting, Encaustic and up-cycled material on panel, 91x61x4cm, 2020 96
97
《甜蜜生活》蜡画 木板 上烧蜡、油和可再生材料 46x46x4cm 2020 Sweet Life, Encaustic Painting, Encaustic, oil, and up-cycled material on panel, 46x46x4cm, 2020 98
99
我是一位从事蜡画和现成材料的艺术家。我使 用再生材料进行创作，让废弃的物品重获新生， 并创造更多的环境价值。 之前，我曾在 MoMA 从事市场营销工作，在古 根海姆（Guggenheim）从事博物馆教育工作。 我在纽约的艺术学生联盟、国际摄影中心和纽 约室内设计学院接受了艺术专业训练。 我的作品在纽约和康涅狄格州的画廊中展出， 并被美国私人收藏家收藏。我目前在布鲁克林 工作和生活。 I am an artist working in encaustic and found material. I work with up-cycled material to give a second life to the discarded and to create more environmental value. In a previous life I worked in marketing at MoMA and museum education at the Guggenheim. I've done my artistic training at the Art Students League of New York, the International Center of Photography, and the New York School for Interior Design. My work has been shown in galleries throughout New York and Connecticut and is part of private collections across the country. I work and live in Brooklyn.
《美好的一天》蜡画 木板上烧蜡、油和可再生材料 30x30x2.54cm 2020 One Fine Day, Encaustic Painting, Encaustic, oil, and up-cycled material on panel, 30x30x2.54cm, 2020 100
101
102
103
www.independentimage.org info@independentimage.org 104