参展艺术家 Artists 阿奎塔·威廉姆斯 Acquaetta Williams 孙搏一 Boyi Sun Low Winter Sun 唐娜·加西亚 Donna Garcia 凯特·布罗格登 Kate Brogdon 薛李煜 Liyu Xue 温馨 Maggie Xin Wen 今宮正陽 Masaharu Imamiya 丽贝卡·奥克波蒂 Rebekah Okpoti 索菲亚·穆勒 Sophia Muller 斯蒂芬·祖辛格 Stefan Zausinger 西尔·阿里纳 Syl Arena 特雷弗·库珀史密斯 Trevor Coopersmith 维克多·库兹曼科 Victor Cuzmenco 扎哈瓦·舍雷斯 Zahava Sherez
展览前言：重写现实
Exhibition statement: REWRITE REALITY
2021 年 3 月 20 日 -4 月 17 日，独立映像艺术空间推出群 展《重写现实》。
From March 20 to April 17, 2021, Independent & Image Art Space is glad to present a group exhibition “REWRITE REALITY”.
我们的生活几乎每天都在被改写。各种各样的发明创造、 新兴科技、生物工程等等以日为单位快速产生，并被源源 不断地应用于人类生活之中。疫情持续蔓延的当下，更加 明显。居家不出，网络购物、在线聊天、视频会议等虚拟 体验层出不穷，解决了人们的难题，迅速成为一大生活趋 势。众心所向、千呼万唤的疫苗也迎着 2021 年的到来为人 类带来了战胜疾病的希望。这些生活方式的改写，能否让 人类更加幸福愉快？我们的心灵如何适应着被不断改写的 生活？面对时时改变的世界，对于未来的期许是否也随之 改写？在期盼 - 满足的循环模式下，人类是否还有真正的 心满意足，还是说只是一部贪得无厌的欲望机器？ 参展艺术家：阿奎塔·威廉姆斯，孙搏一，Low Winter Sun，唐娜·加西亚，凯特·布罗格登，薛李煜，温馨，今 宮正陽，丽贝卡·奥克波蒂，索菲亚·穆勒，斯蒂芬·祖辛格， 西尔·阿里纳，特雷弗·库珀史密斯，维克多·库兹曼科， 扎哈瓦·舍雷斯
Our lives are being rewritten almost every day. All kinds of inventions, new technologies are rapidly produced on a daily basis and are continuously applied to human life. It is even more obvious now when the pandemic continues to spread. As many people have to stay at home, virtual experiences such as online shopping, online chatting, and video conferencing become a major life trend quickly, giving resolutions to people's problems. The vaccination that people call for is becoming a reality in 2021, bringing hope to overcome the disease. Can the rewriting of these lifestyles make human beings happier? How does our mind adapt to the life that is constantly being rewritten? Faced with the continually changing world, will the expectations for the future be rewritten accordingly? Under the expectation-satisfaction cycle, can human beings be truly satisfied, or just live as an insatiable desire machine? Artists: Acquaetta Williams, Buoyi Sun, Low Winter Sun, Donna Garcia, Kate Brogdon, Liyu Xue, Maggie Xin Wen, Masaharu Imamiya, Rebekah Okpoti, Sophia Muller, Stefan Zausinger, Syl Arena, Trevor Coopersmith, Victor Cuzmenco, Zahava Sherez
阿奎塔·威廉姆斯 Acquaetta Williams
让我们开启一场对话，探讨文化传统所塑造的复杂体、个人与政治的关联性，挖掘根源，理解时间、过去 与当下的重要性。 Let’s open a dialogue to investigate the aspects of the complexity shaped by culture and traditions, a personal and political sense of relevance, unearthing the roots and comprehending the importance of time, past and present.
《分离》纸和乙烯基颜料 102x102cm 2017 A Separation, paper and vinyl, 102x102cm, 2017
《绕行》 丙烯、纸和乙烯基颜料 122x152cm 2019 Detour, acrylic, paper and vinyl, 122x152cm, 2019
我所使用的材料具有多重属性，既是作品的表面，又涉及多个维度：形式、线条和形状。它们还是从不同 环境生长出来的故事：有关身份、爱、同情、愤怒、情感与人性的故事。 My materials are of a diverse nature; they are the surfaces as well as depths of renderings: forms, lines and shapes. They are also the stories that emerge from these environments: stories about identity, love, compassion, anger, sensitivity and humanity.
《无尽》丙烯、纸、水粉和乙烯基颜料 61x61cm 2018 Endlessly, acrylic, paper, pastels and vinyl, 61x61cm, 2018
《短暂》丙烯、纸、水粉和乙烯基颜料 61x61cm 2019 Ephemeral, acrylic, paper, pastels and vinyl, 61x61cm, 2019
《在哪里》 丙烯、金属粉和乙烯基颜料，61x91cm，2017 Where ... Is, acrylic, metallic powders and vinyl, 61x91cm, 2017
《出口》丙烯和乙烯基颜料 91x152cm 2017 Exit, acrylic and vinyl, 91x152cm, 2017
阿奎塔·威廉姆斯的艺术经历是从玻璃吹造者到雕塑家，再到画家的人生旅程。她的灵感来自对非洲图像的研究，以一 种身处其中的感受讲述非洲裔女性的故事，讲述她复杂的感觉、思想和记忆。威廉姆斯对自己的过去进行反思，认清自 己的身份。她在《长颈鹿脖子的女人》《携带的女人》《计时员》《结构时间》作品中用多种材料讲述故事。威廉姆斯 对艺术的热爱在威斯康星大学讲师、著名艺术家哈维·利特尔顿的指导下得到巩固，并获得了硕士学位。她还获得艺术 国际旅行资助，旅行穿越西非贝宁。曾在美国多地展出她的艺术作品，包括《常见物品中的罕见之处：非裔美国人手工 艺的遗产》及其在美国五大博物馆的巡展。她的作品还在日本金泽市举办的国际玻璃展和韩国京畿宗宗当代艺术研究所 的《色彩 2018》上展出。 Acquaetta Williams’s art has been a life journey from glassblower to sculpture and now painter. Her inspiration evolved from vision of African Images to tell the story of African American Women in a sense of relevance in a complexity of her feelings, thoughts and memories. Williams reflects on her past to form an identity. She tells a story in assemblages of materials contained in Giraffe Neck Women, Women Who Carry and then into Timekeepers and Deconstructing Time: Memories. and now Faceless Melodies. Her love for art was cemented under instructor and well-known artist Harvey Littleton at the University of Wisconsin where she received a MFA degree. An Arts International Travel Grant that was awarded to her included travels through Benin in West Africa. She has exhibited her art Nationally, in Uncommon Beauty in Common Objects: The Legacy of African American Craft Art which included a tour throughout the United States, visiting 5 major museums, as well as International: the International Glass Exhibition, Kanazawa, Japan and “Color 2018”, Czong Institute for Contemporary Art, Gyeonggi, Korea.
孙搏一 Boyi Sun
《真相猎手》数码相机 视频 / 电影 2.3GB 2921 第 1 版 A Truth Hunter (2021), Digital camera, video/film，2.3GB，2021，1st edition
《真相猎手》是我最近完成的一部短片。这部短片通过对一个半虚构 的真相捕手‘我’的经历的描写揭露和批判了当下国际媒体社会所充 斥的令人担忧的‘现实’和‘真相’环境。通过这个短片，我希望观 众可以重新思考眼前的一个个所谓的真相以及关注目前我们眼前随时 随地都在发展变幻中的‘现实’。 ‘A Truth Hunter’ is a short film that I have recently completed. It exposes and critiques the worrying ‘reality’ and ‘truth’ that pervades international media society today through portraying the experiences of a semi-fictional truth hunter, ‘I’. Through this short film, I hope that viewers will reconsider the so-called truths and pay attention to the ‘reality’ that is currently evolving in front of us at all times.
孙搏一，90 后独立电影人，艺术家。 从初次接触电子录像设备开始，孙搏一已经进行了近 14 年的运动影像实践，涉及的种类包括视频，电视节目，纪录片， 数字电影，实验性电影，以及最近的电影装置艺术。孙搏一的实践兴趣始终围绕着将‘感觉’在电影实践中创造性的发 展作为一种可以促进社会间甚至物种之间‘相互理解’，并有助于打破‘隔阂’的工具。受道家和海德格尔现象学思想 的影响，她尤其擅长利用寓言式的手法借助于人类日常生活中的琐碎经历对社会问题进行揭露。她所拍摄和制作的作品 包括 《内心的声音》，《门》，《一场战争的开始》，《张先生》，《真相猎手》等。她的作品先后获得洛杉矶电影 节和 Festigious 国际电影节的最佳黑色幽默片奖，入围了中国纪录片学院奖，伦敦独立电影节，亚特兰大国际电影节， 法国人类学电影节，巴塞罗那星球电影节与印度国际金球奖，并在 Unfolding Narritive 群展中被展览。孙搏一一直致 力于国际间的‘感觉’文化传播。目前，她正在伦敦艺术大学攻读博士学位。她当下的实践尤其关注于在后疫情时代， 通过电影实践对于向国际社会翻译和传播民族特色‘感觉’。 Sun Boyi is a post-90s independent filmmaker and artist. Since her first encounter with electronic video equipment, Sun has been practising moving image for nearly 14 years in the genres of video, television, documentary, digital film, experimental film and, most recently, film installation art. Sun's practice interests have always revolved around the creative development of 'feeling' in film practice as a tool that can promote 'mutual understanding' between societies and even species, and help to break down 'boundaries'. Influenced by Taoist and Heideggerian phenomenological thought, she is particularly adept at using allegorical techniques to expose social issues through the trivial experiences of everyday human life. She has produced a range of works, including The Inner Voice, The Gate, The Beginning of a War, Mr Zhang, and A Truth Hunter. Some of the works were awarded Best Black Humour at the Los Angeles Film Festival and Festigious International Film Festival shortlisted for the China Documentary Academy Awards, London Independent Film Festival, Atlanta International Film Festival, Ethnografilm Paris Film Festival, Barcelona Planet Film Festival and the Golden Globe Awards. One of them is exhibiting in the Unfolding Narrative group exhibition. Sun is currently studying for her PhD at the University of the Arts London. She has been working on the international dissemination of 'felt' culture. Her current practice is particularly concerned with the translation of national 'feeling' to the international community through film practice in the post-epidemic era.
Low Winter Sun
《鲜血》图书雕塑、纸 38X26X3cm 2021 Blood, book sculpture, paper, 38X26X3cm, 2021
《郊区》图书雕塑、纸 38X26X3cm 2021 The Suburbs, book sculpture, paper, 38X26X3cm, 2021
这些作品是用乔纳森·米勒（Jonathan Miller）的书《有问题的身体》创作的一部分雕刻作品。体现了艺术品在分析哲学方面的 表演性作用，即艺术品的创作向艺术家揭示了自我哲学意义的存在价值。 The submitted works are part of a series of carvings of Jonathan Miller’s book, The Body in Question. The sculptures exemplify the performative role of artworks with respect to analytic philosophy—the act of their creation revealing to the artist the existential implications of, in this case, a philosophical account of the self. 这组作品持续进行，雕刻工作将揭示出更多隐藏在《有问题的身体》中的故事，因为我们内部隐藏着某些身份，而自由的书本雕 刻活动向我们提供了揭示它们的可能性。 The project is ongoing and carving will reveal more stories hidden within The Body in Question, as there are identities hidden within us—the liberating act of book-carving revealing to us such possibilities.
《年龄》图书雕塑、纸 38X26X3cm 2021 Age, book sculpture, paper, 38X26X3cm, 2021
丹·奥布莱恩博士和露西·鲁塞尔是艺术家团体 Low Winter Sun 的主要成员。Dan 是英国牛津布鲁克斯大学的哲学读者， 并且是意大利米兰维塔萨里特圣拉斐尔大学哲学客座教授。他是十多本书籍的作者和编辑，他的《知识论概论》（纯净 度）已被翻译成韩语、阿拉伯语和葡萄牙语。他主要研究哲学和认识论的历史，也发表过卡拉瓦乔和立体主义的研究文 章。露西是一名精神科联络护士。他们共同创作的艺术项目专注哲学与心理健康之间的交集。最新创作关注拾得物和拼 贴，讲述了新冠居家隔离期间的情感历程：将绝望、疏远和爱的感觉投射到深夜探险收集的物品和荒芜的城市街道上。 Dr Dan O’Brien and Lucy Russell are the principal members of the artist collective Low Winter Sun. Dan is a Reader in philosophy at Oxford Brookes University, UK, and a visiting professor of philosophy at Vita-Salute San Raffaele University, Milan, Italy. He is the author and editor of over ten books, and his Introduction to the Theory of Knowledge (Polity) has been translated into Korean, Arabic and Portuguese. He works mainly on the history of philosophy and epistemology, but has also published on Caravaggio and cubism. Lucy is a psychiatric liaison nurse. Their joint art projects focus on the intersection between philosophy and mental health. Most recent is a series of found objects and assemblages that chart the emotional journey of covid-isolation—feelings of despair, alienation, and love projected onto objects gathered on late night expeditions into deserted city streets.
唐娜·加西亚 Donna Garcia
《全球视野》关注重写现实的方式，以及我们的头脑如何 把“真实”覆盖，以此满足自己的欲望，对抗恐惧，即认 知 vs. 现实。 Global Vision deals with the way rewriting reality and how our minds override what is "real" in order to fulfill our desires and defer fear - our perception vs. reality.
《火》摄影拼贴 收藏家彩色打印 17x43cm 2020 1/15 Fire, Photographic Collage, Archival Pigment Print, 17x43cm, 2020, 1/15
《全球视野》呈现出这样的结果：在西方世 界我们完全忽视了大自然的平衡，以致现如 今不得不面对地球被破坏，人类健康和安全 遭受威胁。 The result is what is illustrated by Global Vision, we have grossly ignored the balance of nature in the West and as a result we аre now facing the destruction of our planet, our health, our safety and our security.
《气》摄影拼贴 收藏家彩色打印 17x43cm 2020 1/15 Air, Photographic Collage, Archival Pigment Print, 17x43cm, 2020, 1/15
作品中的球体象征着人类的欲望 （或者说人类的认知），它从记忆 中制造出来，代表了一种幻象。 The use of globes in this work symbolizes our desires (our perceptions), now a fabrication from memory, a fantasy.
《土》摄影拼贴 收藏家彩色打印 17x43cm 2020 1/15 Earth, Photographic Collage, Archival Pigment Print, 17x43cm, 2020, 1/15
《全球视野》反映了人类是如何否定气候变 化及其影响的，在我们视而不见的情况下， 糟糕的情形正不断在身边上演，蚕食着我们 的生活。人类一如既往地生活，好像什么也 没有发生，脑袋被单纯的泡泡罩住，只去看 我们想看的事物。 Global Vision reflects how human beings аre denying climate change and its effects, even as the results of our negligence erupt around us, destroying all life. We carry on like nothing has changed, with our heads in a preverbal bubble, statically focused only on what we want to see.
《水》摄影拼贴 收藏家彩色打印 17x43cm 2020 1/15 Water, Photographic Collage, Archival Pigment Print, 17x43cm, 2020, 1/15
唐娜·加西亚是一位使用摄影镜头进行创作的艺术家。她的作品远离文化上的宏观叙事，捕捉正在形成的状态和潜力。 作品多具有引导性，而非图像性，充斥着飘忽不定、无法确定感。讨论未来和形成中的事物是作品的主调，图像识别和 阐释将观看者带入新的主权，让他们看到未曾目睹的事物。唐娜·加西亚曾在格里芬摄影博物馆、美国国家民权博物馆（亚 特兰大）、贾迪特画廊（纽约）、摄影艺术中心（加利福尼亚）、洛杉矶摄影中心、SITE：布鲁克林、罗克波特美术馆、 CPAC（丹佛）、Peinture Fraiche（比利时）、FotoNostrum 画廊（西班牙）和 PH21 Contemporary（布达佩斯）展出创作。 她的作品在多个国际出版物上发表。2019 年，她被瑞士洛桑爱丽舍摄影博物馆组织的“再生 4：摄影的挑战和明天的博 物馆”活动提名为“全球值得关注的新兴艺术家。唐娜·加西亚拥有美国萨凡纳艺术设计学院摄影艺术硕士学位。 Donna Garcia is a lens-based artist whose work elaborates on the idea of pulling away from a cultural grand narrative and towards a state of becoming and potential. She creates images that аre indexical in nature not iconic - uncertain and indeterminate. There is a strong presence of future and coming into being, which allows her images to pull the viewer forward through recognition and interpretation, into a new sovereignty, allowing them to see what they didn't see before. She has exhibited at The Griffin Museum of Photography, The National Civil Rights Museum (Atlanta), Jadite Gallery (NYC), Center for Photographic Arts (California), Los Angeles Center of Photography, SITE: Brooklyn, The Rockport Art Museum, CPAC, Denver, Peinture Fraiche, Belgium, FotoNostrum Gallery, Spain, and The PH21 Contemporary in Budapest. Her work has been featured in multiple international publications and she is a 2019 nominee of reGENERATION 4: The Challenges of Photography and the Museum of Tomorrow. Musee de l’Elysee, Lausanne, Switzerland. Emerging Artists to Watch worldwide. Donna Garcia has a Master of Fine Arts in Photography from Savannah College of Art and Design.
凯特·布罗格登 Kate Brogdon
《糖果色沙滩上的孩子》数字拼贴 51x76cm Kids on candy-colored beaches, digital collage, 51x76cm, 《红色帐篷世界里的所有可能性》数字拼贴 51x76cm All the possibilities in the red tent world, digital collage, 51x76cm, 《拉马尔谷里的棒球》数字拼贴 51x76cm Baseball in Lamar Valley, digital collage, 51x76cm,
2021 2021 2021 2021 2021 2021
我对人们的观点感兴趣：我的和其他 人的，尤其是孩子的。人们为什么会 以自己的方式思考？我们如何被塑 造，如何改变世界？我借助拾得物和 多重图像，捕捉我对互动环境的记忆， 以及多种媒介内的行为动作。 I am interested in people’s points of view: mine and others, especially children. Why do people think the way they do? How are we shaped by and also alter our world? I explore found items and multiple images to capture my memory of the environment of interactions and actions in various media.
《彩虹水族馆》数字拼贴 51x76cm 2021 Rainbow aquarium, digital collage, 51x76cm, 2021 《摇得更高》数字拼贴 51x76cm 2018 Swinging higher, digital collage, 51x76cm, 2018
艺术创作是一种思考的方 式，我倾向于跟着直觉工作， 在目标不太明确的情况下， 去并置，去无规划地混合。 过程中仍然会有变化，有时 还会遗留一些意外痕迹，这 也是过程的产物，显示了我 的思想随着时间的流逝所发 生的变化。 Making is a form of thinking and I tend to work intuitively, finding juxtapositions and unplanned mixtures without quite knowing where I am headed. Still-visible changes along the way and sometimes accidental bits left over are products of the process and show my changes of thought in the passage of time.
《马塔瓜的孩子和糖果色的日出》数字拼贴 51x76cm 2021 Kids and a candy sunrise at Mataguay, digital collage, 51x76cm, 2021
凯特·布罗格登出生于奥地利维也纳，在美国多地（主要在爱达荷州）长大。此后，她多次搬家，绘制出每一个地方的 图像，了解当地的文化理念。这影响了她对人们如何思考以及如何发展出自己独特世界观的兴趣。通过对摄影、绘画和 拾得物的叠加探索这一想法，展现出一个多面的、多姿多彩的世界。在弗吉尼亚大学获得学位后，她有过各种工作经验 并继续自己的艺术学习，同时获得多个艺术奖项。目前，在科威特城工作。 Kate Brogdon was born in Vienna, Austria and grew up across the United States, mainly in Idaho. She has since moved multiple times, drawing images and cultural ideas from each location. This has influenced her interest in how people think and how they develop their unique worldview. This idea is explored by layering photography, paint and found objects to represent ideas of a multifaceted, ultra-colorful world. After completing her degree at the University of Virginia, she has gained a variety of work experiences and continued her own art studies. This led to several awards in shows in Southern California. Currently she works in Kuwait City.
薛李煜 Liyu Xue
《60 秒，24 小时》 扩增实境表演 1920x1080 2020 60s,24h, AR Performance, 1920x1080, 2020
在这组作品中，薛李煜探索了行为艺术的另类方式：通过用抽象和无阴影的绘画形状重建 物理空间，揭示现实中躁动的情绪，并以不同凡响的、甚至是超现实的方式讲述故事。 该作品考量了现实和虚拟空间中的具身模仿，并提出了关于身体存在的不同想法。他的作 品试图在意识思考或目的性之外，扩展我们对图像和行为表演的意义的理解。 In this group of work, Liyu explores the alternative ways of performance making: By reconstructing the physical space with abstract and shadeless painted shapes, he reveals the restless emotions embodied within the reality and offers a radical and somewhat surreal storytelling. The work considers the embodied simulations in both reality and virtual space and creates different ideas of the bodily presence. His work attempts to expand our understanding of what image and performance making means outside of conscious thought or intentionality.
《逃跑 I》辛特拉板 UV 打印 15x15cm 2020 Escape I, UV Print on Sintra, 15x15cm, 2020 《逃跑 IV》辛特拉板 UV 打印 15x15cm 2020 Escape IV, UV Print on Sintra, 15x15cm, 2020 《逃跑 VIII》辛特拉板 UV 打印 15x15cm 2020 Escape VIII, UV Print on Sintra, 15x15cm, 2020
薛李煜是一位来自美国洛杉矶的跨学科艺术家。他使用包括视频、行为表演和摄影在内的各种媒体探索身体存在的表演 性。薛李煜还致力于意识和混合现实的研究，其中他发现了新的观点和证据来思考身心之间的联系和体现。薛李煜在普 瑞特艺术学院取得建筑学硕士学位，并在那里学习了行为表演和摄影。 Liyu Xue is an interdisciplinary artist based in Los Angeles. Using an array of media including video, performance, and photography, he explores the performative nature of the bodily presence. Liyu also invests in consciousness and mixed reality study, where he finds new perspectives and evidence to think about the mind-body connection and the embodiment. He received a master of architecture degree from Pratt Institute, where he also studied performance and photography.
温馨 Maggie Xin Wen
当我开始创作这组作品时，我一直在思考教育的意义，并决定对大约 30 位我在飞机上、画廊里遇到的人，还有朋友的朋友进 行非正式的访谈，了解他们的人生历程，以及对他们而言接受教育意味着什么。 As I started working on this series, I was thinking a lot about what education means and decided to conduct around 30 informal interviews asking people I met on the airplane, in galleries, and friends of friends about their paths and what it means to receive an education.
《肉类市场》摄影、文本 2019 The Meat Market, Photography with Text, 2019
生活中有很多灰色地带，由于我们都是人，所以我们必须接受模糊性。如果你看到黑色，则可以更清楚地明白什么是白色。如果你看 到白色，则可以更清楚地了解什么是黑色。清晰了解对立面（例如颜色），会更容易接受灰色。因此，这组摄影作品以爱的音符结尾， 它是包容和接纳，是灰色，是动作和文字，是负片和正片，是极为平常的。 If you have seen black, you can be clearer in your definition of white. If you have seen white, you can be clearer about what constitutes black. Clarity about opposites, like colors, makes it easier to accept the grey. Therefore, the photography series ends on the note of love, it is inclusive and acceptance, it is grey, it is the action and the words, it is the negatives and the positives, and it is extremely ordinary.
我叫 Maggie，中文名温馨。曾在中国居住，小学时移居丹麦两年，然后在上大学之前又回到了中国。我毕业于宾夕法 尼亚州的一所小型文科学院迪金森学院，主修工作室艺术，辅修艺术史和东亚研究。大学期间，我以工作假期签证在新 西兰度过了一个学期。我的艺术关注人际关系和充满活力的人们，这些人在语言和行为上来自不同文化，拥有不同的社 会理念。对我而言，艺术创作的目的是为拥有不同归属和经历的人创建一个平台，联系起来、分享爱心并相信我们在一起。 摄影和简短采访是我通常使用的媒介。这样，我可以对提出的主题进行研究，记录过程并收集适合展览的摄影作品。 My name is Xin (Maggie) Wen, and in Chinese it is 温馨 . I have lived in China before moving to Denmark for 2 years during primary school, and then back to China afterward before college. I graduated in Pennsylvania from a small liberal arts college called Dickinson College majoring in Studio Art and two minors in Art History and East Asian Studies. I took a gap semester during my college years to New Zealand with a working holiday visa. My art focus on the relationship and dynamic people create with different kind of cultural or societal beliefs in both words and actions. My aim as I create art is to create a platform for people of different belongings and experiences to bond, share love, and trust that we are all one. Usually, my medium is photography along with a short interview. In this way, I am able to do research on the topic I initiated, document the process, and collect photography that suits the exhibition.
今宮正陽 Masaharu Imamiya
在 COVID-19 爆发后不久，我决定阅读但丁《神曲》第 1 篇《地 狱》，我觉得世界目前的状况与小说描绘的场景多有相似。 Shortly after the outbreak of COVID-19, I decided to tackle with “The Divine Comedy Volume 1: Inferno” by Dante, which was from my speculation that the current situation in the world would share the view depicted in the novel.
《绘制对应点 Vol.1》水墨，丙烯酸涂料，撕纸，邮票（但丁的《神曲》），细绳和花纹纸，上面有星状盒子和折纸制成的恶魔头，日本纸 60x60cm Drawing Counterpoint Vol.1 (Pithecanthropus Erectus), Sumi, acrylic paint, teared paper, stamp (CANTO by Dante), string, and patterned paper on Japanese paper with star-shaped box and Demon’s head made by origami, 60 x 60 cm (approx)
在这组作品中，我试图从小说中提取永 恒的元素，并用我的视觉语言融合它们。 理解诗节存在许多种理解上的差异，比 如我和但丁之间，涉及文化、教育、地 理 和 历 史 层 面 上 的。 因 此 在 这 组 作 品 中，我作为现今 21 世纪的艺术家，以视 觉艺术的方式打破并重构了《神曲》。 In this portfolio, I tried to extract timeless elements from the novel and amalgamate these with my visual language. Perceptional gaps exist because, for understanding the stanza, there are many gaps between me and Dante; gaps exist in cultural, educational, geographical and historical levels, to name a few. Therefore this drawing visualizes breaking and reconstructing “The Divine Comedy” from the perspective of myself as an artist living in the 21st century right now.
《绘制对应点 Vol.2》水墨，丙烯酸涂料，撕纸，邮票（但丁的《神曲》），花纹纸，塑料水壶，日本纸 66x57cm 2020 Drawing Counterpoint Vol.2 (Elephant and Polyphony), Sumi, acrylic paint, teared paper, stamp (CANTO by Dante), patterned paper and plastic watering pot on Japanese paper, 66 x 57 cm, 2020
《即时业力》水墨，丙烯酸涂料，撕纸，邮票（但丁的《神曲》），折纸，眼球贴纸，鸡尾酒伞，折纸船，日本纸 76x56cm 2020 Instant Karma, Sumi, acrylic paint, teared paper, stamp (CANTO by Dante), shide, eyeball stickers, cocktail- umbrella pierced through boat made by origami on Japanese paper, 76x56cm, 2020 《赞美愚蠢》水墨，丙烯酸涂料，油脂铅笔，光泽剂，印章（但丁的《神曲》），用日本香棒烧过的纸，一年生银草，日本纸 60x55cm 2020 In Praise of Folly, Sumi, acrylic paint, grease pencil, gloss medium, stamp (CANTO by Dante), burned paper with Japanese incense sticks and maiden silver grass on Japanese paper, 60x55cm, 2020 《谁与费格斯同行》水墨，彩色墨水，撕纸，邮票（Yeats 的诗歌），日本纸 45x31cm 2019 Who goes with Fergus (Shide Drawing Prototype), Sumi, pigment ink, teared paper, stamp (stanza by Yeats) and shide on Japanese paper, 45x31cm, 2019
我感兴趣由于文化因素之间的差异而引起的“认 知鸿沟”。我用绘画艺术的方式反映出这些鸿沟， 以灵敏的线条描绘出多种文化参照之间的交织。 将无意识与秩序、混乱之间的关系融为一体。 I am intrigued by “perceptional gaps” which stem from differences among cultural factors. My art reflects these gaps on drawings, which embodies interweaving of cultural references expressed by a sensitive use of line. Unconsciousness amalgamates with the relationship between order and chaos.
《眼皮后的支柱》 水墨，丙烯酸漆，油性铅笔，邮票（但丁的《神曲》）和折纸的柱子，日本纸 61.5x56cm 2020 There are pillars behind my eyelids, Sumi, acrylic paint, grease pencil, stamp (CANTO by Dante) and pillars made by origami on Japanese paper, 61.5x56cm, 2020
我在日本四面环山的盆地中长大。孩童时的我，眼中的山脊就是一条条线，它总是处于流动的状态，汇集了一年四季的 阳光、重叠的云朵、滑坡、各种色彩和密度渐变的森林。通过这样的观察，我意识到世界是由千变万化的线条所组成的。 2015 年我在伦敦皇家艺术学院获得硕士学位。在校学习期间，获得助学金，并荣获比利时布鲁塞尔 RenéCarcan 国际版 画艺术大奖。毕业后，我被授予英国皇家画家版画家协会的格温·梅奖，并于 2015 年至 2017 年被选为助理研究员。 2018 年，我参加了美国安德森牧场艺术中心的艺术驻留，从事版画创作。 I grew up in a basin surrounded by mountains in Japan. In my childhood’s eyes, the mountain ridges were lines, which seemed to be in a state of flux resulted from shines, overlapping clouds, landslides, colours and transitional density of the trees in four seasons. Through these observations, I nurtured my sense that the world consists of ever-changing lines. I did my MA degree at the Royal College of Art (RCA), London in 2015. During my study at the RCA with a bursary, I was awarded Grand Prize from René Carcan International Prize for Printmaking (Brussels, Belgium) (Please refer https://www.mu-inthecity.com/carcan-distribue-ses-prix ). Upon graduating from the RCA, I was given Gwen May Prize from the Royal Society of Painter-Printmakers in the UK and selected as an associate fellow from 2015 to 2017. And, in 2018, I participated in a residency at the Anderson Ranch Arts Center USA as a printmaking fellow.
丽贝卡·奥克波蒂 Rebekah Okpoti
《马库斯（好战）》声音装置 2021 Markus (Warlike), Technique – Sonic Installation Art presented as Video with Audio, Year of production 2021
《马库斯（好战）》在某种程度上满足了我们每一个人，对家庭生活和战争的欲望，有沉默和压倒性的噪音，也有被包裹和被闭合的感受。 认可重复的日常生活，同时也提供身心休息之处。 《马库斯（好战）》最终成为一种冥想，我们在身心休息之处得以重写人类所期望的生活方式。 Markus (Warlike) goes some way to give each of us satisfaction by representing the desires of domesticity and war, silence and overwhelming noise, being enveloped whilst shutting down. Acknowledging the reality of a daily life cycle whilst providing a place of sanctuary. Markus (Warlike) is meditative with the conclusion that we can rewrite our lifestyle expectations of human experience in the place we find sanctuary.
丽贝卡·奥克波蒂的主要创作和学术成果涉及通过声波装置艺术和音乐研究“家庭感”。她的工作重点是如何在声波装 置艺术中回归家园，以及装置音乐作品如何与空间、雕塑和乐曲的互动。丽贝卡·奥克波蒂正在攻读声波装置艺术的博 士学位。 Rebekah's primary creative and academic outputs concern the investigation of Domesticity within Sonic Installation Art and music. Her work focuses upon how the Repatriation of Domesticity within Sonic Installation Art and the role of Installed Musical Composition to facilitate engagement with the Space, Sculpture and Composition. Domesticity, articulated as Poise and Void by virtue of music. Rebekah is studying for a PhD in Sonic Installation Art.
索菲亚·穆勒 Sophia Muller
《重生》数码打印、墨水、剪贴画 38x51cm 2021 Rebirth, Acrylic, Ink and cutout paper on Digital Print, 38x51cm, 2021
我感兴趣的是改造暴力的制度空间，把它们重新构 想为游戏和发生可能性的地方。 I am interested in the idea of transforming institutional spaces of violence through reimagining them as places of play and possibility.
《平衡动作》数码打印、墨水、剪贴画 38x51cm 2021 Balancing Act, Acrylic, Ink and cutout paper on Digital Print, 38x51cm, 2021
疫情暴露出工厂和农场已被污染，并在全球的 见证下不断扩散，构成对全社会的威胁。我的 作品消解暴力主题，同时融入可能性、纯真、 想象力和游戏的概念，希望人类可以找出新的 解答方式。 Covid has exposed the factory farm as a place of contamination and has become seen through a global conscience, as a virusspreading threat to society. By erasing the subjects of violence and adding the idea of possibility, innocence, imagination and play I want to take a global “emperor has no clothes” situation and imagine that humans can find new possibilities and carve out a different outcome. “异托邦是世界之内的世界，映射出外面的事 物，但又令其焦虑。”（维基百科） “Heterotopias are worlds within worlds, mirroring and yet upsetting what is outside.” (Wikipedia)
《自由下落》数码打印、墨水、剪贴画 38x51cm 2021 Free Fall, Acrylic, Ink and cutout paper on Digital Print, 38x51cm, 2021
索菲亚·穆勒在安大略艺术与设计学院完成基础课程，并在白山艺术学院获得美术学学士学位。目前在多伦多生活和工作。 Sophia Muller did her foundation studies at the Ontario College of Art and Design and her Associate's Degree in Fine Art at White Mountain Academy of the Arts. She lives and works in Toronto.
斯蒂芬·祖辛格 Stefan Zausinger
这里的所有作品是《Tar Trails》系列的一 部分。图像中是沥青修复工作所形成的线条， 单一的图案是沥青路面下形成的各种印记。 All images are parts of the series Tar Trails. They show line-shaped repair work of asphalt cracks, from single motifs composed tar signs on the underground of the asphalt.
《格雷芬芬格大街》摄影 打印在玻璃上 150x100cm 2020 Graefelfinger Strasse, Photography, Print behind glass, 150x100cm, 2020
每个人的思维都是有限的，现实是我们在 前进道路上看到和触摸到的东西。每条街 道都有自己的微观气候，它的构成、路面 的厚度、风化和翻新的特点等等。每幅图 像分别显示了慕尼黑一条街道上的沥青痕 迹。 Every mind is limited, reality is what we see and touch, on what we move on. Every street has its own micro climate, its own compound and thickness of the road surface, its own character of weathering and renovation. Each image shows the tar trails of one street in Munich each.
《沙茨弯路》摄影 打印在玻璃上 150x100cm 2021 Schatzbogen, Photography, Print behind glass, 150x100cm, 2021 《诺伊里德街》摄影 打印在玻璃上 150x100cm 2020 Neurieder Strasse, Photography, Print behind glass, 150x100cm, 2020
《贝克街》摄影 打印在玻璃上 150x100cm 2021 Baeckerstrasse, Photography, Print behind glass, 150x100cm, 2021 《森夫特瑙尔街》摄影 打印在玻璃上 150x100cm 2021 Senftenauerstrasse, Photography, Print behind glass, 150x100cm, 2021
《维尔特大街》摄影 打印在玻璃上 150x100cm 2021 Wuermtalstrasse, Photography, Print behind glass, 150x100cm, 2021
斯蒂芬·祖辛格 1965 年生于德国慕尼黑。完成医学学习后，在慕尼黑路德维希 - 马克西米利安斯大学神经外科的脊神 经外科担任主任多年。2019 年以来，在慕尼黑独立从事神经外科工作。参加过的展览有：2020 年 Blau Diessen 双年展 （德国巴伐利亚），2020 年沃廷根（德国巴伐利亚）市政府艺术展，2020 年魏森堡艺术展览并获奖（德国巴伐利亚）。 Stefan Zausinger was born 1965 in Munich, Germany. After studies of medicine, for many years head of Spinal Neurosurgery at the Department of Neurosurgery of Ludwig-Maximilians-University Munich, Germany. Since 2019 I work as a neurosurgeon in own practice in Munich. Exhibitions: Biennale Blau Diessen (Bavaria, Germany) 2020; Art in the town palace of Wertingen (Bavaria, Germany) 2020; Exhibition and winner of the Art Award of Weissenburg (Bavaria, Germany) 2020.
西尔·阿里纳 Syl Arena
作品《构建空洞》进入了我内心的空间。我凝 视着这些照片，想知道它们是否代表着自己内 心的空间，或者隐喻着我存在于更广阔多元宇 宙之中。 My Constructed Voids step into the spaces of my in-between. I gaze upon these photographs and wonder if their metaphor represents spaces inside of me or if the metaphor points to my presence inside of a larger multiverse.
《阿姆苏》数字艺术 彩色打印 97x137cm 2020 Amsu. Digital 4x5 capture. Chromogenic print, 97x137cm 2020
《埃拉》数字艺术 彩色打印 97x137cm 2016 Ela. Digital 4x5 capture. Chromogenic print, 97x137cm, 2016
《耶恩》数字艺术 彩色打印 97x137cm 2020 Jern. Digital 4x5 capture. Chromogenic print, 97x137cm 2020
这些“空洞”将隐秘与奇观融为一体，以这种方式质问当代摄影的出路在何处。我将它们定位为空灵的风景（崇高而又超 凡脱俗），我认为它们在视觉上的模糊性是需要人去加以阐释的。为此，作品的标题（《帕尔纳》《奎因》《阿姆苏》《耶 恩》）都是我捏造出来的词语，旨在消除含义，鼓励思考。 These Voids merge mystery with spectacle in a manner that queries expectations of the contemporary photograph. I position them as ethereal landscapes—sublime, yet otherworldly—and embrace the idea that their visual ambiguity invites interpretation. To that end, their titles (Parna, Quin, Amsu, Jern) are fabricated words intended to strip away narrative connotation and encourage meditative consideration. 在这些“空洞”中，我没有努力拍摄镜头前的场景。揭示构成材料的特殊性并不重要。相反，我努力为无法看到的场景创 建照片。具体来说，我扭曲了 4x5 视角相机的两端，镜头朝向一个方向，而胶卷平面朝向另一个方向，我的照片描绘出的 场景超出了人类的视野。 In these Constructed Voids, I do not strive to make photographs of scenes before the lens. Revealing the specificity of assembled materials is not of interest. Rather, I strive to create photographs of scenes that I cannot see. Specifically, I distort the two ends of my 4x5 view camera, with the lens looking in one direction and the film plane looking in another, my photographs portray scenes that exist beyond the horizon of human vision.
《玛鲁》数字艺术 彩色打印 97x137cm 2020 Maru. Digital 4x5 capture. Chromogenic print, 97x137cm 2020 《帕尔纳》 数字艺术 彩色打印 97x137cm 2017 Parna. Digital 4x5 capture. Chromogenic print, 97x137cm 2020 《史克恩》数字艺术 彩色打印 97x137cm 2017 Schen. Digital 4x5 capture. Chromogenic print, 97x137cm 2020
西尔·阿里纳是加利福尼亚州的一位艺术家和教育家，以其对充满活力的色彩以及对非典型摄影的探索而闻名。西尔·阿 里纳用作品致敬包豪斯艺术家，承认自己对表面、颜色和阴影之间相互作用的痴迷。在抽象之外，西尔·阿里纳将他的 照片定位为新现实的愿景，而不是镜头前的场景提取，因此他将其称为“非拟像的”。 西尔·阿里纳还热衷于指出在手机屏幕泛滥的世界里，摄影只是图像物品，其地位日渐丧失。他曾经展示过未经装裱、 大尺幅（96x137cm）的《构建空洞》系列作品，直接悬挂于画廊的墙壁之间。为了增加作品的真实性，在展厅通风系统 或好奇的观众吹动下，这些印刷品会轻轻飘动，如果一个人快速走过还会发出隆隆声。 西尔·阿里纳的摄影作品已在美国和世界各地展出。其中最值得关注的有：纽约光圈基金会的《2016 光圈夏季公开展： 摄影是魔术》、韩国 CICA 博物馆《现代摄影 2018》和哈瓦那古巴 Fototeca de Cuba 的《古巴景象》。 Syl Arena is a California-based artist/educator known for his use of energetic color and his explorations of nonrepresentational photography. In a manner that echoes the work of Bauhaus artists, Arena admits an obsession with the interaction of surface, color, and shadow. Looking beyond the world of abstraction, Arena positions his photographs as visions of new realities rather than an extraction of the scene before the lens and, thus, refers to them as “non-mimetic.” Arena is also greatly interested in commenting on the loss of the photograph’s position as image-object in our screenbased world. He exhibits his Constructed Void series as unframed, large-scale prints (38”w x 54”h) that arc directly from the walls of the gallery. To add to the physicality of the work, under the movement of gallery ventilation or the breath of a curious viewer, the prints undulate gently and, if one walks past the prints quickly, they emit a rumble. Arena’s photography has been exhibited throughout the US and internationally. Among the most noteworthy are: ‘2016 Aperture Summer Open: Photography Is Magic’ at the Aperture Foundation in New York, ‘Contemporary Photography 2018’ at the CICA Museum in Korea, and ‘Visions of Cuba’ at Fototeca de Cuba in Havana.
特雷弗·库珀史密斯 Trevor Coopersmith
《海拔纠缠 II》画布喷漆 51x51cm 2020 Entanglements of Elevation II, Spray paint on canvas, 51x51cm 2020
《海拔纠缠 IV》画布喷漆 51x51cm 2020 Entanglements of Elevation IV, Spray paint on canvas, 51x51cm 2020
我热衷于探索亚文化、土著文化和反文化， 伴随着危险时刻下个体与景观、有机物质 和意识纠缠的连接关系。 I'm interested in exploring subcultures, indigenous cultures and countercultures, alongside a personal connection to the landscape, organic matter and entanglements of consciousness amid precarious times.
《海拔纠缠 V》画布喷漆 51x51cm 2020 Entanglements of Elevation V, Spray paint on canvas, 51x51cm 2020 《海拔纠缠 VI》画布喷漆 51x51cm 2020 Entanglements of Elevation VI, Spray paint on canvas, 51x51cm 2020
我最近的创作展现了一系列同心蘑菇鳃，代表并阐释了我 的个人经历。我用滑板在 8 天内横跨加州中部行程 115 英里， 在这一过程中思考前进的方法。我们如何才能超越灾难， 在目前的状况下如何重写共生的可能性？ My recent work presents a series of concentric mushroom gills representing and translating a personal experience; 8 days and 115 miles by skateboard across central California to question methodologies of progress. Collectively, how can we progress beyond calamity and rewrite a possible rebirth of coexistence in this reality?
《海拔纠缠 VII》画布喷漆 51x51cm 2020 Entanglements of Elevation VII, Spray paint on canvas, 51x51cm 2020 《海拔纠缠 VIII》画布喷漆 51x51cm 2020 Entanglements of Elevation VIII, Spray paint on canvas, 51x51cm 2020
特雷弗·库珀史密斯是一位来自加利福尼亚州圣地亚哥的跨学科艺术家。拥有加州大学圣塔芭芭拉分校的艺术学士学位， 最近被伦敦大学金史密斯学院的艺术硕士录取。特雷弗·库珀史密斯的作品在全球各地被收藏，他还完成了壁画创作， 创立了城市艺术奖学金基金会，并在国际和网络上广泛展出展览。 Trevor Coopersmith is an interdisciplinary artist from San Diego, CA. Trevor received a Bachelor's in Art from the University of California, Santa Barbara and was recently accepted to the University of London, Goldsmiths MFA program. Coopersmith has sold to private collections across the globe, completed murals, founded the Urban Art Scholarship Foundation and exhibited internationally/ online.
维克多·库兹曼科 Victor Cuzmenco
维克多·库兹曼科将他的艺术称为“本体绘画”，其中包括通过本体论研究的基本哲学问题。通过过去三十年的艺术创作，他探索 了“存在”而不是简单地生存。维克多·库兹曼科将许多概念表现为视觉艺术，比如空间、时间、结构、运动、精神状态，以及它 们之间的相互作用。 Victor Cuzmenco refers to his art as Ontologic Painting, which comprises the idea of fundamental philosophical questions studied by ontology. Through his art for the last thirty years, he has explored “being” rather than simply existing. Victor visualizes such broad categories as space, time, structure, movement, spiritual states, and interactions among them.
《趾高气昂 1》综合媒介 土、沙、粘土、贝壳石灰石、油、丙烯、喷漆、 青铜粉、画布 160x120x5cm 2020 Cockiness 1, mixed media, earth, sand, clay, shell limestone, oil, acrylic, spray paint, bronze powder on canvas, 160x120x5cm, 2020
《趾高气昂 2》综合媒介 土、沙、粘土、贝壳石灰石、油、丙烯、喷漆、 青铜粉、画布 160x120x5cm 2020 Cockiness 2, mixed media, earth, sand, clay, shell limestone, oil, acrylic, spray paint, bronze powder on canvas, 160x120x5cm, 2020
维克多通过抽象的，有时是象征性的形状（称为“感 知对象”）来体现他的思想。他所建立的构图具有 广泛的意义，例如，有关对立、克服和过程等的图像， 通常被视为存在的类别。甚至现实生活中的对象也 具有隐喻含义，可以进行多种解释。既可以看到无 限大宇宙的宏观世界，也可以看到细胞、原子和微 量元素的微观世界。这些作品可能会展示出虚构的 平行世界和混合领域的相互融合。 Victor embodies his ideas by means of abstract and sometimes symbolic shapes referred as Perceptual Objects. Created compositions have a broad sense e.g., the images of opposition, overcoming, process and the like are perceived in general as categories of being. Even real life objects refer to metaphorical meanings open for multiple interpretations. One can see either macro world of infinitely large universes micro world of cells, atoms, and microelements. The artworks may show imaginary parallel worlds and blended realms interacting with one another.
《范围扩散》综合媒介 土、沙、粘土、贝壳石灰石、喷漆、青铜粉、木、油、画布 80x80x7cm 2020 Diffusion of Realms, mixed media, ground, sand, clay, shell limestone, spray paint, bronze powder, wood, oil, acrylic on canvas, 80x80x7cm, 2020 《被人类驯服的月亮》综合媒介 土、沙、粘土、贝壳石灰石、木、丙烯、喷漆、金叶子、塑 料、油、青铜粉、画布 140x140x9cm 2020 Moon Tamed by Human, mixed media, sand, clay, shell limestone, wood, spray paint, gold leaf, plastic, oil, acrylic, spray paint, bronze powder on canvas, 140x140x9cm, 2020
《被人类驯服的月亮 2》综合媒介 土、沙、粘土、贝壳石灰石、木、喷漆、 金叶子、塑料、油、丙烯、青铜粉、画布 140x140x9cm 2020 Moon Tamed by Human 2, mixed media, earth, sand, clay, shell limestone, wood, spray paint, gold leaf, plastic, oil, acrylic, spray paint, bronze powder on canvas, 140x140x9cm, 2020
《量子景观》综合媒介 土、沙、粘土、贝壳石灰石、木、金叶子、塑料、油、 丙烯、喷漆、青铜粉、画布 140x140x9cm 2020 Quantum Landscape, mixed media, earth, sand, clay, shell limestone, wood, gold leaf, oil, acrylic, spray paint, bronze powder on canvas, 140x140x9cm, 2020
维克多·库兹曼科 1948 年出生在乌克兰敖德萨地区的 Divizia 聚居区。1974 年，他从莫斯科国立美术学院毕业。维克多·库 兹曼科在 250 多场在摩尔多瓦和世界各地举行的展览中展出了他的作品。他的作品由摩尔多瓦国家艺术博物馆、独联体 博物馆、俄罗斯文化部、美国、德国、法国、意大利、荷兰、瑞典、土耳其、以色列、新加坡、俄罗斯和乌克兰的公立 机构和私人收藏。他的个人展览在摩尔多瓦（2016-2018、2000、1994、1991）、科比恩画廊 - 德国法兰克福（1993）， 莫斯科中央艺术家之家（1991）举行。维克多·库兹曼科获得了“摩尔多瓦艺术家联盟颁发的“创意主题最佳呈现”殊 荣；他的艺术还被《摩尔多瓦艺术百科全书》收录。2019 年，他被授予罗马尼亚巴考艺术文化中心奖。 维克多·库兹曼科的作品曾在以下群展中展出：法国狮子文化中心举行的第 VIII 和第 IX 国际展览（2002 年、2003 年）， 德国杜塞尔多夫的摩尔多瓦前卫艺术家展览（1996 年），法国艺术神话 93 版莫斯科中央艺术馆（1993 年），瑞典乌普 萨拉当代艺术博物馆群展（1992 年），乌克兰伊斯梅尔的创意团体“ Fantom”展览（1990 年），德国亚琛的摩尔多瓦 艺术家展（1990 年），新加坡“艺术基地”画廊群展（1989 年）。 Victor Cuzmenco was born in 1948 in Divizia settlement, Odessa region, Ukraine. He graduated from Moscow State Institute of Fine Arts named after V. Surikov in 1974. Victor Cuzmenco exhibited his works in more than 250 Moldovan and international exhibitions and art shows. His paintings are in the funds of National Art Museum of Moldova, CIS museums, the funds of Russian Ministry of Culture, private collections in USA, Germany, France, Italy, the Netherlands, Sweden, Turkey, Israel, Singapore, Russia and Ukraine. His personal shows were held in Moldova (2016-2018, 2000, 1994, 1991), Korbiens Galerie – Frankfurt, Germany (1993), the Central House of Artists, Moscow (1991). The artist was awarded the Diploma of Moldovan Artists Union “for the best coverage of creative theme”; his art was also included in Art Encyclopedia of Moldova. Victor’s artworks were exhibited at such group shows as VIII and IX International Exhibitions in Lion Cultural Centre, France (2002, 2003), the exhibition of Moldovan avant-guard artists in Dusseldorf, Germany (1996), «Art-Myth-93» in the Central House of Artists, Moscow (1993), group exhibition at Uppsala Contemporary Art Museum, Sweden (1992), the Exhibition of creative group “Fantom” in Ismail, Ukraine (1990), the exhibition of Moldovan artists in Aachen, Germany (1990), group exhibition in “Art Base” gallery, Singapore (1989).
扎哈瓦·舍雷斯 Zahava Sherez
《存在 1》树脂、综合媒介、灯 56x8x8cm 2018 Being 1, In Bodied Light series; resin, mixed media, light; 56x8x8cm, 2018
《存在 2》树脂、综合媒介、灯 61x8x8cm 2018 Being 2, InBodied Light series; resin, mixed media, light; 61x8x8cm 2018
在我职业生涯的大部分时间里，我都创作雕塑，为 “他者”发出声音：移民和难民的声音。通过这组 新作品，我的目标是在内在互联、包容万向的地方 呼唤公平与平等，为所有人呼唤。 作品中的人物没有任何可识别的特征，这是为了消 除将我们划分为长期受压迫、暴力和不公正对待的 子群体的标签。 For most of my career I have created sculptures to give voice to ‘the other’, the immigrant and the refugee. With this new work I am targeting equity and equality from a place of inter-connectedness and all-inclusiveness to all beings. The figures in this project are devoid of any identifying human features to eliminate the labels that separate us into sub-groups perpetuating oppression, violence, and disrespect.
《存在 3》树脂、综合媒介、灯 53x8x8cm 2019 Being 3, InBodied Light series; resin, mixed media, light; 53x8x8cm, 2019
这些雕塑是由树脂、铜、混合媒体和灯制成的。 在这里，光是至关重要的元素，因为光与树脂 的相互作用对于作品背后的信息至关重要。树 脂允许光线透过并从带纹理的表面反射出来， 从而增强了人们对“我们就是光芒”的信念， 将我们纳入力量的海洋，与一切连接起来。这 是我的重写现实。 These beings are made out of resin, bronze, mixed media, and light. Light is a crucial element here as its interaction with resin is central to the message behind this work. Resin allows light to flow through and bounce off the textured surfaces, strengthening the belief that we are light, engulfed in an ocean of energy that connects us to everything. This my Rewritten Reality.
《存在 5 和 6》树脂、综合媒介、灯 84x18x18cm & 91x18x18cm 2019 Being 5 & Being 6, InBodied Light series; resin, mixed media, light; 84x18x18cm & 91x18x18cm, 2019
《存在 7》树脂、综合媒介、灯 114x13x8cm 2020 Being 7, InBodied Light series; resin, mixed media, bronze, light; 114x13x8cm, 2020
无论使用形状、线条还是颜色，扎哈瓦·舍雷斯的艺术都是关于人性的，以及个人和集体所体验到的“他者”。扎哈瓦·舍 雷斯曾生活在四大洲，是几代移民和难民的直接后裔，她拥抱各种文化、传统和灵性。她的经历使她认识到人性是全人 类的。她受到的影响很多，包括 Brancusi，Isamu Noguchi，Eva Hesse，Rumi 和 The Guides。 扎哈瓦·舍雷斯的作品出现在美国、以色列、荷兰、澳大利亚、科西嘉岛、阿根廷、波多黎各和墨西哥的私人和公司藏 品中。她曾获得无数奖项，并在加利福尼亚州的发现博物馆以及纽约 Catharine Lorillard Wolfe 艺术俱乐部、美国艺 术家职业联盟、纽约萨尔马贡迪俱乐部、加利福尼亚 SculptureSite 画廊、加利福尼亚圣玛丽学院艺术博物馆等机构展 出作品。在国际上，她曾在巴黎和科西嘉（Corsica）参展。 扎哈瓦·舍雷斯生于阿根廷，在以色列长大，曾在美国东海岸和西海岸生活。目前在加利福尼亚州奥克兰和墨西哥查帕 拉拥有工作室。 Whether using shape, line or color, Zahava Sherez’s art is about the essence of humanity and ‘the other’ as experienced by the individual and the collective. Having lived on four continents, and a direct descendent of generations of immigrants and refugees, Zahava embraces all cultures, traditions and the highest level of spirituality. Her experiences have taught her that humanity is all one. Her influences are many but include Brancusi, Isamu Noguchi, Eva Hesse, Rumi and The Guides. Zahava’s work appears in private and corporate collections in the U.S, Israel, The Netherlands, Australia, Corsica, Argentina, Puerto Rico, and Mexico. She is the recipient of numerous awards and has shown her work from California to New York in such venues as: The Discovery Museum, CT; Catharine Lorillard Wolfe Art Club, NY; The American Artists Professional League, Salmagundi Club, NY; SculptureSite Gallery, CA; St. Mary’s College Museum of Art, CA, and many more. Internationally, she has exhibited in Paris and Corsica.