issue
56 2021 A B C DFG EUR 19.96 USD 25.00 GBP 14.96
Mr Doodle 8-11
Damien Hirst 12-15
Takashi Kuribayashi 16 19
rs
, Char d l O
tu C ou r e
At 24
Ye a
Charels De Vilmorin 20-23
m orin l i V de
g
Berndnaut Smilde 4-7
150.00 120.00 700.00
is U p e n d i n
5 artists you should know
les
HKD RMB NTD
5 exhibitions around the world
感性机器 Affect Machine 41-43 游动的之间 44-47
一个人在荒岛 48-51
25 Years Of Sculpture 52-55
Good Night, See You Later 56-59
3 legendary graphic designers Alan Fletcher 24-27
Seymore Chwast 28-29 Shigeo Fukuda 30-33
34-36 Zipeng Zhu
& 2 rising stars 37-40 陈乐哎
s ’ r d t o i E e No t
No matter how you define beauty, one thing for sure - life is beautiful. Pay attention.
Dear Readers, I prou d ly present my first pu blication of BranD Magazine as the newe st editor in c hief of the great magazin e. It’s defin itely quite a t hri ll to tak e this honoured plac e for the company. I’ve been re ading Bran D M agazine sinc e I was at college, when our lect urer introduc ed it to us during lesson s. Honestly I’m real ly happy t hat 2021 is com ing to an end, I’m gra tefu l for everyth ing so fa r. On this month ’s cover, I have Cha rles d e Vilmorin, the fresh s tar of Pari sian fa shion , the 24-y ear-old de sign er’s meteoric rise since l aunch ing his f a shi on label last Apr il in the midst of the c o ronaviru s pande m ic. T he magazine i ncluded artists and desig ner s that influence d the ar t and design indust ry as well as the young risin g stars who are going to lead the tren ds nowadays. As you fli p through the pa ges , yo u will be able to rea d a variety of arti cles about the artists, in c luding their insp irations, t heir jour neys thro ugh time , what are their conc epts about the i r artwo r ks, an d etc. It’s a gol den opportu nity for all of y ou to know the m a n d thei r crea tio ns.
Art is everywhere in our daily life.
I tried to use a bold and f ree de sig n in t his mag azi ne, so i t lo oks a bit d i fferen t from the regul ar mag az ine d es ign, also dimi nishing the b or edn e ss wh en rea din g i t.
I h o pe y o u tak e t he t ime to read w hat the conte nts o f the mag az ine ha ve to offer. The re is so m uch to read, so m uch to p ond er, an d so m uc h m o re to know beca us e like I a lways sa y, we are tru ly, afte r all, st ill le arning.
We hope th is ne w y ear let’s all t hat is gr eat in life an d l ivin g flo urish a n d gro w .
Stay safe , love , peace . By Hew Zhuo En
t u a n d N Ber e d l i Sm Berndnot Smilder was born in Groningen, the Netherlands in 1978, and currently lives and works in Amsterdam. He often creates in the form of installations, sculptures and photography. Using the environment and space in daily life as inspiration, Smild pays attention to the temporary nature of construction and demolition. His works are not only related to the physical existence of buildings, but also to the hope or fragility
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T O N M I A D E T S E INTER G N I T A E IN CR T R A S S TIMELE
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revealed in an instant. Smild is good at analyzing spaces and their appearance, and studying their unique details and features separately. His unique artistic perspective often focuses on the dual attributes of things. His works question: inside and outside, temporality, funtion, size of materials and architectural elements.
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g n i st a l s e v a Cloud artist le k r o w g n ti e le f f i m p r e s s io n o
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Nimbus - a calm balance that involves the environment, humidity, temperature and involves the use of a nebulizer and a particular machine that delivers smoke (the airgel).
Nimbus D’Aspremont, 2012, Kasteel D’Aspremont-Lynden, Rekem, Belgium
“Clouds are quite universal,” “Everyone can relate to them, but by putting them indoors you kind of change Nimbus Bonnefanten, 2013
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the context. It can become strange or even threatening. They can stand in for the divine, but also for misfortune.”
It lo ok s li ke yo u ca n di ve in to th em or g ra b th em , bu t th ey ju st fa ll a p a rt .
Nimbus Sankt Peter, 2014, Sankt Peter Kunst-Station, Cologne
The lifespan of a typical Berndnaut Smilde sculpture is 10 seconds—just long enough to be photographed. He’s been at for several years now His materials are little more than smoke and water vapor, and the results vary with the size and temperature of the location. The space must be cold and damp, with no air circulation. Smilde creates a wall of water vapor with the type of spritzer you might use on houseplants. A smoke machine then sends a puff of faux fog on a collision course. He likes to keep the clouds no bigger than six feet so they don’t fall apart too quickly. I really like my clouds concentrated, with a lot of texture,” he says. I who create the clouds”, an attempt to simulate nature. What I’m interested in talking about is time sculpting the clouds. Clouds in the history of painting have been used for gods, to make gods move in the skies, to reveal something. Now the clouds are loaded with different messages. They can make us guess the weather, they are still a metaphor for storing knowledge, knowledge. I feel the way we look and think about clouds has changed. 4
Mr Doodle A Man Named Doodle
Cox is a venture doodlist: the art world is just one acquisition between here and the Moon.
In his private moments, Mr. Doodle (AKA
the Doodle Man) is a British-born 27-year-old named Sam Cox. In his professional mode, however, the character is more than just a pen (or brush) name; it is a lifestyle.
He describes his drawing style as “OCD – Obsessive Compulsive Drawing” and
“growing drawing virus.” Mr. Doodle’s clients include Adidas, MTV, and Cass Art. Starting his artistic career at the age of nine, he scribbled over any object he could get his hands on and covered his bedroom with paper doodles. He soon created a whole new visual phenomenon: his own iconic DoodleLand, manifesting his vision of the world, where dense clusters of characters, objects and patterns grow and multiply relentlessly. Mr Doodle’s improvisational creations invade not only canvases but furniture.
the Artist Covering the World
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in ‘Graffiti Spaghetti’!
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I want it to be a h a p p y vi s ua l l a n g u a g e that everyone around the world can enjoy and feel involved in To call Mr Doodle’s art meaningless is simply a fact. He tried making political art at university, but it stilted his flow. “I felt like I didn't really have something that I wanted to say, more than I wanted to draw,” he says. He has always admired Banksy hugely, but aims to do “almost the opposite of what he does”: to make art in
“ I’m hoping that the tactics will just work out so that the work is allowed to be seen by more people. ”
which he is hyper-visible, but which signifies nothing. “I want it to bena happy visual
language that everyone around the world can enjoy and feel involved in,” he says.
He points out that this lack of political or social engagement is what differentiates
him from Keith Haring, whose strong stylistic influence he acknowledges. It also sets him apart from “hype” contemporaries such as Kaws and Takashi Murakami, whose art is similarly cute and pop-centric, but often undercut with adult and dark references.
When art critics start reviewing Mr Doodle’s shows, this may be an interesting line of inquiry: what does it look like to create a visual language that is utterly, globally neutral? Perhaps a brave critic will venture that his real artistic forerunners are the minimalists:
what you see is what you see.
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the Spot paintings evoke
perceptual dichotomies:
th ey ar e bo th ca lmin g a n d u nne rvin g ,
be au ti ful and or din ary .
Since emerging onto the international art scene in the late 1980s, Damien Hirst has created installations, sculptures, paintings, and drawings that examine the complex relationships between art and beauty, religion and science, and life and death. From serialized paintings of multicolored spots to animal specimens preserved in tanks of formaldehyde, his work challenges contemporary belief systems, tracing the uncertainties that lie at the heart of human experience.
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Damien
various psychological and
Hirst
Like many of Hirst’s series,
“Any artist’s big fear is being ignored, so if you get debate, that’s great.”
People are afraid of change, so you create a kind of belief for them through repetition. It’s like breathing. I’ve always been drawn to series and pairs. A unique thing is quite a frightening object. — Damien Hirst 10
Deat h is a cent ra l them e in Hi rs t’s wo rk s.
Hirst confronts the viewer with the reality that the beauty of art comes at the sacrifice of the lives of living creatures whether they are aware of it or not.
His displays of animals in formaldehyde and his installations complete with live maggots and butterflies were seen as reflections on mortality and the human unwillingness to confront it. Most of his works were given elaborate titles that underscored his general preoccupation with mortality.
It ’s Beautiful. Only Problem Is That It ’s Dead.
“ Damien Hirst’s wide-ranging practice includes installation, sculpture, painting and drawing. Consistently challenging the boundaries between art, science and religion, his visceral, visually arresting work has made him a
death obsession
leading artist of his generation.
Hirst explores the tensions and uncertainties at the core of
human experience. Love, desire, belief and the struggle of living with the knowledge of death are all investigated, often in unconventional and unexpected ways.
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Damien Hirst has been confronting viewers with death, an intrinsically human fear since the first began creating art, pushing
I thought museums were for dead artists, and I wanted to look forward.
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the use of natural materials in art to new, ethically obscure territories in the process.
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i h s a Tak i h s a y a b i Kur “No Art
Make Friends” While approaching the boundary of the life of the earth and of the time and space beyond
the death, Kuribayashi rediscovers the wisdom of the ancestors, cooperates, and dialogues
Having grown up by the sea of Hirado in Nagasaki Prefecture, Kuribayashi came to
I n s ta lla ti o n w o rk s o f
the realisation that separating the underwater world and his own world as a human being was the boundary line of the water’s surface.
In this embodied experience of the existence of two completely different worlds, one above and the other below the surface of the water, lies the origin of the theme of “boundary that has pursued as an artist. Kuribayashi’s works have expanded viewers imaginations by suggesting the existence of unimagined
Takas h i Ku ri bayash i
im b ib e m e t ap hys ical i deas o n li f e
words existing behind ordinary boundaries such as walls and ceilings, or the worlds beyond imaginations in domains often unnoticed in everyday life.
with the sages in our era.
The Japanese artist Takashi Kuribayashi, through the lab yrinth of unsettling historical events, finds truth to give meaning to ma mmoth-sized installation art. The infinite cycle of the journey has led Kuribayashi to question the boundaries that distin g uish the world of humans and nature.
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“ There is something that I would like to
convey, but even if it is not necessarily communicated and the viewer perceives it within the boundaries of his subjective context or the work renders some influence in their respective life, it means the purpose of my work is established. ” The image of a tree contained within glass boxes is also a reference to how nature often exists in very controlled environments in cities such as Singapore. Over time, the sections of the tree trunk will decay, and in the process give life to new organisms and ecosystems, so that each glass box will hold a tiny new world of its own.
Forest fromForest.
The truth resides in places that are invisible. Once you are aware of that there is a different world out of sight, you will be living in a different way.
“The environment is classified into two parts, the inherent one and that in man’s mind. Both are the environment. Inevitably, there exists a ‘borderline’ between the two, and I can’t judge which is correct and which is wrong, as I am a man. However, it is necessary to reconsider
Kuribayashi’s persuasion of truth at the unknown places could unfold the layers of reality like a peel of an onion, his audience would get to taste a novel phenomenological way of art and life.
the concepts of spa ce-time a nd life-death
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how selfish the environment in man’s mind is. I hope my work can offer a chance to understand than.”
For now, I can say humans have taken a halt from the busy-ness of life, and the presence of nature is visible like never before...this holds a great significance.
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Rochas, whose creative director seat has been vacant for a year, has finally found its new owner in t h e fo rm of 24-year-ol d, Charles de Vilmorin.
Elegance is above all personality.
Charels d e Vilmorin Initiated into art by his parents, he was immersed very early in an environment
conducive to the development of his art: his mother is a painter like other members of his family. From the age of 10 years old, he composed outfits for his little sister and designed dresses for to dress… bouquets of flowers! During college, he was interned to Alber Elbaz at Lanvin. Later, over the four years spent at the École de la Chambre Syndicale de la Couture Parisienne, which he joined at the age of 19, he exhibited his sketches and design prototypes on Instagram, showing a singular aesthetic.
“My inspirations are before all my relatives, my friends, their strong personalities. Painting and cinema are also major inspirations, such as the music that particularly helps me to create. It plunges me into a world of colors and movement,” says the creator. His codes are also marked by the aesthetics of a childhood spent in houses with busy, flowery and colorful décors. His great aunt is none other than writer and screenwriter Louise de Vilmorin, author of Madame de…, who was also known for her famous blue lounge in her castle of Verrières-le-Buisson where she welcomed all the
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and reinterpret the codes of this beautiful Maison,”
inspiring. I can’t wait to bring my personal touch
the label’s heritage, which I find so rich and
heart, due to both deep personal family ties and
“Rochas is a brand that holds a special place in my
One of his major sources of inspiration is the movement of society. For him, “Clothing
only has meaning if it reflects its time, its codes, its debates and its discoveries. Without society and its evolution, fashion would have no interest.” The choice to adopt a responsible approach by proposing
fresh star of Parisian fashion said de Vilmorin on his Instagram post.
stranger to the Rochas brand.
Marcel Rochas—making de Vilmorin no
acquainted with Hélène Rochas, the wife of
aunt, heiress and novelist Louise de Vilmorin was
Parisienne, shouldn’t come as a surprise. His great-
a recent graduate of La Chambre de la Couture
spring 2022. Perhaps the appointment of Vilmorin,
at Rochas and his first collection set is slated for
will be tasked with designing women’s ready-to-wear
label just last April. The up-and-coming designer
his rise since the launch of his eponymous fashion
With this new role, de Vilmorin is fast cementing
last month with his collection of quilted jackets.
De Vilmorin made his debut at Paris Couture Week
intelligentsia of the time.
his models in is another illustration of his willingness to respond to the needs of his customers and to the challenges of today’s world.
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FALL 2021 COUTURE
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show o d t e t n a w I t , r f e i n f e d g in t som e h very m s o e c bu t i t s a t I w l l a y , natur . d o a o m t u j s
“These faces represent ageless beings, without gender, without origin, simply beings who love and kiss each other. I think that today we are a generation that is tending more and more towards this opening. These faces represent the total freedom to be the way we want to be. The colors and volumes come from a desire for light, a desire to have, and to be farsighted,
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to shout out thisfreedom through clothing and exuberance.”
Beyond the unifying color palette, there was a loose let’s-try-it vibe here. The 18 looks ranged in silhouette and tone from a
Victorian hoop-skirted number to a mostly bare halterneck dress with an asymmetric hem that curled around the legs like a
seashell. A gigantic hat quilted like a face with black coq feathers for eyelashes that could double as a sleeping bag should the need arise was amusing.
y t i l i m u h , y t i c a d u a . e c n e d i f and con
Surreal faces, surrealistic, multicolored flowers and hearts sewn or painted on XXL unisex jackets, and coats worn on printed leggings bring out a universe in the crossroads between Alice in Wonderland and Guns N’Roses.
I don’t have a precise motto, or rather, I have one per day, but my watchwords to move forward are:
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His theatrical aesthetic reflects a sense of dramaturgy that reminds us of John Galliano’s Dior years, combined with the extravagance of the creations of Kansai Yamamoto, a great master of Japanese fashion who recently passed away.
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Alan Fletcher, one of the five founders of the Britwash design group Pentagram, was born of British parents in Nairobi, Kenya on September 27, 1931. He studied at the Central School of Arts and Crafts, London 1950-51, the Royal College of Art, London ARCA, 1956 and received hwas MFA from Yale Universityin 1957. Prior to founding Pentagram, Fletcher worked as a typographer in London, a designer for the Container Corporation of America, Fortune Magazine and Time-Life, Inc. in New York. He also was a consultant art-director for Time-Life
Alan Fletcher left behind an enormous
International in London. In 1962-65 with hwas colleagues Colin Forbes and Bob Gill, Fletcher started adesign firm.
and influential body of work and many
Alan credit him for shaping the face of modern British graphic design.
The Pentagram Design Partnership was founded by Fletcher, Theo Crosby, Colin Forbes, Kenneth Grange and Mervyn Kurlansky in New York and London in 1972. In 1992, he left Pentagram to work as a freelance designer. Alan Fletcher has also been a guest lecturer at Yale University. Alan Fletcher was involved with typography, packaging design, signage, and corporate identity design. At Pentagram, his expertise and commitment to the integration of design and life contributed to the varied projects undertaken by the firm, specifically industrial design, site specific design and exhibition design. Fletcher published two books within his lifetime: Beware Wet Paint (1994) and The Art of Looking Sideways (2001). The graphic designer died on September 21, 2006 at the age of 74.
The godfather of British graphic design
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Fletcher 22
Many of Fletcher’s designs revolved around the manipulation of fonts, with the logo for news agency Reuters being one of the most famous. It used dots to form letters, giving homage to the holes punched in the ticker tape that was originally used to send news. This logotype, which was created in 1965, remained in use until 1996 when computer screens’ resolution rendered the dots unnoticeable.
d e v li r e h tc le F n la A . n g i s e d d e th a e r b and
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I like to reduce everything to its absolute essence because that is a way to avoid getting trapped in a style.
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Seymore Chwast A master of historical styles and movements, graphic designer Seymour Chwast is known \ for his diverse body of work, and lasting influence on American visual culture. Cofounder of the internationally recognized and critically acclaimed Push Pin Studios, Chwast has developed and refined his
“I can’t imagine myself drawing on a computer. Paper is enough for me.”
innovative approach to design over the course of six decades. Personal, urgent, and obsessive, his eclectic oeuvre has delighted and guided subsequent generations, while revolutionizing the field of graphic design.
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Walt Disney was my idol when I was a little boy, as he was everybody ’s.
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Developing and refining his innovative approach to design over the course of six decades, Chwast’s clients include the New York Times, The New Yorker, The Wall Street Journal, Vanity Fair, The Atlantic, and Print, as well as leading corporations, advertising agencies, and publishers both in the United States and abroad. His designs and illustrations have graced posters, packaging, record covers, advertisements, and animated films, as well as corporate and environmental graphics. He has created backgrounds for productions of Candide at New York’s Lincoln Center, and for The Magic Flute, performed by the Philadelphia Opera Company. Chwast is the author of over
SEE-MORE, SEE-MORE, SEE-MORE! 30 children’s books, four graphic novels,
and several typefaces. Pushpin Editions,
the studio’s publishing arm, produces books on the arts and graphic design.
His posters are in the permanent collection of New York’s Museum of
Modern Art, Cooper-Hewitt Design Museum, the Library of Congress,
the Gutenberg Museum and the Israeli Museum. He was inducted into the Art Directors Club Hall of Fame and is an American Institute of Graphic Arts Gold Medalist.
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Seymour’s art was postmodern long before the term was coined.
It’s always looking around at things and going through a lot of books that inspire me.
Yet it was resolutely modern in its rejection of the nostalgic and romantic representation, as in the acolytes of Norman Rockwell, that had been popular in mainstream advertising magazines at the time. Instead of prosaic or melodramatic tableau, Seymour emphasized clever concept.
I don’t understand retiring. I don’t know what I’d do. I don’t play golf. I have to sit at a drawing table or else it ’s a wasted day. The nature of the work can change here, but I have to be doing something, especially with my hands. Fellow graphic designer Steven Heller
What makes the very best of his art so arresting, and so
describes Chwast’s work as post-modern
identifiable, is the tenacity of his ideas—simple, complex,
before such a term was even coined.
rational, and even absurd ideas. Droll humor and conceptual
“In addition to his unique styles and
acuity were the foundation on which he built a visual language
innovative techniques, Seymour Chwast
that advanced editorial illustration beyond pictorial mimicry
contributed a delightfully absurdist sense
of a sentence or headline. His images complemented
of wit and humour to 20th-century applied
and supplemented the words, gave them additional
art. Although rooted in the decorative
layers of meaning.
traditions of the nascent years of commercial art – notably Victorian, Art Nouveau, and Art Déco – his work is not a synthesis of the past and present, but an invention of the most original kind,” says Heller.
We w ere n’t t rying to c omb ine t he t alents we h ad; we k e pt our ow n so that e ach of us h ad his own pe r sona lit y in the wo rk th at w e w ere do ing . T hat didn ’t ch an ge. 27
Chwast, t r a e H t a d i K a
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Shigeo Fukuda
Shigeo Fukuda, a tribute to a master.
Shigeo Fukuda was a celebrated twentieth century sculptor, graphic artist and poster designer who also created efficacious optical illusions. An interesting thing about his artwork is that they usually depict deception. Lunch With a Helmet On is his quintessentially curious piece of art comprised of forks, knives, and spoons, casting a motorcycle shadow. Shigeo Fukuda is Japan’s consummate visual communicator. His induction into the Art Directors Hall of Fame marks the first time for a Japanese designer. Born fifty-five years ago in Tokyo, Fukuda received his design education at that city’s National University of Fine Arts & Music. In 1966, his work first gained prominence at a Czechoslovakian graphic design competition. One year later, Fukuda’s work graced many posters specially commissioned for Montreal’s Expo ’67.
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Fukuda was more than simply a Japanese poster designer. He was a sculptor who transformed physical spaces into spectacular pieces of art with 3D constructions that trigger your brain neurons.
I bel i eve tha t in design, 30 percent dign ity, 20 percent beauty an d 50 percent abs urd i ty are necessary.
”
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Contrary to Western styles of expression, Japanese communication is more emotional than rational. Such emotion is profoundly linked to art. Fukuda dramatically shatters all cultural and linguistic barriers with his universally recognizable style.
“ Fukuda was known for acerbic antiwar and environmental advocacy posters, that distilled complex concepts into compelling images of logo-simplicity, ” wrote design writer Steven Heller.
Th e maj o r ity of his w or k wa s d ev o t ed t o so c ial a n d c ul tu ral c o n c er n s .
Shigeo Fukuda’s most famous poster, called Fukuda’s work was characterised by the use of perspective, negative space and geometric interaction. Confounding the audience with depth and irregular visual planes. At the same time conveying complex themes into a universal symbolism speaking to all.
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Victory 1945 was a strong satirical commentary posing the question on the pointlessness of human conflict. A shell is traveling back at the opening of the cannon, sealing it forever. Fukuda pushes the boundaries of plain function to express a universal plea for peace.
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“ra z zle-mduaszizclael ” a d y y a r e k v a e e m
g n e p i Z Zhu
e s e e h c Before h e ate h s i , l g n e o p s ke and he was ea t i n g rice and speaking r a n i d n a and m cantonese in China.
Creative director, animator, illustrator and self-proclaimed
his roots in China. His clients include Apple, Adidas, Adobe,
“creative kween” Zipeng Zhu is all about dazzle. His pieces
Coca-Cola, Microsoft, Twitter, Netflix, New York Times, Harry’s,
are full of life, combining vivid colors with movement,
Viacom, The New Yorker, Fox, Away, Animal Planet, CNN,
typography and bold statements.
MTV, Refinery29, Chobani, and Samsung. He was one of the Art Directors Club Young Guns 13 winners and has
A big fan of breaking boundaries and merging mediums,
been recognized as Print magazine’s New Visual Artist and
Zipeng believes that creativity shouldn’t be limited
The One Show Young Ones.
by disciplines. Whether designing an interior space, a branding project or an editorial piece, Zipeng adopts a unique multidisciplinary approach.
York, Barcelona, Dubai, Mumbai, Shanghai and other major museums and institutions. Now he runs his creative practice
Along with his team at creative studio Dazzle, Zipeng has
Dazzle Studio and gift shop Dazzle Supply to push dazzle to
collaborated with clients ranging from Adidas to Adobe and
the next level.
more. Here’s a closer look into Zipeng’s practice, starting from 33
His work has been exhibited all over the world including New
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Colorful, Relentless, Exuberant
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Humans! I genuinely find love and kindness from people, also creativity from people! I’m shocked that 111 days later I’m still making content inspired by what’s going on. I’m honestly surprised by how resilient our species is. It’s also inspiring to see people’s creative solutions to this huge crisis that we live in. Lastly, I’m happy everyone is a WHAT HAS INSPIRED little cleaner nowadays. YOU RECENTLY? This fun, collaborative approach can also be seen in the studio’s social media channels and website, created on Editor X. “Our social is about dazzling in every way,” says Zipeng. Striving to reflect his identity in every piece of work he creates, Zipeng feels that “as an immigrant in America all I can do is to express myself to the fullest.” But our site shows how serious we are about dazzle!”With fullscreen animations, large typography and an unapologetically vibrant color palette, Dazzle’s engaging portfolioBringing website certainly achieves dazzle its goal. wherever h e goes Zipeng recently brought his signature bedazzle to a series of design master classes, sharing how to integrate professional design features into your website using Editor X.
“ I have a tremendous amount of trust in the people I hire, so I usually let them do what they do best, being their awesome selves! ” XXXMAS, Holiday card design for A2A
Hate Has No Place Here
Work hard and be nice. Don’t take things personally.
Zipeng’s debut illustration in The New Yorker, 2016
Combat Covid posters billboard design featured in Time Square
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陈 乐 哎 Hey，
Not everyone c an always brin g retro and clas sic back to the trend agai n and again. If Chen Le Ai owned a pharmaceuti ca l bureau, the only thing he would sell, is called “ tim e capsule ”.
i A e nL 旧 货C 淘 宝h 人e， 我就是陈乐哎，
哪个胶片爱好者，
v a n t a g e 玩具店店长， 不过诸多title中我更 喜欢设计师这个身份。
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As a desperate designer, Chen Le Ai has made every
As a music lover who has been a singer-in residence,
identity-film photography enthusiast, Taobao master at
wrote songs by himself, and often listens to Live House,
a thrift market, manager of a vintage toy store, and occasional
Chen Leai went to entertainment companies such as Banana
singer songwriter-all enjoyable and very attractive people.
Entertainment and Echo to make albums for artists including Xiao Jingteng. Cover design and creative presentation.
a y s been w l a s a h ic Mus th e cr ea ti v e in s pi r a ti o n o f Chen Le Ai.
节小学 “ 我 的 vintage情
“
In fact, 99% of pe op le kn ow th at if yo u treat interest as work, over time, you wil l
lose the joy
”
in your life.
However, Chen Le Ai, who regards hobbies as a work compass, can not only meet hobbies at work, but also ensure his professionalism, which is simply a double happiness.
就 开 始 了 。”
Modern Lady | Shanghai
Combining Chinese traditional culture with modern elements, and blending it into its own style, the “Caiyuan Gungun Pharmaceutical Bureau Series’’ was Chen Le Ai’s first experimental attempt. Unexpectedly, it was immediately liked by everyone as soon as it was launched.
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It is the communication between the body and the environment through various media before emotions are generated; it is the anxiety of the post-capitalist society, transformed into poetic or theater language; it is common people’s culture outside of capital time, such as dreams, divination, and religion. These paths hope to release the sensibility of the soul and resonate with the environment.
感性 机器 A f fe c t M ach ine
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1 8 Sept 1 9 Dec
2021
Rebecca. Horn, Chen Huiqiao, Chen Chengyu, Green Orange, John. Yakangfa, Olaf. Eliasson, Zhu Haopei + Li Changming No. 181, Section 3, Zhongshan North Road, Zhongshan District, Taipei City
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t c e f Af e n i h c a m
Starting from the “perceptual art history”, the exhibition invites 7 groups of domestic and foreign artists, even groups of artists from different generations at home and abroad, face different
emergencies, such as various spectacles in the post-capital era, anxiety, and violence.
g n i l a e H f l e S in the a r e t s i l a t i p a post-c
Sensibility and machine seem to be opposite concepts. We start from the opposite to heal ourselves: all fields in the post-capitalist era are facing over-manufacturing. The explosion of information makes time fragmented.
They use audio-visual poetic creations Experiential perception, two of which are brand new productions. The seemingly opposite states of sensibility and machine coexist in the exhibition: such as
The perceptual communication experience between the audience and art can
be regarded as a kind of self-healing.
Healing here does not mean returning to the beginning, it can be a way of purifying and training the senses.
We imagine this exhibition as a totality of healing machines. In the process of communicating with various media, the audience can practice various self-precipitation or release rituals.
painting machines, phantom limbs, technology and the world of biological coding. The exhibition reviews the art history path of
We suspend the feeling of the subject and lose the connection between ourselves And th e outside world.
affect from body art to multimedia installation since the 1970s,
the relationship between people and the environment, and the
culture of ordinary people in religion. Imagine the exhibition as a
totality of healing machines, and viewers can practice self-healing and relaxation rituals. 43
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生 活中 使 我 感 受 到 “ 游动的存在 ”的瞬间同样 使 我着 迷 。 返 潮 时 地 板 、墙 壁 沁 出 的水珠 ; 久 静产 生的 耳 鸣 ; 大 街 上鼎 沸的人声; 过 去的 日 记 本 ; 房 梁 垂 下的蜘蛛丝......
游动 的之间 0 7/24 - 09/05
The essence between existence and non-existence. 45
2021
Chin Yu Rin
46
“ The amazing thing is that every atom in your body came from a star that exploded. And, the atoms in your left hand probably came from a different star than your right hand. It really is the most poetic thing I know about physics: You are all stardust. ”
Life is a non-equilibrium system, and each life intentionally or unintentionally changes itself and its surroundings during the process of fighting against entropy production.
The name of the exhibition “One Man at
Another Form of Life’s Extension
a Lonely Island - Another Form of Life’s
One Man at a
Extension” comes from the whale fall,
but at the same time it has some expansion.
一个人在荒岛 — 生命延续的另一种形式.
It may take hundreds of years for a whale to
fall into the deep sea from death to finally be completely decomposed. Over the past few
“ a lonely island ”,
Each life is in and each
is a life.
“ lonely island ”
hundred years, it has changed the environment and the distribution of biological populations where it is located, and even affected the evolution of new species. Life and death, the two most basic but reciprocal timelines are always intertwined and coexist.
10. 23 - 12. 3. 20 2 1
Lonely Island Dong Shi, Gu Chenyi, Hitomi Usui, Hu Weiyi, Linac, Long Pan, Liu Ren, Liu Yi, Li Zhenhua, Sun Yue, Yang Di, Yin Yue, Zhang Chong, Zhou Wei
47
当我凝视星辰时， 我不再是一个有天终 会死的凡人。 48
“
Every stage of life lies in between.
25RonYears Mueck Of Sculpture
1996 – 2021
I wanted to focus on the stages of life, not just aging necessarily.
”
size isn’t everything
Thaddeus Ropac, London
October 13th - November 13th, 2021
As an artist, Mueck has dedicated his career to exploring the cycle of life. His art takes viewers through different stages of existence— from birth to death—and showcases salient details: a five-o’clock shadow, wrinkles, after-birth, wounds. In Mueck’s world, adults are swaddled like babies and some babies are as big as giants. 49
“ We are not going to install it as from infancy to death, but I wanted those to be things for people to recollect as they walk through the exhibition. We want the imagery to echo in memory rather than to be a straightforward narrative.
”
50
晚安， 待会见。
蘇育賢 So Yo Hen
28 August - 13 November 2021
Good night, see you later.
At times, as the exhibition title “Good night, see you later.” suggests, these locations point towards home. This intimate farewell is a reference to So’s parting words to his children when he sends them off to bed each night. When his children
“
You go ah ea d. I need a moment to catch my breath. I’ll catch up.
”
are awake, he plays the role of the father; when they are asleep, he may resume his role as an artist. As such, this unique phrase also signifies the compartmentalization of his different identities in daily life. However, when So prepares to retire for the night, not only must he return to his bedroom silently, he must also position his body in a manner that is suitable for falling asleep without disturbing the person sleeping beside him. The sleepless artist thus transforms himself into a living sculpture set upon a bed pedestal, as seen in Good night, see you later. 51
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The concept of the project is the life cycle of plants. Everything is a cycle. From a seed and grow up to a plant, wilt, grow again, wilt again. Same as our life, everyday is different but it feels like a cycle as we have our daily routine to live with. Humans will never be satisfied with what we have, what we got. When someone dies, others will be sad and people make something to remember them, appreciate them. But what about plants? They cut down trees and plants to build buildings, make paper, saying these will enhance human’s life. Plants have their life too, but their life is too short, and not appreciated by human beings.
Zeplant
Ecosystem is imbalanced, pollution occurs, illness and lots of stuff happens because of the greediness of humans. Plants give us hope, helping us in the development of the country, being habitats of fauna. Plants really play an important role in this environment, we can’t live without them, but we are harming them. I came out the typeface name, ‘Zeplant’ because of the word ‘replant’, they have similar pronunciation, and also bring the same meaning as replant. Furthermore, my short form name is ZE, so I changed the ‘re’ to ‘ze’. 53
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De Vilmorin Alan Fletcher Seymore
Chwast Shigeo Fukuda Zipeng Zhu 陈 乐 哎
Damien Hirst Takashi Kuribayashi Charels
Berndnaut Smilde Mr Doodle