Artwork name : 認識 Knowing
Artist Name : 譚衍嘉 Ann Dan
media : mix-media
size : 12 x 12 inch x 50pcs
*Specail thanks to Sally Kwan
years : 2011
Wednesday, August 31, 2011
Statment - 認識 Knowing 2011 Jul
Artist Name : 譚衍嘉 Ann Dan
media : mix-media
size : 12 x 12 inch x 50pcs
*Specail thanks to Sally Kwan
Saturday, August 27, 2011
My road
My Experience, from the road to death, death, marks after death, transform to memory, memory, memory melting, forget and missing, forget.
How to say, 3 years, I am walking on this road, how to present and explain these self emotion to public?
Felix said his public is Ross
I said, his public is the loyal to Ross
How to say, 3 years, I am walking on this road, how to present and explain these self emotion to public?
Felix said his public is Ross
I said, his public is the loyal to Ross
Felix Gonzalez-Torres
Felix Gonzalez-Torres
“Untitled” (Perfect Lovers)
Clocks, paint on wall
1991
Felix Gonzalez-Torres
“Untitled”
Screenprint on paper, 161 stacked sheets
1991
This Week’s Artist: Félix González-Torres
Felix Gonzalez-Torres (1957-1996) was a Cuban artist who grew up in Puerto Rico before moving to New York City. Gonzalez-Torres had his first one-man exhibition at Andrea Rosen Gallery in 1990, where he continued to show his work until his death of AIDS related complications. The estate of Felix Gonzalez-Torres is represented by Andrea Rosen Gallery, N.Y.
His work was the focus of several major museum solo exhibitions in his lifetime and after his death. Retrospectives of his work have been organized by the Solomon R. Guggenheim Museum in New York (1995), the Sprengel Museum in Hannover, Germany (1997), and the Serpentine Gallery in London (2000).
Gonzalez-Torres was known for his quiet, minimal installations and sculptures. Using materials such as strings of lightbulbs, clocks, stacks of paper, or packaged hard candies, Felix Gonzalez-Torres’s work is sometimes considered a reflection of his experience with AIDS. Many of Gonzalez-Torres’s installations invite the viewer to take a piece of the work with them: a series of works allow viewers to take packaged candies from a pile in the corner of an exhibition space, while another series is comprised of stacks of ultrathin sheets of clear plastic or unlimited edition prints, also free for the viewer to take. These installations are replenished by the exhibitor as they diminish. The most pervasive reading of Gonzalez-Torres’s work takes the processes his works undergo (lightbulbs expiring, piles of candies dispersing, etc.) as metaphor for the process of dying. One of his most recognizable works, Untitled(1992) is a billboard put up in New York City of a monochrome photograph of an unoccupied bed, made after the death of his lover, Ross, to AIDS.
In one interview, he said “When people ask me, ‘Who is your public?’ I say honestly, without skipping a beat, ‘Ross.’ The public was Ross. The rest of the people just come to the work.”
Source from : http://weeklyartist.tumblr.com/search/felix
His work was the focus of several major museum solo exhibitions in his lifetime and after his death. Retrospectives of his work have been organized by the Solomon R. Guggenheim Museum in New York (1995), the Sprengel Museum in Hannover, Germany (1997), and the Serpentine Gallery in London (2000).
Gonzalez-Torres was known for his quiet, minimal installations and sculptures. Using materials such as strings of lightbulbs, clocks, stacks of paper, or packaged hard candies, Felix Gonzalez-Torres’s work is sometimes considered a reflection of his experience with AIDS. Many of Gonzalez-Torres’s installations invite the viewer to take a piece of the work with them: a series of works allow viewers to take packaged candies from a pile in the corner of an exhibition space, while another series is comprised of stacks of ultrathin sheets of clear plastic or unlimited edition prints, also free for the viewer to take. These installations are replenished by the exhibitor as they diminish. The most pervasive reading of Gonzalez-Torres’s work takes the processes his works undergo (lightbulbs expiring, piles of candies dispersing, etc.) as metaphor for the process of dying. One of his most recognizable works, Untitled(1992) is a billboard put up in New York City of a monochrome photograph of an unoccupied bed, made after the death of his lover, Ross, to AIDS.
In one interview, he said “When people ask me, ‘Who is your public?’ I say honestly, without skipping a beat, ‘Ross.’ The public was Ross. The rest of the people just come to the work.”
Source from : http://weeklyartist.tumblr.com/search/felix
Monday, August 22, 2011
Artists List
-Claes Rauschenburg
-Walter de Maria
-Robert Gober
-Robert Wilson
-Rebecca Horn
-Pina Bausch
-David Wislon
-Shirin Neshat
-Francis Alys
-Charles Ross
-Peter Hally
-Ed Ruscha
-Eric Fischel
-Katharine Grosse
-Michael Lin
-Walter de Maria
-Robert Gober
-Robert Wilson
-Rebecca Horn
-Pina Bausch
-David Wislon
-Shirin Neshat
-Francis Alys
-Charles Ross
-Peter Hally
-Ed Ruscha
-Eric Fischel
-Katharine Grosse
-Michael Lin
Saturday, August 20, 2011
文化報導 / 藝術：彼得．多依格 Peter Doig
Photography / 蘇富比
迷失－彼得．多依格 Peter Doig的魔幻世界
感受身心精神上的震盪
2009年02月03日 Update │ Art │
一艘白色獨木舟在夜裡獨自發光，停駐在寧靜的湖中央，枯枝、樹木、月光、星空、雲霧、光影將夜點綴得燦爛繽紛，眼前所有的一切彷彿隨著呼吸在飄動著，唯有那艘白色獨木舟和它的倒影靜靜的、孤獨的停留在水平線上，此時你是否已被迷亂的光芒與斑斕的色彩所攝住，這奇異且魔幻的視覺感受是否曾出現在夢境中？
2007年2月在紐約蘇富比當代藝術拍賣前夕，我佇立在彼得．多依格 (Peter Doig) 1990-1991年所作的《白色獨木舟》 (White Canoe) 前 （圖一），遲遲無法移動我的腳步，該說是被畫作吞噬？還是迷失於其中？當時的我已分不清楚。我想這就是多依格的魔法；一種有如魔幻般獨特的創作手法。
此幅畫作在次日的夜間拍賣，以預估價的七倍價錢拍出；573萬英鎊/1128萬美元 (約新台幣3億6105萬元），如此天價不僅創下了藝術家個人紀錄也是當時歐洲在世藝術家最高拍賣金額。
多依格曾表示：「我喜歡混和影像，它們給予我更多創作的空間。我所使用的照片並不一定是特別有趣或突出的，畫面通常都是經過謹慎的布局與安排。對我來說繪畫是需要突破視覺上所接收到的表相，將片段融入創作的世界，迷失於其中..... 在迷失之餘，你方能感受其帶給你身心及精神上的震盪...」(擷取並翻譯自：Exhibition Catalogue, Berlin, Contemporary Fine Arts; London, Victoria Miro Gallery, Peter Doig: Blotter, 1995, p. 10)
多依格的作品靈感來源是由週邊蒐集的影像及腦海中的印象拼接組合而成。許多是來自於他個人的攝影作品、所觀賞的電影、音樂專輯的封面和收集的海報等，甚至幼時記憶中的片段影像，透由這些點漸漸延伸、重疊、交融…
1959年出生於蘇格蘭愛丁堡的彼得．多依格，兩歲時舉家移居加拿大，成年後回到英國倫敦分別在溫布頓藝術學院 (Wimbledon School of Art), 聖馬丁藝術學院 (St Martin's School of Art) 以及切爾西藝術學院 (Chelsea School of Art) 學習，在此他停留了23年從事創作，一直到5年前再度移居回加拿大。
現年49歲的多依格已是歐洲在世當代藝術家最高拍賣紀錄的保持人，1994年入圍英國「泰納獎」 (Turner Prize)，2008年英國泰德美術館 (Tate Britain) 與法國巴黎現代美術館 (Museum of Modern Art) 分別為他舉辦名為《彼得．多依格》的個人回顧展。
Wednesday, August 10, 2011
Exhibition Invitation
識即是空 – 水中月，鏡中花，如夢幻泡影
人與人的關係，逐漸變得抽像和不真實。
透過虛擬世界，現今認識朋友是再容易不過的事，打開面書，一百又一百位朋友列在表內，但多少個是你真正認識？
多少個是彼此瞭解的呢？朋友之間相識可能出於一剎那的好奇，同時亦止於一瞬的沉悶，識，是空？空，認識......
是次展覽由三位年青藝術家出發，重新投入感知世界，用不同的角度來拆解和組合這個濫情世界裏的所謂“關係”，
探討人與人之間的誤解，以彼此有限的認知和偶爾建立的關係為題，呈現這個荒誕時代。
展覽詳情如下 / Exhibition Detail：
日期 / Date：12-28/08/2011
時間 / TIme：10:00-20:00
場地 / Venue： 白管子畫廊 - 香港 灣仔 港灣道2號 香港藝術中心 10樓
White Tube Gallery - 10/F, Hong Kong Arts Centre, 2 Harbour Road, Wanchai, HK
開幕酒會 / Opening Reception
日期 / Date：11/08/2011 (星期四 Thursday)
時間 / Time：18:00 - 21:00
查詢 / Enquiry：黃先生 Leo Wong
藝術家
譚衍嘉Ann
關係可以量度嗎？
以“尺”為主題，重新探討人與人彼此間的距離，以每一厘米地去慢慢編織出陌生的思念。
以“尺”為主題，重新探討人與人彼此間的距離，以每一厘米地去慢慢編織出陌生的思念。
黃天盈 Tiana
當思念大得未能被身體盛載，我們可以如何？
把生者與往生者的身份對調，尋求一剎那模糊的思念。
把生者與往生者的身份對調，尋求一剎那模糊的思念。
杜卓璣 Aaron
關係的概念，認識的想法，如何界定？
放大彼此之間的關係，顯現了更準確的距離, 從新認識及體會各人的存在。 
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