Grad Show Preparing - Thinking about Name

Grad Show 在七月, 終於要來了, 終於可以完結了. 現在明白之前他說過的, 恨不得馬上就畢業不用再上課(當時是YR2尾). 可幸的是沒有太大壓力, 不過世界上有一種東西叫 D E A D L I N E ...... 夭壽...

改名, 我不喜歡好老土個d, 也不想跟別人的一樣(不過不太可能吧), 剛巧心情煩惱, 於是點指兵兵在書架拿了一本書來看. 是幾米的照相本子 (The Moment). 原來, 我失去了我一直有的童真, 把字眼都想得太大人, 太複雜,

唔講廢話.

都係要講... 這樣才可以在最後, 從亂堆堆中, 找一條出路.

那些餘溫滲入床舖, 凌亂的床單, 一掃, 一切是沒有發生過, 還是有發生過?

明明感覺到餘溫, 但表明卻一點也不著跡, 是你忘記了, 還是你想去忘記?

陽光射進了房間, 窗的輪廓倒影在床上, 明明記得, 昨夜的月光也是如此耀眼, 卻又像是三千六百年前的事了.

有一些的過去, 是要過去的, 有一些的過去, 是你不由得不過去的.

就像是迴轉木馬, 離開才可以美麗, 下一個街角再遇見時, 已經不是那一個過去的你, 不是你.

過去, 在光最耀眼之時, 光得要把你的心射穿之時, 已經撫平床單, 別了.

------------------------------------------------
再見　唔好怪我第一句就同你講再見
因為我真係專程來同你道別咖

你唔講嘢　淨係聽我講嘢　嗰陣時個世界好安靜
冇而家咁嘈　襯得我特別吱喳　特別開心
我記得　同你去睇日落
你會響我耳仔邊講嘢　你講得好細聲
其實我一啲都聽唔清楚咖
不過　我好鍾意聽你噉樣同我講嘢
以後　再冇人噉樣同我講嘢喇
因為你話畀我知　你要走喇
忽然間　經過咗好多年
我冇再睇過日落

(唱)
趁熄滅前　還可一見
蠟成了灰　沾污了我的臉
眾生蔓延　淚海被填
浪漫擱淺　舊歡不變

我記得　你同我去過嘅每一個地方
嗰啲地方　通通留喺我心裡面
我唔會講
我老喇　我只係會講
我喺度太耐　時間耐咗
難免知道人總會慢慢咁將過去淡忘
又會睇住啲嘢　無聲無息咁樣消失
我點解要走
我先兩日　唔知諗緊乜嘢
無端端走咗去睇日落
個日落　就同我記得陪住你睇嗰個樣一樣
不過就算我點樣裝出若無其事
我都冇辦法唔承認
我失去嘅嘢實在太多喇

(唱)
趁熄滅前　還可一見
蠟成了灰　沾污了我的臉
眾生蔓延　淚海被填
浪漫擱淺　舊歡不變

我要走喇
如果你記得返我係邊個
我知道
你一定會　好唔捨得我
仲會好掛住我咖
再見

Be an Artist Helper on May 12th & 13th

What a wonderful days!!~~ Sensei is a very nice Artist, we had a very good moment working with her! ^^

Exhibition - «Before . 2012»《2012 。前》

Location Cattle Depot Artist Village, 63 Ma Tau Kok Road, Tokwawan, Kowloon, Hong Kong


Affiliation Hong Kong Art School

Birthday December 10, 2011

About Fine Art, Exhitibition

Biography Dec 10, 2011 1700 Opening Ceremony

Dec 10 - Dec 15, 2011 1100-1900 <2011 . Before> Exhibition

Personal Information Opening Ceremony 開幕派對

2011/12/10 (Sat/星期六) 17:00



------------------------------------------------------------------------

«Before . 2012»

...

According to the Mayan Long Count Calendar, the 21st of December 2012 is the date when the extinction of human civilization takes place.



A new human civilization begins.



Thirteen RMIT / HKAS students will present their final work in this exhibition. The presented art works include painting, sculpture and multimedia installations.



The exhibition concludes their art journey over the last three years of study. After 2012, they are moving on to a new era.



Artists:

Wai Chan, Tweety Cheung, Ann Dan, Claire Hui, Phoebe Hui, Yanki Hui, Clarie Ko, Sally Kwan, Lam Chi Yuen, Maggie Mok, Chris Tsang, Edmond Wong & Marco Yao.



《2012 。前》



根據瑪雅人的長曆法,2012年將是現今人類文明結束的日子。 此後,人類文明將邁進一個新紀元。



此次展覽將展出十三位澳洲皇家墨爾本理工大學學生畢業前的 最後創作。2012年過後,他們將進入一個全新的階段。



作品的題材和媒介多元化,包括繪畫、雕塑和多媒體裝置藝術, 總結了他們過去三年的藝術探索歷程。



參展藝術家:

陳敬偉、張翠婷、譚衍嘉、許嘉欣、許穎、許婉汶、高嘉莉、 關雪瑩、林志遠、莫雅善、曾嘉儀、黃偉研、邱國榮。



------------------------------------------------------



Exhibition Date, Time & Venue:

展覽日期,時間及地點:



Cattle Depot Room 6

牛棚藝術村六號展覽室



2011/12/11 - 2011/12/15, 11:00 - 19:00



Cattle Depot Artist Village, 63 Ma Tau Kok Road,

Tokwawan, Hong Kong.

香港九龍土瓜灣馬頭角道 63 號牛棚藝術村



---------------------------------------------------------



See More

Website http://facebook.com/Before.2O10

熊

泰迪熊TEDDY BEAR的故事　　1902年美國總統老羅斯福到密西西比州打獵，他的部下把一隻受傷的小熊綁在樹上，請他射殺，當他拿起槍，準備射殺時，發現了這隻小熊已經受傷，羅斯福總統毅然決然放下了槍，並說：「這不是一場公平的競爭」隔日，一位名畫家在華盛頓郵報上，以漫畫的方式揭露這件事，並以羅斯福總統的小名TEDDY(泰迪)來命名這隻小熊，有家糖果店的老闆，以這幅漫畫作為櫥窗的展示，並請老闆娘用布做了一隻小熊，每做出1隻熊便很快的就被買走。後來，老闆寫信給羅斯福總統，問他做出來的熊可不可以叫泰迪熊，羅斯福總統欣然答應，這是世界上最早的泰迪熊，直到1904年，德國廠商才大量的生產泰迪熊販賣。

more about bear~~!!!
http://www.bear-garden.com.tw/02_intro/development.htm
http://bear.climb.com.tw/html/modules/mediawiki/index.php/%E9%A6%96%E9%A0%81

有關熊, 我以前看過的資料(少說也十年前了), 現在已經找不到了.. 只好憑記憶...
英國皇室素有皇室熊, 他們是世代相傳, 熊更有他自己獨有的名字, 甚至爵名, 在拍賣場上是買少見少, 尤其是一些經過戰亂時期, 公主玩用的玩具熊, 後期更是貴族的收藏品. 這裡想講的, 除了是它的歷史悠久, 價值不菲, 更是說熊玩偶在當時的社會地位.

宣紙

宣紙, 代表了保存, 歷史, 紀錄.
經歷了不同的朝代, 而仍可以保持完好的狀態, 即使揉合一團, 仍可平整裝裱.
但是誰人, 賦予什麼樣的內容給它, 則因人而異, 但宣紙, 就是宣紙.


　E、 輕靈性
　　宣紙這種紙張拿在手中或張挂在支架下，懸空著的宣紙被風吹動，輕而薄的宣紙就會飄拂起來，正是具有這種輕而薄的特性，太極書道實踐開創了懸空書寫訓練法，懸空書寫就是在懸空挂著的生宣上進行書寫（繪畫）創作，這種懸空書寫也可說成為輕靈派書寫，在紙張懸空狀態下書寫，由於受力對象的生宣紙無法固定下來，毛筆不能盡力著力在飄拂的紙面上，於是，如何在輕而薄的生宣紙面上寫出沉著痛快的作品來，就成為輕靈派書寫的“絕妙”之地。通過懸空紙張書寫，我們能更深地體會柔軟的毛筆和特殊的水墨效果以及生宣紙之間的關聯，能夠認識到書寫中意識活動的作用的重要性。
　　沒有宣紙這種輕靈性，太極書道的實踐就沒有辦法開展懸空書寫表現，關於懸空書寫，後文中將重點給予解析，通過懸空書寫的實踐，能夠讓我們對人的精神活動有一個全新的認識，為我們探求提高書寫層次和境界提供了一種前途無量的途徑。

http://big5.huaxia.com/gate/big5/www.chinayigou.com/news/Article/szyl/wmys/gybk/200906/43477.html因

Reference - floating

floating Becky Christenson - ... acrylic and mixed media painting. 24 X 36 plus frame Item Price mixed media $850.00 http://www.yessy.com/bcstudio/gallery.html?i=5359 art intervention : FORWARD MARCH - a floating corridor FORWARD MARCH - a floating corridor art intervention A floating corridor commissioned by Royal College of Art, London for the Gulbenkian Gallery. It formed part of a show called Re-siting Installation. With the help of RCA students we built this interactive artwork into a constructed corridor. The flooring used was the same as exists already in the space so as to make a smoother transition. The corridor is a raft that floats in an area of water. Its really two different art interventions. You have the abstract piece with no figurative element - which still floats and does what its supposed to do but its very minimal. Then, when you have people on it, it becomes something else because there is the personal dimension that comes in and everybody interacts differently with the piece. Do they stand on it very carefully or do they jump about? Do they stand in one corner and cause it to tip up, or are they wise and spread out all over the surface? The work can be potentially quite different. COMMISSION: Royal College of Art, London UK. Materials: Water, wood flooring. Dimensions: 30 x 200 x 1130 cm Categories: gallery interventions http://www.rosieleventon.com/gallery-interventions/art-intervention-FORWARD-MARCH.html http://ama-zing-arts.blogspot.com/2009/03/awesome-3d-floating-art.html

Statment - Melting Memory 2010 Nov

Melting Memory, Oil, 40cm x 40cm x 9 canvas, total size is 120cm x 120cm, Nov 2010

Canvas size: (40cm x 40cm x 9 canvas, total size is 120cm x 120cm)

Small canvas-> The distance between art work and visitor will be closer

Large canvas-> The distance between art work and visitor will be longer

Epoxy Resin cover on the paints, as a mirror, it is a game to let audience thou my paint fined themselves, also, their memory.

Hang on nine canvas, once audience touch it, it will swing away, intangible

Statement - Listen! 聽! 2011 Jun

Title : Listen!

Media :ceramics
Date : 2011Jun

記憶就如一團拋出去的毛線, 看不見盡頭, 記憶的片段, 當中總有一些東西, 我

們想永遠保留著. 但總在不經意的時候 偷偷地流走.
如果, 把想要記錄下的秘密向著罐子說話, 是否聲音一旦被蓋上, 就可一直保存
下去.

到最後, 剩下多少? 你聽到多少?

看似形式化, 整齊的抷具, 當遇上不同心情-疼痛, 壓力, 情緒而變形, 經過靜心
專注的琢磨, 最終消磨掉壓力的痕跡, 并同時呈現出正負空間多樣面。

Statemen - Memory from the past, nostalgia for the present 2011 May

Title : Memory from the past, nostalgia for the present

Size : 28.5cm x 25cm per each, ttl 2pcs
Media : Chinese paper with Cyanotype Chemical
Date : 2011 May

你記憶中的童年是如何的? 你還記得多少畫面? 第一次去海洋公園, 第一次吃
雪糕車冰淇淋, 第一次去動植物公園看猩猩老虎. 你記得多少?

在小時候看過的事物, 經歷過的畫面, 轉化為影像存放在腦內. 隨著時間, 當人
長大, 影像愈來愈多, 舊有的記憶開始模糊不清, 細節的部分是如何也想不起來,
或許旁人提醒, 或許照片曾紀錄, 不然, 我們總有一些如何也想不起來的事. 時
間, 在溶解及轉化一些屬於我們個人的東西, 如記憶.

那些記憶中的發生過的事物, 都是曾經存在的, 口中的冰淇淋, 玩過的樂高, 切
過的第一個生日蛋糕. 那些, 本是很實在的東西, 就在眼前, 然後我們放進了記
憶, 變成了影象, 雖然我們的感覺仍很實在, 蛋糕的滿足感仍在, 但當我們開始
放更多東西入記憶, 以前的影像開始模糊, 就像冰雕開始溶解, 總是細節的部分
最失去了輪廓.

Bracha Ettinger

Bracha Ettinger was the artist/theorist/psychoanalyst
"an opening of multiplied occurrence happens at once within a space of subjects."
http://nowfroth.blogspot.com/2009/10/eurydice-bracha-ettinger.html

Bracha Ettinger was the artist/theorist/psychoanalyst I mentioned in class, and there is a good section on her work in a book by the art historian/cultural analyst Griselda Pollock, 'Encounters in the Virtual Feminist Museum: Time, space and the archive' (Routeledge, 2007), which is in itself eerily relevant to lots of what we seem to be talking about in class.






The myth of Orpheus and Eurydice is central to Ettinger's work, she posits a distinction between an 'Orphic' and a 'Matrixial' gaze in the art-viewing experience: as we look back (in time), like Orpheus looked behind him in the myth, we consign Eurydice (the viewed subject) to objectivity, abandoned at the mouth of Hell. Ettinger's series entitled 'Eurydice' (1994-8) uses photographs (sometimes of her mother, for example as a young woman in Lodz in 1937-8), which she photocopies, interrupting the copying process so the photocopic dust does not fix to the paper. Crucial to her theory (the bit I forgot) of ''reconnaissance'', a word which the artist splits up into its constituent parts (re-co-naissance), a 'co-re-birthing' of subjectivity, Ettinger then uses tiny horizontal brush strokes of coloured paint to 'join up' the gaps in the dust, to build a a membrane between the image looking out, and the gaze of the viewer. Pollock says it better: "colour in its vibration creates space, and the space it creates becomes an affective threshold that reaches out to embrace the viewer in a thickening of what lies between viewer and image, now and then/m, that binds seer and seen, world and subject, image and psyche.''





The Matrixial gaze (as an alternative to the Orphic aggression of looking as possessing), is an idea which is linked to Levinas' idea of 'matrixial painting', and to say it with Pollock once again, it is related to a way of looking in which "our unsighted eyes become what she [Ettinger] calls 'erotic aerials' of the psyche.''

Bracha Ettinger 'Matrixial Borderline' Polyptych, 4 Panels With 25 Elements Mixed Media on Paper, Plaxiglas, Metal, 160 x 35 cm, 1990-1991

Bracha Ettinger 'View of Installation, Pompidou Centre, 1996

Bracha Ettinger , overview of solo exhibition at Freud Museum, London 2009

Bracha Ettinger 'View of Installation, Pompidou Centre, 1996

Reference

Reference Artists:-

Susan Rothenbey (w Bruce Nauman)
Mike Kelley
Hiroshi Sujmoto
Josian McElhey
Geory Baselitz
Jeffrey Moore
Frida Kahlo
Bracha Ettinger
張曉剛
Richard Diebenkorn

Jan/29/11 Clement

David Salle


Mingus in Mexico

1990, Acrylic and oil on canvas

244 x 312 cm

David Salle 选择了现代艺术的要领 － 模仿，使它成为自己作品的形式和内容。



Hybird
八十年代原創被質疑
多手法, 處理手法要好,

Julian Schnabel 

Material
ugly painting 新具象

Susan Rothenberg

Attarck painting
含糊性
否定
double negative, tripo negative
positive and negative


Jean-Michael Basquiat

Keith Haring

Anselm Kiefer
soil, big work,
burn all sad history
梯 means exit, long history of use this object in work
the exit of spire
e.g. if i study the history of hk's stair, and put into my work, that's mine object, not copy from other artists


Gilbert and George
後現代弱勢社群

宗教色彩

their paints are answer

find our own self's sign/mark

e.g. cantonese

-Cancan, Photo

-Performance

Lucian Freud



Vs Francis Bacon

Mimmo Paladino

Rainer Fetting
野獸派影響

Jorg Immendorf

仍尸

about 貪污

Ross bleckner
後極限主義
對光有興趣

Falling Birds oil on linen, 1994

Christian Boltanski

“we are all so complicated, and then we die. We are a subject one day, with our vanities, our loves, our worries, and then one day, abruptly, we become nothing but an object, an absolutely disgusting pile of shit. We pass very quickly from one stage to the next. It’s very bizarre. It will happen to all of us, and fairly soon too. We become an object you can handle like a stone, but a stone that was someone.”







boltanski was born in paris to a jewish ukrainian father and a corsican mother. he lives & works in malakoff currently. his artistic work is based off the problems of death, memory & loss, which ties into my current project perfectly. he often seeks to memorialize anonymous people and those who have disappeared.







In his preliminary years, Boltanski’s paintings were concerned primarily with themes of historical significance. However, by the 1970s, Boltanski removed himself from the painting arena and began his quest for remnants of his own past through selected artworks. These artworks led Boltanski to question the substance he had used when creating his own artworks. However, this introspectivism supplied him with the motive for other artworks in which non-truths and the realisation of fundamental truths converged. Boltanski reconstructed his own youth in this method. In doing so, Boltanski used a vast spectrum of media. For example, film, performance, photography and video. It is interesting to note that Boltanski maintained this vision and direction without focusing on the obvious contradiction of his self-understanding as a painter.



Moreover, the combination of varied media is a fundamental part of the spatial dimension which has been the focus of Boltanski’s work since the mid-1980s






Gerhard Richter


'the paint as photo is no emotion, no feeling'


Bracha Ettinger, Painting: Matrix - Family




Luc Tuymans 弱繪畫, neutralize, grey tone

comtenpoary paints:
most important is statment


Chris Ofili
The Holy Virgin Mary, 1996
paper collage, oil paint, glitter, polyester resin, map pins, elephant dung on linen

Tracy Emin
life is art?
she collect one week's daliy objects beside and on the bed, as show as her art work
it's dirty and smell.

达米恩·希尔斯特

蔡國強