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艺展讲堂丨黄鹄欣 Last Wednesday个展/讲座

发布时间:2018-05-16 来源: 字体大小:TTT

Serena Huang的首次个展"Last Wednesday"《上个星期三》将于2018年5月19日在艺展中心一期L2香蕉酱艺术空间推出,Serena本人将在5月19日14:00于艺展中心一期8楼‘创意阶梯’举行艺术讲座及交流活动,欢迎当代艺术爱好者莅临。

Serena Huang


b. 1995 广州中国(Guangzhou, China)

 

毕业于切尔西艺术学院持一等荣誉学位

即将入读皇家艺术学院研究生

Serena Huang did her BA(Hons) at Chelsea College of Art and graduated with 1st class honor in 2017. She is now taking a gap year before her admission to the Royal College of Art in Oct, 2018 .

 

2017 Yamamoto Keiko Rochaix Gallery, Hart & Huang Pt 7, London, UK
2017 Republic Gallery , Then and Now, London, UK
2017 Chelsea College of Arts, 2017 Summer show (undergraduate), London, UK 2017 Art Bermondsey Project Space, Olympus Photography Awards (shortlisted), London, UK
2016 Safehouse Gallery, Draft(Peckham festival),London, UK
2016 Triangle space (Chelsea College of Arts), Parallax II (curated by Martin Newth), London, UK

 



Serena的作品里运用随手拾得的材料,雕塑,新媒体及日常生活的素材,在改变了物品的功能与语境下从而探索现实边缘的问题。此次展览主要展出Serena于伦敦留学期间创作的作品及其回国后的新作,主要包括影像及装置。展览的题目"Last Wednesday"《上个星期三》源自于一个无法证伪的假想-上个星期四理论-即这个世界的存在包括你的记忆,都是在上个星期四创造出来的,而看似历史久远的文物仅仅是一个假象。而上个星期三,便是这个世界被创造出来之前。Serena的作品和这个题目一样,总是对人们习以为常的事物产生怀疑。

 

Serena的作品灵感常常来自于被周遭事物干扰的瞬间,或是那些在无意中引起注意的物品。星空系列作品里的浩瀚星辰实际是有无数盏在伦敦和北京拍摄的红色高空指示灯电脑加工而成;同样的像电脑渲染的华丽珠宝实则是透明塑料袋的影像。看似一个咀嚼后的口香糖其实是大理石雕刻。Serena的作品里常常会有一种微妙的幽默感隐藏在作品之中:华丽的雪糕筒和警戒线中间围着的不过是一只死了的苍蝇;上面写着小心易碎却已经碎了的陶瓷指示牌;或是一个怎么也敲不响的铜锣。通过运用惹人注目的物件,Serena对虚张声势的现实问题进行质疑。因此,她在作品里运用大量的闪烁的灯作为素材,而对于她来说,她的作品也都是因闪烁的灯而起,它们重复地闪烁想要得到关注,却因为到处都是同样在闪烁的灯而变得毫无意义。




Previous Works

以往作品



小心易碎 CAUTION FRAGILE

38*38cm

陶瓷 Biscuit Fired

Installation View

《口香糖》, Chewing Gum

 大理石 Marble


《塑料袋》(影像截屏)

Plastic Bag (Film Still)

影像投影 5'循环

Digital Projection 5' Loop

《免费提款机》Free Cash Machine

影像投影 30“循环

Digital Projection 30”loop

《消防逃生门》Fire Exit

236*244cm

影像投影 30'循环

Digital Projection 30' Loop


在Serena的作品中,她常常用一种幽默的态度把对当下社会的看法表现出来,创造一种与预期结果不符的现象。比如那些疯狂运动却摇不响的铃,敲不响的铜锣, 或者是上面播着战争视频却只看到彩色倒影的电视。

《钟》Bells

运动装置 Kinetic installation

《铜锣》 Gong

75*150*50cm

运动装置 Kinetic installation

《倒影》Reflection

影像装置(左:youtube动作游戏视频合集,中:youtube战争视频合集,右:youtube动作电影合集)

《1928》


影像装置5'循环

Video installation 5' Loop


 Serena运用不同媒介进行创作,主要包括影像和装置,对生活中常见的物品与现象重新进行审视。她的灵感通常来自于生活中的不起眼的物品或经历,例如建筑物的警示灯,或者路边停着的货车。而它们都有一个共同点,就是它们都想要引起人们的关注。因此对于Serena来说,她的作品都是以闪烁的灯为起点而衍生出来的,它们重复地闪烁想要得到关注,却因为到处都是同样在闪烁的灯而变得毫无意义。因此这些闪烁的灯也成为了她作品里很重要的一个元素。

《How I wonder who you are》

声音影像5'循环(声音:Andrew Hart)

Moving Image and Sound (Sound by Andrew Hart) 5' Loop

《星空I》Starry Sky I

数码喷绘

Digital print

《星空II》Starry Sky II

数码喷绘

Digital Print 


以下为伦敦艺术大学切尔西艺术学院纯艺专业Course Leader Martin Newth 对Serena Huang艺术作品专评:




Artist-hacker

 

I have been thinking about the word ‘hack’ recently. This punchy little word has become prevalent in everyday parlance in a way that it wasn’t when I was growing up. Then, the word’s meaning would have been reserved for the more obviously descriptive act of chopping and cutting, or even used to describe a dull or work-a-day news reporter. Its more common use today has its roots in digital technology –computer hacking: the normally subversive and illegal activity where data might be taken, networks repurposed or machines rendered unusable. It has now evolved as in the term ‘life-hack’, to describe the kind of intervention, normally lo-tech and DIY, where the intended function of an object is subverted, improved-upon, repurposed or amplified to fit the requirements of contemporary life. This recent meaning, with its etymological root in digital technology might be fitting to help understand Serena Huang’s approach.  Whilst she was a student at Chelsea College of Arts I would often drop into her studio space. There was always a bewildering array of machine parts, objects, drawings, wires, circuit boards, screens, batteries, lights and other materials. I could never quite work out what she was working towards. The do-it-yourself attitude that pervades Huang’s practice shares something of the attitude of the life-hack, or computer hack, in that it is not prepared to accept that things are simply the way are. Instead, there is an ambition at the heart of this practice to make improvements, or modifications to the scheme, that amplify certain characteristics of the world. The work draws attention to objects by gently subverting their intended function and unpicks what it is that means they might have a profound impact on the way we negotiate contemporary life. Crucially, for Huang’s practice, these are often things that might otherwise go unnoticed or remain overlooked. They are the images that we notice from the corner of our eye, the sounds or sensations that might only seep slowly into are consciousness but that might radically alter our perception. In his 1917 essay “Art as Technique” the Russian literary theorist Victor Shklovsky attempts to get the core art’s function:

 

“And art exists that one may recover the sensation of life; it exists to make one feel things, to make the stone stony. The purpose of art is to impart the sensation of things as they are perceived and not as they are known. The technique of art is to make objects ‘unfamiliar’,  to make forms difficult, to increase the difficulty and length of perception because the process of perception is an aesthetic end in itself and must be prolonged.”

 

A key motif that has run through Huang’s recent practice is flashing lights. As with many of the works this directly comes from experience of the artist’s childhood. The sleeplessness that the memory of the lights evokes, whilst deeply personal for Huang, provides a tempo and persistence that is echoed in all our experiences of contemporary life. From the digital aesthetic that the revolving plastic bags evoke, the delicately rendered fly (hand painted using make up), chewing gum and wrappers made using marble and silver, to the cosmic constellations rendered by superimposing the images of red lights of city construction cranes, Huang’s work makes us consider the very nature of things. The familiar is made unfamiliar and we are encouraged to slow down and take notice. It is almost impossible to categorize Huang’s practice, but perhaps an accurate description might be that she is an artist-hacker, one whose interventions and disruptions speak of how we perceive the world and heighten the sensations of contemporary life.

 

 

 

Newton K.M. (1997)Victor Shklovsky: ‘Art as Technique’. In: Newton K.M. (eds) Twentieth-CenturyLiterary Theory. Palgrave, London


------Martin Newth

Fine Art Course Leader, Chelsea College of Arts