思緒——多媒體藝術雙人展

劉岩 X 蔣靜華

Thoughts and Emotions - a Multimedia Dual Art Exhibition

LIU Yan X Catherine, CHEONG Cheng Wa

「思緒」金文中的「思」上部「囟」,指囟腦門,等於現在的「田」,下部由「心」組成。我們通常稱謂「情緒化」,指沒有用腦理性思考,而太過用心去想,單純為了想做而做,其實最終人應該是單純的落入心裡。兩位藝術家以對這個世界的思考,對社會局限及身軀的變化,通過選用不同媒材來表達內在較深層次的個人情感思維。結合錄像、版畫、攝影及裝置等多媒體,呈現以空間概念為主的展覽。

 

劉岩的錄像作品《249》及《155》,以人日常中的摳紙及拔眉毛等這些看似日常的小動作,畫面簡單直接不斷重複並算次數,竟然令人抽心。無論什麼簡單的動作,當投入其中,認真又重複,像無止境的邊緣,就會令人情緒不安,正如她在介紹中寫到「這些影片隱含著心理意識及情緒的影響,如焦慮、懷疑、迷惑、希望、失落及悲傷等一切情感及情緒。」《編織》表現更沉重的意識,劉岩分為二個角色,一個縛結一個解結,結永遠解不完,周而復始的西西弗斯,是無止境地重複下去,但究竟我們的人生是否永無盡頭而又徒勞無功的任務?《生命不能承受之輕》以輕如羽毛去代表生活的瑣碎,當逐漸累積而不能逃避的話,最後變成透不到氣。劉岩透過她敏銳的感知力,用影像把生活上的各種難題變成創作的動力。《披肩》是劉岩媽媽經常織給她的禮物,在展覽的開幕式,劉岩把織好的酒紅色披肩以一種委婉卻強有力的手法去解,以現場行為藝術去表述兩輩之間的代溝及愛。劉岩作品看似沉鬱具抗爭,矛盾又婉轉,但她用簡單的畫面去表現,令人一看就明白箇中的內心糾結,感情中的深層意識。

 

以思考自身變化出發的蔣靜華,當越試圖抽離社會時,越發現種種的問題,很多事情不能用情理去理解,無論是有文明規定,或是在社會的價值觀之下,越思考越令人覺得焦慮及無奈。也因為漸入中年,身體出現很多微妙的變化,這次展覽她借身體的演變,如面部,特別是頭髮及頭腦,引伸思考種種疑問和日常思緒。掉頭髮是靜華最早意識到身體受內外環境影響而出現的狀況,攝影及錄影作品《思緒》,拍下多年間,她洗髮時掉下的頭髮,還當成美好畫面來看,以面對它,接受它的方式來處理這件事。裝置作品《日常消費》以消費的收據印上腦及手指版畫,以頭髮連結起來循環轉圈,訴說無止境的消費,讓她重新思考:在消費前先考慮「有需要而去買?還是想要而去買?」。錄像作品《三千髮腦絲》以黑髮和白髮一絲絲掉下來,逐漸覆蓋畫面,當頭髮越掉越多,並且由黑轉白有種令人擔憂的感覺,從而體會軀體與壽命之間的課題,明白了執著身體會受到恐懼的襲擊之後,就要承認它存在的變化,也是生死無常,就知道去觀察萬事萬物的真相,由腦的思考落入心裡,最後會發現這些的變化都不是問題。

 

策展人

施援程

The Chinese thematic title of this exhibition is “思緒” (Thoughts and Emotions). In bronze script, the upper part of "思" is “囟” (today’s “田” – field), which refers to fontanelle, and its lower part is a "心" (mind or heart). When we say somebody is "emotional" or “moody”, we mean that he/she does not use the brain to think rationally, but being too mind/heart-focused and sentimental – thus would follow his/her heart to do what he/she merely wants to. Nevertheless, eventually one should put heart and soul into things one desires to do. In this exhibition, the two artists use different media to express their deeper inner personal emotions and thoughts about the world, as well as social limitations and bodily changes. In a mixed use of multimedia such as video, printmaking, photography and installations, they present an exhibition focusing on spatial concepts.

 

Liu Yan's video works 249 and 155, involving daily small movements/gestures such as scratching paper and plucking eyebrows, show simple, straightforward images with self-repeating movements and numbers of the repetitions counted, but are quite heart-rending, for it will be emotionally disturbing if an absolutely simple movement is generated by someone who is fully concentrated and serious and repeats it unlimitedly – just as Liu says in the Work Intro, "These films may cause strong emotional reaction among viewers, such as anxiety, suspicion, confusion, hope, feeling of loss and sorrow – all these sorts of emotions and sentiments."

 

Another work, Knitting, illustrates a heavier consciousness. Here Liu takes up two roles, one to tie the knot and the other to untie, and it seems the knot can never be untied. It is like a Sisyphean task in an endless repetition. But is it not true that our life is also a never-ending useless task?

 

The Unbearable Lightness of Being uses light feathers to symbolize the triviality of life. However, after gradually accumulating it becomes inescapable and will eventually suffocate us. With her keen senses and using images Liu Yan turns daily life issues into creative motivation and inspiration. Shawl is a gift from her mother, who often knit for her. At the exhibition opening, Liu unties the knitted burgundy shawl in a gentle yet powerful way, expressing through a live performance the gap and love between two generations. Using simple images her works seem gloomy yet defying, self-contradictory but tactful, so at a glance viewers can understand her predicament and the deep emotionality.

 

Catherine Cheong works reflect the changes in her body. The more she tries to avoid society, the more issues she finds, many of which are unfathomable. No matter how she tries to take them in societal perspectives, the more she ponders, the more helpless she feels. Besides, entering middle age, she experiences many subtle changes in her body. Therefore for this exhibition, she takes on the changes in the body, namely in her face and hair, to present her queries and reflections on various daily thoughts. Hair loss was the first condition realized by Catherine as a result of internal and external factors. Hence her photo and video work Thoughts and Emotions captures hair loss during hair washing along the years and she simply takes it as a beautiful scene, accepting the situation as natural.

 

In the installation work Daily Consumerism, she presents printmaking images of the brain and fingers on shopping receipts, joins them using hairs to form a ring that goes in circles evoking endless consumerism, and invites a rethinking: before each shopping act, shall we pause and think whether “we buy because we need it" or “we buy because we want it”?

 

The video work Three Thousand of Brain Hairs shows black and grey hairs felling off one by one until they fully cover the screen; as the hairs keep falling, turning from black to grey, a dread feeling is conveyed. Here, Catherine raises the topic of body vs. lifespan: as we know that clinging to the body/physical form turns people unhappy and afraid we should accept the changes, and think of impermanence and death and finally we’ll realize that all these changes are not a problem but the way of Nature.

 

Cora Si Wun Cheng

Curator

蔣靜華 Catherine, CHEONG Cheng

2003年畢業於澳門理工學院平面設計專科學位;隨後赴法國留學深造,2008年取得法國土倫普羅旺斯地中海高等國立藝術及設計學院 (l’ésadtpm) 視覺藝術系學士學位,主修錄像裝置創作。回澳後在政府部門擔任展覽的設計工作,並積極參於不同類型的藝術展覽活動及專研版畫創作,曾擔任“堂口故事2-愛情在城”等電影的美術指導、協助策劃藝術展覧活動等;於2015年以作品「澳門人」榮獲“第二屆澳門版畫三年展”國際版畫比賽金獎。2017年再度往巴黎進修,並於2018年取得ISC Paris 商業學校的MBA藝術文化碩士管理課程文憑。
個人的創作方向,大多以探討個人對周邊事物、人與人、人與環境/社會/自然界之間所產生的一些文化差異、矛盾、隔離等情感聯繫,再以不同的藝術語言及媒介去表達,作品種類有錄像裝置、版畫及攝影,作品曾於法國、日本、南韓、台灣、北京及澳門等地展出。
現於巴黎第八大大學修讀視覺藝術碩士課科。

In 2003, she obtained a degree in Graphic Design at the Macao Polytechnic Institute; then she went to France to deepen her studies and in 2008 graduated in Visual Arts, specializing in printmaking, at the School of Art and Design, Toulon Provence Mediterranean, France. After returning to Macau, she worked in the public administration, as a exhibition designer, actively participating in different types of art exhibitions. As a specialist in printmaking, she participated in "Macao Stories 2 - Love in the City" and other exhibitions, as art director in film and supporting the organization of art exhibitions; in 2015, she won the " Macau Printmaking Second Triennial ", an international contest of printmaking, with her work "Macao People". In 2017, she went to Paris again and obtained a master's degree in MBA Art Culture Management from the ISC Paris Business School in 2018.
As an individual artist she has explored some of the cultural differences between her surrounding environment, people, people and the environment, society, nature, conflict, assimilation, loneliness and other emotional dimensions. Expressing herself in different artistic languages and using several media, including installation, video, printmaking, photography, she has presented her artwork in France, Japan, South Korea, Taiwan, Beijing, Macau and many other places.
Now she is studying for a Master of Visual Arts in the 8th University in Paris.

《思》 裝置 鋅版蝕刻 2019

 

每到一個新地方或新環境,都要面對不同的、突發的變化,思緒亦受其影響,從而產生不少的思維震盪,這些震盪有時是需要的,特別對我這個喜好學習新事物的「大腦多向思考者」 。讓我的人生在不斷的反思和啓發的過程中成長。
我假設在我頭上的每一根髮絲都是一根連接腦袋的神經線路,這些線路聯繫著我日常生活的思維,有的來自擔憂,有的來自慾望,有的來自壓力、焦慮、不安、緊張等等的因素。心境亦往往會因為受到這些因素和環境的變化而產生情緒的波動。特別在夜眠時思緒翻騰,一幅幅熟悉或陌生的影像在大腦里上演一幕幕的影畫戲,這些「胡思亂想」不斷冒出來在腦袋里總是轉不停,久而久之,質疑和反問為什麼「有那麼多想法」?同時反思現實社會的一些價值觀,美的標準?富足的標準?安穩的標準?快樂的標準?等等的社會標準價值。但是誰來定義其價值與標準呢?有些標準是否只是消費主義的潮流?
我試圖通過多種不同的藝術媒體:版畫、錄像、投影、裝置等來表達我對以上種種的疑問和日常思緒。

Every time you go to a new place or a new environment, you may have to face different and sudden changes, and your mind and emotions are naturally affected. This creates a lot of mental turbulence, some of it is welcome sometimes, especially for me, an individual with surefficience mentale (mental over-efficiency) who is eager to learn new things, which let my life grow in a process of constant reflection and inspiration.
I assume that every hair on my head is a nerve connecting to my brain and a link to my everyday thoughts: some are spurred by worry; others by desire; and yet some by stress, anxiety, unrest, or tension, whatever! Besides I often have mood swings due to changes in the environment. 
Especially when I try to sleep at night, my thoughts start cascading, with many familiar or strange images/scenes appearing one after another like a mental movie screening. These "random thoughts" or rather fantasies are constantly coming up in my mind, always lingering there, like a replay, again and again. Over time, I am led to ask, why "there are so many thoughts?" At the same time I come to reflect on some mainstream values in the current society, such as the standard of beauty, of wealth, of stability, and of happiness. But who is going to define its values and standards? Are some standards just a consumerist trend?
I try to express my doubts and everyday thoughts and emotions about the above queries through various artistic media, including printmaking, video, projection, and installations.

劉岩 Liu Yan

中國,藝術家,目前在加拿大生活及工作。 2018年畢業於法國敦刻爾克美術學院,獲碩士學位,後到加拿大魁北克大學視覺藝術專業進修。研究領域涉及至影像、素描、行為藝術和軟雕塑藝術等多個領域。並以研究“人類的深層精神世界”為創作主線,尤其在表達女性內心的焦灼、徬徨、迷茫、悲憫和痛楚等微妙情感的變化上,運用了特有的甚至帶有隱喻性的視覺語言,採用身體為媒介,重複的細微動作為敘述語言,不斷尋找著“自我與世界的聯繫”。

Liu Yan is an artist from China who currently lives and works in Canada. In 2018, she earned a MA from the Ecole Régionale des Beaux-arts de Dunkerque in France and later on went to the University of Quebec in Canada to study visual art. Her research interests include photography and filming, sketching, performance art and soft sculpture. Her main creative focus is the exploration of the "deep spiritual world of humankind", in particular, the subtle female inner emotions like anxiety, confusion, perplex, grief and pain. Using unique and metaphorical visual languages and the body as the medium as well as iterative subtle movements as the narrative language, she always looks for "the connection between the self and the world."

《縫合》 錄像 2017 1'30″ 

 

“思緒”之於我,是一種對於現實世界的真實性的思考過程,同時也是對於生命本質的執著追求。針對這一主題,我通過對“世界的循環、生活的真相、自我的認知、與他人的關係” 等多個緯度去詮釋“思緒”對我的意義。我希望能夠引起觀者對於人類精神世界及心理意識的關注,並對於獨立思考和自我認知方面進行更加深入的思考。

"Thoughts and emotions" to me represent a process of thinking about the truthfulness of the real world, and also a persistent pursuit of life's essence. In response to this theme, I try to interpret what "thoughts and emotions" mean to me, through multiple dimensions such as "the cycle of the world, the truth of life, self-cognition, and personal relationships". I hope to arouse viewers’ attention to the human spiritual world and psychological consciousness, while coaching them to ponder deeper about independent thinking and self-cognition.

開幕現場行為藝術,劉岩作品《披肩》
//我想用一種更加委婉卻強有力的手法來表現對於“代溝”的理解,同時,也是對於長輩的“愛”的深層次的認知。對“自我的獨立思考”的堅持,構成了作品的主旨。//

開幕+行為藝術 Opening+Performance Art:27/7 3pm
展期 Extension period:28/7 – 31/8/2019
策展人 Curator : 施援程 Si Wun Cheng Cora

藝之講 Art Talk——多媒體的呈現 Multimedia Art :
27/7 4:00pm 劉 岩《多媒體之於「我」—「人」的延伸》
         5:30pm 詹嘉華《「身體與科技」詹嘉華創作脈絡分享》
28/7 4:00pm 蔣靜華《多媒體藝術 X 創新思維》
         5:30pm 彭 韞《從太陽底下全是新鮮事,太陽底下沒有新鮮事》

At Light——澳門卑第圍1號地下
At Light – Pátio do Padre Narciso nº 1, R/C, Macau
開放時間:中午十二時至晚上七時(逢星期三休館)
Opening Hours : Noon - 7pm (except on wednesday)

免費入場 Free Admission
查詢 Enquiries : +853 6595 7203
電郵 Email : aelartmo@gmail.com

主辦 Organizer:弘藝峰創作社 Arts Empowering Lab
協辦 Co-organizer:「前瞻」創新多媒體藝術協會(澳門) “Avant-garde” Innovative Multimedia Art Association (Macau)
贊助 sponsor:文化局 Instituto Cultural
場地贊助 Venue sponsor:At Light

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開幕相片 |Opening photos :

https://www.aelart.com/post/thoughts-and-emotions-1

​媒體報導 |News report:

用藝術的方式思考,阿 潺,澳門日報,2019 年8月27日,F04版

http://www.macaodaily.com/html/2019-08/27/content_1377195.htm

澳門人。澳門事 2019-08-12 第2064集 《思緒》多媒體藝術雙人展 

https://www.tdm.com.mo/c_video/play_video.php?id=45042

澳門文創報 7月30日

創作者欲望的膨脹 《劉岩 蔣靜華 – 思緒 多媒體藝術雙人展》 生活上的各種煩惱,你會如何表達?

https://mp.weixin.qq.com/s/mofXiBXED3OkALafVFG5ow?fbclid=IwAR1k2uNWzq1WSLti3AXp4yGA06OVJ9_b0yLGL6jlmoHAoln17tGSiHwDW-Q