参展艺术家 Artists 陈淑安 Chan Suk On
pag.08
彼得·德文依 Peter Devenyi
pag.16
阿卜杜·哈桑 Abdo Hassan
pag.24
艾琳·马雷 Aline Mare
pag.32
玛丽娜·尼基蒂娜 Marina Nikitina
pag.40
阿迪蒂·帕特瓦里 Aditi Patwari
pag.48
路易莎·波塔普奇克 Louisa Potapchik
pag.56
普兰纳 PRANNA
pag.64
佐西亚 ZOSIA
pag.72
展览前言：世界是平的
Exhibition statement: The World Is Flat
2020 年 8 月 8 日 -9 月 15 日独立映像艺术空间推出群展《世 界是平的》。来自全球不同国家的 9 位艺术家，对“世界 是平的”这一主题做出回应，用他们的艺术作品表达思想， 希望启发更多人的思考。
From August 8 to September 5, 2020, Independent & Image Art Space presents the group exhibition “The World Is Flat”. Nine artists worldwide respond to the theme of "the world is flat", expressing their ideas with the works of art and expecting to inspire more people to think.
2005 年托马斯·弗里德曼的一本畅销书《世界是平的》， 让“全球化”这个名词家喻户晓。人类社会今天所拥有的 网络通讯、航空运输、贸易往来等等，比以往任何时候， 更加紧密地联系起生活在不同国家、不同地域的人。 但是，互联互通、“平坦”的世界也同样加剧了人类所面 临的挑战，比如全球气候变化、环境问题。又比如，15 年 后的今天，人类的密切交往成为新冠疫情在全世界迅速蔓 延的一大因素。
6
In 2005, Thomas L. Friedman's best-selling book, "The World Is Flat" made the term "globalization" a household name. The fast and convenient communication network, air transportation, and trade exchanges that human society has today are more closely connected with people living in different countries and regions than ever before. However, the interconnected, "flat" world has also exacerbated humankind's challenges, such as global climate change and environmental issues. Another example is that today, 15 years later, close human interaction has become a significant factor in the rapid spread of COVID-19 worldwide.
7
陈淑安 Chan Suk On
我保留了口罩和酒精湿纸巾的包装，来自美国、日本、 韩国、英国。当我不懂日文和韩文的时候，我经常 用翻译 apps 来了解产品的用途和成份。 I keep the packages and box of surgical face masks which comes from United States , Japan, Korean, United Kingdom to do the artwork. I don’t know the Japanese and Korea language. So, I use the translator apps to understand what it said. In Hong Kong, I can buy some alcohol swab come from Indonesia.
《爱上酒精》摄影 50x70cm 2020 I Like Alcohol, photography, 50x70cm, 2020 8
9
在香港能买到来自印尼的含 75% 消毒湿纸巾来 杀灭病毒。这是我在这个时期所遇到的经历。 在这个世界里，医疗口罩曾经一度缺货，令人 心煌煌。供不应求，我尝试采用了抗疫物资做 成了一件雕塑，给我安心的感觉。 The 75% alcohol swab is essential to my life to kill the virus. There are my experiences in this strange times. In the global world, the surgical face masks are out of stock. Many people are worry all the times. The supply and demand is unbalanced. So, I try to develop the sculpture which is mixed by the packages to give me a peace of mind.
《爱上酒精 2》摄影 50x70cm 2020 I Like Alcohol 2, photography, 50x70cm, 2020 10
11
《本周新品 01》摄影 50x70cm 2020 New Arrival 01, photography, 50x70cm, 2020 12
《本周新品 02》摄影 50x70cm 2020 New Arrival 02, photography, 50x70cm, 2020 13
陈淑安出生和工作于香港。她毕业于香港理工大 学摄影设计系及香港中文大学艺术文学硕士。安 是一位编辑、摄影记者和艺术家。创作灵感多来 自生活。她从纪实摄影走向当代艺术。曾参加香 港、台湾、日本、中国和美国的艺术展览。 Chan Suk On was born and lives in Hong Kong. She graduated from the Hong Kong Polytechnic University with a Bachelor of Photographic Design. She gained her Masters of Arts in Fine Arts at the Chinese University of Hong Kong. On is an editor, photographer and artist. She is inspired by everyday life experiences. Her journey is going from documentary photography to conceptual art. She has participated in expos in Hong Kong, Taiwan, Japan, China and United States.
《本周新品 03》摄影 50x70cm 2020 New Arrival 03, photography, 50x70cm, 2020 《本周新品 04》摄影 50x70cm 2020 New Arrival 04, photography, 50x70cm, 2020 14
15
彼得·德文依 Peter Devenyi
《无题》数字绘画 61x52.3cm 2020 Untitled, digital drawing, 61x52.3cm, 2020 16
《无题》数字绘画 61x56.6cm 2020 Untitled, digital drawing, 61x56.6cm, 2020 17
《无题》数字绘画 61x42.9cm 2020 Untitled, digital drawing, 61x42.9cm, 2020 18
19
这些作品从两方面对主题做出了具有讽刺意义的阐 释。首先，作品把绘画，这种传统的媒介，和数字 平板电脑、手写笔，这些具有当代性的媒介，结合 在了一起。其次，立体的物体描绘在二维平面上， 形成的剪影限制了能够激发某种情绪或情感的色彩 所构成的单一平面的扩展。 These artworks embody an ironic interpretation of the theme which is two-fold. Firstly, they combine the traditional medium of drawing with the contemporary medium of the digital tablet and stylus.And secondly, three-dimensional subjects are thus rendered in two dimensions—wherein the resulting silhouette nonetheless delimits the expansion of but one singular flat area of colour in evocation of a particular mood or emotion. 20
《无题》数字绘画 61x56.6cm 2020 Untitled, digital drawing, 61x56.6cm, 2020 《无题》数字绘画 61x46cm 2020 Untitled, digital drawing, 61x46cm, 2020 21
彼得·德文依拥有加拿大渥太华大学绘画和摄影 方向的艺术学士学位。他参加过的群展有：在卡 达克斯举办的“Mini Print International”， 在 雅 典 和 贝 洛 奥 里 藏 特 的“Paratissima Skopje”，“Acropolis Remix”，在橙县当代 艺术中心举行的“Into the Light”，在布达佩 斯 ph21 画 廊 举 办 的“CorpoRealities”“Stor ytelling”“Silence”“Portraits Without Faces”， 以 及 在 巴 萨 罗 那 Valid World Hall Gallery 画廊举办的“Urban”。 Peter Devenyi has a Bachelor of Fine Art (Cum Laude) degree specializing in drawing and photography from the University of Ottawa, Canada. His group exhibitions include “Mini Print International” in Cadaquéz, “Paratissima Skopje”, “Acropolis Remix” in Athens and Belo Horizonte, "Into the Light" at the Orange County Center for Contemporary Art, and the exhibitions "CorpoRealities", "Storytelling", “Silence", and "Portraits Without Faces" at the ph21 gallery in Budapest, and “Urban” at Valid World Hall Gallery in Barcelona.
《无题》数字绘画 61x46cm 2020 Untitled, digital drawing, 61x46cm, 2020 22
23
阿卜杜·哈桑 Abdo Hassan
对我来说，每一个艺术家都是一位预言者，传递信息， 付诸努力。 For me, every artist is a prophet that has a message to deliver and causes to fight for.
《世纪交易》数码拼贴 21x29.7cm 2020 Deal of Century, Digital Collage, 21x29.7cm, 2020 24
25
《鱼餐》数码拼贴 21x29.7cm 2020 Fish Dish, Digital Collage, 21x29.7cm, 2020 26
《飞行汽车》数码拼贴 21x29.7cm 2020 Flying Cars, Digital Collage, 21x29.7cm, 2020 27
是他目睹的战争和贫穷，让他成为信使，将他的 思考和压抑转变为艺术和拥有视觉冲击力的创造。 What makes him a messenger of his vision is seeing people facing wars and poverty—these overthinking and depressing feelings turn these feelings into art and powerful visual creation. 《我还好》数码拼贴 21x29.7cm 2020 I'm Okay, Digital Collage, 21x29.7cm, 2020 28
29
阿卜杜·哈桑，视觉艺术家，工作和生活在埃及 开罗。他擅长数字视觉艺术、数码拼贴、综合媒 介的艺术创作。他的艺术想象力在拼贴作品中， 摆脱规则的束缚，狂野的色彩、超现实主义的观 念充斥其中。如此的表达没有界限，是他在超现 实拼贴艺术中所找到的一种自由。 Abdo Hassan is a Visual artist, based in Cairo, Egypt. Specialized in digital visual arts, digital collages, and mixed media, his collages images with artistic vision following no rules, making artworks with wild colors and surreal concepts. This expression has no boundaries, and this is the freedom he finds in the surreal and collage arts.
《Tik Tak》数码拼贴 21x29.7cm 2020 Tik Tak, Digital Collage, 21x29.7cm, 2020 30
31
艾琳·马雷 Aline Mare
这组持续进行的作品概括了我与自然大地之间的情 缘，通过科学和艺术两个镜头尝试了解我们生活的 世界。 This ongoing body of work synthesizes my own history with natural cycles of the earth, married to a very human attempt to understand our world through the two lenses of science and art.
《分支》绘画 收藏级纸张 81x60cm 2020 Branching Out, painting, painted archival paper, 81x60cm, 2020 32
33
《云母细胞》绘画 收藏级纸张 81x60cm 2020 Mica Cells, painting, painted archival paper, 81x60cm, 2020 34
《云母种子》绘画 收藏级纸张 81x60cm 2020 Mica Seeds, painting, painted archival paper, 81x60cm, 2020 35
我们习惯性地生活在自己创造的文化范畴中。但 现实生活已经被新冠疫情打破了、暂停了。 We live in a cultural sphere where we are attuned to the world we have created. But that reality has been fractured during this Covid -19 suspended moment.
《蓝》绘画 收藏级纸张 60x91cm 2020 MicBlue, painting, painted archival paper, 60x91cm, 2020 36
《粉色云母》绘画 收藏级纸张 60x91cm 2020 Pink Mica, painting, painted archival paper, 60x91cm, 2020 37
艾琳·马雷在纽约州立大学布法罗的媒体中心获 得学士学位，之后前往旧金山艺术学院，获得艺 术硕士。在旧金山艺术学院期间，创作了系列装 置、行为作品《盐水溶液》，从女性视角出发关 注堕胎问题，作品好评如潮，荣获多个国际奖项， 并在旧金山电影院、惠特尼美术馆和现代艺术博 物馆展出。 在艺术生涯中，她不断拓宽着自己的创作，重心 集中在综合媒介和装置作品，探究身体、自然隐 喻及其与人类心理和地球状态之间的转换关系。 她的作品被旧金山湾区、纽约、中国、洛杉矶等 地的藏家收藏。 Aline Mare completed undergraduate work at SUNY Buffalo’s Center for Media Studies and an MFA from San Francisco Art Institute, where she produced the film Saline’s Solution, a series of installations and performances that dealt with abortion from a feminist point of view, which garnered support and awards internationally, exhibiting at The Cinematheque in SF, The Whitney Museum and the Museum of Modern Art in NYC. She keeps expanding her work, concentrating on mixed media and installation, exploring the body and metaphors of nature and its transformative relationship to the human psyche and the state of our planet. Her work is included in several private collections in the Bay Area, New York City, China, and Los Angeles.。 《蛹》绘画 收藏级纸张 81x60cm 2020 Pupa, painting, painted archival paper, 81x60cm, 2020 38
39
玛丽娜·尼基蒂娜 Marina Nikitina
《反思新世界》数码绘画 30x40cm 2020 Reflection of the New World, digital painting, 30x40 cm, 2020 40
《反思信息》数码绘画 30x40cm 2020 Reflection of Information, digital painting, 30x40 cm, 2020 41
世界是平的。这是一个每个人都沉浸其中的信息空间。 我们生活在相同的信息范畴内，吞噬着我们，影响着我们 的生活。 The world is flat. This is an information space that everyone is immersed in. We all live in the same information sphere, which absorbs us and affects our lives.
《勇士》数码绘画 30x40cm 2020 The Brave Warrior, digital painting, 30x40 cm, 2020 42
43
无论你生活在哪里，你在做什么，它影响着所有人。 影响有时少一点，有时多一点。 It doesn't matter where you live or what you do. This applies to everyone. Sometimes less, sometimes more.
《我看见很多疑问》数码绘画 30x40cm 2020 When I See a Lof of Doubts, digital painting, 30x40 cm, 2020 44
45
玛丽娜·尼基蒂娜，1985 年生于俄罗斯伊热夫 斯克，目前也在这里生活和工作。最近五年， 她一直是一位商业设计师。目前，她将更多精 力用于个人作品的创作上。对她来说，需要通 过艺术来表达她对现实生活的感知和思考。 Marina Nikitina was born in 1995 in Izhevsk (Russia), where she currently lives and works here. She has been working as a commercial designer for the last 5 years. Now she spends more and more time on personal creative projects. She feels the need to reflect my perception of reality and thought through art.
《反思道路》数码绘画 30x40cm 2020 Reflection of the Way, digital painting, 30x40 cm, 2020 46
47
阿迪蒂·帕特瓦里 Aditi Patwari
我的视觉艺术灵感来源于旅行和建筑。我特 别在意建筑，因为这些空间反映出生活其中 的人们的哲学理念和思维方式。我在 3 个国 家生活过，去过 20 多个国家，世界各地不同 的社会习俗和生活态度影响着我。 My visual inspiration comes from travel and architecture. I look at architecture specifically because these spaces reflect the philosophies and ideologies of the people who live within them. Having lived in 3 countries and travelling to over 20 others myself, I am influenced by the social norms and attitudes of different parts of the world.
《生命圈 2》综合媒介纺织作品 毛毡、升级泡沫、丝带 50x50cm 2020 Circle of Life 2, mixed media textile art, felt, upcycled foam, ribbon, 50x50cm, 2020 48
《生命圈 3》综合媒介纺织作品 毛毡、升级泡沫、丝带 50x50cm 2020 Circle of Life 3, mixed media textile art, felt, upcycled foam, ribbon,50x50cm, 2020 49
《生命圈 4》综合媒介纺织作品 毛毡、升级泡沫、丝带 50x50cm 2020 Circle of Life 4, mixed media textile art, felt, upcycled foam, ribbon,50x50cm, 2020 50
《结构化的混乱 1》综合媒介纺织作品 毛毡、丝带、金属框 97x67cm 2020 Structured Chaos 1, mixed media textile art, felt, ribbon, metallic frame, 97x67cm, 2020 51
作品中，我尝试混合多样的材料和技巧，这 意味着把对我有所影响的不同思想和文化的 结合起来。旅行让我了解新鲜的事物、生活 方式、思维和生存方式，这是一个自我内部 持续全球化的过程。 In my work, I experiment with mixing a variety of materials and techniques; which represents this mix of ideologies and cultures that have shaped me. My travels open me up to new realities, ways of living, thinking and being; which has resulted in an ongoing process of internal globalization.
《结构化的混乱 2》综合媒介纺织作品 毛毡、丝带、金属框 97x67cm 2020 Structured Chaos 2, mixed media textile art, felt, ribbon, metallic frame, 97x67cm, 2020 52
53
阿迪蒂·帕特瓦里是一位纺织品艺术家和设 计师，为室内装饰、文具和时尚界创作作品。 她曾在印度、英国和迪拜生活，目前在迪拜 生活工作。2019 年她创立了定制品牌 Dea， 为中东客户提供创新织物和艺术相结合的产 品。 Aditi Patwari is a Textile Artist and Designer who has created projects for Interiors, Stationery, and Fashion. She has lived and worked in India, the UK, and the UAE, where she currently resides. In 2019 she founded her bespoke textile brand Dea, to bring innovative textile and art solutions to the interiors in the Middle East.
54
55
路易莎·波塔普奇克 Louisa Potapchik
《长期记忆》是一件视听体验装置作品，描绘了我 们难以感知的记忆。装置把观众带入微观视角，观 看人类内部信息存储的自然形成过程。 LONG-TERM MEMORY is a visual-acoustic experience depicting a process that we are often unable to perceive – our memory. The installation transports viewers into a micro-scale view of natural processes that form information storage within us.
《长期记忆》视频 4 分 13 秒 Long-Term Memorey, video, 4'13'' 56
57
《长期记忆》视频 4 分 13 秒 Long-Term Memorey, video, 4'13'' 58
59
《长期记忆》视频 4 分 13 秒 Long-Term Memorey, video, 4'13'' 60
61
路 易 莎· 波 塔 普 奇 克 是 一 位 创 意 视 频 教 授， spheresART.com 的创立人。她通过多种媒介来 表达抽象概念，拥有纯熟的技术和丰富的创意上， 不断寻求视频和装置艺术领域的合作。 Louisa Potapchik is a creative video professional and the Founder at spheresART. com. She uses a variety of media to express abstract ideas. She is both technically and creatively skilled, and constantly looking to collaborate in video and installation art industry.
62
63
普兰纳 PRANNA
“今天我们是谁？我们要去哪里？”——普拉纳 向世界提出这些可能简单，也可能复杂的问题， 在这个世界里我们伴随着自己的智能电话成长， 虚拟现实已经渗透到我们身体的每一个细胞。 “Who are we today? Where are we going?" perhaps these simple and at the same time extremely complex questions PRANNA asks the world in which each of us literally grows together with our smartphone, and virtual reality has penetrated into every cell of our bodies.
《白旗革命》可再生塑料、树脂、硅胶 160x160cm 2020 White Flag Revolution, recycled plastic, resin, silicone, 160x160cm, 2020 64
65
《人类之子》可再生塑料、树脂、硅胶 160x160cm 2020 Child of Humanity, recycled plastic, resin, silicone, 160x160cm, 2020
《2020 代》可再生塑料、树脂、硅胶 160x160cm 2020 Generation 2020, recycled plastic, resin, silicone, 160x160cm, 2020 66
67
然而，艺术家并不反对将哲学家约翰·赫伊津哈 定义的“游戏的人”数字化。约翰·赫伊津哈认为， 游戏让人向前，帮助他构建并适应瞬息万变的世 界，普拉纳认同这样的观点。为游戏动机赋予新 的条件，是她作品的关注点之一。 However, the artist does not oppose the "digitalization" of modern homo ludens - the "person playing", as defined by Johan Huizing. The philosopher believed that the game moves a person forward, helping to construct and adapt an everchanging world - PRANNA adheres to the same idea. The motive of the game with a new conditional (that is how virtualis is translated from Latin) field is one of the main in her work.
《冰川》可再生塑料、树脂、硅胶 160x160cm 2020 Glaciers, recycled plastic, resin, silicone, 160x160cm, 2020 68
69
普拉纳是一位艺术家和梦想家。她作品的 主角是一个生活在全球化、信息过量时代 的人，但他对此带来的影响却没有充分的 认识。普拉纳使用可循环塑料创造绘画和 雕塑。 PRANNA is an artist and visionary. At the center of her work is a man who lives in an era of globalization and informational abundance, the influence of which on consciousness isn’t still fully understood. PRANNA is attempting to do this by creating paintings and sculptures from recycled plastic.
《维纳斯与天使》可再生塑料、树脂、硅胶 150x150cm 2020 Venus with Angels, recycled plastic, resin, silicone, 150x150cm, 2020 《知识苹果》可再生塑料、树脂、硅胶 150x150cm 2020 Apple of Knowledge, recycled plastic, resin, silicone, 150x150cm, 2020 70
71
佐西亚 ZOSIA
ZOSIA 在《致取消创造》 （2020）和《捕捉美》 （2020） 中希望重新连接起观众和自然环境，将与自然界 相似的动作和过程转移到画布上。 ZOSIA through To Uncreate Series, 2020 and Seize Beauty, 2020 aims to reconnect viewers to their natural environment by encompassing mimicked motions and processes of the natural world, onto the canvas.
《致取消创造 No.1》布面丙烯 118x80cm 2020 No.1 To Uncreate, acrylic on canvas, 118x80cm, 2020 72
73
《致取消创造 No.2》布面丙烯 118x80cm 2020 No.2 To Uncreate, acrylic on canvas, 118x80cm, 2020 74
《致取消创造 No.3》布面丙烯 140x90cm 2020 No.3 To Uncreate, acrylic on canvas, 140x90cm, 2020 75
通过绘画，ZOSIA 尝试表现自然循环过程，包括生长、挣扎、 疼痛、美好、色彩、黑暗、平静和风暴。 Through the paintings, Zosia attempts to portray natures cyclical processes’ encapsulating growth, struggle, pain, beauty, colour, darkness, the calm and the storm.
《致取消创造 No.4》布面丙烯 118x80cm 2020 No.4 To Uncreate, acrylic on canvas, 118x80cm, 2020 《致取消创造 No.5》布面丙烯 118x80cm 2020 No.5 To Uncreate, acrylic on canvas, 118x80cm, 2020 76
77
佐西亚是一位澳大利亚 / 波兰的跨学科艺术家， 综合绘画、表演、装置、雕塑和视频多种媒介去 研究、创作、协作。她的场地特制作品旨在创造 观众、表演者和空间之间的协同关系。过去四年 里，ZOSIA 在全球各地的社区和人际网络中旅行、 生活和工作，从偏远地区到繁华城市。如她的作 品所展示的那样，这激发了她对人类状况的好奇 心，人们如何以集体方式表现出的“活在当下。 Zofia Zoltkowski (ZOSIA) is an interdisciplinary Australian/Polish artist; researching, creating and collaborating across mediums of painting, performance, installation, sculpture and video. Her site-specific executions aim to create a synergistic relationship between viewer, performer and space. For the past four years Zosia has traveled, lived and worked globally, amongst communities and networks of people, from remote places to urban dwellers. This has fuelled her curiosity of the human condition, collectively with the act of being ‘present’, as seen in her works.
《捕捉美》视频 20 秒 Seize Beauty, video, 20'' 78
79
80
81
www.independentimage.org info@independentimage.org 82