参展艺术家 Artists A.M. Benz
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亚当·胡德克 Adam Hudec
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罗安杰 Andrew Orloski
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奥雷莉·克里塞蒂格 Aurelie Crisetig
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费德里科·阿尔卡罗 Federico Alcaro
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本杰明·西根塔勒 Benjamin Siegenthaler
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夏奈尔·天使 Chanell Angeli
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俞汲青 Cherrie Yu
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塞巴斯蒂亚诺·纳瓦拉 Sebastiano Navarra
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TOTTO
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托里·福斯特 Tori Foster
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展览前言：非人力可为
Exhibition statement: Beyond Human Power
2020 年 12 月 26 日 -2021 年 1 月 23 日，独立映像艺术空 间推出群展《非人力可为》。
From December 26 2020 to January 23 2021, Independent & Image Art Space is glad to present a group exhibition “Beyond Human Power”.
新冠疫情的持续蔓延及其引发的情绪成为对“非人力可为” 最直接鲜活的注解。大多数情况下，非人力可为让人首先 联想到的是无情的自然。而病毒是异己者的入侵，不能只 归因于自然，其形成混杂着人类的经济社会活动。而最终， 我们的身体将不可避免地承担几乎所有形式“非人力可为” 最沉重的代价。我们邀请了十位来自世界各地的艺术家用 各自独特的艺术创作，在这一特殊时期、特殊语境下发出 自己的声音。 参展艺术家：A.M. Benz，亚当·胡德克，罗安杰，奥雷莉·克 里塞蒂格，本杰明·西根塔勒，夏奈尔·天使，俞汲青， 塞巴斯蒂亚诺·纳瓦拉，TOTTO，托里·福斯特
The continuous spread of the novel coronavirus and the emotions it has caused have become the most direct and vivid explanation of force majeure, something beyond the control of human power. In most cases, the first thing that people think of is ruthless nature. The virus is an invasion of aliens and yet is not caused by nature alone. Its development involves human economic and social activities. In the end, our bodies will inevitably suffer the most from the things beyond human power. We invite 10 artists worldwide to use their unique artistic creations to make their voices heard in this particular period and context. Artists: A.M. Benz, Adam Hudec, Andrew Orloski, Aurelie Crisetig, Benjamin Siegenthaler, Chanell Angeli, Cherrie Yu, Sebastiano Navarra, TOTTO, Tori Foster
A.M. Benz
《数据处理》 综合媒介 釉，24K 金釉，双色玻璃，线，颜料 82.25x33.66x5.72cm 2020 Data Processing, mixed Media, smalti, 24k gold smalti, dichroic glass, wire, paint, 82.25x33.66x5.72cm, 2020
未来人类将与科技相伴相生。使用范围最广的语言将是科技的语言。我们使用科技词汇、术语来描述人 类的行为。通过这组作品，我将目光投射到人类与科技的迅速同化，融为一体。 In the future, humans will be one with technology. The universal language will be that of technology. We will be describing our human actions using technology words and terms. The submitted piece is a commentary on technology and the rapid human assimilation into becoming one with our technology.
没有科技的加持，我们越来越难以独立运转。我们需要信息 流的不断汇入，没有电子设备甚至寸步难行。我们与科技难 以割舍，日常生活、行为反应、甚至情绪都受制于对电子设 备做出的回应。我们模糊了人与非人之间的界限。然而，我 们继续把控制权让渡给科技，允许它在寄生在人类生活之中。 科技将成为主导，科技语言会愈加普遍。 We’re less and less able to function without our technology and have grown to need a constant influx of information, so much so that many cannot even walk somewhere without being plugged in. As we become inseparable from our tech and our daily lives, reactions and emotions are controlled by how we respond to the devices in front of us, we blur the lines between human and not. While we continue to relinquish control to technology and allow it to become parasitically intertwined with our lives, it will become the dominate group, its language the most prevalent.
《数据视觉化》 综合媒介 釉，24K 金釉，双色玻璃，线，颜料 33.66x62.23x5.71cm 2020 Data Visualization, mixed Media, smalti, 24k gold smalti, dichroic glass, wire, paint, 33.66x62.23x5.71cm, 2020
A.M. Benz，一位来自加拿大渥太华的新锐艺术家，从事综合媒介艺术的创作，作品曾在加拿大、美国等多地展出。 她努力尝试突破多维度表面、肌理和光线的种种界限。运用各种玻璃、纸、线等，以有限的几种色彩，解密光的游戏。 A.M. Benz is an emerging artist from Ottawa (Ontario, Canada) working in mixed media with showings in multiple juried art exhibitions in Canada and the United States. She is serious about seeking out the liminal boundaries of multidimensional surfaces, textures and light. She primarily works with various types of glass, paper, and wire, exploring the play of light while using a limited color palette.
亚当·胡德克 Adam Hudec
人们认为，空气中的尘埃是许多化 学和生物污染物的载体，包括新冠 病毒在内。它可以在空气中漂浮几 个小时，几天，甚至几周。 It is the airborne dusts that is known to function as a carrier for many chemical and biological contaminants including Corona virus that can float in the air for hours, days or even weeks.
《集尘室星座》 互动艺术 可生物降解的薄膜和纳米织物 2.3x2.3m 第 3 版 2020 Dusts Chamber Constellation, interactive art, Biodegradable Film and Nanofabric, 2.3x2.3m, Edition 3rd, 2020
《七种尘粒的星座》 新媒体 真实的的空气悬浮尘埃，重音纸，木框 39x49cm 第二版 2020 Constellation of 7 Dusts' Grains, New Media, Real airborne dusts on baryta paper in wooden frame, 39x49cm, Edition 2nd, 2020
从当前的新冠疫情来看，空气污染严重的地区，病毒传播更迅速。然而我们很多人并不知道，一个人一辈子平均会吸入 18 公斤的尘埃。 正是人类活动，将空气变成了看不见的有毒物质；我们可能因为呼吸而死亡。集尘室里，人的肉眼无法看见尘埃，空气状况只能通过传感 器读取。集尘室几乎成了人的第六感官：接收、感受、看见、观察不断变化的人为力量对环境施加的影响。 Current pandemic revealed that areas with high air pollution levels help with the fast spreading of the Corona Virus. However, we do not perceive 18 kilograms of airborne dusts that every human inhales on average in a lifetime. It is the human activity that turned the atmosphere into a substance of invisible toxic substances; nowadays we may die by everyday acts of breathing. Dusts Chambers exceed our perception of invisible dusts that is naked to the human eye, by rendering an (air)condition otherwise readable by sensors only. Dusts Chambers act almost as a human sixth sense: to perceive, to feel, to see and to observe the human-made dynamic forces shaping the environment.
从本质上而言，艺术是跨学科的，提供工具、符号 和手段让我们去关注某些理念和上下文，重塑对环 境的认识。因此，物质感受可能促使我们重新发现 尘埃与文化、政治选择、环境、个体决定、身体之 间的关系。集尘室计划希望通过视觉、触觉、嗅觉 去关注这些现象。集尘室也是时间加速机器，借助 尘土预见我们的未来。采用互动方式，突出人与非 人世界之间的关系。将设备内部发生的不可控、看 不见的运动过程，将各种转化和触碰形象化，让肉 眼得以捕捉和感知。集尘室组合、分离、容纳、释放、 过滤尘埃，它或许将成为我们留在地球上的、唯一 的集体印记。 Cross-disciplinary by nature, art can provide tools, symbols and instruments to navigate our attention towards concepts and contexts that re-calibrate our common knowledge about the environment. Thus, physical perception has the potential to act as a catalyst in our rediscovery of the interrelationship between dusts and culture, our political choices, the environment, our individual decisions and our bodies. The Dusts Chambers project attempts to navigate our attention to these phenomena through the visual, tactile and olfactory sensations. Dusts Chambers are time-accelerating machines which foresee our futures through dusts. They are interactive instruments which highlight the relationship between the human and non-human world. Exteriorised, uncontrolled and invisible processes of motion, transformation and contact, take place within the devices and are rendered perceptible by the naked eye. These chambers combine, separate, contain, release and act as filter entities for the dust could become the only collective trace we leave on Earth.
《尘埃呼吸》 新媒体 圣斯蒂芬教堂的小型石膏模型，真实的尘埃 75x75cm 第二版 2019 Dusts You Breath, New media, Small scale plaster model of Stephansdom with real dusts, 75x75cm, Edition 2nd, 2019
《18 公斤的尘埃》 观念艺术 真实的尘埃 1500x45cm 第三版 2020 18 Kilogram of Dusts, Conceptual art, Real dusts, 1500x45cm, Edition 3rd, 2020
《横截面分析》 观念艺术 重音纸上喷墨打印 圣斯蒂芬教堂立面尘埃的微观分析 1200x45cm 第一版 Crossectional analysis, conceptual art, Ink print on baryta paper, Microscopic analysis of aggregated dusts on facade of Stephandsom, 1200x45cm, Edition 1st
亚当·胡德克，研究员、艺术家和建筑师，关注物理方面的 跨学科研究，通常借助数据进行解构，发现意料之外、隐匿 的异常。艺术、科学和建筑的跨学科研究是他的主要创作方 式，在科学知识的指引下，用艺术反映物理过程，并与观众 进行互动。研究中他逐渐发现传染病的流行可以被视为一种 环境现象，我们呼吸的空气可能携带有毒物质，这引起了很 多人的注意。胡德克通过绘画、摄影、动画、装置和表演等 多种形式呈现研究结果。他曾在维也纳艺术学院、香港大学、 英国布莱顿大学、捷克布尔诺理工大学学习艺术和建筑。他 的作品曾在全球多地展出，包括深圳城市 \ 建筑双年展和 BIO26 设计双年展。
《捕尘器》 在可降解重音纸上进行激光切割 25x19cm 可折叠 互动艺术 第二 版 2019 Dusts Catcher, Lasercut on baryta biodegradable paper, 25x19cm, foldable, interactive art, Edition 2nd, 2019
Adam Hudec is a researcher/artist/architect, focusing his multidisciplinary research on physical territory, often deconstructed by set of data to reveal the unexpected and hidden anomalies. His transdisciplinary working methods are the focus of his practice; guided by scientific knowledge which informs artistic representation about processes that engage and interact with the audience. Gradually expanding research encounters current pandemic as an environmental phenomena which got noticed by the public and shifted our attention towards the toxicity of air we breathe. He uses a variety of expressions to represent the research outcomes including drawing, photography, animation, installation and performance. Adam's education in art and architecture encompasses studies at The Academy of Fine Arts in Vienna, The University of Hong Kong, The University of Brighton and Brno University of Technology. Adam's projects were shown on various international exhibition venues including Bi-City Biennale in Shenzhen and Design Biennale BIO 26 in Ljubjana.
罗安杰 Andrew Orloski
《血统》铸铜，铝，玻璃 102x29x56cm 2019 Lineage, Cast Bronze, aluminum, kiln formed glass, 102x29x56cm, 2019
《连根拔起 / 约瑟米蒂石堆》 铸铜，铝，水泥 188x28x23cm 2019 Uprooted / Yosemite Cairn, cast bronze, aluminum, concrete, 188x28x23cm, 2019
在最近的作品中，我充满好奇心地观察平凡生活，特 别是日常生活中常常被我们忽视的物品，以此探讨纪 念主义、平庸的意义。在创作过程中，使用传统和当 代的多种铸模技术，借助材料改变物品的形态。在作 品中，我喜欢特意制造出短暂和永恒之间的对话。那 些根植于历史和经济的工业材料，比如金属、玻璃、 水泥和石膏，是我创作的灵魂，经过浇筑、组装、焊 接和修饰，重量与平衡成为作品的一大主题。 My current work explores notions of monumentalism and banality with an inquisitive look at mundane, often overlooked objects we surround ourselves with daily. My process utilizes a variety of traditional and contemporary mold making techniques, which aid in the transformation of objects through materiality. I am especially engaged in creating work that crafts narratives between the ephemeral and permanent. Industrial materials such as metals, glass, concrete and gypsum are essential to my process because of their deep roots in history and economy and can be cast, fabricated, welded and modified to allow weight and balance to work as subject matter.
《陌生人时代的巨石 #3/ 供石》 铸铜 48x28x23cm 2019 Monolith for Stranger Times #3 / 供石 , cast bronze, 48x28x23cm, 2019
《陌生人时代的巨石 #1/ 供石》 铸铜，水泥 46x41x20cm 2019 Monolith for Stranger Times #1 / 供石 , cast bronze, concrete, 46x41x20cm, 2019
《无题（运输毯子）》 水泥铸造 142x28x38cm 2020 Untitled (Shipping Blankets), cast concrete, 142x28x38cm, 2020
罗安杰生于 1986 年，跨界艺术家，主要运用雕 塑语言进行创作。他在费城长大，毕业于弗吉 尼亚联邦大学雕塑和跨媒体专业，获得米勒斯 维尔大学学士学位，正在芝加哥艺术学院攻读 硕士学位。曾在卫斯理学院、格林内尔学院等 大学工作，目前在加州弗雷斯诺生活，任职于 加州州立大学弗雷斯诺分校。 Andrew Orloski (b. 1986) is a multidisciplinary artist who primarily works in the language of sculpture. Andrew lives and works in Fresno, California but was raised outside of Philadelphia and has spent the past decade working for various colleges and universities a r o u n d t h e c o u n t r y ; n a m e l y We l l e s l e y College in Massachusetts, Grinnell College in Iowa and most recently, California State University, Fresno. The artist is currently an MFA candidate at the School of the Art Institute of Chicago and holds a BFA from Millersville University, Pennsylvania and a Post Baccalaureate in Sculpture and Extended Media from Virginia Commonwealth University in Richmond, Virginia.
《无题》 铸铜，砖头，河石 47x90x34cm 2020 Untitled, cast Concrete, brick, river stone, 47x90x34cm, 2020
奥雷莉·克里塞蒂格 Aurelie Crisetig
《这属于每一个人，请欣赏风景》 数码摄影 70x50cm 2020 This belongs to everyone, so enjoy the view, digital photography, 70x50cm, 2020
《这属于每一个人，请欣赏风景》 数码摄影 70x50cm 2020 This belongs to everyone, so enjoy the view, digital photography, 70x50cm, 2020
《这属于每一个人，请欣赏风景》通过数码摄影描绘了自然景观的变迁。支离破碎的块面构成了一幅虚构的抽象全 景图。每一种地貌代表了数码世界和真实世界里一种时间和空间的变体。这些从谷歌地球获取、拼凑起来的景象， 旨在表达在人造工具的干预下一个地点如何呈现出多种样貌。高空景观拍摄设备以数码格式捕捉下这些变形，而这 些变形的出现正归因于人类活动所造成的地球变暖。这两种变化都表现了人类活动对自然景观所造成的不可预测的 更改。 This belongs to everyone, so enjoy the view’ depicts the alteration of landscapes through digital topography. The fragmented areas compose an ensemble of imaginary, abstract panoramas. Every pattern of land represents a variation of time and space in both the digital and physical world. These patchworks of sceneries taken from Google Earth express how diverse a location on our planet can appear through a manmade apparatus. These transfigurations were digitally seized by a dispositive used to capture landscapes from above, but also physically transformed by the global warming produced by human beings. Both changes depict the unpredictable development of landscape altered by human's behaviour.
《这属于每一个人，请欣赏风景》 数码摄影 70x50cm 2020 This belongs to everyone, so enjoy the view, digital photography, 70x50cm, 2020
奥雷莉·克里塞蒂格，生于 1992 年，瑞士摄影师、 视觉艺术家。她将摄影作为一种工具，探讨在充 斥着数码产品的世界里，人类记忆所发生的变化。 她创作的电影和数码摄影作品，反映出人们持续 地使用机器设备进行记录，特别是在公共场所和 文化场馆内。克里塞蒂格在瑞士洛桑获得艺术史 和电影研究的学士学位，随后前往纽约电影学院 完成了 8 周的摄影进修课程。2018 年获得伦敦艺 术大学摄影硕士研究生学位。 Aurelie Crisetig (b. 1992) is a photographer and visual artist from Switzerland. She uses photography as a tool to explore the alteration of human memory in a world overwhelmed by digital entities. Working both with film and digital photography, her works reflect on the constant use of mechanical recordings, especially in public and cultural places. After graduating with a BA in Art History and Film Studies in Lausanne, she completed an 8-week photography program at the New York Film Academy in New York. In 2018, she graduated with an MA Photography from UAL: University of the Arts, London.
《这属于每一个人，请欣赏风景》 数码摄影 70x50cm 2020 This belongs to everyone, so enjoy the view, digital photography, 70x50cm, 2020
本杰明·西根塔勒 Benjamin Siegenthaler
我随身带着素描本，勾勒一些物体。我给它们起 了个抽象却很悦耳的名字 Rugla Swepum，还把其 中的 36 幅素描放大为铝板绘画。 I always carry a sketchbook with me, in which I outline small objects. I gave them the abstract but euphonic name Rugla Swepum. Thirty-six of those scribblings I scaled up on aluminum boards.
《Rugla Swepum 1.0》 绘画，铝板上漆 170x100cm 2018 Rugla Swepum 1.0, painting, varnish on aluminum, 170x100cm, 2018
《Rugla Swepum 2.0》 绘画，铝板上漆 110x147cm 2018 Rugla Swepum 2.0, painting, varnish on aluminum, 110x147cm, 2018
《Rugla Swepum 3.0》 绘画，铝板上漆 190x90cm 2018 Rugla Swepum 3.0 painting, varnish on aluminum, 190x90cm, 2018
我相信，越多地发现生活之美，越能看到和享受生活。我希望，观看者将欣赏《Rugla Swepum》作为检视自己生活的契机。我让各 种元素在作品中交织，时而相互挤压，时而彼此切割，层次相连，色块独立。新颖的形式和新鲜的色彩产生碰撞，让一块块碎片构 成整体。在生活中，某些事物无法简单地交织在一起，它们保持着矛盾、破碎、靠近但不相连的状态。但从宏观角度看来，它们依 然是一个整体。 I believe we find beauty in life the more we are able to see and enjoy the whole picture—extremes and everything between. My hope is that viewers will see the various works in Rugla Swepum as an opportunity to examine their own lives. In the paintings, elements intertwine, occasionally squeezing themselves in and cutting structures apart. Layer lines up with layer. Color sets itself apart from color. A new form arises, a new contrast, a shape made of fragments. Together they all add up. Together it is not round, not whole, not simple. It is more than that—it is complete. In life, some things simply cannot be intertwined. They remain paradoxical, broken, unconnected, next to each other… and yet when viewed altogether, they are still whole.
《Rugla Swepum 4.0》 绘画，铝板上漆 155x78cm 2018 Rugla Swepum 4.0 painting, varnish on aluminum, 155x78cm, 2018
《Rugla Swepum 6.0》 绘画，铝板上漆 80x51cm 2016 Rugla Swepum 6.0 painting, varnish on aluminum, 80x51cm 2016
本杰明·西根塔勒，瑞士艺术家，在广阔的自然 景观中长大，之后前往苏黎世生活。他的艺术同 样游走于两极之间：高大的装置和精巧的绘画， 质朴的雕塑和巧妙的拼贴。目前西根塔勒在挪威 海姆瑟达尔生活，继续着艺术创作。他将普通、 容易寻得的材料，精心规划，打造成为一件件艺 术品，尤为注重细节。最初他雕刻石头，之后逐 步拓展到绘画和舞台布景作品。他的创作热情持 续不减，开始饶有兴趣地涉足拼贴艺术的创作。 Benjamin Siegenthaler is a Swiss Artist. He grew up in the countryside with vast landscapes, then moved to the city of Zürich as a young man. His art similarly travels between two poles: between spacious installations and intricate paintings; between raw sculptures and witty collages. Currently he continues his work in Hemsedal, Norway. He works with conventional and easily obtainable resources in a structured and meticulously planned manner, and with a passion for detail. Since starting as a stone sculptor, he has since expanded his interests into painting and building scenographic works. To refuel his energy, he playfully creates collages as well.
《Rugla Swepum 5.0》 绘画，铝板上漆 100x100cm 2016 Rugla Swepum 5.0 painting, varnish on aluminum, 100x100cm, 2016
夏奈尔·天使 Chanell Angeli
诗歌和艺术是我的孩子，同一个母亲的子女。 我将木板作为画布，使用新鲜或是干枯的花 朵。用绿色植物让自己想起热带雨林和我的 加勒比血统。用图像展现那些活在我心里的 男男女女。用综合媒介讲述故事，在故事里 他们依然和我们在一起：我的祖母，还有你 的祖母；我的祖先，还有你的祖先。他们依 然活着，在另一个世界。 My poetry and my art are my children. Siblings birthed of the same mother. I use wood canvas and fresh or dried floral. I pull greenery that reminds me of the tropics and my Caribbean decent. I use images that reflect the men and women kept alive in my heart and soul. Through mixed media, I am trying to tell the story that they are still with us. My grandmothers and yours. My ancestors and yours. They are very much alive… in the afterlife.
《请稍等，正在盛开》 综合媒介 91.44x60.96cm 2020 Please Wait Blooming in Process, mixed media, 91.44x60.96cm, 2020
《仙女》 综合媒介 121.92x101.6cm 2020 Nymph, mixed media, 121.92x101.6cm, 2020
我的诗歌和艺术有一条感情上的心灵纽带。诗歌是用词汇 的相互配合讲述一个故事，综合媒介作品也是这样。起初， 头脑里一片模糊，我的目标就是表达出感受和情感。无论 是走出脑海中的词语迷宫，还是走出工作室的花朵、图像 丛林，选择至关重要。我知道，在那一瞬间，心灵和身体 正在共同创作。和许多艺术家不一样，我不会在灵感到来 之前做什么计划，画什么手稿。只是让自然到来的顿悟， 从思想和思绪所在的、看不见的精神世界中走出来，显现 出来。它们借助笔和纸、画布和颜料从我的身体流淌而出。 There is an emotional soul tie between my poetry and art. Just as the words build on each other telling a story so does my mixed media. At first, it‘s all a puzzle in my mind and to convey the feeling and emotion is the goal. Whether I am pulling from the labyrinth of words in my mental cloud or the jungle of floral and images in my studio; selection is key. This is where and when I believe spirit and I co-create. Unlike many artists, I do not plan or sketch out my ideas beforehand. They are all spontaneous flurries of epiphanies pulled from the unseen spiritual world where thoughts and inspiration live and are made manifest in the physical. The art just seems to just fall out of me through pen and pad or canvas and paint.
夏奈尔·天使，一位拥有加勒比血统的综合媒介 艺术家，定居亚特兰大。她使用金属、木材等天 然材料，主要创作三维立体作品，建立宇宙和心 灵的通道。作品多融入个人经历，常使用热带花 卉和当地居民的图像，追忆童年生活。 Chanell Angeli is a mixed media artist of Caribbean descent residing in Atlanta. Through the use of natural materials such as metal and wood, she focuses on creating three dimensional pieces that channel the universe and touch the soul. Her heritage comes through strongly in her work, as she works with tropical floral and images of people who remind her of childhood.
俞汲青 Cherrie Yu
《三重奏 A 翻译项目》 影像 36 分 40 秒 2020 Trio A Translation Project, Film, 36 minutes 40 seconds, 2020 https://independentimage.org/%e4%bf%9e%e6%b1%b2%e9%9d%92-cherrie-yu/
我的作品是对于本体论的思考与研究， 通过电影、视频和动作形式来体现。 过去的两年我以历史档案为材料，以 翻译为主要工具，来探索日常和非凡 的概念是可以如何交换和交流。在最 近的作品里我更加主动的在我的作品 里涉及别人，从已经逝世的著名舞蹈 家，到每天我在芝加哥大街上碰到的 人。艺术的工作，对我来说，是一种 想要去沟通的愿望，还与他人建起联 系的行为。在现在的特殊时刻，我希 望我的作品可以表达和修复一种普遍 的亲密和同情的关系。 I respond to the theme “beyond human power” with three dance films, all of which documents encounters and relationships between strangers through a choreographic process. At the heart of my proposal is that what is truly beyond our power is those outside of ourselves. We are inextricably bound up with others and affected by those we consider strangers. As people we live through catastrophes and trauma, and learning to relate to others on the level of the everyday. The films seek to capture this process of learning to relate, as individuals (including myself) reach outward beyond their power.
《汲青和马修》 影像 15 分 18 秒 2019 Cherrie and Matthew, Film, 15 minutes 18 seconds, 2019 https://independentimage.org/%e4%bf%9e%e6%b1%b2%e9%9d%92-cherrie-yu/
我以三个舞蹈电影来回应展览主题。这三个电影都记录了编舞和跳舞的过程中人与人之间的相遇。真正非人力可为的 是人与人之间的关系和我们自我之外的世界。作为人我们经历灾难和创伤，然后我们学会在每天的经历中去体会别人 的感受。这三个电影想要去抓捕这个学着去体会别人感受的过程。 My works are ontological inquiries in film, video and choreography. The past two years I worked with archive and translation to explore how the quotidian and the extraordinary can be rewritten outside of context. In recent works I started involving other people more actively in my work, from famous choreographers who now only exist in archival footages, to people I encounter on the street of Chicago. My practice wants to be utilitarian, and I strive to make art that can be practiced, and understood by anybody. The labor of art, for me, is the desire to communicate, and the act of reaching out. At this particular time, I work towards the reclamation of intimacy and empathy at a time of great alienation.
俞汲青是一个 25 岁的艺术家在西安出生，现在芝加哥工 作和生活。她从威廉玛丽学院英语文学本科毕业，在芝加 哥艺术学院艺术创作硕士毕业。她的作品在芝加哥文化中 心，芝加哥当代摄影博物馆，links 展厅，还有 MANA 当 代艺术中心展出过。她在威斯康辛州的 ACRE projects, 缅因州的 monson 艺术中心，还有加拿大的当代卡加利 博物馆做过驻地艺术家，也在埃默里大学人类学部门做 过艺术家讲座。她的电影在纽约的卫星艺术展，Helena Anthrana 画 廊， 以 及 弗 吉 尼 亚 联 邦 大 学 展 出 过。 她 是 2020 年加州伯克利的 KALA 艺术学院新媒体奖的获奖人， 也会在 2021 年去纽约知名的 yaddo 艺术中心做驻地艺术 家。 Cherrie Yu is a 25 year old artist born in Xi’an, China. She currently lives and works from Chicago, IL. She holds a bachelor degree in English Literature at the College of William and Mary, and MFA from the School of the Art Institute of Chicago. She has shown work at Chicago Cultural Center, the Museum of Contemporary Photography, Links Hall and Mana Contemporary Chicago. She has been an artist in residence at ACRE, Contemporary Calgary Museum, and a visiting artist at Emory University. Her films have been screened at Satellite Art Show, Helena Anrather Gallery, Heaven Gallery and Virginia Commonwealth University. She is the awardee of the 2020 Kala Art Institute Media Award Fellowship, and will be an artist in residence at Yaddo Foundation in 2021.
《莉迪亚和马修》 影像 20 分钟 2019 Lydia and Matthew, Film, 20 minutes, 2019 https://independentimage.org/%e4%bf%9e%e6%b1%b2%e9%9d%92-cherrie-yu/
塞巴斯蒂亚诺·纳瓦拉 Sebastiano Navarra 我在此展出的作品，与形而上世界有关，在封城后神 秘而空旷的广场上，物品成为这座荒凉城市的主角。 我想用艺术让人停下脚步、思考和感受这个烦恼不断 的世界。我用艺术创作向封城后的故乡米兰和米兰人 致敬。 我的艺术理念与波普艺术息息相关， 根源是文艺复兴大师和形而上艺术。 “以戏谑的手法使用过去。” 融合街头流行文化、现代平面设计和漫画， 持续不断地探索“新事物”。 On this occasion, I would like to show my work relating to the Metaphysical World with its mysterious empty 'piazzas' all-the-more current to us in our present state of WORLD LOCKDOWN. A LOCKDOWN where objects become central players in a deserted city. I would like my work to make people stop and ponder and to make them feel emotion in this harassed world we live in. It is to them that I dedicate my ART AND ARTWORKS MADE IN COVID 19 LOCKDOWN A HOMMAGE TO OUR CITY. Philosophically related to POP-ART. Starting from Great Master of Renaissance + Metaphysical Art. “USING THE PAST IN AN IRONIC GAME” Blending Popular Street Culture / Modern Graphics / Comics Continuously cultivating “THE NEW”
《寂静之城·青铜勇士》 后形而上艺术 布面丙烯 80x80x4cm 2020 Silent Cities Bronzi di Riace, Post Metaphysical Art, acrylic on canvas, 80x80x4cm, 2020
他们迅速地离开了，悄无声息，但狮子依然在那里沉睡， 在那座被遗弃的寂静之城。 They all left in a HURRIED RUSH . . . but VERY SILENTLY . . . BUT the LION Simply continued to SLEEP . . . and remained there . . . in the abandoned ‘CITY OF SILENCE’
米老鼠给了许多孩子欢乐。但孩子们从被污染的土地 上离开，破坏者摧毁了一切。空旷占据了寂静之城。 MICKEY MOUSE had given the CHILDREN a lot of joy…but when everyone left because of the terrible POLLUTION…the VANDALS destroyed everything… leaving empty the ‘CITY OF SILENCE’
《寂静之城·米老鼠》 后形而上艺术 布面丙烯 80x80x4cm 2020 Silent Cities Mickey Mouse, Post Metaphysical Art, acrylic on canvas, 80x80x4cm, 2020
《寂静之城·沉睡的狮子》 后形而上艺术 布面丙烯 120x120m 2020 Silent Cities Sleeping Lion, Post Metaphysical Art, acrylic on canvas, 120x120cm, 2020
最后一只蜜蜂死了。他们把它毒死在没人愿意留下的城市， 世界消失后时的一座寂静之城。
喝可口可乐的人是最后仓皇逃离这座城市的人。把易拉罐 扔掉，就离开了寂静之城。
The last BEE died…they poisoned it .... in that city no one wanted to stay …it became "THE CITY OF SILENCE” in a world of extinction
Those who drank that "COCO COLA" …were the last to leave the city in a hurry…finished throwing the can ... THE "CITY OF SILENCE
《寂静之城·最后的蜜蜂》 后形而上艺术 纸面丙烯 34x49cm 2019 Silent Cities The Last Bee, Post Metaphysical Art, acrylic on paper, 34x49cm, 2019
《寂静之城·可口可乐》 后形而上艺术 纸面丙烯 34x49cm 2019 Silent Cities Coca Cola, Post Metaphysical Art, acrylic on paper, 34x49cm, 2019
塞巴斯亚诺·纳瓦拉毕业于米兰美术学院，毕业 后在广告界担任创意总监数十年，获奖众多。在 艺术作品中，他着力探讨“魅力之美”的概念， 将艺术、创意和营销融为一体。目前的作品是他 第二阶段艺术研究的产物，源于意大利文化，并 反映出他对艺术史各个阶段的热爱。
她想要以最快速度行进。但到达寂静之城后，她发现一个人也 没有。 She try to go as QUICK as possible.. but when arrived…she found NOBODY…In the ‘CITY OF SILENCE’
《寂静之城·蜗牛》 后形而上艺术 纸面丙烯 70x50cm 2020 Silent Cities Snail, Post Metaphysical Art, acrylic on paper, 70x50cm, 2020
Winning a prestigious award after graduating from the Academia de Belle Arte in Milan, Sebastiano Navarra spent the following decade as a Creative Director in the Advertising world. He pursued a creative investigation that gravitated towards the concept of ‘’The Beauty of Allure’’ that combines Art-Creativity and Marketing. He was part of a group of national/international architects/painters/ sculptors that focused on artist-investigation. Sebastiano has initialized another fertile period of art, which ultimately flowed into the creative expression that exists in his present work. It is greatly influenced by his own Italian culture, but he recognizes and loves all the phases in art history.
TOTTO
《病毒的尖叫》 数字媒介（iPad/Procreate）、墨水、美术 纸 60x80cm 独版 2020 Scream of virus, Digital (iPad/Procreate), Ink on Fineart paper (Canon®imagePROGRAF-PRO-4000; CANSON®INFINITY BARYTA PRESTIGE 340 G/M²), 60x80cm, One-off-original, 2020
作品《病毒的尖叫》传递出一种深深的焦虑。物 体无法看见病毒，但能够强烈地感受到它存在于 体内。就像是新冠病毒，看不见，却能够以非人 力可为的方式这样或那样地影响着我们所有人。 The artwork 'Scream of virus' conveys a feeling of deep-seated anxiety. The object cannot see the virus itself but feels strongly of something inside. Just like covid. It's not possible to see, but affects us all in one way or another beyondhuman-power.
大家好，我是 TOTTO，一位抛开逻辑，用艺术创意展 现快乐自我的工程师。我主要用独特的图案创作抽象 艺术，让自己停下来，在平和宁静中思考。我的灵感 是住在我身体里的“小男孩”，他希望跳脱框框条条， 在创意作品中自信地随意绘画。 Hi! I’m TOTTO. The engineer who lets go of the logic to create exclusive works of art that brings out the playfulness in me. I focus on the abstract in art through unique motives that makes me stop and reflect in peace and quiet. My inspiration comes from “the little boy” inside me, the one who wants to run freely outside of every frame, the one who is allowed to draw freely with strong confidence in his creativity.
托里·福斯特 Tori Foster
《登打士广场》 单频高清录像 4 分 40 秒 2016 Dundas Square, Single channel HD video, 4 minutes 40 seconds, 2016
托里·福斯特在作品中，从看得见的事物将看不见 的部分抽取出来。她以严谨的方式探讨时间、动作、 运动和空间，具有说服力地展现出隐藏在日常生活 之下的模式。通过录像、摄影和装置，福斯特揭示 了城市和自然环境中车辆交通、行人流动、动植物 活动的突现行为（由个体间相互作用引发的复杂系 统）。把数据等原材料加以处理，代入算法，让原 始图像包含（但不可见的）交换信息显示出来。她 的创作具有科学研究的严谨，同时追求诗意和哲学 感。 Tori Foster’s works extract the invisible from the visible. Her rigorous explorations of time, motion, movement and space eloquently reveal the patterns hidden beneath the surface of our everyday. Through video, photography, and installation, Foster unearths the emergent behavior (complex systems that arise from simple interactions) of vehicular traffic, pedestrian movement, and plant and animal activity within urban and natural environments. Treating her source material like data and subjecting it to algorithms that expose alternate information inherent to (but not visible in) the original imagery, her methods approach scientific precision while reaching for poetic and philosophical gains.
《唐士维地铁站》 单频高清录像 4 分钟 2011 Downsview Station, Single channel HD video, 4 minutes, 2011
托里·福斯特，在加拿大怀雅逊大学获得文学学士和 硕士学位，曾任加州州立大学北岭分校副教授和数字 艺术系主任，于 2017 年搬回家乡加拿大安大略省巴 里。曾获得多个研究资助和奖项，作品在全球 16 个 国家展出。 Tori Foster earned an MFA and BFA from Ryerson University in Toronto and was based in Los Angeles as Assistant Professor and the Head of Video/Digital Art at California State University, Northridge, until moving back to her hometown of Barrie, Ontario in 2017. She has received dozens of grants and awards and her work has been presented in 16 countries world-wide. Foster is represented by Pari Nadimi Gallery, Toronto, Canada.
《中央车站》 单频高清录像 长度可变 -5 分钟 2014 Grand Central Terminal, Single channel HD video, variable length - 5 minutes, 2014
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