录像作品信息 / Video Work Info

 

 

年份Year 作品名称Work Title 作品陈述Work Statement 展览历史Exhibition History 
1993 5小时Five Hours “5小时”即是那个作品存在的时间长度。如题目所指,时间和数字是那些作品所关注的,当时的社会生活和个人生活都是令人失望的,我想在创作中把现实的含义从时间中抽掉,或是从现实性的时间中截取出一小部分出来,用于纯粹的个人体验。在那些作品中,只有我和时间,一切现实问题都被关在门外。(文字由艺术家提供)

 

“Five Hours” is the length of time this artwork existed. As its title suggests, time and number are the focus of those artworks. My social life and personal life were both disappointing at the time. I wished to extract the meaning of reality from time, in other words, to select a section of time out of reality solely for the purpose of individual experience. In those works, they only consist of myself and time, isolated from all other practical questions.

(Text courtesy of the artist)

 

群展:1993第三次大尾象艺术展,红蚂蚁酒吧,广州,中国

 

Group Exhibition:

1993   

Third Exhibition of Big Tail Elephant Group, Red Ants Bar, Guangzhou, China

 

1994 改变电视频道便改变新娘的决定Change the TV Channel, Change the Bride’s Decision 与作品展出共时的电视频道,在屏幕上粘着一些女性饰物和化妆品,电视机下方挂着一件白色的婚纱,观众可以使用遥控器任意改变电视频道。(文字由艺术家提供)

 

Live television broadcast, some female accessories and cosmetics are attached under the TV set. A white wedding gown hung under the television, and the viewer may use the remote control to switch channels.

(Text courtesy of the artist)

 

群展:1994大尾象——广州艺术品交易会,中国出口商品交易会大厦,广州,中国

Group Exhibition:

1994

Big Elephant Tail – Guangzhou Art Fair, China Export Trade Building, Guangzhou, China

1994 跷跷板Seesaw 让呼吸的起伏来影响拍摄使其影像上下晃动:一个是空荡荡的海景;另一个是作品所在地周围的各种景物,这两个视频搁于跷跷板的两端。中间的视频是用相反的方式屏住呼吸的拍摄,一支日光灯写着“SEE”,随着“砰”的一声而消失,接着又一支日光灯亮了伴着“SAW”字样,继而又是一声“砰”而消失……跷跷板前面悬着一杆气枪。(文字由艺术家提供)

 

Rhythm of the breath controlled the movement of images: one screen displays a vast view of the ocean; the other shows the surrounding phenomenon where the artwork is located. The two videos are placed at each end of the seesaw. The video in the middle was shot while holding one’s breath, a neon light written with “see”, and then disappears in a sound of “puff”, then another neon light is lit with the word “saw”, and then it disappears again…. in front of the seesaw, hangs an air riffle.

(Text courtesy of the artist)

 

群展:2011Out of the Box,Boers-Li画廊,北京,中国

1994

没有空间,三育路14号,广州,中国

 

Group Exhibition:

2011

Out of the Box, Boers-Li Gallery, Beijing, China

1994   

No Room, No.14 SanYu Road, Guangzhou, China

 

 

1996 警察与小偷Cop and Thief 《警察与小偷》是一个对电视肥皂剧的戏仿,相同剧情但角色的互换在其故事发展的结构中显得很合逻辑,这是一个简单的比喻,试想我们将任何一部电影中英雄和坏蛋两个角色互换再重拍这部片将会同样的震撼力。当一个没有加注的,与己无关的现实事件摆在我们面前时,我们会没有兴趣也无法判断。有时,我们对一部戏的投入远远超过我们对生活的投入,我们不能容忍戏中英雄的失败,但我们却可以容忍现实中英雄的失败。如果电影是模仿现实的,可是它离现实很远,但如果现实是模仿电影的,它却是另一个现实。(文字由艺术家提供)

 

Cop and Thief is a parody of a television soap opera of the same plot. Interchanging roles fits logically in the structural development of the story. It is a simple metaphor to imagine switching any pair of a heroic figure with a bad figure in a film that would yield the same effect. When we are presented with un-annotated and irrelevant reality, we are often uninterested and non-judgmental. Sometimes, our engagement in a film far exceeds our engagement in real life. We cannot accept the failure of the hero, yet we would tolerate the failure of a hero in real life. If film imitates reality, yet are distant from reality; however if reality imitates film, then it becomes another reality.

(Text courtesy of the artist)

 

群展:1999第8届电影双年展,日内瓦,瑞士

Group Exhibition:

1999

8th Biennial of Moving Images, Saint-Gervais, Geneva, Switzerland

1996 视力矫正器-1Sight Adjuster-1 《视力矫正器-1》是电视录像装置。它由两部分别以“城市图画及添加剂”和“个人私密肖像”为内容的电视录像搁置于两条分离的视线上,以标准身高及一般观看距离为依据的视点垂吊着两块如同眼镜般的玻璃片,从此视点由小及大的几块玻璃分两路逐渐推移至与两端电视屏幕相同的尺寸上,玻璃上写着一些有关语言,图象的循环或交叉的句子。从视点上向两部电视观看,分隔的视线使生理上陷入于左右为难的困境,而文字(语言)却成了一个个重叠的客体化对象。真实的世界、图象的世界及语言的世界,这些复杂的关系是哲学上的问题,而我的兴趣是关于观看方式与观看方法的问题。(文字由艺术家提供)

 

Sight Adjuster-1 is a television video installation. It consists of two components, “Urban images and additives” and “Portraits of personal privacy” as the content of the video placed in two separate viewpoints. Based on average height of people and common viewing distance, two glasses-like glass, from this viewpoint, a series of glass from are lined in two rolls in incremental sizes towards the two ends of the screen. On the glass, sentences on language and images are written in cycles, or criss-crossed fashion. From the viewpoint looking at the television, the separated vision makes viewing physically awkward, yet the language (words) became an overlapping objectified subject. The real world, the world of images, and the world of language, are complex relationships of philosophical issues, my interests rest in issues in the ways of viewing.

(Text courtesy of the artist)

 

群展:1996可能性大尾象,中广大厦地下室,广州,中国

Group Exhibition:

1996

Possibility, Big Elephant Tail, Basement of Zhongguang Building, Guangzhou, China

1996 视力矫正器-3Sight Adjuster-3 《视力矫正器-3》是由两个视觉通道将覌看者的双眼分开引向两个观看对象(电视),这两个屛幕图像的內容既相关又相悖,它们有时处于“连接”状态,有时又“断开”了彼此的关联,甚至出现相互矛盾的幷置,而两眼由于各自获取不同信息,迫使大脑努力去拼合这些图象以寻找它们之间的逻辑关系。眼与脑在处理这些信息中经历了“看”的困境,作品也就实现了对观看者的“视力矫正”。该装置的设计力求符合医疗器械的生理学要求,它的高度和距离都恰好容纳一个接受视力矫正的人。希望通过矫正视力以提高适应不断变化、日益复杂的社会环境的能力。(文字由艺术家提供)

 

Sight Adjuster-3, adopts two visual channels to separate the viewer’s vision into two objects (televisions). The content of these two TV screens are both related and paradoxical, they are “connected” at times, and “separate”, or even be in conflicting positions with each other. The information received to both eyes force the brain to process these images together in order to find establish their logical relationships. In the course of processing these information, the eyes and the brain experienced the trouble of “looking”, by which the artwork achieves to “adjust the sight” of the viewers. The design of this installation is tailored to the physiological requirements of medical equipments, its height and distant are both fitted to contain a person receiving “sight-adjustments”. The artist wishes to improve one’s adjustability to the constantly changing and complex social environment through “sight-adjustments”.

(Text courtesy of the artist)

 

群展:2011

中国影像艺术1988-2011,民生美术馆,上海,中国

2010

从电影看:当代艺术的电影痕迹与自我建构,OCT当代艺术中心,深圳,中国

2005

麻将——希克的中国当代艺术收藏展,伯尔尼美术馆,伯尔尼,瑞士

1999

快镜:中国新录像艺术展,澳门当代艺术中心,澳门,中国

1996

现象·影像——96录像艺术展,中国美术学院画廊,杭州,中国

Group Exhibition:

2011

Moving Image in China 1988 – 2011, Minsheng Art Museum, Shanghai, China

2010

Looking Through Film: Traces of Cinema and Self-Constructs in Contemporary Art, OCAT, Shenzhen, China

2005

Mahjong: Contemporary Chinese Art from the Sigg Collection, Kunstmuseum Bern, Bern, Switzerland

1999

Fast>>Forward: New Chinese Video Art, Contemporary Art Center, Macau, China

1996   

Phenomenon and Image Video Art, China Fine Art Academy, Hangzhou, China

 

1997 视力矫正器-5Sight Adjuster-5 这是一个在公共厕所里实施的录像装置,观众(其实是进厕所而误入作品的人)在这里不自觉地扮演着窥视和被窥视的双重角色,当观众使用小便器时可以看到里面的一只眼睛,这只眼睛是前一个观众在两个窥视孔观看一个女性洗澡的视频时所留下来的,另一扇紧锁门里不时传来冲坐便器的声音,那是一个预先的录音。这个作品存在一种神不知鬼不觉的时顺颠倒和怪异的人际戏剧。(文字由艺术家提供)

 

An installation realized in a public restroom. The audience (those visited the artwork by coincidence as they enter the restroom) took on the dual roles of the voyeur and being watched. As the viewer uses the urinal, he could see the eye inside it, which was recorded from the previous viewer peeping at women bathing. Behind another locked door, the sound of toilet flushing is heard from a prepared recording. The work exhibits an unknown displacement of time and a strange play of interpersonal relationships.

(Text courtesy of the artist)

 

群展:1997另一次长征——中国观念艺术,布雷达,荷兰

 

Group Exhibition:

1997

Another Long March: Chinese Conceptual Art, Breda, The Netherlands

1998 视力矫正器-7Sight Adjuster-7 《视力矫正器-7》,两台缓慢的顺时针方向旋转的录像投影将影像投射在房间的四壁上,而我在拍摄时也同样使用旋转的拍摄方法。这种双重转动使图象时不时地脱离观众的视角。录像投影永远地转动,观众也跟着转动。(文字由艺术家提供)

 

Sight Adjuster-7, two projectors rolling slowly clockwise screen the images on the four walls of a room. I have also adopted the spinning the camera in shooting the work, and the double spin of the images would exit the audience’s vision intermittently. The projected images are constantly spinning, that bring the audience to spin with it.

(Text courtesy of the artist)

 

群展:1998大尾象,Kunst halle,伯尔尼,瑞士

Group Exhibition:

1998

Big Tail Elephant, Kunsthalle, Bern, Switzerland

 

1996 风景-2Landscape-2 “风景”系列探讨对风景的观看态度和意识形态问题 。《风景-2》 是把一些完全不相干的图像和熟悉的城市风景重叠在一起,自动组成视觉的词语,没有逻辑,不产生意义,无法解释。(文字由艺术家提供)

 

 Landscape  series explores attitudes towards viewing landscape and issues of ideology. Landscape-2 superimposes a set of unrelated images with familiar urban landscape, to formulate into a visual vernacular – it’s illogical, does not produce any meaning, and is inexplicable.

(Text courtesy of the artist)

 

个展:2003反-C.S.X.,维他命创意空间,广州,中国

Solo Exhibition:

2003

Anti-C.S.X., Vitamin Creative Space, Guangzhou, China

 

群展:

1998

媒体转换:第11届柏林录像节,波德维尔中心,伯林,德国

16届世界录像节,阿姆斯特丹,荷兰

 

Group Exhibition:

1998

Transmediale’98, 11th Video Festival, Podewil, Berlin, Germany

16thWorld – Wide Video Festival, Amsterdam, the Netherlands

 

1997 风景-1Landscape-1 “风景”这个词在传统美学中充满诗情画意,但对于生活在发展中的南方城市的居民可能有着不同的解释。城市化的确改变人们的空间意识,心中的风景和现实中的风景、私人空间和公共空间之间充满着意识形态的矛盾。我对城市居民“想看到的”和“所看到的”的风景之差异这个问题有着强烈的兴趣。(文字由艺术家提供)

 

“Landscape” is a poetic and visual term in traditional aesthetics, however, residents of the developing southern cities might have different understanding of it. Urbanization has indeed changed people awareness of space. There are ideological conflicts between the landscape in one’s mind and the landscape in reality, between personal space and public space. I am interested in the difference of what urban residents “would like to see” and “are seeing”.

(Text courtesy of the artist)

 

群展:2011Out of the Box,Boers-Li画廊,北京,中国

Group Exhibition:

2011

Out of the Box, Boers-Li Gallery, Beijing, China

 

2002 视窗XPWindows XP “Windows XP” 是我的城市生活记忆:目睹车祸、抢劫,灯红酒绿与丧魂落魄的人,疯狂生产和疯狂消费,幻觉代替真实。全球化的今天,所有国际事件都可以在这个城市中看到它的投影。这不仅仅是一种心理上的折射,而是一个被下载到系统但暂时还没有运行的软件,除了软件,更多的是无法清除的病毒。(文字由艺术家提供)

 

Windows XP records my city life memories: witnessing car accidents, robbery, people ravel in their night lives and those who have lost their soul, mad productions and consumption, illusion replacing reality. In the globalized present, projections of all international events can be found in this city. It is not only a psychological projection, but like a software downloaded off the internet that has yet been put into operation, other than the software, there is a significant amount of un-erased viruses.

(Text courtesy of the artist)

 

个展:2003反-C.S.X.,维他命创意空间,广州,中国

Solo Exhibition:

2003

Anti-C.S.X., Vitamin Creative Space, Guangzhou, China

 

群展:

2004

在东边的南边的西边,国立当代艺术中心,塞特/Villa Arson,尼斯,法国

2002

合成现实,远洋艺术中心,北京,中国

 

Group Exhibition:

2004

A l¹ouest du sud de l¹est,Center of Contemporary Art, Sète / Villa Arson in Nice, Nice, France

2002

Synthetic Reality, East Modern Art Centre, Beijing, China 

 

2001 英雄Hero 观众作为电影工业的消费者,个人只不过是微不足道的票房数字但却一厢情愿地投入,原因是那种主角体验的快感。男观众都替入电影中的那个英雄,而女观众都替入电影中的那些美女。在里面他们从不失败,尽管在现实生活中一塌糊涂。在这个录像中,作者和观众一同尽情地享受着主角的体验,同时也感触到现实和影像两个世界的边际。(文字由艺术家提供)

 

The audience is the consumers of the film industry, as an individual, whose willingness to make a contribution maybe insignificant to the box office, but allows him attain a gratification of being the main character. The male audience imagines him becoming the role of the hero, and the female audience taps into the femme fatale, they never fail in these roles, in spite of how messy their real life may be.  In this video, both the filmmaker and the audience fully enjoy the experience of becoming main characters, while gauging the border between the world of reality and moving images.

(Text courtesy of the artist)

 

 群展:2002

润化——亚太媒体艺术节,中华世纪坛,北京,中国

重新解读:中国实验艺术十年,广东美术馆,广州,中国

2001

非线性叙事:新媒体艺术节,中国美术学院展览馆,杭州,中国

Group Exhibition:

2002

Moist – Multimedia Art Asia Pacific, the Art Museum of China Millennium Monument, Beijing, China

Reinterpretation: a Decade of Experimental Chinese Art – Guangzhou Triennial, Guangdong Museum of Art, Guangzhou, China

2001

The New-Media Art Festival: Non-Linear Narrative, National Academy of Art, Hangzhou, China

 

 

2002 花样反恐Anti-terrorism Variety 当美国华盛顿特区当局头疼不能抓到枪击街上行人的神秘狙击手时,曾有人提议:行人走路走S形,以防止被袭。在中国大陆和台湾的三通问题上,也曾有人提议:民航飞行要呈S形,以防导弹尾随。我三岁的女儿每当见到天上有飞机,旁边有高楼,总是问我:“会不会撞上?”,“9·11”的电视镜头令她产生这样的联想。曾在电视上看到飞行表演,我想大楼也能否象飞机那样?“花样反恐”是我所提的反恐方案,高楼用各种各样的方式逃避飞机的装击,同时不损害飞机,因为机上有无辜的乘客,这是我所能想到的最完美的反恐方案。(文字由艺术家提供)

 

As the officials of the special district of Washington failed to capture the mystery sniper of pedestrians, someone proposed that pedestrian should walk in the shape of S in order to avoid being shot. On the establishment of postal service, commerce and transportations between mainland China and Taiwan, someone proposes that the commercial aircraft should fly in S shapes in order to avoid being shot by missile. Whenever my three years old daughter at the time, saw overhead aircraft flying by tall buildings nearby, she would ask me whether it would crash into them. The television images of “9-11” made her make such associations. Aircraft shows seen on TV make me wonder whether the buildings would avoid the aircraft instead?

 

“Anti-terrorism Variety” is my proposal for anti-terrorism, that the high rises would avoid the attack of aircrafts in various ways, without damaging the aircraft for the sake of the harmless passengers on board. This is the ideal anti-terrorism proposal I can think of.

(Text courtesy of the artist)

群展:2006

Mirror Worlds——亚洲当代录像艺术,现代艺术协会,澳大利亚

2005

聚焦——中国当代摄影和录像,中国美术馆,北京,中国

2004

制造差异,斯德哥尔摩历史博物馆,斯德哥尔摩,瑞典聚焦——中国当代摄影和录像, 圣地亚哥大学画廊,圣地亚哥,美国/上海美术馆,上海,中国

轻而易举:上海拼图2000-2004,挪威国立美术馆,奥斯陆,挪威

2003

第50 届威尼斯双年展主题展:紧急地带,威尼斯,意大利

制造天堂,Le Parvis当代艺术中心,波城,法国

2002

都市营造——上海双年展,上海美术馆,上海

Group Exhibition:

2006

Mirror Worlds – New Video Art from Asia, IMA-Institute of Modern Art, Australia

2005

Zooming into Focus, National Art Museum of China, Beijing, China

2004

Making Differences, Historiska Museet, Stockholm, Sweden

Zooming into Focus, University Art Gallery San Diego State University, San Diego, U.S.A. / Shanghai Art Museum, Shanghai, China

Light as Fuck! Shanghai Assemblage 2000 – 2004, the National Museum of Art, Oslo, Norway

2003

50th International Art Exhibition – Z.O.U. la Biennale diVenezia, Venice, Italy

Fabricated Paradises, Le Parvis Centre of Contemporary Art, Pau, France

2002

Urban Creation – Shanghai Biennale, Shanghai Art Museum, Shanghai, China

 

 

 

2005 墨水城市Ink City 当把《墨水城市》作为录象的方式展示时,它既是一个终结的方式,也是一个方式的开始,因为它又回到对绘画和摄影,甚至拍摄对象的现实的怀念。所以它以一种新的形式还原到外界:城市的喧哗声中。在这件作品中,它取消叙事性,只是一些城市印象,没有逻辑关系,也不是非逻辑的意象,只是记忆中各个瞬间的拼接,它是我一段时间中随处拾得的零碎表象聚集而成的,没有刻意寻觅。我只相信偶然,什么景物进入我的镜头取决于彼时彼刻照相机是不是在我手中。

(文字由艺术家提供)

When Ink City is exhibited as a video, the work is both a way to conclude and to begin because it takes the practice back to painting and photography, even to the nostalgia in the reality of the photographed subject. It has been restored and represented to the outside world in a new mode: hustling of the city.

 

In this work, the lack of a narrative, allows it to present the multitude of impressions of the city without any logical relationships; neither is it an illogical impression, but a collage of fragments of memories. It’s a collection of fragmental phenomena I have gathered over a period of time, without any purposeful planning. I believe in coincidence, the images collected depend on whether the camera was in my hand at that point in time.

(Text courtesy of the artist)

 

个展:2006陈劭雄,Art & Public – Cabinet PH,日内瓦,瑞士

纸上墨水城市,四合苑画廊,北京,中国

2005

墨水城市,四合苑空间,北京,中国

双重风景,Grace Li Contemporary Art 画廊,苏黎世,瑞士

Solo Exhibition:

2006

Chen Shaoxiong, Art & Public – Cabinet PH, Geneva, Switzerland

Ink City on Paper, the Court Yard Gallery, Beijing, China

2005

Ink City: New Works by Chen Shaoxiong, Courtyard Gallery Annex, Beijing, China

Double Landscape, Grace Alexander Contemporary Art Gallery, Zurich, Switzerland

 

群展:

2011

中国影像艺术1988-2011,民生美术馆,上海,中国

2010

幕:三代中国录像艺术,UTS画廊,悉尼,澳大利亚

2008

第七届光州双年展:年度报告,光州,韩国

2007

重新启动——第三届成都双年展,成都,中国

城市——网络亚洲2007,首尔美术馆,首尔,韩国

2005

第二届广州三年展:别样——一个特殊的现代化实验空间,广东美术馆,广州,中国

Group Exhibition:

2011

Moving Image in China 1988 – 2011, Minsheng Art Museum, Shanghai, China

2010

Mu: Screen – Three Generations of Chinese Video Art, UTS Gallery, Sydney, Australia

2008

The 7th Gwangju Biennale: Annual Report, Gwangju, Korea

2007

Reboot – The Third Chengdu Biennale, Chengdu, China

City – Net Asia 2007, Seoul Museum of Art, Seoul, Korea

2005

The 2nd Guangzhou Triennial: BEYOND – an Extraordinary Space of Experimentation for Modernization, Guangdong Museum of Art, Guangzhou, China

 

 

 

 

 

 

2006 墨水日记Ink Diary 这个时代的数字化相册,里面在折射生活时还提供给我们一些在彼时彼景中肉眼所忽视的细节。另一方面,近在眼前的事物和远在它处的事物也混搅在一起,成为个人记忆的不可分割部分,它处的事物来自于媒介——电视、报纸和网络,那些国际新闻与个人的际遇共同填充生活的内容。《墨水日记》的图像素材来源两个途径:一是生活,这个长镜头中的静帧;二是新闻,媒体控制者的意识形态选择。把一段时间中的内容压缩成三分钟无序的影象,如同记忆一样具有多种起始和终结的选项 。

(文字由艺术家提供)

A digital album of this era provides a fresh look at those overlooked details of life then and there. On the other hand, the objects before one’s eyes and those at a distance overlap, that become indispensible components of one’s memories, objects elsewhere in the media – television, newspaper and the internet, these international news and personal experiences both enrich the content of life.

The images for Ink Diary are gathered through two channels, one is fro everyday life: frames taken from a long shot, two is news, selections the ideology of those in control of the media. The content from a period is compressed into a non-linear three minutes video, like one’s memory, it has many beginnings and endings.

(Text courtesy of the artist)

 

群展:2010幕:三代中国录像艺术,UTS画廊,悉尼,澳大利亚

2008

第七届光州双年展:年度报告,光州,韩国

2006

中国电厂,蛇形画廊,伦敦,英国

 

Group Exhibition:

2010

Mu: Screen – Three Generations of Chinese Video Art, UTS Gallery, Sydney, Australia

2008

The 7th Gwangju Biennale: Annual Report, Gwangju, Korea

2006

China Power Station: Part 1, Serpentine Gallery, London

 

 

 

2006

日子The Days 《日子》是个四屏的录象装置,四个屏幕中所叙述的故事内容是来自于同样的素材,但是在每个屏幕中都用不同的叙事方式,由于叙事方式的不同,觉得故事内容也不大一样了。实际上,四个屏幕就像从四个角度来观看同一个事物。这个装置,设计四种不同的观看姿态,将观众的身体处于不同的状态来观看这个作品的四个屏幕,身体位置的改变也影响到观看的感受,符合从四个角度观看同一事物的方法,尝试观看的各种可能性。

(文字由艺术家提供)

 

The Days is a four channels video installation. The stories told in the four channels are edited from the same raw footage. However, each had adopted a different narrative where the stories seemed different due to these different narratives. In fact, the four channels offer four angles of looking at one subject.

 

This installation, designed four different ways of viewing, placing the viewer in different scenario to look at the four screens. The change in position of the body affects one’s viewing experience, suitable to look at one subject from four different angles, tests the various possibilities of viewing.

 

(Text courtesy of the artist)

 

群展:2009水墨风暴,Transformer画廊,华盛顿哥伦比亚特区,美国

2008

08曼彻斯特亚洲三年展, 曼彻斯特,英国

2007

广州站——广东当代艺术特展,广东美术馆,广州,中国

 

Group Exhibition:

2009

Ink Storm, Transformer, Washington DC, U.S.A.

2008

Asia Triennial Manchester 08, Asia Triennial Manchester, England

2007

Guangzhou Station – Special Exhibition Contemporary Art of Guangdong, Guangdong Museum of Art, Guangzhou, China

 

 

 

2007 看见的和看不见的,知道的和不知道的Visible and invisible, Known and Unknown  “看见的和看不见的,知道的和不知道的”是一个实时编辑的录像装置,生活记忆的暂存方式有如这个装置:在脑子中一晃而过,没有顺序,不知起止 。(文字由艺术家提供)Visible and Invisible, Know and Unknown, is a video installation edited live. The temporary memories of life are comparable to this installation: images flash by in one’s mind, disorderly, without any beginning or end.

(Text courtesy of the artist)

个展:2007看见的和看不见的,知道的和不知道的,UniversalStudios-Beijing,北京,中国

Solo Exhibition:

2007

Visible and Invisible, Known and Unknown, Universalstudios-Beijing, Beijing, China

 

群展:

2010

延时——中国×瑞士媒体艺术联展”,当代艺术博物馆,比尔,瑞士

2009

延时——中瑞媒体艺术联展,中国美术馆,北京,中国

Group Exhibition:

2010

Timelapse – Switzerland China Media Art Exhibition, Kunsthaus CentrePasquArt – Centre d’Art, Biel/Bienne, Switzerland

2009

Time Lapse, China – Switzerland Media Art Exhibition, National Art Museum of China, Beijing, China

 

 

 

2007 墨水东西Ink Things 为了把物随时流的最大流失量在有限的三分钟动画中做到最大量的收集,而又把这个最小的时间单位在我的记忆中做最长的停留,所以我发明了这个工作流程:快门、相片、打印、水墨、再拍摄、编辑、声音、最后形成动画。但是,这些作品是动画还是非动的画?在对这些作品的解读中图像序列制造的到底是单个事物的连续运动,还是多个事物的记忆运动?《墨水东西》不是一般概念中的动画,它几乎和呼吸一样不知不觉地把周遭的事物一一罗列, 景物的消失中我们感受到了时间形状。一本护照、一个水龙头、一个胸罩和一本艺术杂志有什么样的关系?混乱的记忆也会随着时间的流失而消失,而宣纸对照片的复制,刚好能让我在这个过程中暂时抓住它。(文字由艺术家提供)

 

In order to maximize the outflow of objects within the three minutes of anime, and to attain the longest lasting effect of this smallest fraction of time in my memories, I invented this work process: shutter, photograph, printing, ink, shoot, edit, and sound, and finally assemble them into an anime. However, is this work an anime or unanimated paintings? In the interpretation of these images, does their order spell the continuation of single objects or the operative memory of many objects? Ink Things is not an anime per se, like breathing, it lists all surrounding objects. In this disappearance of phenomenal objects, we gain a sense of time. What is the relationship between a passport, a water faucet, a bra and an art magazine? The disorderly memories would also disappear with the passing of time, and the replication of photographs by rice paper allows me to momentarily capture it in this process.

(Text courtesy of the artist)

 

个展:2007看见的和看不见的,知道的和不知道的,UniversalStudios-Beijing,北京,中国

陈劭雄,Barbara Gross画廊,慕尼黑,德国

Solo Exhibition:

2007

Visible and Invisible, Known and Unknown, Universalstudios-Beijing, Beijing, China

Chen Shaoxiong, Barbara Gross Galerie, Munich, Germany

 

群展:

2010

幕:三代中国录像艺术,UTS画廊,悉尼,澳大利亚

2008

第七届光州双年展:年度报告,光州,韩国

Group Exhibition:

2010

Mu: Screen – Three Generations of Chinese Video Art, UTS Gallery, Sydney, Australia

2008

The 7th Gwangju Biennale: Annual Report, Gwangju, Korea

 

 

 

2008-2010 墨水历史Ink History 如实呈现一个百年历史是不可能的。如果每个事件和每个人物的细节都被包括在内,那么放映一个百年故事的电影也需要用上一个世纪。就像博尔赫斯所描述的地图,如果一张地图要精细到一草一木都对应,那么描绘一个城市的地图的尺寸也要和这个城市本身一样大。在我们所受的教育中,历史被无常解释、不断删节和随意杜撰,面对一张张沉默的纪录图片,注释具有无穷的可能。在《墨水历史》的创作中,我所做的仅仅是下载允许存留于网络中的中国历史图片,然后用墨水素描复制它,我只能用沉默的方式去复述这些沉默的故事。百年历史仅存于三分钟中,其他的一切随着时间的消逝而消失,仿佛什么也未曾发生过。(文字由艺术家提供)

 

It is impossible to present a century of history as it is. If the details of every event and every figure were to be included, then the screening of a centennial film would take a century. Like the maps described by Borges, if a map would be as accurately portrayed to every plant and wood, then a city map would be the size of the city. The education we have received, history has been interpreted indefinitely, erased and fabricated. Faced with pages and pages of silent documentary images, its annotation offer endless possibilities. In the creative process of Ink History, what I have done was to download the historical images of China that were permitted to circulate on the internet, and then to portray them through ink painting. I could only adopt this silent approach to retell these silent stories. History of a century only exists within three minutes, all the rest disappeared with the passing of time, as if nothing had happened.

(Text courtesy of the artist)

 

个展:2013风干历史,北京艺门画廊,香港,中国

Solo Exhibition:

2013

Air–Dry History, Pekin Fine Arts, Hong Kong, China

 

群展:

2010

历史课,北京艺门画廊,北京,中国

料想之外:陈劭雄&小泽刚,奥沙观塘,香港/奥沙画廊,上海,中国

幕:三代中国录像艺术,UTS画廊,悉尼,澳大利亚

Group Exhibition:

2010

History Lessons, Pekin Fine Arts, Beijing, China

An Unexpected Turn of Events, Chen Shaoxiong & Tsuyoshi Ozawa, Osagekwuntong, Hongkong / Osage Gallery, Shanghai, China

Mu: Screen – Three Generations of Chinese Video Art, UTS Gallery, Sydney, Australia

 

 

 

 

 
 
 

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