REWOVEN - New York
by Luchia Meihua Lee
“Our problems stem from our acceptance of this filthy, rotten system.” ---Dorothy Day
The seven artists in Rewoven Part III at El Museo de Los Sures all live and work in New York City. These artists personally watch and experience the
direct impact of the political chaos emanating from the authority center; the
White House desk has been switched to a golf course. Curator Luchia Meihua Lee said
“artists regenerate a parameter of relationship between individual and society,
symbolically exposing endless exhausted whirlpools with revels into sarcastic
dialogue.” In Rewoven, powerful
questions adumbrate crisis; these views expand connectivity and reach globally.
In ChinChih Yang’s Mathematics
of Light, he reflects as curator Lee puts it, on “the current sickness of
society” by depicting a chaos of desire, confusion, pollution, and cupidity in the small video under a thicket of shiny metallic ribbons cut from discarded beverage
cans. Steven Balogh escaped from communist territory only to find
himself behind the barbed wire- topped walls of a concentration camp, and now resides
in New York. His piece Peacock in trap
reflecting on the political scene, is especially relevant today with a golf aficionado
in the White House. Money Windfall with
its green hurricanes perhaps refers to the obscene profits on Wall Street that
result from mindless paper chases.
The womb-like chair made by Catherine Lan is an exotic shelter from
the storm; covered with artificial fur, this chair is equipped with flashing
neon lights and with the recorded sounds of a baby. This fake shelter has been
placed in the front porch of the Museo de Los Sures gallery space, in contrast
with a background of old peering paint mural of two Los Sures heroes. Williamsburg,
like many artist areas, has been attractive to developers, and Los Sures has
been fighting the unwanted effects of gentrification there. Mingjer Kuo’s
Suburban Form from reviews the over
developed land transformed into beautiful shining plastic chips, and originates
with an aerial view of the repeating shape of suburban housing. A symbolic
mapping of urban public transportation is shown in Atlas by Poyen Wang, where he makes unnatural abstract landscape
from subway advertisements. Lulu Meng’s Model discusses the relationship of self to society. Her other wall
installation is an artist diary which directly illustrates life as an artist in
NYC, fighting for survival and to express her dream. Taking matters to a global
level, Hiroshi Jashiki powerfully suggests a melting iceberg indicative
of a dangerous water crisis facing NYC and the world.
New York artists for Rewoven- part III were selected by curator Luchia
Meihua Lee. Their works naturally formulate laws to redefine and reshape “fiber
art” ideas, practice, and content. With different contents at each of its three
venues.
再織-紐約
「我們的問題來自於我們接受這個骯髒的﹑腐爛的系統」。-- 多蘿茜.迪
這七位藝術家都居住在紐約市,以自己在美國的社會體驗與觀察中,試圖找出個人與社會之間的平衡關係,
在他們的作品看到了政治權力中心所暴露出的混亂與現實﹑疲憊無止盡的金錢漩渦﹑到過度的房地產操作﹑還有被忽略的環境污染地球暖化的危機,這些紐約展出的作品表現觀點事實上也是全球災難的縮影,而這些諷刺的對話與也將尋求回歸到子宮般的庇護所中恢復與蘇醒。
藝術家史蒂文·巴洛克(Steven
Balogh)從共產主義領土逃脫到了美國,發現自己還只能在集中營的鐵絲網牆壁後面掙扎;他的作品「孔雀陷阱」反映政治舞台的游戲,當白宮談判桌已經轉向高爾夫球場之際,高爾夫球杆被藝術家隨意擺置有如美麗的孔雀毛被陷在牢籠中;還有如龍捲風漩渦的綠色繁複綫條的繪畫作品主題爲「金錢風暴」,指向了華爾街的貪婪利益凸顯無意識的紙張追逐。
在楊金池的「數學光」作品,通過飲料罐剪出的閃亮金屬絲帶下的小視頻中描繪了「現在的社會病態」,包括了快速轉換的恐怖﹑暴力﹑戰爭﹑慾望﹑淫穢﹑污染和諷刺混亂的影像交錯;
藍巧茹子宮般的座椅「庇護所」是一座充滿風情的避風港,她用人造毛皮包住了這把椅子並圍繞著閃閃發光的霓虹燈,背景加上嬰兒的聲音與放鬆的音樂;這個假的「庇護所」被放置在Los
Sures畫廊空間的狹窄前院中,對照著Los
Sure創始人斑駁掉落的油漆壁畫背景;像許多藝術家開啓商機然後被趕出的地區一樣,威廉斯堡的波西米氣質一直對房地產開發商具有莫大吸引力,而HDFC-Los
Sures這個機構一直在威廉斯堡奮戰區域的高檔化。郭明哲的「郊區形式」,從美麗的閃亮塑料芯片上觀看過度發展的土地轉型,以及重複的社區房屋形狀的空鳥瞰景觀。
布魯克林的南威廉斯堡美術館(El
Museo De Los Sures,Williamsburg,Brooklyn.)是由以追求住房公平公義爲訴求的機構HDFC-Los
Sures,所設立的社區小型藝術場地。
地點:EL Museo de Los Sures,
Opening reception: Thursday April 20,
6-8pm
April 20 - June 30, 2017
參展藝術家Artists : Steven Balogh 史蒂芬.巴洛, Hiroshi Jashiki 謝敷 宏, Ming Jer Kuo 郭明哲, Catherine Lan藍巧茹,
Lulu Meng 孟祥璐, Poyen Wang 王博彥, Chin Chih YANG 楊金池.


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