雷磊 Lei Lei

Lei_Lei

www.raydesign.cnhttp://raylei.blogbus.com

雷磊 Lei Lei,视觉艺术家/独立动画导演

1985年出生于中国江西省南昌市,2007年本科毕业于清华大学美术学院动画专业,2009年获得清华大学美术学院动画硕士学位。

2010年动画《这个念头是爱》获得渥太华国际动画节最佳动画短片奖。2013年动画《照片回收》入选昂西国际动画节,获得荷兰国际动画节最佳动画短片奖。2014年担任萨各勒布国际动画节,荷兰国际动画节评委。同年获得亚洲文化协会蔡国强艺术奖学金。

张增增 Zhang Zengzeng

张增增 Zhang Zengzeng

我叫张增增。我毕业于中国重庆的四川美术学院雕塑系,一直尝试突破雕塑的概念,寻找新的艺术表达方式。

近年来尝试用肥皂泡这种材料在一堆砖头和铁铲上制作了一座中国的功勋碑——作品《瞬间的永恒》,同时我觉得这种材料本身的短暂性和虚无性,就像梦一样,所以我用它包裹穷人家的物品并制作他们梦想要拥有的东西,以此作品换得的钱去买个真实的送给他们,用这样的方式让他们梦想成真——作品《梦想成真系列》。

除此之外,当肥皂泡作品在空气里消失没有的时候,我在想那么空气还能怎么做呢?

我开始使用增强现实这这样的虚拟技术得一实现——手机已是我们今天观看世界的主要方式之一,于是做一件只能用手机观看的作品而肉眼却看不到。作品《无形之形》就是基于这样的想法和技术制作出来的。在空无一物的空间里,观众拿着手机对着那片空间,便会在手机屏幕里出现一个撑满空间的立体大铁球,观众举着手机改变自己的位置来观看大球的不同角度。(尺寸根据现场大小制定)

2014年12月在上海外滩的对面东方明珠塔旁边永久的树立了一个虚拟的直径为650米的大铁球,观众站在外滩,举着手机对着东方明珠塔就会看到他,放下手机他就不存在。这样的一个巨大的公共雕塑,市民是否想看到它,选择权就在市民自己手上。与传统相比,他在满足公共景观需求的同时,不会占有实际公共空间,更不会强迫你去观看它。——作品《无形之形——东方明珠》

《无形之形——港澳自由行》香港,澳门本是中国的一部分,但因历史种种问题离开祖国近百年,现虽已回归,但两岸的政治经济文化以及人们之间一直都难以融合产生并产生各种矛盾。在这其中两岸人民都能感受到有种无形的东西阻隔在中间。这些也许是经济的问题,人们价值观的迥异,甚至背后隐藏的政治目的,我想您也知道前段时间的香港民众围堵大陆游客,以及占领中环的大游行等等。因为这些看不到的原因与矛盾迫使我不得不把我的这件《无形之形》作品放置在曾经香港和大陆,以及香港和英国之间产生矛盾的地点。因为在那里聚集着无形的问题。

I graduated from the department of sculpture at Sichuan Fine Arts Institute. I have been working on the issue of how to deconstruct the concept of“sculpture”and searching for the new way for my artistic expressions for many years.

In recent works, I used soap bubble as an artistic medium to make many works, such as A Moment of Eternity, a work was made by soap bubble which was installed on a pile of bricks and a shovel. I turned these materials into an imagery monumental, as I think there are several similarities between human’s dream and the temporality and nihility of this material. In light of the property of this material, I made my second soap-bubble work Dreams Becoming True. In this work soap bubble was used to wrap different objects and furniture in order to make incomes. With this money, I can buy a new one thus give the new one to them.

In addition, I started to think what would happen if the bubble finally disappeared into the air? How can I make works with air? Thus, I used the technique – Agumented Reality. I chose the cellphone as my artistic medium, since it has been the one of the main ways for us to see the world. I intended to create a work that can only be viewed with the screen of our cellphones. Based on this idea, I made A Form without any Forms. Initially, this work was exhibited in a space where nothing was placed. Once the audiences held their cellphones toward this space, a huge iron sphere would emerge on the screen of their cellphones. Meanwhile, the shape could be changed if the audiences moved their positions.

This work was further explored by myself in December 2014. At the Rockbund of Shanghai city, I exhibited this virtual work. I installed this work at the opposite site of the Rockbund and invited the audiences to view this work which was 650 sphere diameters through their cellphone screens. Compared to the traditional public art, this work showed absense of publicness and, at the same time, it did not occupy the literal space. Also, it would not enable you to see by force.

 

 

Hong Kong and Macao are parts of China, but because of the historical problems,they had left the mainland for nearly a hundred years. Although both of them have returned to the mainland, the conflicts in terms of politics, economy, and culture still exist between both sides. In these conflicts people from both sides feel invisible barrier between them. These may be the issues of economic, people’s values, even the political purposes. As you know, in lasts few months, there were many political movements including the occupation of central parade in the Umbrella Protest. Since the invisible cause and contradiction forced me to put my “invisible” work in the place where once the conflict existed between Hongkong, the mainland, and the United Kingdom.

 

无形之形——港澳自由行 Hong Kong, Macao and free exercise of intangible work instructions

张增增 作品 work of Zhang Zengzeng
维多利亚港 Victoria Harbor
增强现实摄影 AR Photo
2015

张增增 • Zhang Zengzeng

&

妙果数码 Shanghai miugo digital technology co. Ltd.

《无形之形——港澳自由行》

Hong Kong, Macao and free exercise of intangible work instructions

 

材质:增强现实项目

Material: AR Project

我把我的《无形之形》作品带到了香港和澳门。香港,澳门本是中国的一部分,但因历史种种问题离开祖国近百年,现虽已回归,但两岸的政治经济文化以及人们之间一直都难以融合产生并产生各种矛盾。在这其中两岸人民都能感受到有种无形的东西阻隔在中间。这些也许是经济的问题,人们价值观的迥异,甚至背后隐藏的政治目的,因为这些我看不到的原因与矛盾迫使我不得不把我的这件《无形之形》作品放置在曾经香港和大陆,以及香港和英国之间产生矛盾的地点。因为在那里聚集着无形的问题。

I took my Invisible Form to Hongkong and Macao in recent days. Hongkong and Macao are parts of China, but because of the historical problems,they had left the mainland for nearly a hundred years. Although both of them have returned to the mainland, the conflicts in terms of politics, economy, and culture still exist between both sides. In these conflicts people from both sides feel invisible barrier between them. These may be the issues of economic, people’s values, even the political purposes. Since the invisible cause and contradiction forced me to put my “invisible” work in the place where once the conflict existed between Hongkong, the mainland, and the United Kingdom.

汤南南 Tang Nannan

汤南南

http://www.tangnannan.com/

Tang Nannan (B. 1969, Yunxiao, Fujian Province,China), 1988 Graduated from: Department of Fine arts, Jimei Normal Technical School, 1995 B.F.A. Graduated from Department of Fine arts, Xiamen University, 2004 M.F.A.Graduated from Department of Fine arts, Xiamen University, Currently Teaches in the Art College, Jimei University, China Academy of Art  PHD candidate. Solo and group exhibitions in China and internationally, work in tradition ink and water color on paper, as well as video and installation projects. Tang Nannan’s work have been shown in Shanghai Biennale (2012), 2nd China Art Triennial, Nanjing (2005), and New York as well.

福建云霄人,艺术家,教师。先后毕业于厦门大学艺术学院、中国美术学院跨媒体艺术学院,首批当代艺术实践类博士。现任教于中国美术学院、集美大学美术学院。 汤南南的创作涉及绘画、录像、摄影、装置、动画等多个领域,先后参加第九届上海双年展(2012,上海)、第一届南京三年展(2005,南京)、法国ALTKIRCH现代美术馆的中国当代影像展等展览(2003,巴黎)。并先后于纽约(2009)、北京(2008)举办个展。 汤南南以现代都市乡愁为重要主题,讨论时间与记忆、神话与诗歌、乡愁与生死等多个命题,试图以社会学文化研究为基础,尝试绘画、录像装置、多屏幕录像剧场等多种艺术方式的融通互鉴,努力探索基于自身生活经验并关切当代生活情境的艺术方式。

朱哲琴 DADAWA

dadawa

Musician / Artist/ Inedpendent Producer

Dadawa (aka Zhu Zheqin, 朱哲琴) is the first singer who has international reputation in China, new music representative. The founder of SHOW THE WORLD goodwill action for the preservation and development of Chinese ethnic culture.

Interdisciplinary cooperate with music, film, art, design closely. Committed to promoting Chinese creation.

冯海 Feng Hai

冯海

毕业于中央美院与澳大利亚、格里菲斯大学、昆士兰艺术学院合办之摄影硕士班获视觉艺术硕士学位,他的作品,既有国际风范又融入中国元素,被冠以“为时装摄影而生”的大师。1999-2000年度“中国最佳时装摄影师”,2000-2001年度“中国最佳时装摄影师”, “MTV颁奖大典”、“莱卡风尚颁奖大典”评委中唯一的摄影师评委、 “HKIPP亚洲摄影年赛”评委中唯一被邀请的大陆评委,第一位为BEZN汽车、意大利时装品牌GUCCI等欧洲时装类奢侈品牌拍摄硬广告的亚洲摄影师。 2006年为迪奥 Dior拍摄Dior 60周年特别宣传、2009年作为中国摄影师代表,入选《时尚档案》,由首都博物馆永久馆藏,2009、2010年作品参加“Art Beijing”艺术展 、2010年获马爹利非凡艺术人物奖。2010时尚大典年度时尚摄影师、2013年时尚集团及现代传播集团20周年“中国现代时尚人物”2013、2014年连续两年为巩俐代言伯爵PIAGET拍摄形象、

多次为《ELLE》、《BAZAAR》、《marie claire》、《COSMOPOLITAN》、《L’OFFICIEL》、《VOGUE》等杂志拍摄明星封面。

王郁洋 Wang Yuyang

wangyuyang

 

王郁洋出生于1979年,曾经就读于中央美院附中、中央戏剧学院、中央美术学院,现任教于中央美院实验艺术系并在北京居住和创作。王郁洋虽然使用新兴媒介进行创作,却从不强调技术的新奇。他似乎更感兴趣于“过时”的技术、“破坏”美学及物质浪费带来的艺术性。他的作品涉及各种媒介,并充分拓展其内在潜力。他以幽默的、虚构奇观的方式来探究和表述人的身体、经验及认知之间的关系,探讨人造现实、媒体、历史感知与身体认同之间的关系。他的作品在中国及欧洲的主要展览和艺术节上均有展出。

WANG Yuyang was born in 1979. He studied at the China Central Academy of Drama and the Central Academy of Fine Arts. He has taught at the School of Experiment Art at the Central Academy of Fine Arts since 2008 and lives and works in Beijing. WANG Yuyang creates works using emergent media but does not deliberately emphasize the novelty of technology. He is more interested in the artistry brought about by “outdated” technology, “destructive” aesthetics and material waste. His work has employed all possible media. He uses humor, fiction and spectacles to explore and reflect upon the relationship between the human body, experience and cognition. At the same time he also investigates the relationship between artificial reality, media technology and historical perception. His work has been shown in major exhibitions and art festivals in China, Europe and the United States.

刘畑 Liu Tian

liutian

劉畑長期致力於「研究-創作」的共同推進,工作貫穿策展、作品創作、理論研究及寫作。2006年起,作為策展人策劃了眾多學術性展覽,包括:首屆上海當代藝術博物館青年策展人項目優勝項目「大地備忘錄」(2014)、「西岸2013:建築與當代藝術雙年展雙年展」藝術助理策展人、戲劇特展暨開幕演出「雲戲劇-上海奧德賽」總導演(2013)、「關於某物的報告:吳山專&英格•斯瓦拉•托斯朵蒂爾」(2013)、「綠盒子:媒體現實的空間」(2013)、「青年志業—8090浙江青年藝術作品展暨當代青年藝術生活調研」(2012)、「涉世說新語:杭州年輕藝術家調查展」(2009)、「新民間運動——公共生活的重建」(2006)等。
同時,以藝術家身份參加了大量國內外展覽,包括:「重新發電:第九屆上海雙年展」(2012)、第三屆「以身觀身─中國行為藝術文獻展」(2012)、「圖像•載體:媒體藝術實驗展」(2009)、「為什麽去那裏?——關於西藏題材的繪畫調查」(2007)、「DNA亞洲設計年展」(2006)等。
2009年,發起當代青年藝術-問題調查項目,至今已完成一系列展覽、工作坊、調研報告和出版。2010年,創建獨立研究-創作機構「開放問題研究所(Open Matter Institute)」,開展廣義的研究、創作和策展工作,也是進行跨學科發動的開放平台。现为中國美術學院跨媒體藝術學院當代藝術與社會思想研究所在讀博士,當前的研究聚焦於「媒體-現實」方向。


Liu Tian researches into topics relate to artistic creation, curating, writing and visual culture.
Since 2006, he has curated exhibitions, including Memorandum for Gaia-The 1st PSA Emerging Curators Program (2014), What A Form: A Reportage-Wu Shanzhuan and Inga Svala Thórsdóttir(2013), West Bund 2013: A Biennial of Architecture and Contemporary Art (assistant curator, 2013), Cloud Theatre-Shanghai Odyssey (director, 2013), Greenbox: The Space of Media Reality (2013), Youthing the Ideal Will-8090 Artists of Zhejiang Province/Research: Art&Life of Contemporary Young Generation (2012) and New Folk Movement—The Reconstruct of the Commonality Living at The 2nd Songzhuang Art Festival (2006).
As an artist, he has participated in Reactivation: The 9th Shanghai Biennale (2012), The 3rd Inward Gazes: Documentaries of Chinese Performance Art (2012), ‘Images & Vehicle: An Experimental Exhibition of Media Art’(2009), ‘Why go to Tibet? – Survey of Tibetan Subject Matter in Painting’(2007) , and Design Network Asia (2006), among others.
In 2009 Liu launched the Contemporary Youth Arts Research Project, which to date has undertaken a series of exhibitions, workshops, research papers and publications. In 2010, he established Open Matter Institute , an artistic independent research and creative project. His a Ph.D candidate from the Institute of Contemporary Art and Social Thoughts, School of Inter-Media Art, China Academy of Art and his current research focus is on ‘media reality’.

徐文恺 Aaajiao (Xu Wenkai)

aaajiao

http://eventstructure.com/

aaajiao是徐文恺的网络化名,aaajiao代表了他媒体艺术家、自媒体、网络活动家等诸多身份。aaajiao于1984年生于西安,就像这个年份——1984年也是奥威尔同名小说的标题——和地点所象征的巧合,他的作品充满了强烈的科技的想象以及文人情怀。不少aaajiao的作品都切中了今天互联网相关的新思维、议题以及现象,其中不少项目都探索了数据处理、自媒体领域以及信息过滤。aaajiao近期的创作中的跨领域协作(建筑、电子音乐、表演、产品设计、医学等)都无疑都聚焦于今天消费网络技术、生活于社交媒体中的青年一代。

aaajiao的作品频繁展出于国内外的诸多展览,其中包括《齐物等观——国际新媒体艺术三年展》,中国美术馆,北京(2014);《PANDAMONIUM 又一次发声 ——来自上海的媒体艺术》,Momentum,柏林(2014);《西岸建筑与当代艺术双年展》,上海(2013);《平行世界》,录映太奇,香港(2011);《转译媒体节》,柏林(2010),等等。2014年底,他不仅荣获第三届三亚艺术季暨华宇青年评审大奖,亦入围首届OCAT皮埃尔•于贝尔奖并在2015年获得第九届AAC年轻艺术家提名奖。

aaajiao, is the online handle of Xu Wenkai, a Shanghai-based new media artist, avid blogger and free thinker.

Born in 1984, aaajiao grew up in Xi’an, the ancient capital of Qin and Han Dynasty known for the Terracotta Army. The year of 1984, coinciding with George Orwell’s dystopian masterpiece, seems to explain the perfect alignment between the vivid SciTech-driven imagination and the sometimes-poetic sophistication, frequently seen as the main theme of aaajiao’s work. Many of aaajiao’s works tap into the most current trends of thoughts around the Internet sphere, with a focus on the emerging controversies and phenomenon related to data processing, blogsphere/wemedia and filtered information. In his most recent projects, the artist has adopted a more extended scope of practices, borrowing elements from architecture, electronic music, performance arts, product design, even medicine, to portray the young generation harnessing the power of cyber technology and the ever-present social media.

Being one of the most frequently exhibited Chinese new media artists, aaajiao has been featured in both international and domestic scenes. Highlights include: “Thingworld, International Triennial of New Media Art Beijing”, The National Art Museum of China, Beijing (2014); “Pandamounium”, Media Art from Shanghai, Momentum, Berlin (2014); The West Bund Architecture and Contemporary Art Biennale, Shanghai (2013); “One World” Exposition – Chinese Art in the Age of the New Media, Videotage, Hong Kong (2011); Transmediale, Berlin (2010), etc. aaajiao is a winner of the Jury Prize from Art Sanya Awards 2014, a nominee of OCAT – Pierre Huber Art Prize, and most recently, a nominee of the “Young Artist of the Year” of 9th “Award of Art China”.