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“Plastonki”杨季涓个人项目

  • 《展览作品》 杨季涓 尺寸可变 录音(20分钟)、陶瓷(约390件)、沙
展览时间:
2021-09-21 - 2021-10-30
开幕时间:
2021-09-18-16:00-18:00
展览城市:
香港 - 香港
展览机构:
马凌画廊
展览地址:
香港中环皇后大道中8号一楼
展览备注:
展期: 2021.9.21 - 10.30周二至六,上午11时 – 下午7时,公众假期除外
仅限预约
预约观展请联系: mail@edouardmalingue.com
地点 : 香港香港仔兴和街25号,大生工业大厦12楼B2室

展览介绍

马凌画廊荣誉呈献杨季涓(1985年生)首个香港个人项目,在位于田湾的工作室展出她的装置作品《Plastonki》(2020)。

杨季涓的创作里充斥一种与记忆相关的细腻特质。她将记忆视作知识的来源与媒介,进而探索我们与地方、物件及事件间的种种关系。她的雕塑或空间装置常常采用讲故事的方式,以一种既温暖、亲密又轻巧的质地,鼓励观众切身投入各种情境之中,进而穿透、展开有关生命、家庭、政治、都市环境、文化肌理等各种向度的深邃发问。

《Plastonki》试着从生物学与地质学架构下引述,以拟人与非人类的观点来围绕讲述关于自然物与人造物的变异。题目“Plastonki”是艺术家自创的组合词,它代表着石化工业产物,同时也在装置的叙事中扮演着新物种的名称,以推敲自然生物循环及远古信仰的精神。

该装置主要由口述声响与手作陶土构成。口述声响以科学论述作为引言,结合拟人化的寓言故事,在知识与反讽之间描述各式生命体——包括鱼、海藻、珊瑚,直至沙滩、石头等等——在生态循环下的变异样貌,追溯自然地景的成因。在叙述文本中,“Plastonki”作为现代化产物的代名词,它的生世突兀又离奇,暧昧游走于自然、神话与信仰之间。

陶土的造型则叠合了海岸边自然的与人为的痕迹,它们是一些经海浪冲刷而变形的器具、塑料、石块、贝壳、珊瑚、树枝、骨骸、或是其结合物。这些色彩斑斓的物件散布于海砂上,如同孩童游戏过后遗留在沙坑里未经收拾的一地玩具。攀附在墙面的那些陶土部件,其造型与概念则来自于攀岩场的塑料造型石头。这样的“石头”在自然与非自然的对立概念之下被生产出来、参与造景,有如响应着“Plastonki”故事中对石头成因的疑惑。

可以说,“Plastonki”既是现代石化产物的匿名,也是隐藏在群体间状似无语幽灵般的魅惑角色。该装置透过声响、物件与空间,在自然与人为、合理与不合理的论调之间,似在讲述着新生自然生态系统的开端以及生命物种的漫长演进、变异及其循环。然而,在科普式论述及故事性开展之下,实则蛰伏着一个深切的探问:人们对生命经验的信仰或意识,是否比科学探究的自然进程更难以被理解分析?

杨季涓现工作及生活于台湾台北。她近年举办的个展包括:“Plastonki”, Künstlerhaus Bethanien, 柏林,德国(2020);“短篇集:风和日丽”,台北国际艺术村(2017), 台湾;“Tick-Tock”,咩事艺术空间,香港(2017);“短篇集:从夜晚10点到清晨5点”,朱铭美术馆,台北,台湾(2017)。她曾入围2018年华宇青年奖以及2017年台北美术奖。

Edouard Malingue Gallery is pleased to present Yang Chi-Chuan’s (b. 1985) inaugural solo project in Hong Kong, with her installation Plastonki (2020) in our Tin Wan studio.

Pervading Yang Chi-Chuan’s works is a delicate, mnemonic quality engaging with our relations between people, places, objects and events. By often employing storytelling in her sculptures or installations with a warm, intimate and gentle touch, Yang embodies subtle access to a wide range of questions in life, around family, politics, urban environment and various cultural fabrics.

From an anthropomorphic and non-human perspective, yet under the framework of biology and geology, the project attempts to narrate the evolving changes and mutations of natural and artificial objects or materials. Its title, “Plastonki” – a portmanteau word invented by the artist, is not just the metaphor for thepetrochemical industry and its products, but also the name of a new species in the taped story, tracing the natural cycles of life and the spirit of ancient beliefs.

The installation includes a narrative audio recording and handcrafted ceramics. The audio begins with a scientific introduction, then followed by an anthropomorphic fable. Alternating between informative and satirical tones, the narration illustrates various living organisms such as fish, seaweed, coral, beaches, stones,their evolutions in the ecological cycle and the causes of natural landscapes. ”Plastonki“, a synonym of the product of modernisation, appears in the story as a bizarre and mysterious existence, with its identity ambiguously shifting between nature, myths and beliefs.

The forms of the handcrafted ceramics are combinations of the natural and the artificial remained on seashores, such as utensils, plastics, stones, shells, coral, branches, bones or their mixtures, all deformed by coastal erosion. These colourful objects are scattered on the sand, like untidy toys left in the sandpit after a child’s play.As for the ceramic parts attached to the wall, their shapes and concept come from the plastic rocks in the rock-climbing gym. Such “rocks” are made and engaged in the landscape under the opposing notion of natural and unnatural, echoing the questioning of the origin of the rocks in the “Plastonki” story.

One might say that, beyond being an incognito for modern petrochemicals, “Plastonki” can also refer to a phantasmagorical being hidden in the mass, silent and ghostlike. Through sound, object and space, the installation seemingly tells the story of the beginnings of a new natural ecosystem, the endless evolution of living species, their mutations and their cycles, between the arguments of nature and man-made, rational and irrational. However, underlying the science-based discourse and storytelling, there lays a more profound question: could the human’s beliefs or consciousness of their life experience be more elusive and impossible to interpret and analyse than the natural progression under scientific investigation?

Yang Chi-Chuan currently works and lives in Taipei, Taiwan. Her recent solo exhibitions include “Plastonki”, Künstlerhaus Bethanien, Berlin, Germany (2020); “Have a Good Day”, Taipei Artist Village (2017); “Tick-Tock”, Things That Can Happen, Hong Kong (2017); “Essays During the Night”, Juming Museum, Taipei, Taiwan (2017). She is the Finalist in the 2018 Art Sanya Huayu Youth Award and the 2017 Taipei Arts Award.

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