10/07/2019

Hecomi & City Study in Chengdu #41

折叠城市
Hecomi & City Study in Chengdu #41

艺术总监:孙莉
策展人:蔡丽媛
Artistic Director: Sunny Sun
Curator: Cai Liyuan

驻留艺术家:谷口顕一郎、谷口彩子
Artist: Ken’ichiro & Ayako Taniguchi

主办:麓湖·A4美术馆
Organizer: LUXELAKES·A4 Art Museum

开幕:2019年7月13日(周六)15:00
Opening: 15:00, July 13, 2019 (Sat.)
展览时间:2019年7月13日-2019年10月15日
Time: From July 13, 2019 to October 15, 2019

地点:麓湖·A4美术馆二楼工作坊,A4国际艺术家驻留基地

Venue: Workshop space of Second floor, LUXELAKES•A4 Art Museum, A4 International Artist-in-Residence Base

折叠城市
Hecomi & City Study in Chengdu #41

每个城市都有自己独特的历史,同样的,它们的地理形态也各不相同。从人类早期定居到居住条件的快速发展,以及人类活动广泛展开的漫长过程中,城市的面貌也在逐步发生改变。

近年来,我们通过观察城市的航空照片而将艺术实践聚焦于各种地理构造当中,由地理概况所传达出的来自绿色空间和城市区域之间的紧张关系,以及略带温柔和仁慈的有机形状。不仅如此,正如航拍照片所显示的那样,流经城市的河流也展现出了勃勃生机。城市景观中的独特地理反映了它们的历史,而多样的形式本身也持续地吸引着我们。这些特征只能从鸟瞰的全景照片中辨认出来,不太可能从内部洞悉如此大规模的能量是如何显现而出的。在工作中,我们试图回应这些反映城市景观的独特品质以及历史发展当中的地理与制图特征。

本次展览中,我们完成了三个基于成都航拍图片的雕塑作品,沿着自然与都市的界限进行描绘,并根据提取的形状创作出了平面图形。在那之后,我们附加了铰链并进行折叠,固定作品由此而成。

第一件作品是在我们驻留开始之前就完成的部分。从照片上看,成都的形状仿佛是平原中央的一个圆圈,它的手臂向外舒展,迎接来自东北与西南方向流淌的河流,这是一个纯粹从城市机体中浮现出来的形象。

驻留期间,通过城市漫步,亲身感受文化历史以及与当地人互动,我们对城市的印象也在逐步发生改变。如同第一件作品,其他几件也以城市形状为主题,不同的是它们来自城市的实际感受。

我们相信,观众乐于看到局外人是如何看待这里,并如何进行抽象的表达。此外,一个不同以往的观察角度,也使得更多当地人分享他们的记忆,那些关于城市的,关于想象的未来,并引发一系列反思,那些他们在城市中所看到的部分。

除了这三件作品,我们还展示了一件基于麓湖的创作。追溯一部分已经存在的湖的形状,并展开制作。这只是一个开始,基于这个还在建设当中的水城,我们可能会以六个月为一个周期,观察它的变化。

最后,我们还想介绍另一个系列的工作。自2000年以来,我们围绕着称之为“凹”(Hecomi)的主题创作了三维的作品。这个项目专注于道路、地板、墙壁以及其他表面的裂缝和分裂。在这次驻留期间,我们收集制作了两个“凹”的素材,一个来自麓客岛,另一个来自都江堰,它们将以平面的形态进行展示。

Every city has its own unique history, with equally distinct geographic forms. During the long transformation from early human settlements to the rapid improvement in living conditions and the expansion of human activities, cities have gradually changed their appearance. 

In recent years, the various geographic formations that we find when looking at aerial photographs of major cities have been motifs in our artistic practice. We sensed a tension between green spaces and urbanized areas, which overviews of their geographic shapes convey. These organic shapes represent gentleness and benevolence. In addition, rivers that run through cities have a vigorous dynamism that aerial photographs often reveal. The idiosyncratic geographic forms of cityscapes reflect their unique history, and their formal diversity continues to captivate us. These features are only discernible in panoramic photographs taken from a bird’s-eye view, because it is not quite possible to see how energy manifests on such a large scale from the inside. In our work, we try to respond to the geographic and cartographic features of cityscapes that reflect their unique qualities and historical development. 

In this exhibition, we show three sculptures based on aerial photographs of Chengdu. We traced the boundaries between nature and the city, and created a flat object based on the extracted shape. Then, we folded it and attached hinges to produce three-dimensional works.

The first piece was produced before the commencement of our residency. When we looked at the aerial photographs, Chengdu looked like a circle in the middle of a plain stretching its hands towards the river that flows to the northeast and southwest. This first piece emerged purely out of the shape of the city. 

During our stay, our initial impressions of the city changed steadily from strolling around the city, feeling the culture and history first-hand, and interacting with the local people. As in the first piece, the subsequent works also take the shape of Chengdu as the primary motif, but the shapes of the sculptures emerged only after we had a physical sense of Chengdu.

We believe that viewers will enjoy seeing how outsiders like us perceived the city and how we expressed this in an abstract sculptural form. By observing the city from a different angle than usual, local people may be able to share their memories of the city, imagine its future, and reflect upon what they see in their city.

In addition to these three pieces, we are also showing a piece based on the shape of the Luxelakes area. We traced the part of the lake’s shape that already exists and produced a piece. This is just the beginning, because the Luxelakes area is still under construction, and we will probably trace it every six months to follow the growth of the lake. 

Lastly, we want to introduce our other series. Since 2000, we have created three-dimensional works that deal with “dents"—what we call “凹” (Hecomi)—focusing on cracks and splits on the surfaces of roads, floors, and walls. We have collected two “Hecomi” from Chengdu. One is from Luxe Island, and the other is from Dujiangyan; both two-dimensional works are also shown in the exhibition.