艺术家陈浩洋作品完成ATCC存证

20181215日下午4点,陈浩洋个展《自然醒》在单行道画廊开幕,展出陈浩洋2018年最新创作的观念摄影、装置与影像等作品,所有作品已在 ATCC 艺术品溯源存证链进行存证。

ATCC 为此次展览的每一件作品粘贴“艺术品智能标签”,该标签具有独立编码的10位不规则的数字,此编号和 ATCC APP 中的藏品ID一致,作品由此获得无法复制的独特身份,所有人都可通过该标签,为陈浩洋作品增加拍卖、出版、展览等溯源数据。

每件作品的数字身份中包含该作品的创作者、名称、创作时间、尺寸、时长、材质、输出方式等。此数字身份将随作品在市场中流转,记录作品出版、展览、拍卖、交易等信息。此外,《自然醒》展览是陈浩洋的这批作品自创作之后,进行的第一次市场推广,如同第一步“足迹”,展览时间、展览地点、主办方等信息作为溯源数据一并上传至 ATCC 艺术品溯源存证系统。这些数据已被高度加密,不可篡改、永久留存。

艺术品的价值会随着艺术品“痕迹”的增加而增加,ATCC 将与陈浩洋一起,见证《自然醒》展览中的作品在未来的艺术市场中如何流转,如何为作品加持价值砝码,如何在若干年后为艺术家创作脉络的梳理提供参考价值。

关于此次展览:

展览由冯兮策划,展出2018年陈浩洋最新创作的观念摄影、装置与影像等作品。继2015年个展《另一半》之后,陈浩洋的视角从人作为个体性的认识和怀疑,进入对于人的心性与生理性之间相互拓展关系的讨论,观察生理性在社会关系的语境下所涉及到人性的反应。新作品中继续使用了燃烧的元素,不仅仅是之前语言形式主导性的延续与拓展,更是用其的表达力所表达的情绪与情感,使生理性成为作品意识进入展览与现实语境的触角。

本次展出的观念摄影作品中,《边境》系列自然的背景与非自然的摆拍形成的虚拟关系,是对于精神边界的描述,更是无法确立当下与未来之间的关系节点。《温室》系列在荒废的房间里附加的在灼燃中的木头,弥漫出时空与记忆在消失后仅存的温情,燃烧着温暖的孤独,而孤独承担起了温情前往归宿的使命。另外,三张关于文字的摄影作品,陈浩洋引用了自己喜爱的作家诗歌中的语句。作者、诗歌和社会的关系构成了情绪的波场,火花的粒子在空中飞舞,燃烧的文字呈现出现实的焦灼与清冷。小展厅的装置作品《暴力生长》则暴露出了个人生理和情绪的动机,在这个时代,人与物都变得焦躁,集体意识与个体意识在相互敌对与妥协中越来越不可控,“暴力”已经成为生活必备的反应,“暴力”不再是一时冲动,而是不断地蔓延与滋长。身处黑色的舞台,每个人是“暴力”使用者,也是被“暴力”伤害者。全新的影像作品《隐》,是以时间跨度为轴心内在的显现,影像里大海、树林、沙漠,成为时间的流逝象征性,或者被停止的信号。一切都在未知中演变,看似不变的表面涌动着某种流动残酷的暗流。

“自然醒”是人类睡眠中生理与心理的纯粹放松的理想状态,忘记现实物质生活给予的复杂、诱惑、焦虑,失控、沉醉、兴奋与迷茫等多元状态。陈浩洋相信并向往“自然醒”这样原生属性的理想生活,也使“自然醒”的愿望成为一种觉悟和反思。除了批判本身,反思是基于现实对时间、空间、价值与情感的着落,在自我寻找和思考一种不确定的生存方式。

展览将持续至2019年02月24日。

We are pleased to announce the opening of “In Between – Chen Haoyang Solo Exhibition” in One Way Art Gallery at 4 pm on December 15, 2018.

Curated by Feng Xi, the exhibition presents conceptual photography, installation and video works that Chen Haoyang newly created in 2018. After the solo exhibition “The Other Half” in 2015, Chen’s perspective has shifted from his individual recognition and doubt to the discussion of the relationship between the mentality and physiology, and the observation of the physiological reaction to human nature in the social context. The new works continue to use the element of fire, which is not only the continuation and extension of the previous language form, but also the expression of his feelings and emotions. The physiology has become the works’ antenna to enter the exhibition and the realistic context.

In the conceptual photography works exhibited here, the virtual relationship formed by the natural background and unnatural pose in the Frontier series is a description of the spiritual boundary, and it also indicates the inability to establish the relationship between the present and the future. The “Greenhouse” series puts burning wood into a deserted room, which refers to the only warmth after the disappearance of memory. The warmth given out by the burning wood heals loneliness, which takes on the mission of escorting the warmth to its destination. Besides, in the other three photographs about characters, Chen quotes from poems of his favorite writers. The relationship between the artist, the poems and society constitutes the wave field of emotions, where the sparks dance in the air, and the burning characters present the anxiety and coldness of reality. The installation “The Growth of Violence” displayed in the small exhibition hall has exposed his personal physical and emotional motivation. We are in such an era when people and things are anxious, and collective consciousness and individual consciousness are becoming increasingly uncontrollable in the hostility and compromise. “Violence” has become the essential reaction of life. It is no longer an impulse, but it is continuously growing and spreading. On this black stage, everyone is the user of “violence”, as well as the victim of “violence”. The new video work “Hidden” takes the time as the axis. In the video, the sea, forest and desert have become the symbols of the passage of time, or the signal of time being stopped. Everything is evolving in the unknown, and some cruel undercurrents are flowing beneath the seemingly unchanging surface.

“To awaken naturally(In Between)” is the ideal state of pure physical and psychological relaxation in human sleep, forgetting about the complexity, temptation, anxiety, loss of control, intoxication, excitement and confusion and everything else in real life. Chen believes in and yearns for the ideal life of being able “to awaken naturally”, and also makes the desire “to awaken naturally” a kind of consciousness and reflection. Apart from its critical nature, reflection is the cognition of time, space, value and emotion based on reality, and also the selfsearch and thinking of an uncertain way of life.

The exhibition will be open until February 24, 2019.

 


 

关于艺术家-陈浩洋

1980,生于长沙 

2007,毕业于中央美术学院摄影与影像媒体艺术工作室

2010-2014,老虎数字传媒有限公司,编剧,导演

2008-至今,从事编剧,导演以及当代艺术工作

现生活工作于北京  

主要个展:

2018

[自然醒],单行道画廊,北京

2015

[另一半],Between艺术实验室,上海

主要群展:

2018

[PHOTOFAIRS SHANGHAI影像艺术博览会],上海

[车库实验艺术空间],北京

[怡达新歌声],单行道画廊,北京

[刷屏/劳作:2018AMNUA摄影展],南京艺术学院美术馆

[一条线索,五张脸孔],索卡艺术,北京

2017

[二次空间],新媒体艺术展,西安

2016

[PHOTOFAIRS SHANGHAI影像艺术博览会],上海

2015

[图像的重构],卡塞雷斯博物馆,意大利

[世象-中意当代艺术联展],卡普里岛圣∙吉亚科莫修道院艺术中心,意大利  

[炼金术],Between艺术实验室,上海

2012

[xxx下一个当代艺术十年],今日美术馆,北京

 

2007年毕业短片《月夜》入选法国克莱蒙费朗国际短片电影节, 巴西里约热内卢国际短片电影节,法国巴黎蓬皮杜艺术中心shadows电影节邀请。2011年,电影《杨梅洲》编剧,执行导演,该片获第36届香港国际电影节,新秀电影竞赛“火鸟”大奖;第10届海海参崴国际电影节,最佳亚洲电影NETPAC奖,圣马力诺电影节最佳剧本奖。