Cantocore Exhibition Guangzhou Artists
Artists
Exhibiting Artists
JD. Beltran, Deer Fang, Justin Hoover, Hu Xiangqian, Huang Xiaopeng, Misako Inaoka, David Johnson, Lin Fang suo, Guy Overfelt, Jon Phillips, Wang Ge, Kathrine Worel, Zhou Tao
Import: Deer Fang, Justin Hoover, Huang Xiaopeng, Misako Inaoka, David Johnson, Guy Overfelt, Jon Phillips
Export: JD. Beltran， Deer Fang, Hu Xiangqian, Lin Fang Suo, Wang Ge, Kathrine Worel, Zhou Tao
Justin Hoover
Websites
Bio
Justin Hoover is a Bay Area artist, curator, and writer. His artistic practice examines time using video, performance, and photography to document time in its residual forms. The roots of his curatorial practice stems from a history coordinating happenings, spectacles and art events in alternative contexts.
About The Garage; an alternative space:
The Garage was established by Justin Hoover in 2004 as an experiment in exhibitions and social sculpture. It exists as a collection of energies dedicated to artistic play and thrives on pushing boundaries in the definition of art and culture. The events created for this space are site-specific dynamic mixtures of all mediums of art and explore the intersections between disciplines.
Justin Hoover是一位居住和工作在美国旧金山的艺术家，策展人和作家。他的艺术实践通过影像和行为来测试时间，并用摄影来纪录时间的残留形式。他的策展实践根由起源于在非主流艺术背景下组织行为艺术和艺术活动。 2004年Hoover 成立了The Garage, 一个展览和社会雕塑的实验基地。
关于The Garage，一个非主流空间：
The Garage于2004年由Justin Hoover创立，是一个展览以及社会雕塑的实验基地。它凝聚众志，致力于艺术表演，以促进拓展艺术与文化的分界线。创立这样一个艺术空间这一举措具有定点特性、是个充斥活力以及各种艺术形式的混合体，它尝试去探索戒律规则间的交叉点。
Project Summary
video installation
100 Two Minutes Performances, Justin Hoover and participating artists)
100 Performances for the Hole (Notes Going Up and Down)
This show orchestrated 100 site-specific performance artworks for a mechanics pit in the floor of the Garage; an alternative space. Beginning at 5:58 pm on January 26th 2008, The Garage commenced a progression of one hundred 2-minute performances, concluding when all pieces were completed. This tour de force of the gentle expresses the zeitgeist of Bay Area experimental culture and beyond. For Cantocore exhibition, Justin Hoover will recreate some of these 2 minutes performance in Ping Pong. And instead of having San Francisco artists, Hoover will hire actors and actress as performers.
“100个行为”，行为和装置
“100个行为”项目围绕The Garage艺术空间的一个机械维修坑组织了100个特定地点的行为表演。于2008年1月26日下午5:58分, The Garage 开始并最终完成了100个2分钟行为表演。这个旅程体现了美国加州湾区实验艺术文化的时代精神。为"硬核广州" 展览，Justin Hoover将在乒乓艺术空间对部分2分钟表演进行再创作。与在旧金山的行为项目不同的是，Hoover将在广州聘请演员来作为行为演绎者。
Project Dimensions
dimensions may vary, but ideally I would like to spatially recreate the floor plan of the Garage and put the video monitors in the area where the hole would be. Dimensions of the garage are 25x30 feet.
Material Requirements
- 2 televisions, and 2dvd players. 5 actors and a video camera.
Installation Instructions
Media
Lu have images for this work. Contact her for them.
Stardusted Video Screening
Websites
Bio
Clark Buckner works as Director and Curator at MISSION 17, a not-for-profit center for visual culture in San Francisco; and he teaches both graduate and undergraduate courses on video, contemporary art, and critical theory at The San Francisco Art Institute. Previously he taught as a Visiting Assistant Professor in the Philosophy Department at Mills College. He has published articles on contemporary art and critical theory in both popular and academic journals, including Art Review (UK), Bomb Magazine, Art Journal, and The Journal of Aesthetics and Art Criticism. And, in 2005, he co-edited a volume of essays on problems in Continental Philosophy, titled Styles of Piety: Practicing Philosophy After the Death of God (Fordham U.P.). He holds a PhD in Philosophy from Vanderbilt University.
Clark Buckner， 是MISSION 17美国旧金山一个非牟利视觉文化中心的主任与策展人。他同时在旧金山艺术学院本科和研究学院任教，课程主要包括录像，当代艺术和批判理论。在此之前他是Mills College哲学系的访问教授。他曾在各类流行和学术刊物上发表文章，包括Art Review (英国），Bomb Magazine, Art Journal, 和 The Journal of Aesthetics and Art Criticism. 2005年他上联合编辑了一系列关于大陆哲学的论文集，名为《虔诚的风格：在上帝死亡后实践哲学》。他从Vanderbilt大学获得了哲学博士学位。
Project Summary
Stardusted, video screening event
The M17 Video Archive is a curated collection of contemporary, single-channel video art, maintained by Clark Buckner and housed at MISSION 17 in San Francisco. The archive provides an on-going platform for artists and other video producers to exhibit their work, and a way for Bay Area audiences to access videos from throughout the world. Visitors to the gallery are invited to watch videos from the collection "on-demand;" MISSION 17 maintains a program of works drawn from the archive, which are be presented in conjunction with the gallery?s regular exhibitions; and Clark draws from the archive to curate screenings at other outlets. MISSION 17 is a San Francisco based, not-for-profit center for visual culture, which exhibits and supports the work of emerging and mid-career artists, with particular emphasis on experimental art forms and the opportunities they present for social and psychological reflection.
Curated by director of Mission 17 Clark Buckner, "Stardusted" is a video screening event take place during the second part of Cantocore exhibition. The event features experimental video art work from 11 California artists, followed by audience discussion section.
The M17 影像档案是一个对当代单频道录像艺术的收集，由Clark Buckner管理，此录像档案集目前存于美国旧金山MISSION 17艺术空间内。这个影像档案给艺术家与其他影像制作人提供了一个持续地展示他们的作品的平台。同时它也给美国加州湾区观众提供了接触来自世界各地的影像作品的通道。来到这个艺术中心的观者将被邀请从收藏中选择观看影像。MISSION 17也从档案中挑选作品，主持和空间展览配合的放映活动，策展人Clark也使用档案资源在其它展览空间中策划展映活动。MISSION 17是一个位于美国旧金山的非牟利视觉文化中心。这里展示并支持从新进到中期艺术家的艺术创作，着重于实验性艺术形式以及这些形式给社会和心理折射带来的机会。
由Mission 17的主持人Clark Buckner策划的 ”星尘“是一次在”硬核广州“展览期间举行的录像展映活动。这个活动展示来自11名美国加州艺术家的录像作品，随之有观众讨论环节。
Screening Program 放映节目表
Stardusted 4' 44"
Dave Sanchez
Straight Outta HK, 4' 00"
Deer Fang
Book, 14' 5"
Michael Trigilio
Center of Europe, 0'46"
Michael Zheng
Freedom, 13' 21"
Matthew Boyko
Problemlessness, 21' 00"
David Sanchez
Spectre A., 6'14"
Paul Kyle
Somethign to Remind Me, 12' 00"
Scott Kildall
Groundbreaking, 6' 00"
Michael Zheng
745 Seventh Ave, 11' 00"
Ché Vuoi
The Wizard of O's, 13' 57"
Ryan Alexiev
Media
Lu have images for this work. Contact her for them.
Deer Fang 方鹿
Websites
Bio
Deer Fang is a video artist working in San Francisco and Guangzhou. Her earlier projects investigate the condition of video in art making and the dynamics within the production process through participation, improvisation, real-time and socialization. Her current work uses common formats from popular culture such as the news, reality TV show, music videos, and online videos to dissect culture and political meanings in the media and in our everyday society.
方鹿（方璐）是以录像为主要媒体的当代艺术工作者，现工作与居住在美国旧金山与中国广州。她的早期艺术项目通过制作过程的参与性，实时性，社交性和即兴表演，探索影像在艺术制作中的状况和其推动性。她近期作品运用运用流行文化中通俗形式来作为文化容器，如真人秀，音乐录像和网络视频等，来剖析我们每日生活和媒体中文化与政治的意义。
方鹿于2005年在美国纽约视觉艺术学院获平面设计学士学位，她的导师是Luca Buvoli. 2007年她获美国旧金山艺术学院新类型系颁发的硕士学位，导师包括Tony Labat, Paul Kos 和Okwui Enwezor等。2007年她荣获研究学院的Chauncei Mckeever奖项。同年她与Jon Phillips 创建的Fabricatorz制作组获Southern Exposure的Alternative Exposure基金。她的录像作品和装置曾在纽约，芝加哥，旧金山，伦敦，柏林，广州，巴黎和瑞典等地展出。
Project Summary
News Reenactment, video installation (6 channels)
This video is based on social news in China, collect and videotape small happenings in public environment. A girl slaps on her kneeling boyfriend; a driver attacks a security guard on the street; a group of men wearing motorbike helmets burn fireworks in a village... There is no direct connection between these scenarios. Through various daily social irregularities implied in these videos, the project attempt to construct micro-narratives of the Chinese contemporary society.
新闻重演，录像装置（6频道）
根据在中国发生的社会新闻，这个录像装置搜集并重新拍摄了在公共场所发生的微型事件。一个女孩对跪在自己跟前的男朋友打耳光；一个司机在街上追打保安；三个头戴摩托车头盔的男子在村里烧鞭炮...... 这些情节间没有直接的关联，通过这些录像中暗示的社会生活中各种非常规现象，试图建构一个中国当代社会的微型叙述。
Project Dimensions
Material Requirements
- TV monitors x 6
- TV base x 1
- Street bench
Installation Instructions
Media
- Need 1-3 Images of past artwork (or urls to)
- Need 1-3 images of artwork for show and/or sketches/mockups
Lu have images for this work. Contact her for them.
Huang Pu Village Video Project Group
Bio
Huang Pu Village Project Group is a research group led by Wang Ge and Deer Fang. Main members include: Li Yuxin, Luo Junhui, Fu Chuanwei, Wei Yanfang, Su Hui, He Huansheng, Chen Zhanpeng, Zhang Boyang, Pan Yizhou, Wenzhuo, Lin Zhujun, Zeng Yunshi, Zheng Yufei, Sang Ni, Li Jinrong, Deng Jianhui, Lu Shengxi, Ran Xiaoran.
黄埔村录像组是一个由王铬和方鹿发起的研究小组。主要成员有：黎宇欣，罗俊辉 ，傅传威 ，魏艳芳，苏慧，何焕生，陈展鹏，张博阳，潘怡舟，文卓，林竹君，曾赟诗，郑宇菲，桑妮， 李锦荣，邓健辉， 陆盛曦，冉晓染。
Wang Ge, BFA degree and MFA candidate of Architecture and Environment Design Department of Guangzhou Academy of Fine Arts. Main designer of Wu Xiang Design Studio in Guangzhou Academy of Fine Arts. His practice involved space-related design and art activities.
王铬, 广州美术学院建筑与环境艺术设计本科、硕士研究生，广州美术学院无象设计工作室主笔设计师。长期从事与空间相关设计与艺术活动
Deer Fang is a video artist working in San Francisco and Guangzhou. Her earlier projects investigate the condition of video in art making and the dynamics within the production process through participation, improvisation, real-time and socialization. Her current work uses common formats from popular culture such as the news, reality TV show, music videos, and online videos to dissect culture and political meanings in the media and in our everyday society.
方鹿是以录像为主要媒体的当代艺术工作者，现工作与居住在美国旧金山与中国广州。她的早期艺术项目通过制作过程的参与性，实时性，社交性和即兴表演，探索影像在艺术制作中的状况和其推动性。她近期作品运用运用流行文化中通俗形式来作为文化容器，如真人秀，音乐录像和网络视频等，来剖析我们每日生活和媒体中文化与政治的意义。
Project wiki
http://mediaexperiment.org/wiki/Huangpu_Village_Video_Screening_Installation
Project Summary
“黄埔村录像计划“以十个录像短片直观地展现黄埔村多方面的地理与文化特征，探讨其现状与未来，从而调动当地村民对自身居住环境与传统文化活动的关注，以及自发地对城市变迁问题的参与。同时这个项目也试图在更大范围内唤起城市居民对在今天城市化飞速发展的进程中逐渐消逝的传统地域文化的重新审视。
黄埔村是个1600年历史的古村落，自古便在海外贸易中扮演着重要的角色。在清初随着粤海关的建立，黄埔村成为挂号口和产品集散地。至乾隆二十二年（1757年）实行全国“一口通商”，只保留粤海关后，更是让其中唯一受益者黄埔村进入了其最为辉煌的年代。他见证了整个近代中国的对外贸易史。 然而时过境迁，鸦片战争后政治格局的变动和河沙淤积导致的地理环境的变迁，粤海关移走。随后，黄埔古港的经济类型由港口贸易经济转向农业自然经济，由昔日繁华的市镇沦为一般的村庄。 而今由于会展中心的建设，黄埔村所处的琶洲地区成为广州新城市中轴线的核心地块，并将成为未来广州的信息港。它特殊的地理位置和历史价值使其发展去向成为了广州城市建设的一大争论点。地域村落在快速城市膨胀中生存的博弈之案例在广州已屡见不鲜，例如像杨箕村、冼村、猎德村、石牌村 （加多几个例子）。一些社会舆论把这些沦为“城中村”的地区视为藏污纳垢的城市毒瘤，以夸大其阴暗面来掩饰城中村为城市外来人口和城市低收入者提供了在城市中立足之地的功能，以及其承载的历史和地域文化。
对于黄埔录像计划小组来说，黄埔村是一个学习思考城市进程的典型案例，我们希望试图通过“录像”这一媒体，来帮助记载这一快速变迁的民间历史，并以放映和展览的形式来得到村民和城市居民对此社会问题的反馈。
Huang Pu Village Project uses series of videos to portray Huang Pu Village’s geographical,cultural and historical characters, and further investigate the village’s present condition and possible future. These videos engage local Huang Pu Village community with villagers’ living environment and traditional and cultural activities, and activate grass-root participations in the issues of urbanization. Meanwhile in a larger area, this project is also an attempt to arouse re-examination from urban residents the disappearing of the traditional local culture in the rapid urban expansion.
Huang Pu Village is a1600 years old ancient village. It has played an important role in the history of oversea trading business. Since the establishment of Yue (short for Guangdong) Custom in Qing dynasty, Huang Pu village became a registration spot and products terminal. In Qianlong 22 years (1757), Yue Custom was the only foreign trading custom for China, which has led Huang Pu village into years of prosperity. The village has witnessed Chinese foreign trading history. But with the changing of political structure after Opium War and the changing of geographic environment caused siltation of sand, Yue Custom was moved out of Huang Pu Village. Later Huang Pu harbor’s economy was changed from trading economy to agriculture natural economy. This former prosper village was declined to an ordinary village.
But today, with the building of Guangzhou Convention Center, Pa Zhou district, where Huang Pu Village is located is on the axis of the the central business district for the new Guangzhou downtown. It is planed to be developed into an information harbor of Guangzhou in the near future. Huang Pu village’s special geographic location and historical value aroused many debates for its future in Guangzhou urban development.
The cases of local villages struggling in the city expansion is not rare in Guangzhou, like Yang Ji Village, Xian Village, Lie De Village and Shi Pai Village. Some media describes these “urban villages” as tumors of a city, and exaggerate their dark sides but neglect their function of providing shelters for city migrants and low income families, and also neglect the history and local cultures these villages carry.
For our project group, Huang Pu village provide a model of learning and thinking about urbanization. We hope to use the media of “video” to record this rapidly changing local history, and use forms of video screenings and exhibitions to receive larger feedbacks from villagers and urban citizens on this social issue.
Installation
File:Http://mediaexperiment.org/wiki/images/9/96/场景2-3-s.jpg
File:Http://mediaexperiment.org/wiki/images/9/96/场景2-3-s.jpg
Jon Phillips
Websites
Bio
Jon Phillips is an artist, developer and entrepreneur with 14+ years of experience building communities and growing successful media projects. His work and research on Open Source communities is presented internationally. He helped launch Inkscape, an open source drawing tool in 2002, leads the Open Clip Art Library, and directs the experimental media-arts community Overlap.org. For the last three years with Creative Commons (CC) he built the companies business development strategies, worked with hundreds of businesses, and managed the globally successful ccSalons, the Case Studies, Metrics, and CC+ projects. He lives between San Francisco and China and is building up the Fabricatorz production company.
方力中(Jon Phillips)是开放源代码开发者，艺术家和企业家。他有14年建立社群和媒体项目的经验。他的开放源作品和研究项目于国际上展示。他2002年帮助开发了Inkscape，一个开放源绘图工具，带领Open Clip Art Library, 和指导实验媒体社群Overlap.org. 过去三年中他为Creative Commons建立企业发展策略，与百余家企业合作，并成功主持了CC沙龙，CC案例学习，Metrics和CC+项目。现金他居住在美国旧金山和中国，并正在创建Fabricatorz制作公司。
Project Summary
Special Economic Zone (Artonomics #11)
Special Economic Zone, also known as Artonomics #11, investigates the rapidly changing Chinese economic condition by providing realtime calculations from live data about Chinese markets. This more cliched trendiness towards consumable economics, popularized by Stephen Dubner and Steven Levitt's book, Freakonomics, is applied to standard LED screen signage found in many hospitals and government buildings in China. The display is futuristic, raw, and a reminder of the huge scale differences China has with the rest of the world.
经济特区 （Artonomics #11)， 装置
"经济特区"， 又称Artonomics #11, 通过提供中国市场的实时数据来探讨中国经济快速变化的状况。这个关于可消费经济的俗套的时髦，在Stephen Dubner 和Steven Levitt的《Freakonomics》一书中得到普及，而这个作品把这个概念运用在了中国医院和政府大楼常见的LED屏幕显示器上。这个显示方式是未来的，粗糙的，并提醒着中国与世界其它部分存在的特殊性。
Project Dimensions
2 Meter x 1 Meter 1-3 color LED signboard like ones found in Chinese hospitals. The led-board will be hung high and visible upon entry into the space to highlight real-time calculations of metrics of cost of chinese people, workers, GDP, import/export, stock markets and more.
Installation Instructions
Working with PPS on installation which will hang from metal shop unit or on bamboo scaffolding. The software will run off a small portable computer running in realtime pulling data from the internet using basic linux and screenlets web widgets.
Media
- Need 1-3 Images of past artwork (or urls to)
- http://flickr.com/photos/jonphillips/sets/72157606803939619/
David O. Johnson
bio
David Johnson is a San Francisco-based sculptor who uses construction materials to create objects that defy their own nature. Primarily utilizing neon and concrete, Johnson forms a synergy between both materials. The delicacy of neon and gritty concrete become seamlessly intertwined in many of his projects. Johnson received an MFA from San Francisco Art Institute in 2004 and a BA from Hastings College in 2001. His works are shown internationally most recently in San Francisco and Paris.
David Johnson是一位旧金山雕塑家，用建筑材料来创造对抗材料本质的物体。主要运用霓虹灯和水泥，Johnson 构造两种材料的合成体。霓虹灯的脆弱和水泥的坚硬被完美地编织在一起。Johnson于2004年在旧金山艺术学院获硕士学位，2001年在Hastings学院获学士学位。他的作品曾在国际上展出，并于《Artweek, Visualcodec》, 《The Examiner》, 和 Flavorpill上发表。
Project Summary
"Made in China" Installation
David Johnson's piece, while shaped like the state of California, is actually "Made in China." This project points to the hilarity of slogans stating the location of authenticity of goods through global brands like Wal-Mart, Ikea, and Carrefour. Many want the surrogate American dream through Californication globally, but often do not realize the artificiality of California with its imported water, palm trees, goods, and people. Since the project building plans have been imported for fabrication in Guangzhou, the metaphoric continuation of the project (and state) is dependent upon each person placing their own Californian dreams into the crate for export.
中国制造
David Johnson 的作品“中国制造”是形状如加州地图的，中国制造的运输箱。这个作品讽刺沃尔玛，宜家，家乐福等国际连锁店中商品的真正生产地。许多人追求美国的加州梦，但却没有认识到加州梦是由进口的水，棕榄树，各种进口商品和移民构成的。此作品通过美国寄来的图纸，在广州制作而完成。这个进出口的象征意义在广州建造人赋予箱子“加州梦”的过程中而得到延续。
Scraps
David proposes to make the transportation of the sculpture the sculpture itself. This work is visible on his website under the 'styrofoam' section. He will ship a crate, possibly a cardboard box, full of packing peanuts with neon inside. Once the piece arrives it is to be opened, and plugged in. The packing materials are integral to the visual effect.
Media
Lu have images for this work. Contact her for them.
Misako Inaoka
Bio
Born in Kyoto Japan, lives and works in San Francisco. About her work the artist says: "My interests arise from the boundary between what we call natural and artificial. I observe the physical and social environment in detail, to find hidden beauty and peculiarity-- things such as a cell phone antenna in the shape of a pine tree, birds that are not native to the area, or moss growing in a crack of cement sidewalk. I emphasize these subtle details and exaggerate their illogicality to cultivate my own version of invented creatures.
To arouse notions of existence and coexistence, I construct environments that are rooted in the reality of vanishing species and mutating nature. My minuscule sculptures and site-specific installations force viewers to focus on small details and to take a harder look at their surroundings. My world is not a creation of total imagination, but is a hybrid of the artificial and the actual."
Misako Inaoka 出生于日本京都，现在生活和工作于美国旧金山。关于她的作品这位艺术家这么说道：“我的研究兴趣形成于我们称之为自然的与人工的这两者间的分界线。我通过仔细观察自然与社会环境，来发掘隐藏的美与奇异现象——像一个拥有松树形的手机天线，一种不属于本土的鸟类，或者是水泥人行道缝隙间的苔藓。我着重这些微妙的细节并且夸大这些不合理来建立我自己版本的虚拟生物。
为了唤起存在与共存的概念，我构想了一个环境，这个环境植根于正在物种消逝和自然转变的现实中。我的微型雕塑与特定场地装置强迫观者关注微小细节并且更进一步得观察他们的周围环境。我的世界不是一个纯粹想像的创作，而是一个人工的与现实的混合体。”
Proposed piece
Chimerism, live installation
This work rethinks the meaning of Made in America, China or any one place. Misako Inaoka creates hybrid creatures from "Made in China" products. Live during the opening, Inaoka will develop a new series of creations with available materials on-site. Inaoka is particularly interested in the reaction and recognizability of the "object" before and after the the transportation of objects to the space as well as the origin of creature/object. "Chimerism" also is open to community participation with the artist working with participants to extend this installation.
嵌合体，装置
这组作品重新思考“美国制造“，”中国制造” 的意义。Misako Inaoka 用中国制造的产品创造混合物体。在开幕式期间，Inaoka将用就地可取的材料发展一个新的作品系列。她特别感兴趣的是“物体”在运输前后和在中国或在发源地内外的反映性和可辨认性。”嵌合体“ 作品也将鼓励观众参与到艺术家的工作中来延伸这个装置作品。
Media
Lu have images for this work. Contact her for them.
JD. Beltran (SF)
Bio
JD Beltran is a West Coast based artist and filmmaker whose work pushes the language of portraiture. Her works explore persona using various media, from traditional representational painting to costumed dolls to video installations reflecting hidden secrets. Using the concept of the portrait as a starting point, she synthesizes new and old imagery and media to arrive at a combination of tradition and innovation.
JD Beltran 是一个定居于美国西岸，探索肖像语言的媒体艺术家和电影人。她的作品用多种媒体探讨性格形象，从传统的写实主义油画到特别制作的玩偶，到映射隐藏秘密的装置。运用肖像的概念作为一个起点，她综合了新旧图像来实现传统和创新的结合。
Proposal
Downtown Mirror, Video Installation
Downtown Mirror [Airplanes] is a stylized 16 mm film of the ubiquitious airplanes that inhabit the downtown San jose area. It has been screened as a 40 foot long by 18 foot high projection into the side of a building. Although the projection is largely silent, Beltran uses innovative audio spotlight technology for sound -- viewers in certain spots can hear the roar of the airplanes flying by.
城市镜，录像装置
"城市镜”是一个普通飞机的16毫米电影。这个作品曾安置在圣河西的商业区。它曾被投影在一座楼房侧墙，投影面积40尺长，18尺高。虽然投影是无声的，但Beltran运用了声音聚光灯的科技，观众可以在特定的地点听到飞机飞啸而过的声音。
Media
Lu have images for this work. Contact her for them.
Kathrine Worel
http://www.gopretty.com/kathrine
Bio
A cross media artist whose most recent work explores idea of surface Worel's practice as an artist and a curator is deeply influenced by her desire to discover and create connections—personal, visual or metaphorical. Kathrine currently lives and works in Oakland, California where she and her husband split their time between studio and a sustainable urban "farmette" which they fondly call Ghettopia.
Worel 作为一位艺术家和策展人，她的艺术实践源于她从视觉上或象征意义上对发现和建立人与人之间联系的渴望。她创作雕塑，特定地点的声音装置，介入社会的事件和录像装置。Worel 现在居住并工作于美国加州奥克兰。她和她的丈夫一半时间在他们的工作室，一半时间在他们的可持续性的城市“小农场”，他们也亲切地把它称为“贫民乌托邦”。
Proposal
Domestic Bliss (single channel video)
Untitled, photo series (numbers 1 – 7)
Besides exploring the melding of art, advertising and appropriation of the surface trappings of “exotic” cultures and religions, both of Katherine Worel's pieces, "Domestic Bliss" and the Untitled photo series, celebrate unexpected manifestations of the divine in everyday life. While creating the "Domestic Bliss" video, Worel created photos inspired by the discovery of Prada yoga mats and a quote from 9th centaury Buddhist monk Lin Chi stating, "You meet the Buddha on the road, kill him." The "Domestic Bliss" video shows the archaic domestic ritual sewing that, like knitting, has become fashionable among women with spare time and income. However, what is a leisurely activity for some, is a daily necessity for others. The performative gesture of sewing oneself together, besides referencing historical body art performances, speaks to repairing, fixing and making a permanent connection. It represents"fixing" a state of bliss by taking a humble, homey approach to achieving a transcendental state.
家庭福佑（单频道录像）
无题，照片系列 (1-7)
除了探讨艺术，广告和表面异国情调文化和宗教挪用的融合，Katherine Worel 的“家庭福保佑” 和“无题”照片系列颂扬了神灵在日常生活和情境无法预知的显现。在创作“家庭福佑”录像时，Worel受Parada的名牌瑜珈垫，和九世纪佛教和尚临济的一句话“逢佛杀佛，逢祖杀祖”的启发，创作了 “无题” 照片系列。 “家庭福佑”展示了刺绣这老式的家庭仪式，如编织一般，现在这一活动已成为有闲余时间和有钱的妇女的时髦活动。虽然对于某些人来说这是个休闲活动，但是对于某些人确是每日的必须。这个把自己缝起来的行为姿势，除了参考了艺术史中的身体艺术，同时也是关于维修和建造一个永久的联系。在这个背景下，这个作品希望再现和“维修”一个幸福的状态，用谦逊和家庭式的途径来成就一个超越的境界。
Media
Lu have images for this work. Contact her for them.
Guy Overfelt
http://www.thinkcontext.com/sol/55.html
Bio
Guy Overfelt is a San Francisco-based artist whose work has been exhibited internationally. With humor and a mystic hammering, Overfelt furthers the conceptual interventionist landscape art movement by mediating the influence of contemporaneous socio-political, cultural and economic conditions embodied by his 1977 "Smokey and the Bandit" Trans-AM muscle car. Overfelt plays with laughable notions of American-ness. Through a convergence of artistic practices, Overfelt re-imagines by-products of desire. He modifies his iconic Hollywood styled, Detroit-powered ideas to create mono-prints, peel-out paintings and a life-sized inflatable Trans-AM. His high performance actions shift cultural objects from the familiar to a more obscure metaphoric output.
Guy Overfelt 是一名美国旧金山艺术家，作品多次在国际上展出。他以幽默和神秘的方式，通过剖析，物化和同化媒体对社会、政治，文化和经济状况的同时影响，探讨观念主义者的艺术景观。这一理念包涵在他1977年创作的肌肉车Smokey和Bandit Trans AM. Overflet玩用可笑的美国主义式的见解，通过聚合的艺术实践，重新想像欲望的副产品。他改变好莱坞式的明星风格，用底特律的方式创作单色版画，剥画和实物尺寸的充气跑车. 他的高速行为作品把文化物品从熟悉转变为含糊和富于寓意。
Proposal
Untitled (up in smoke)
2008, edition of 2,
inflatable nylon and electric blower
5.5H X 8.5L X 1D meter
(216H X 336L X 36W inches) each
With "Untitled (up in smoke)", Guy Overfelt furthers his obsession with American muscle cars. This time the the inflatable Smoke is Made in Guangzhou, factory direct. Beyond Paul McCarthy-like reductive shapes coming off the assembly line or the Chinese Olympic team leaving the others' in the dust, the simple shape raises questions about what these factories are pumping out in Guangzhou.
无题 （烟雾中）
装置，2008，两个版本
充气PVC尼龙，油漆，电充气
5.5 x 8.5 x 1 米
以作品“无题 （烟雾中）”， Guy Overfelt 进一步推进他对美国肌肉车的狂热。这次Overfelt 在广州本地工厂制作了可充气的汽车烟雾。除了无数像Paul McCarthy式的从生产线来的简单形状和中国奥运队给其他国队员留下的烟雾，这个简单的雕塑形式向我们提出的问题是这些工厂在广州的空气中排放了什么。
TO BE INCLUDED IN BOOKLET ONLY FOR IMAGE
sketch for inflatable (up in smoke) 2008, ink on yellow office paper 13L X 18W centimeter (5L X 7W inches)
Scraps
Bitchin' Trans AM, Bitchin' Trans AM!
I ran over my neighbors
Bitchin' Trans AM, Bitchin' Trans AM!
Now I'm in all the papers
My folks bought me a bitchin' Trans AM
With no insurance to match
So if I happen to run you down
Please don't leave a scratch
I ran over some old lady
One night at the county fair
And I didn't get arrested
Because my dad's the mayor
Bitchin' Trans AM, Bitchin' Trans AM!
Donuts on your lawn
Bitchin' Trans AM, Bitchin' Trans AM!
Tony Orlando and Dawn
When I drive past the kids
They all spit and cuss
Cause I've got a bitchin' Trans AM
And they have to ride the bus
So you'd better get out of my way
When I come through your yard
Cause I've got a bitchin' Trans AM
And an Exxon credit card
Bitchin' Trans AM, Bitchin' Trans AM!
Hey man where ya headed?
Bitchin' Trans AM, Bitchin' Trans AM!
I'm drunk on unleaded!
[modified DEAD MILKMEN LYRICS from "Bitchin' Camaro"]
Conceptual provocateur Guy Overfelt, cruising in his vintage 1977, Smokey and the Bandit, black Pontiac Trans Am with a giant golden eagle emblazoned across the hood, pulled up abruptly to the curb in front of a crowd of eager gallery goers in the night club district of San Francisco's trendy SOMA area. Quickly hopping out of his car and slamming the door, Overfelt retreated to the back of the car and proceeded to pour a mixture of bleach and water-two thick puddles cozying up to the rear tire. Working quickly, he jumped back in the bucket seats, locked the brakes, then slammed on the gas spinning the rear tires for a full 20 seconds while thick, sheer white pillows of smoke, emerging genie-like, enveloped the enthusiastic crowd as the vehicle disappeared down the street. The smoke was so thick you could barely see your hand in front of your face, an eloquent alchemy of "now you see it, now you don't" without the Vegas fireworks or Magic Kingdom histrionics. (David Hunt, Index Magazine, 1998)
Media
Lu have images for this work. Contact her for them.
Zhou Tao 周涛
Websites
- NEED
Bio
NEED ENGLISH VERSION
NEED CHINESE VERSION
Project Summary
One Day, single channel video, 12 minutes, 2007
Based on my daily activity at home, I lived in a mall for one day and used different commodities in the mall. I actively use them before these commodities enter into my private space.
某一天， 单频道录像，12分钟，2007
依照我在家一天的各项日常生活条目，在商场生活一天，并使用商场的各种物品。在这些物品未进入我私人生活空间之前，我主动去使用它们。
Project Dimensions
NEED
Installation Instructions
NEED
Media
- Need 1-3 Images of past artwork (or urls to)
- Need 1-3 Images of current/this artwork (or urls to)
Chu Yun 储云
Websites
Bio
NEED ENGLISH VERSION
NEED CHINESE VERSION
Project Summary
NEED ENGLISH VERSION
NEED CHINESE VERSION
Project Dimensions
NEED
Installation Instructions
NEED
Media
- Need 1-3 Images of past artwork (or urls to)
- Need 1-3 Images of current/this artwork (or urls to)
Huang Xiao Peng 黄小鹏
Websites
- NEED
Bio
NEED ENGLISH VERSION
NEED CHINESE VERSION
Project Summary
NEED ENGLISH VERSION
NEED CHINESE VERSION
Project Dimensions
NEED
Installation Instructions
NEED
Media
- Need 1-3 Images of past artwork (or urls to)
- Need 1-3 Images of current/this artwork (or urls to)
Lin Fang Suo 林芳所
Websites
Bio
NEED ENGLISH VERSION
NEED CHINESE VERSION
Project Summary
NEED ENGLISH VERSION
NEED CHINESE VERSION
Project Dimensions
NEED
Installation Instructions
NEED
Media
- Need 1-3 Images of past artwork (or urls to)
- Need 1-3 Images of current/this artwork (or urls to)
Proposals
Luther Thie (SF)
Bio
Luther is a conceptual artist whose work utilizes biometric technologies, architecture and sculptural installation to explore issues of authority, privacy and security. His works often include more formal elements involving performance art, and sculpture to evoke a synergy between memory, and technology.
Luther是一位概念艺术家，他的作品主要利用生物统计技术，建筑与雕塑装置以探索权力、隐私与安全问题。他的作品常常涵盖更多的正式元素像舞台表演艺术以及雕塑以引发记忆与技术的合力、共同作用。
Proposal
OVERTURN, Performance and Installation Overturn is the idea as starting point for a series of artworks in various media that depict or enact overturns of some kind. The germination image is of a hauling truck at an excavation site overturned onto a mountainside in China. Its cargo strewn down the hillside creates the predicament -- the moment of not knowing how to right a problem situation, what to do after the overturning. Overturn can be defined as to upset, turn over, or to cause ruination as in the overthrow of a government, to reverse or invalidate a conviction and the state of having been overturned. The interpretation of the work will inevitably be colored by the relationship between China and the United States. Is one country being overturned by the other? Are cultural assumptions being overturned by the continuing globalization patterns of international trade and consumption? Get a Chinese "Crazy Soldier" truck (the Chinese version of the American Hummer) and as a performance, flip it over onto its side/top. Leave it installed as the final work for the show and have it accompanied with a video of a hummer in a perpetual tumble down a mountain.
OVERTURN，演出与装置推翻的想法的出发点源于一系列艺术品，这些在多媒体下的艺术品从种种方面描述或上演了推翻。这张萌发图稿是在中国的一辆托运卡车，在一个开凿点被推翻在山坡上。卡车货物散落在山坡上制造了困境——在那一刻不知道如何使得困境恢复正常以及在推翻之后具体要做什么。推翻可以被解释为翻倒，推翻或者如在推翻政府过程中造成毁坏，废除或者是国家的颠覆。这一作品的诠释将不可避免地被赋予色彩——中美关系。是一个国家被另一个推翻？是文化假想被国际贸易消费下的全球化进程所颠覆？找来一辆中国“Crazy Soldier”卡车（美国悍马的中国版），作为一场表演，将它推翻到侧面或者顶面。将这作为这次展出的最后一个装置，同时伴随着一个录像——一辆悍马在一个永久倒塌了的山里。
Media
Lu have images for this work. Contact her for them.
Hu Xiangqian 胡向前
Websites
- NEED
Bio
NEED ENGLISH VERSION
NEED CHINESE VERSION
Project Summary
NEED ENGLISH VERSION
NEED CHINESE VERSION
Project Dimensions
NEED
Installation Instructions
NEED
Media
- Need 1-3 Images of past artwork (or urls to)
- Need 1-3 Images of current/this artwork (or urls to)
