HOW 新展 | 文字的文字的文字的 A rose is a rose is a rose

   万和豪生大酒店   2019-11-20



展览:文字的文字的文字的
展期:2019年12月21日 - 2020年4月12日
艺术家:柯乔(James Carl)、科斯莫·迪恩(Cosmo Dean) & 特雷弗·惠特利(Trevor Wheatley)、何岸、杰普·海因(Jeppe Hein)、克里斯汀·孙·金(Christine Sun Kim)、斯蒂芬·赛格梅斯特(Stefan Sagmeister) & 杰西卡·沃尔什(Jessica Walsh) & 桑蒂亚戈·卡拉斯奎拉(Santiago Carrasquilla)、史文华、施勇、王博、劳伦斯·维纳(Lawrence Weiner)、徐震?、姚大钧、张英海重工业(Young-Hae Chang Heavy Industries)、张鼎
策展人:周昕
地址:温州市鹿城区江滨东路1号 (万和豪生大酒店内)
* Please scroll down for English version.



“仓颉之初作书也,盖依类象形,故谓之文。其后形声相益,即谓之字。文者,物象之本;字者,言孳乳而寖多也。”

—— 许慎《说文解字》

昊美术馆(温州)将于12月21日向公众呈现的新展《文字的文字的文字的》是一个强调文字作为图像主体的展览。展览中文标题借用了回文诗词序回环往复的造句方法,在重复中回返。展览的英文标题来自诗人、小说家、理论家格特鲁德·斯泰因(Gertrude Stein)的一句名言 “Rose is a rose is a rose is a rose” 中演变而来,意指在认知的法则中,物自身与再现的形式之间辩证关系。

张鼎,GOLD CAN MOVE THE GOD,2017,镀钛金不锈钢,317.8(H) x 330(W) x 60cm,图片致谢艺术家和香格纳画廊



徐震?,《发誓要说真话,全部真话,只说真话...?》,2016,镜面不锈钢,铁链,260 × 420 cm,图片致谢艺术家和没顶画廊



史文华,《向天歌》,2014,互动声音装置,材料:苹果微型电脑,双轨混音台,手持麦克风,生成软件,高清投影,图片致谢艺术家



施勇,《三百个字》,2018,霓虹灯装置,尺寸可变,图片致谢艺术家和香格纳画廊



参展的艺术家多数都在处理文字的语义、象征、符号性和音韵,通过直接的陈述或对文字的不同排列和重新组合,将黏附着符号意义的一系列材料(金属、霓虹灯、泡沫塑料、计算机图像等)当作一种现成品,再经过造句、拼贴、玩笑、宣言等方式直接或间接的表达或对现实的判断、或是一种情绪、或是一次命名、或是对汉字书写未来的思考。这是一个可以过于凌乱,也可以绝对单调的主题展览,也因此在一种信息的富饶甚至冗余与另一种清脆的黑白色调中来回切换。


何岸,《风轻似小偷》,2014,霓虹灯箱,尺寸可变,图片致谢艺术家和HdM画廊





王博,《无梦的歌》,2019,综合材料,图片致谢艺术家和亚洲当代艺术空间


姚大钧,《白马非马》,2019,五频实时生成具象诗装置,艺术家收藏



文字是一种信息传达的古老方法,是历史记录的承载媒介,也被认为是技术史演化中的一次发明。在普遍的当代图像经验中,文字是字幕、是旁白、是广告标语、是纯文本、是作品标签、是展览前言、是策展论述。文字附着意义,连带价值,促进交流。文字可供编辑,排版,加粗,斜体,复制,黏贴,是微软公司的标志性软件。而在此次的展览中,观者看不到被“命名”的文字指向的客体,只是简单的符号和字的繁衍滋生。在此,文字被固定下来,它可以没有意义,却被摆到了前台,像图像一般使自己被看到。



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Exhibition:A rose is a rose is a rose

Duration:2019/12/21 - 2020/4/12

Artist:James Carl, Cosmo Dean & Trevor Wheatley, He An, Jeppe Hein, Christine Sun Kim, Stefan Sagmeister & Jessica Walsh & Santiago Carrasquilla, Shi Wenhua, Shi Yong, Wang Bo, Lawrence Weiner, XU ZHEN?, Yao Dajun, Young-Hae Chang Heavy Industries, Zhang Ding

Curator:Zhou Xin

Venue:No.1, East Jiangbin Road, Wenzhou (ONEHOME H.S ART HOTEL)


“When Cangjie first invented writing, it is said that he began by emulating the forms of things and phenomena with graphic representations, thus creating what is referred to as we?n (pattern(s)). He then associated these graphic representations with corresponding pronunciations creating what is referred to as zì (character(s)). “As for we?n (pattern(s)), they are the basis of the images of things; As for zì (characters) they originally referred to reproduction and proliferation.”
——Xu Shen Shuowen Jiezi (Explaining Graphs and Analyzing Characters)


Jeppe Hein, I feel, I see, I understand, I am YOU, 2019, Neon technis, transformer, control technics, 210 x 110 x 8 cm, Courtesy the artist, K?NIG GALERIE, Berlin, 303 GALLERY, New York, and Galleri Nicolai Wallner, Copenhagen



Jeppe Hein, YOU ARE ALREADY EVERYTHING YOU WANT TO BE, 2016, Powder coated aluminium, neon tubes, two-way mirror, powder coated steel, transformers, 100 x 100 x 10 cm, Courtesy the artist, K?NIG GALERIE, Berlin, 303 GALLERY, New York, and Galleri Nicolai Wallner, Copenhagen



Christine Sun Kim, English vs Deaf English, 2018, charcoal on paper, 51 × 66 cm × 6, framed size: 52 × 67 cm × 6, Courtesy the artist and White Space, Beijing


HOW Art Museum (Wenzhou) is pleased to announce its upcoming group exhibition “A rose is a rose is a rose”, which opens on December 21st, 2019. This exhibition is an attempt to reposition the relationship between the word and the image, and to emphasize the word as the subject of the image itself. The Chinese title of the exhibition, literally translated into English as “the words of the words of the words...”, is conceived as a palindrome (huiwen) poem, which always returns to itself in its composed structure. The English title of the exhibition borrows from the famous quote "Rose is a rose is a rose is a rose" by the poet, novelist and literary theorist Gertrude Stein, referring to the dialectical relationship between the object itself and its representation.



Cosmo Dean and Trevor Wheatley, Permanent Structure, 2018, Exterior installation, wood, high density foam, mirror, octolux, acrylic mirror, paint, enamel, Photo by Jake Sherman, Courtesy the artists




YOUNG-HAE CHANG HEAVY INDUSTRIES, ART IS A LIE, 2019, Single-channel video installation with sound, 7 mins, Courtesy the artists


James Carl, Content 1.0, 2002, Font, book, CD, Courtesy the artist


Most of the artists participating in the exhibition work with semantics, symbolism, and the phonology of the word. Either through a direct statement or different juxtaposition and re-arrangement of the “words”, the artists look at the literal text as a ready-made product, and used a variety of materials (metal, neon lights, polysterene, computational images, etc) to attach different meanings to the rearranged text/image. Through the act of paraphrasing, collages, cynicism, statements, the artists directly or indirectly express his/her judgement of the reality, or to show one kind of emotion, or to reflect on the future of Chinese writing in the respective works. This is a thematic exhibition that can be too messy or absolutely monotonous, and therefore switches back and forth between a rich and even redundant information overload and another crisp black and white hue.

Stefan Sagmeister & Jessica Walsh & Santiago Carrasquilla, Actually Doing the Things I Set Out to Do Increases My Overall Level of Satisfaction, 2012, room installation with a bicycle on an aluminium pedestal, neon writing, metal fittings for mounting the neon glass, neon writing, approx. 546 x 965cm, Courtesy the artists


Lawrence Weiner, IN & OUT OF PLACE CARRIED BY ITS OWN WEIGHT, 2011, cat. no. 1047, language and materials referred to, Dimensions Variables, Courtesy the artist and Mai 36 Galerie Zurich



“Word”, either in its spoken and written form, is an ancient method of information transmission, a carrier of historical records, and is also considered as an invention in the history of technological evolution. In the general contemporary visual experience, the word comes in the form of subtitles, voice-overs, advertising slogans, plain texts, captions, prefaces, and curatorial statements. The words attach meanings, and so is of value, and helps communication. The word can be edited, typeset, bolded, italicized, copied, pasted, and is the name of Microsoft's iconic software. In this exhibition, the viewer does not see the object pointed to by the "named" words, rather, words are just words and they proliferate. Here, the word is fixed. It can be without meanings, but it is placed in the foreground, like an image to make itself visible.





昊美术馆(温州)

HOW ART MUSEUM (WENZHOU)

图片?昊美术馆(温州)


昊美术馆(温州)延续昊美术馆(上海)的“夜间美术馆”运营模式,是浙江省首家"夜间美术馆",常规对外开放时间为下午1点到夜间10点,周末及节假日开放时间将向前延长为上午10点至夜间10点。昊美术馆(温州)将持续为公众呈现丰富的公共教育及户外艺术项目,引领融合艺术、设计、科技的全新生活方式。


开馆时间
周二至周五 13:00-22:00
周六、周日 10:00-22:00
(每周一闭馆)
展馆地址
昊美术馆(温州)| 浙江省温州市江滨东路1号(温州万和豪生大酒店内)




昊美术馆(上海)

HOW ART MUSEUM (SHANGHAI)

图片?昊美术馆(上海)


昊美术馆(上海)是具备当代艺术收藏、陈列、研究和教育功能的全新文化机构,坐落于上海浦东,共有三层展览和活动空间,总面积约7000平方米,于2017年9月正式对外开放。昊美术馆首创“夜间美术馆”的运营模式,常规对外开放时间为周二至周五下午1点至夜间10点,周末及节假日开放时间为上午10点至夜间10点。此举能让更多观众在工作之余前来美术馆观展,昊美术馆也举办“国际策展人驻留项目”、“户外电影节”、“雕塑公园”等国际交流项目和户外活动,以此建立全新的艺术综合体和浦东新地标。


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