来源:99艺术网 www.99ys.com
UCCA尤伦斯当代艺术中心将通过旗下UCCA Store 赞助有东方视觉主办嘿!社会承办的2010画廊小姐竞选活动的赞助计划。 UCCA尤伦斯当代艺术中心将通过旗下UCCA Store 赞助有东方视觉主办嘿!社会承办的2010画廊小姐竞选活动的赞助计划。 赞助内容 1.赞助2010画廊小姐竞选大奖洪浩的签名版照片《我的东西三号》一版,价值RMB1900 2.赞助2010画廊小姐前10名奖品共10个( 奖品:85新潮精装画册,价值RMB380每本) 作者/AUTHOR: 洪浩/Hong Hao 题目/TITLE: 我的东西三号 My Things No.3 年代/YEAR: 2007 工艺/TECHNIQUE: 照片/Photograph 尺寸/DIMENSION: 33×48cm 版本/EDITION: 200(ed.200+20 AP) 价格/PRICE: 1,900 RMB 《我的东西三号》 此处呈现的作品,是洪浩最新一个称为《我的东西》的系列中的组成部分,艺术家将令人眼花缭乱的私人物品呈现给观众:书籍、垃圾、废弃物、钱币等等。艺术家小心翼翼地扫描了每一件物品,然后在电脑上重新加以组合,最后按照真实比例将它们打印在相纸上。 该作品称作《长征》,包括徽章、地图、连环画以及其他与长征有关的物品,大部分是在北京的旧货市场上搜集来的。这件新近创作的合成作品阐述了一种消费文化、中国特征及其文化,以及艺术家的个人兴趣和日常生活。 My Things No.3 The work shown here is part of Hong Hao’s latest series called “My Things”, in which the artist presents a dazzling array of his personal possessions: books, trash, relics, currencies, etc. The artist meticulously scans each object, reassembles them on a computer, and prints them life-sized on photographic paper. This work, called “Long March”, is largely comprised of objects gathered at Beijing’s flea markets, such as badges, maps, serial picture books, and other items related to the “Long March project”. This newly created ensemble addresses consumer culture and the evolution of Chinese identity, its culture, and the artist’s personal interests and daily life. 洪浩 1965年,洪浩出生于北京,目前在北京生活和工作。他就读于中央美术学院版画系,毕业于1989年。在1990年代,他创作了一系列丝网版画,题为《藏经》,看似一本翻开的书。一些版画用西方消费文化的象征来描绘文化大革命的符号,而另一些作品则再现了一幅“老”地图,其中世界的各个部分都被具有颠覆性地改变了,由此提出了一个另类的世界观,向观众通常对此类文档的信任发起了挑战。 HONG HAO Hong Hao was born in 1965 in Beijing, China, where he currently still works and lives. Graduated from the Central Academy of Fine Arts in 1989 with a degree in printmaking. In the 1990s, he worked on a series of silkscreen prints that look like an open book, called the “Selected Scriptures”. Some of the prints depict Revolutionary icons with symbols of Western consumerist culture, while others represent an “antiquated” atlas, where parts of the world have been subversively altered, thus proposing alternate world views and challenging the viewer’s trust in such documents.
【编辑:张瑜】