2009年4月15日星期三

7 artists in Group Show " A Conversation with Lane 1025"


徐文华 Painter, China

徐文华先生是上海美术“70年代后期80年代初期”的见证者之一。他的作品有着独特的风采,善于概括,精于取舍,將美凝聚在一个焦点上表现出来。他追求的是摄取对象内在的神采而不拘泥于形体的逼真,他的作品给人一种清新,自然而又意境高远深邃的感觉。在本次的展覽中,徐文華將1025弄得第一印象淋漓盡致得描繪出來,紊亂、深邃、頑強性格的生命力量。 Mr. Xu Wen Hua is a Shanghai art icon of the late 1970s and early 1980s. He paints with the skillfulness of an emperor's calligraphy artist. His works focus on the inherent feeling of the object instead of the actual subject. His works have a fresh, natural, and artistic loftiness that produce deep emotional feelings. In this series, Xu portrays the incisive and deep characteristics of life in Lane 1025.


Anna Solecka Painter / Photographer, Germany

Anna Solecka透过绘画表达丰沛的情感,大型作品是她惯用的格式,画布上藉由色块与独立画面的拼贴组成,展现一种视觉表达的平衡。 對她而言老弄堂的居民最富兴饶,她花了整整两天的时间观察1025弄的居民,這次她的作品以大幅规格呈现,用肖像结合她惯用的色彩方格拼贴完成。 Anna Solecka usually works with large formats, expressing emotion through color and collage composition, showing a visual expression of balance. The residents of Lane 1025 became portraits on her canvas along with her usual color montage sequences.






Natalie Wooi
Photographer, England

Natalie Wooi的摄影创作涵盖多样的主题,她偏好使用偷窥的视角来展现生活中的真实与亲密;本次的摄影创作大胆采用手机摄影与“Snap Shot抓拍” 的手法,呈現1025弄里面那个異於城市的另一面,这一系列的照片表達<寂静stillness>,將焦点放在那些被忽视的生活细节以及那些极其普通且难以被注意到的事物和景色,使之與人重新產生連結。
Natalie Wooi, with a background in photography, prefers using a sneak peek method to capture truth and intimacy in life. This style of photography is likened to the modern habit of snap shot shooting with a mobile phone. This series of photos emphasize the stillness of the night and will focus on those who are neglected and those who are difficult to be noticed.




Albert Yu
Sculptor / composer, Canada

Albert Yu的创作通则是交迭不同的技法与元素完成单件作品,这样的创作理念已成为他的个人符号。
本次的创作又是一次的大胆突破,采用冲击枪进行图像的创作,他企图采用单一规格的大型订针,透过钉针的布置与交迭完成最后的作品,创作理念在于使用没有变化的固定物品做出冲破期待的变化,以不变动对象制造变动,这也是他对1025弄的观感。
Albert Yu's unique technique of tracing photographs with a staple gun creates a surreal image of the subject that enables it to interpretation that a regular photograph cannot contain. This concept has become a personal symbol of his art. This method of artistic creation is a bold breakthrough. His works give the photograph a distinct texture and tactile feel. For this series, Albert is using photographs taken inside Lane 1025.



Marco Tsai
Graphic designer / photographer, Taiwan

Marco Tsai 是资深平面设计创作人兼摄影师,也曾是4A广告公司的创意总监,他喜歡挖掘細節,從小地方找到創作的原點。
本次的创作焦点,將从原策画的摄影作品创作,转型为结合广告语言的创作模式,作品为广告规格的系列作品呈现,把他眼中看见的1025弄透过大众传播的手法呈现。
在创作之初,Marco Tsai会先发展一个讯息概念,接着以此讯息概念发展不同的广告画面。
Marco Tsai is a veteran graphic desiger and cameraman. He was once 4A Advertising's Creative Director. The discussion of the origin of creation and life will be the focus of his series. His process entails taking the original photographs and transforming them with the language of advertising. Marco Tsai's goal will be to develop a concept and distribute it to the masses with artistic advertising.


Andrew Lok
Group Creative Director / Writer, Singapore

廣告鬼才Andrew Lok曾獲多项国际广告大奖, Clio, Cannes, One Show等等,創作上他要求原創與衝擊力。
于本次的创作联展中,Andrew Lok回归文字创作,記錄發生在1025弄裡的人們的話語,擷取一句簡單的對話,在那句話語的背後人們會去投射一個完整的人生,他的創作將以大型壁面投影的创新风格呈现,仅于入夜之后播放,因為,入夜之後,人們的話語往往退去面具,回歸真實。
Andrew Lok is a recipient of a number of international advertising awards, including the Clio, Cannes, and the One Show. When he creates his own work, he strives for originality and a strong impact. His specialty in advertising is in copy writing. In this exhibition he takes conversations in Lane 1025. He takes these dialogues of everyday life and projects them onto the brick facades of the villa in the evening.



席然
Photographer, China

席然是80后的年轻创作工作者,摄影的技法异于正规摄影,在画面的建构上,投入年轻的思维再行呈现。他以1025弄的<十点二十五分>為題材進行攝影與影片的創作。同一个时刻,弄堂外面的世界以秒针的速度奔跑,而弄堂里的世界
却以时针的速度在漫步。电线上悬挂的衣服可以看到风的颜色,躺椅上晒着的被子可以闻到太阳的味道,城市在这里述说着另一种语言。凝固在图片上的瞬间,包含的却是整个过程。

Xiran is a child of the 1980s and has evolved his photography past the traditionalist views taught at school. He doesn't use conventional photography techniques. In his exhibition for Lane 1025, he captures this world trapped in a moment of time, not adjusted to the incessant traffic and speed of life outside its doorsteps. The speed of life in Lane 1025 is like the gentle swaying of clothes hung out to dry across a myriad of lines. Xiran captures the color of the sky, the feel of the wind, and the beams of sunlight piercing the hazy sky.







2009年4月10日星期五

A Conversation with Lane 1025

A Conversation with Lane 1025


<一群东西方艺术家与中国上海老弄堂的对话>

与南京西路1025弄的对谈


上海南京西路1025弄,又称静安别墅
血色的砖造建筑,像肋骨般划开两边对齐
这里是上海最大的老弄堂之一
这里还有生活的声息,老上海的姿态,新旧世代的交合
像是忘了随时间迈进的老王国,闪耀内敛的光芒

梅子创作团队,邀请七位来自东西方的艺术创作人
用他们的感官,以艺术文化创作为媒介,重新诠释老弄堂的气息
一场艺术创作与在地文化的串联
用新的视野展现这个被时光遗忘的美丽城区

ANNA SOLECKA

NATALIE WOOI

XU WEN HUA

ALBERT YU

MARCO TSAI

ANDREW LOK

XI RAN

@ plum

April 24th - May 31st, opening reception on on 24th April 6pm - 9pm

2009年4月4日星期六

小強老師 <此乃廣告班> Live演出圓滿成功


小强老师的第一次<此乃广告班> LIVE SHOW在梅子圆满落幕,很谢谢大家的光临,小强老师本人也感到万分开心,一向羞于面对群众的小强老师可能考虑未来在梅子继续加演场次演说其他有趣的讲题,届时请大家踊跃参与。

在此也谢谢大家光临梅子,<与南京西路1025弄的对谈>展览将于4月24日展开,将有丰富的艺术创作内容呈现,敬请期待。
更多的照片请前往梅子的Flicker:

An Interview of Anna Solecka

PLUM : Would you please tell us about your large format paintings? What inspires you to work on this format?

Anna Solecka: Regarding my large scale paintings, I have been working on them since 2003. For some time I have been interested in Asian art. I was also thrilled for the Japanese woodblock print from the Edo period (17th century).I was not only interested in woodblocks, but I found the drawings also very stimulating. In one paper I discovered several elements and motifs to my liking.From artists like Hiroshige and Hokusai, I liked the fact that in their works, they used a grid structure, which was very organized.Having several motifs combined produced a deeper meaning. These drawings were mainly animals and plants, sometimes body parts.Since I have long been working on several different series of works, from the Japanese woodblocks, I got the idea to produce my large scale pieces in a structure organized similarly to a grid. In this way, my work has endless possibilities. This has become an element of my work and I believe it acts as an identifier, much like having a unique signature.I was invigorated to quote myself and other artists such as Lucas Cranach. In one of my works, I painted images similar to Cranach’s and titled it “Bild mit Zittat von Lucas Cranach.”I also made a series of large paintings that had to do with my travels. I created one such work titled “Mosaic from Gaudi,” inspired by his mosaics in Barcelona, and another titled “Dome from Saragossa.”




PLUM : What techniques do you use in your paintings? Where are your materials from?

Anna Solecka: Since many years ago, I have developed my own techniques and these techniques are similar to fresco paintings. I would use this technique for fragments of a painting and other times for the entire painting. On the surface I like my paintings to have a matte finish much like frescoes. This is possible to see in pieces such as “Painting with Etruscan Hunting Scene” or “Painting with Fighting Boys of Thera” and other works. To prevent having only narration in my paintings I will use monochrome portions. I do not want to always have the painting tell a story. Sometimes I just want color for the sake of color. The inspiration comes from my old works in the 1990s, when I was only working with geometric elements, very strong in color. These pictures for me are also like a journal of my daily life. There was much autobiographical material in these works.




PLUM : Can you talk about your small paintings? Why did you create this collection?

Anna Solecka: My small paintings are separate ideas and I also extrapolate from them, ideas for my big paintings. For example, in 2003, I painted a series of hand shadows at play. These were big and small paintings, because as I said earlier, they can be connected and influence each other. In 2005 I worked on a series with portraits and these were also small and big paintings. Right now I am painting a series titled “Film.” I use fragments from films because I want to show the extreme situations involving people. I must use film footage because it is impossible to stage such extreme scenes in reality.




PLUM: Is it your first time traveling to China? What impressed you the most?


Anna Solecka: It is my first time in China and I feel very happy about the trip. It has been very pleasant. For many years I have had friends of Asian descent that study art. For me everyone is the same because we are connected by art. So far I know China only from my experience in Shanghai, but even so I can see a strong contrast of old and new parallel worlds. I see this in not only architecture but also in the way of life. You can see this everywhere, it is unavoidable. On the streets there will be the contrast of luxury cars with rickety transport bicycles carrying any number of things. After only a few days I developed a critical view of the speed of development here. I can see the lost expressions on the faces of those who are caught up in their quickly changing surroundings, unable or unwilling to adjust from their traditions.



PLUM: Did Shanghai give you any ideas for painting?

Anna Solecka: All travels bring me new ideas for my paintings and I always take many photographs for inspiration. Later when I am in the studio, I can use this material to remind me of my feelings during those travels.

Anna Solecka 创作访谈 _中文版

PLUM问:可以请妳谈谈妳的大型创作吗?是甚么带给妳创作大幅作品的灵感?

Anna Solecka: 从2003年开始,我着手绘制大方块型的图。那时我有一些新构想。就是把画思分置在几个不同的方形面积,一个画面同时呈现几个不同的主题。这个灵感其实来自于日本版画,我看到一些版画作品的构图面积分置,且呈现的主题回异。由此,我得到灵感,用这个方法绘制巨型作品,同时融入不同的主题。可以说,作画同时我也作了许多自我引述,从我以前的作品中,提炼出不同时段的主题内涵;也作短篇故事的引述,譬如我的一幅画,完成后题名为“
引述老卢卡斯·克拉纳赫”(Lucas Cranach,1472年1553年10月16日,15世纪德国重要的文艺复兴时期画家)。这幅作品其中的一个次主题的确是复制老卢卡斯曾经画过的一幅图。我希望成为一名自传式画家,把我个人旅途经验、跟人群互动的各种体会等等融入我的画中。


PLUM问:当妳创作绘画作品时,有哪些事情影响妳?妳的灵感取材来自何方?

Anna Solecka : 在艺术领域里,很多年来我逐渐衍生出自己的一套绘画技巧。不仅仅技巧运用回异,特别是在我的画风技巧很接近“壁画”风格。我会使用很多颜料,然后以数学图案的巨型壁画做大背景,来完成我所有的画思。而如何处理画布质料表面的问题,对我是很重要的一环。 “壁画式”风格的绘画,诸位若看过譬如伊特鲁里亚(Etruria)人狩猎场景的岩画或是男孩与尊者战斗的壁画,就可以体会得到。在我的绘画作品里我使用单色面积,记得大约15年前了,在我的早期作品里,有整整十年的时间,我大量使用几何图形配上非常清晰的单色面积拼图。这些单色面积方块有如一个个“静谧角落”,每一角落透露出许多信息,以更深刻的方式传达到观众的视觉神经。可以说,这也算是一种作画的方式,把许多不同的问题共同呈现在一个画面。

PLUM 问:请谈谈妳的小型作品,为什么妳发展这个系列创作?

Anna Solecka : 我其实并没有间断小型作品的创作。这些小作品其实最终都可以在我的巨型作品中看到。我会以一个主题为题材,绘制一系列小作品,譬如人物肖像,或是绘画影子,舞弄的手影等。我最近也开始创作一系列小小作品,一张张非常小型的绘画。灵感是来自于影片,来自影片中的情节片断,我截出一段影片中的情景,画出剧中情节出现的一张张小型的人物像。我这样做是因为,像这样连续性的人物极端表情,不容易从日常生活摄取而得。



PLUM问:这是妳第一次来中国,中国是否带给妳特别的感觉?

Anna Solecka :对的。我这次是第一次来到中国。我当然非常兴奋。但是很奇妙的是,二周过去以后,我竟然觉得这里跟我的世界没有什么不同,跟我的世界一模一样,一点也不陌生。我同时也觉察到这个世界里存有许多歧异和矛盾。一方面目睹贫穷的存在- 可能这只是我个人的体会;另一方面却是处处可见的摩天大楼,还有这里的生活方式 – 我想这一点在我的家乡是没有的,一切的进展是那么的快速,快得难以拉近贫富差距。这个现象非常耐人寻味,因为我的国家没有经历过这样的演变。


PLUM问:这一趟上海旅行,是不是也会将上海印象带回德国并展现在未来的创作里?

Anna Solecka : 我深信此次旅行会给我的绘画作品注入许多新灵感。我照了很多照片,摄影是我旅行途中必行之事,对我的重要性如同我的绘画创作。此行途中所有“Feeling”的点点滴滴,我在中国所经历的一切事情,会在我整理照片的后续工作中重新浮现。这也是我创作的来源,我的生命体验总会重新浮现在我的作品里。

2009年3月27日星期五

Anna Solecka Exhibition, March 28 - April 19





Plum is delighted to present to you the China debut of Anna Solecka, with works reflecting her travels, life and times.


Exhibition: March 28th - April 19th 2009
You are cordially invited to the official opening party: Tuesday, March 31st from 18:00 - 20:00.



Address: PLUM, 1F No. 37, 1025 Nanjing Xi Lu, Shanghai, China


PLUM正式发表Anna Solecka在中国的首次画展,透过绘画你将看见Anna Solecka对生活,旅行,与人生的记忆。



展览期间:2009年三月28日 – 四月19日
我们诚挚的邀请您光临画展的开幕酒会,三月31日星期二晚间六点至八点

地址: PLUM, 中国上海市南京西路1025弄37号1层



_________________________________________________________



Anna Solecka



Painter / Photographer



From Bremen, Germany



Through photography, Anna Solecka finds the creative elements and inspiration to use as a foundation for her painting process. She captures moments that leave emotional impressions on her psyche. Anna converts her photography into interpretations that are not limited by the literal image. Instead she expresses onto her paintings a much more evolved image. Her large format paintings do an especially good job in showcasing her technique of dividing the canvas into grids or sectors. Within these grids, the individual images are united together with color and texture, producing a balanced effect, connecting them in harmony. Anna Solecka says her paintings are like an orchestra with varying tones, rhythms, and cadences working in unison to create symmetry and equilibrium.



Anna Solecka 善用摄影捕捉眼前的事物和独特的感受,以及每个特别的当下,这些素材都成为她后来创作的基础,她的绘画不局限于转述眼前的事物,而是通过自我的创作语言重新去表述,她的大幅创作清楚明了地展现了她的技法,在她的大幅创作中,几个独立的小型图像交织在画面中,彼此互有关联,却又各自独立,而色块的置入恰巧平衡了整个画面,让整件作品拥有了沉静的片刻,Anna Solecka说,这就像是一篇乐曲,高低急缓,终有一个平衡。

Click the Link and see more pictures.

http://www.flickr.com/photos/34361037@N03/sets/72157615896453619/

2009年3月14日星期六

March 14












昨天電視播了PLUM的訪問,今天就來了很多人,也有很多人自己找到PLUM,我發現自己找到PLUM的人,往往對這裡有一個使命感,這個使命感讓他們給這裡多拍了幾張照片,然後帶回去宣傳,博客上熱情得寫,梅子很謝謝這些人!!
前兩天陰雨綿綿,今天老天給我們一個冰爽的太陽天,一早Anna Solecka (德國女畫家)在這個小區裡給居們拍照片,收集創作的素材,陪著她走在這個小區裡,重新認識這裡的人,覺得很興奮,小區裡的人都很大方,說要拍照,一個比一個還自然。









Anna Solecka收集到很多張臉,會將這些臉放在她的大型畫作上,十分期待她的作品!
 
Site Meter