第六期作品推薦 Artworks

「瘟疫在發展，繼續到處蔓延。全世界只有幾個人能夠得救，這是一些心靈純潔、才智超群的人，他們負有繁衍新人種和創造新生活的使命，他們將使大地煥然一新，徹底淨化，然而誰也沒在任何地方看到過這些人，誰也沒聽到過他們說的話和他們的聲音。」

—陀思妥耶夫斯基《罪與罰》

「The plague spread and moved further and further. Only a few men could be saved in the whole world. They were a pure chosen people, destined to found a sew race and a new life, to renew and purify the earth, but no one had seen these men, no one had heard their words and their voices.」

--Crime and Punishment by Fyodor Dostoevsky

全文文本框裡皆可

向左滑動查看英文版

Swipe Left For English Version

in the whole article

疫情早期，人類反鎖在了自己用鋼筋水泥築起的冰冷囚籠裡，少了人類的打擾，動物卻在街頭出沒、植物開始自由生長，大自然的平靜歸來比我們想像中要迅速得多。

原來的我們似乎篤定地自視甚高，相信著人類站在生物鏈條的頂端，生態文明的穩定循環依賴著人類的辛勤付出，當我們回歸巢穴、停止工業生產、停止交通運行，看到地球依然泰然運行，甚至更加鮮活、明媚、生機勃勃。

失落感和孤獨感襲來，我們感到如同被拋入宇宙深處的太空垃圾。

我們開始反思疫情、反思現代文明、反思自身的存在方式，在疑惑、煩惱、沮喪、驚訝、惶惶不安中開始不斷追問：人類是否有「罪孽」？讓我們帶著這個扣心的疑問，進入本期的疫見。

When COVID-19 broke out, mankind quarantined themselves in the cement buildings at beginning. And without disturbance of human beings, nature returned to peace much faster than we thought as animals appeared on the streets and plants began to grow freely.

It turns out that what we believed in the past is wrong that human were at the top of the chain of species and the balance of ecology depends on Human’s efforts. When we stayed at home and stopped work and transportation, Earth works vibrantly and lively.

Such a change might give us feelings of loss, loneliness and abandonment. We began to reflect on the epidemic, modern civilization, and our way of being. Haunted by doubts, worries, frustrations, surprises, and panic, we began to ask: Are human beings in sins? Let’s follow this issue and find it in artworks.

《黎明·失控》

Dawn·Out of Control

《呼·吸》

Breathe

《深淵》

Abyss

藝術家：王藝然

地區：中國

Artist: WangYiran

Place: China

藝術家認為，在當下的社會現實中，我們生存的環境中現實與幻境之間總是有種若即若離的感覺，很多不熟悉的畫面卻能給我們帶來別樣的觸動，藝術家想捕捉這樣的觸動，這正是他創作的目的。

「我們經常會覺得我們自己是一成不變的，但其實，我們有時自己都不會發覺我們其實時刻都在轉變自己的角色，從而自己的身份性格心理都會發生翻天覆地的變化，其實我們每個人都是一個多重人格，這件事再普通不過，就好像我們的呼吸一樣普通。」

「獨處時總會卸下自己的種種面具，我們總想知道深淵底下有什麼，可是當你望向深淵的同時，深淵也在望著你。」

「當我們處在密閉的空間中我們內心會發生什麼樣的變化，我們會做什麼，我們是否會與環境的關係變得更緊張與不安，那些我們曾經一直期待的事情真正發生時是否會發現一切只是我們的幻想，我們的厭惡情緒馬上由然而生……」

Artist think that in the current society, there is a feeling that reality and fantasy are tangling together. Many unfamiliar pictures can touch us in a special way. And he wants to capture those situations, which is the purpose of his creation.

"We often feel that we are immutable, but in fact, we sometimes just don’t realize that we are changing our roles all the time leading to distinctive identities, personalities and psychology. Actually, it is commonplace like breath that everyone has multiple identities."

"When we are alone, we will take off all masks. And then, we will try to know what is under the abyss, but 「When you look into an abyss, the abyss also looks into you." (Friedrich Nietzsche)

"What will happen in our inner world and what will we do, when we are in confined space? Will our relation between environment gets worse? When what we have been expecting happen and we find it does not match with our fantasy, will resentment immediately appear..."

藝術家：Susan Williams MRSS

地區：英國

作品：《休息》

Artist: Susan Williams MRSS

Place: U.K.

Artwork: Rest

「我是一位英國藝術家，我常常和光影、空間、風打交道。我創作的裝置，將材料和周圍的環境相聯繫。許多作品都和視覺幻象相關，如懸浮、幻滅，讓人聯想到魔法和玄學，最終變成了關於時空冥想的成果。」這件作品的靈感來自皇家標準的48小時藝術挑戰,該作品模仿犯罪現場和事發現場的死者的屍體輪廓線，象徵著永恆的『休息』。」

該裝置沒有華麗的組裝結構，用極簡樸素的黑線勾勒成人型，象徵永恆的休息。那個時候我們知道，死亡之錘在門外掃蕩，但是我們不知道的是，死亡潛伏進的是人類的一切對自然具有侵略性、攻擊性、過度索求欲的行為。或許人類讓自我對自然的敬重沉睡，不遠的將來，永遠沉睡輪盤就會轉向我們。

「I am a UK artist working with light, space and wind. I make installations which play with the connection between materials and their surroundings. Many of the pieces include visual illusions such as floating and evanescence, conjuring the magical and metaphysical; the many layered works transform into a meditation of time and place.」

Inspired by the Royal Standard’s 48 hour art challenge, this work is in the representation of a crime scene with the outline of a dead body, signifies eternal rest.

The black and simple outline of this installation is a dead body, indicating eternal rest. We know that death is approaching but have no idea that death has infiltrated in whatever we do that is harmful, aggressive and excessive for nature. Maybe human beings will end up with eternal rest if the respect for nature is in eternal rest.

藝術家：Gabriela Drees-Holz

地區：德國

作品：《穿透》

Artist: Gabriela Drees-Holz

Place：Germany

Artwork: Penetration

「作為一個所謂的冒險者，我在我的藝術屋Dreho中嚴格地執行隔離。我的工作反映了我個人對新冠病毒爆發期間的經歷，即煩憂、恐懼、衰退、隔離、自我反省。反省人類的『罪孽』和對人們非常重要的『希望』。我的作品包括一個陶瓷半球和具有穿透性和威脅性的針織蛇，我用這些來喻指新冠病毒。病毒和蛇一樣悄然盤踞，又十分致命。」

作品《穿透》是一個由金屬、紡織品、陶瓷等材料組合的半球狀藝術工藝品，精美華麗的外殼卻代表著給人類帶來深痛世紀災難的新冠病毒。或許這場疫情帶來的種種窘境，對於人類而言是一系列的沉重打擊，但或許對於人類以外的自然萬物而言，這份對人類的警鐘和懲戒，未嘗不擁有「美麗」的力量，去掀翻人類的自大狂妄。

「As a so-called risk person, I lived in strict isolation in my art house Dreho.

My work reflects my personal experience of the corona pandemic: namely, disturbance, fear, decay, isolation, reflection on myself, thinking about "sins" of humanity and-very important-about HOPE.

I present the virus Covid 19 both in the form of a snake of ceramic hemispheres and in all penetrating and threatening fabric snakes. I see parallels in their silent meandering and often deadly poison.」

"Penetration" is a craft in the shape of sphere made of metal, textiles, ceramics and other materials. With exquisite and gorgeous appearance, the work, however, represents the miserable virus. Perhaps the virus calamity brought heavy blows to humans, but for nature it is a 「beautiful」 warning and punishment to overturn human’s arrogance and it is beautiful from this aspect.

作品：《2020庚子病毒記憶》

Artwork: Memory of Gengzi Virus 2020

作品《共同體的蝴蝶效應》

藝術家：吳學均

地區：中國

Artwork: The Butterfly Effect of the Community

Artist: Wu Xuejun

Place: China

「全球性的冠狀病毒蔓延給我們及世界人民帶來沉痛的傷害與巨大的損失。在這個過程中，每個人都充滿著恐懼、失落、傷痛、憋悶與期盼，但是大家也在理智的堅強地克服內心巨大的失控力去與疫情抗爭，在這共同體的連鎖反應中竭力地抑制病毒的傳染與治療。在眾生傷痛之時用藝術記錄內心的震動，以啟思考我們的存在空間，敬畏自然、社會發展的規律。」

在這兩張綜合繪畫中，其背景為疫情期間的各類報刊讀物。「致敬」「捐贈」「防控」……標題中字字都流露著人類迫切的自救心情。藝術家觸筆灑脫，筆墨下充斥著強烈的情緒表達。我們應該要抗爭的，不僅僅是這場疫情而已，更多的是抗爭自我，停止我們對環境的過度汙染、生存空間無休止的掠奪、對萬物生靈的蔑視與不敬。

「COVID-19 has inflicted great pain and damage on mankind. Everyone is consigned to fears, frustration and sorrows. But we also have hope. We try to handle with inner fears and spare no efforts to fight against COVID-19, restraining its spreading. We will use art to comfort human and think about human beings』 existence and rules of nature as well as society.」

The backgrounds of the two plastic arts are journals during COVID-19. With 「salutation」 「donation」 「prevention」 and other words on them, it displays people’s desire for saving life. Every stroke in those works expresses Wu’s strong emotions. Not only should we fight against the epidemic, but also against human arrogance, environmental pollution, invasion of other species』 living space and disrespect for creatures.

藝術家：Sonia Ben Achoura

地區：法國

藝術作品：《視覺之樹》

Artist: Sonia Ben Achoura

Place: France

Artwork: Compass of Vision

「一棵樹高高聳立在紅色的地球上，朝著光生長。作品中的太陽代表眼睛，空中的拱形雲由視網膜構成，樹的樹枝則是由突觸和感光細胞化成。視錐細胞和視杆細胞則變成了樹葉。視錐主司晝光覺，有光覺；視杆細胞光敏度較高，對暗光敏感。作品中視錐細胞和視杆細胞都畫上了亮麗的色彩，讓樹變得炫彩奪目。」

在這幅綜合繪畫之中以光和色彩為基礎，使用油畫和丙烯顏料進行創作，構圖中極具未來主義色彩，藝術家通過光和物質之間完美的配合，充滿了科技感，可以感受到作者在科技和藝術之間摸索著連接點。此外，她找到了抽象主義和具象主義的完美平衡，創造了生機勃勃的幾何世界。疫情的原因至今不明朗，全球氣候的變化也成為了大家爭論的誘因，這一系列作品表達了作者對全球氣候的關心和人類未來的思考。

「A tree stands tall on the red earth. It grows towards the light. The sun is represented as an eye. The menacing sky of arching clouds is formed of rows of retinal pigment epithelium, usually found in the retina. The branches of the tree are depicted as ganglia and photoreceptors. Rods and cones populate the foliage: Cones, for photopic, or colour vision; and rods, for scotopic vision, active only in low light. The tree comes to life as cones and rods lit in the full extent of detail and vibrancy of colour.」

This work is of futurism based on oil and acrylic paints with integration of lights and colors. We can sense that Sonia is exploring the junction between science and art to render her work a sense of science by employing lights and materials. Besides, she creates a vibrate geometry world after she finds the balance between abstractionism and representationalism. Nowadays, the inducement of COVID-19 still remains unknown. And the climate change is also on the table. This series displays the artist’s concerns about global weather and reflection on human’s future.

藝術家：李秋文

地區：美國

作品：《變形》

Artist: Li Quiwen

Place: U.S.

Artwork: Deform

「《變形》探索了物理距離和社會距離如何改變我們與他人的關係以及世界的關係，從而對我們產生深刻影響。作品認同迷失在虛擬世界中是種逃避行為。」

在這副充滿金屬感和未來感的抽象主義作品中，她將幾何圖像元素中的形狀、顏色、圖案等解構重組，為作品增加了跳躍的活力和創新力，帶給觀眾全新的情感體驗感受。這場疫情中我們選擇被大眾媒體的溫柔毛毯包裹，我們織起的互聯大網，正在一點點把我們裹緊。

「De·form explores how physical and social distance profoundly affects us by transforming our relationship with others and the world. The work acknowledges the refuge of losing ourselves in the virtual worlds of screens.」

In this abstract work full of metallic and futuristic sense, she deconstructed and reorganized geometric elements including their shapes, colors and patterns to add vitality and innovation to this work and offer audience new emotional experience. In this pandemic, we choose to stand together with the mass media net while the internet is trying to envelop us through the net it weaves.

藝術家：O. Yemi Tubi (MOYAT)

地區：英國

作品：《蘋果&求救信號》

Artist:O. Yemi Tubi (MOYAT)

Place: U.K.

Artwork: The Big Apple SOS

「只要他們向我禱告，並且謙卑悔改，離棄他們所做的壞事，我就會從天上垂聽他們，赦免他們的罪，重新使他們的土地繁榮起來。」（《聖經》）

「紐約被稱為「不眠城」，而現在它卻被黑暗吞沒了。紐約成為了全球新冠病死率最高的城市。「不眠城」仿佛正處於死亡的寂靜中，道路上空無一人、寂靜無聲。自由女神像高舉著火把，自由女神身後就是紐約。她看著她的城市、她的人民被病毒吞噬。該作品中，女生就是一個悲傷的女人，她摔下火把，扔下手裡的《獨立宣言》，為死者、為生命祈禱。這與第一部分的《聖經》相呼應。蘋果腐爛部分留下的液體，就是逝者摯愛流下的淚水，他們哀悼離去的摯愛。」

作者採用重疊構圖，由城市背景，到中層裡祈禱的自由女神，再到前段腐爛的蘋果，要素眾多但並不冗雜和累贅。我們期待著受到神明的庇佑，疫情籠罩在人類頭頂的陰影散去，我們能夠重新走到陽光下。

「If my people, which are called by my name, shall humble themselves, and pray, and seek my face, and turn from their wicked ways; then will I hear from heaven, and will forgive their sin, and will heal their land.」

「New York is called 『The City that Never Sleep』 Darkness engulfed the Big Apple - as she recorded the highest cases of coronavirus and death in the world. The city that never sleep is now as if she is in her death sleep- the city roads are empty and dead-silent.

The Statue of Liberty in New York City; standing tall with her torch raised high as shown in the cityscape at the background of this painting. Seeing her city and her people been devoured by the worm- coronavirus; as a grieving Woman, dropped her torch, dropped her tablet and dropped on her knees praying for the souls of the dead and the salvation of the living. This depicts her response to the call of God to everyone in the Bible quotation at the top of this statement. Running down the rotten side of the Apple are the tears shed in mourning the death of dearly loved departed souls.」

The author adopts overlapping composition, with urban background, the statue of Liberty praying in the middle, and a rotten apple in the front section. Even though there are numerous elements but they are not redundant and burdensome. We pray for blessings of gods, and dissipation of the epidemic clouds. Then we can go back to sunny and normal life again.

關於NY20+

NY20+ 位於四川成都，為濃園文化旗下的專業藝術推廣機構，致力於國際文化藝術交流和海外事務拓展。濃園文化擁有三個主題藝術園區，總面積達141,000平方米。NY20+於濃園全區開展項目，旨在通過國際駐留項目、展覽策劃、校企合作、公益文化推廣等等項目，以推動不同國家、地區間的文化藝術個體與群體之間的互動與合作，促進不同文化的傳播、碰撞與發展，實現跨國藝術生態的良性循環和藝術文化生物鏈的良性發展。

About NY20+

Situated in Chengdu, Sichuan, NY20+ is an art promotion organization supported by Nongyuan Culture, in committed to international art and culture exchanges and overseas projects. NY20+ conducts international Artist Residency Program, exhibition planning, school-enterprise cooperation, non-for-profit art platform and other programs.

Facebook:Nongyuan Art

Instagram:ny20plus_artcenter