Migrant VI: 由是观之

在夏鹏的作品中网络图片的很多细节被绘画性的细节所取代了。

流传于网上的碎片视觉信息构成了某种令我们欲罢不能的思维习惯同时作为敏感的视觉承受者,令我们越发的焦虑。。。

或是从60、70年代开始,传说中那个西方性交自由、毒品泛滥的年代,许多严肃的激进主义艺术家试图挑战那些机构庞大、结构复杂、等级森严的企业和政府组织,因为它们(有形的、坚固的)牢牢地钳缚着个人,它们的组织形式貌似科层式的监狱,使有雄心的艺术家燃气挑战的欲望。。。而时过境迁,随着科技推动的信息’自由的’表达与传播,作为个人’自由的’获取图像了解世界,历史部分的满足我们都需要,而给我们更多、更深的迷惑。。。


夏鹏, 这位来自天津的艺术家。在德国生活和工作了12年,从水墨绘画转向加上绘画, 从面对一种文化差异问题的好奇慢慢的变为了对时代中各个文化面对的共同问题的好奇。。。这同样是我们这个跨文化的画廊很感兴趣的话题。。。


在候鸟展览VI中我们将带着这个有趣的问题遇见你,希望通过绘画的视觉提问延展开一个有趣的思考。而这个展览似乎是绘画对像素视觉的解读,图像科技的发展似乎已经将我们的一部分带到了未来,而另一部分还停留在现在和过去。。。

从不同的角度质问那些是我们的,我们是谁,是什么,在视觉的世界里我们还剩下什么。。。


“当抽离了新闻所特有的时效性和具体性之后, 我寻找到一种象征性的普遍意义或是一种共通的情绪与氛围。


信息技术很大程度上改变了我们的观看方式,大大延展了自然人的视觉能力。无论出于信息的传播还是公共安全,乃至个人欲求,都是作为观看途径的信息技术成为不可获缺。


摄影、监控、网络、无人机的运用似乎到了泛滥的地步,在依赖着科技的便捷之余,人们也承受着科技化的灾难。当炫酷的科技成为欲望的外衣,世界人就重唱着关于狂欢与代价的古老歌谣。。。


技术正在逐步脱离我们的核心,新的时代产生的新的焦虑和新的困惑正在膨胀着。。。


夏鹏的作品中传递着这种质疑和焦虑。。。


这组作品是对时代印象化的叙述,省略掉了背景信息,不得不说化的坏事多于好事,冲突多于和谐,就算是为了忘却的纪念吧。。。

在充斥着网络形象的状况下,信息量的超负荷越发的让人觉得,信息的泛滥让人无能为力,无法挽回又无可避免,个人的形象、轨迹、意志被沙化了。。。

很难说形式在为内容服务,因为内容是可感而不可知的。。。

只能说一些带有有限注解的视觉资源在为形式服务,在强化着形式的古老传统和时代特征。

以绘画的手段探讨着当代视觉资源中看的角度、看的目的、看的欲望、看的能力,以及看的遗憾以及观看自身的紧迫感与悬险处境。”



The details of online pictures are replaced by painterly details in XIA PENG’s paintings.

The online visual fragment information cannot help forming one kind of mind mode, which makes us as a sensitive audience more and more anxious.

Since the 1960s and 70s, the decades of which a sexual liberation and drug discovery flooded into the western world—many serious radical artists intend to challenge the complex, rigid enterprise and government mechanism. Individuals are tightly held and controlled by the government mechanism, and the format of this system seems like a class based jail, blazing the challenge out of ambition artists. With the changing circumstance as well as the time, technology development pushes the expression and spread of freedom. As individuals,understanding the world and history through these images, it freely satisfies our demands, but nevertheless brings more deep confusions...

Xia Peng, the artist from Tianjin, China, who has lived and worked for 12 years in Germany, gradually changed from ink painting to easel painting. The Curiosity of Cultural Shock extended from one single aspect to the diverse cultural topics and dilemmas that we humanbeings all face, which is the same topic that Migrant Birds, as an intercultural project, is interested in.

In Migrant Birds VI, we would like to present you with the above-mentioned topic, and look forward to expanding the visualised question to an interesting rethink and discussion. This exhibition is moreover one interpretation of pixelized vision.

Image technology has already brought all of us partly to the future while the rest of which still remains both in the present and in the past. 

We are questioning from different angles what belongs to us, who we are, what we are and what has been left to us in the visual world. 

 “When the characteristics of the news such as the timeliness and materialism is dissociated, I found a symbolical universality and an emotion or atmosphere which is applicable to all. 

Information Technology somehow changes the way in which we observe the world, widely extending the human visual ability. No matter whether the information is broadcasting or via public security, even with the individual demands, the Information Technology mode of observation are indispensable.

The overflow application of video, CCTV security cameras, internet, and unmanned aircraft, has spread to the point where humans rely on the convenience of the technology also suffer from the menace of it. Cool high-technology becomes the appearance of the desire.

Technology is breaking away from the core of our life, and new anxiety and confusion of this new age is exploding...which meanwhile is transferred and delivered exactly from  XIA PENG’s work…

The image resources implied in these works come mostly from the internet. The whole set of work is the impressional expression of the era. The more of an overloaded the information becomes, the more incapable we are to process and digest it. However, the explosion of information in this age is beyond retrieval and inevitable, which at  the same time blurs the identity of the individual. 

Let’s explore the angle of seeing, the aim of seeing, the desire of seeing, the ability of seeing as well as the regret of seeing through the approach of the appreciation of paintings. ”