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“BANG Su-Koung, My Garden” & “PARK Mi-Rae, Painted in Beijing” 1181
Space CAN Beijing, Beijing - 北京可能空间, 北京
du 9 novembre au 30 novembre 2013 - 2013年11月9日至11月30日
www.can-foundation.org
© Piao Songyi
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Légendes de gauche à droite :
1/ PARK Mi-Rae - 朴美礼, The Swan - 天鹅, charcoal - 纸上炭笔, conte - 孔特粉笔, pencil on paper - 铅笔, 58×79 cm, 2013.
2/ PARK Mi-Rae - 朴美礼, The Panda Series #1 - 熊猫系列 #1, charcoal - 纸上炭笔, conte - 孔特粉笔, pencil on paper - 铅笔, 54×75 cm, 2013.
3/ BANG Su-Koung - 方秀敬, My Garden (detail) - 我的花园 (局部), mixed media - 综合材料, variable size - 尺寸可变, 2013.
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présentation - 展览介绍 :
BANG Su-Koung’s Note
Just like a writing of Alain de Botton, 'If a person failed to fulfill idealistic state which a society wants, he or she would fall behind and consequently suffer from relative deprivation and shiver because of anxiety, these days when expressing sadness in mind has became a disclosure of one's weakness to his or her competitors these days, there is no place and no person to cry together.
Ecology in romantic aspect attempts to find reasons why human beings feel this sense of loss and depression from the fact that they destroy nature and built artificial environments. Nature is our mother and origin of everything. Because we are daughters of nature, nature provides a place where we can cry and comforts us.
In a series of 'My Garden', the artist brings installation art works and artificial objects based on natural objects to a specific location named 'Art gallery' Encountering with artificial environment and psychological stability transferred by natural object suggests 'A new landscape' in a modern society.
The artist, opposing a modern world view which human-centric and scientific-oriented world view that had been criticized since modern times unilaterally destroyed nature and exploited it in oppositive aspect, shows ecological view (romantic and ecological aspect) by encountering psychological stability transferred by nature and loftiness with site-specific space named art gallery.
In addition, audience will be able to experience audience-attending art in a way that they donate one of their belongings except money into 'Cake Dome' next to installation art works.
PARK Mi-Rae’s Note
This exhibition contains 45 days of itinerary when I was staying in Beijing.
#1 ‘Between heaven and hell'
As an airplane is flying up, I can look down on landscape just like a God.
At the moment, joy, anger, sorrow, and pleasure and my existence seem to be a small piece of dust without meaning. I arrived at the huge continent and now I came to Forbidden City passing through Summer Palace and Yuanmingyuan Ruins Scene.
Arenas of power which had been targeted by power-pursuing people have been left in front of time as popular tourism spots. In front of places where desire of rise and fall was squirming, unnamed labor is glimmering.
When I watch people as I walk in forest of city of huge capital, consequently they move just like Sisyphos in front of robust food chain with their own stories on their shoulders. I came back to my work room and I painted meat-feeding lion and plant-feeding deer on pyramid of triangle with them overlapped. Finally, to all people, every single day may be a diary on site which recorded struggles to endure assault and cold and hunger. Basic instinct which is marked as karma will only make strong people survive. And there are unnamed white flowers in cluster of bloom on it. Maybe those flowers will be wilting soon.
#2 'Panda drawing series'
I visited a zoo in Beijing and there people are congregating only at Panda. Pandas in the zoo are exhibited as a stuffed fancy product in front of spectators. Thanks to their cute appearance, they became mascot for Chinese people and very much beloved by people. Panda on the brink of extinction can't survive by themselves any more while they are lasting their life by nursing from human beings.
I am not sure whether or not wild Pandas who are being starved or hunted to die as they can't get bamboo due to disruption of habitats might be better than those in zoo. Pandas in a zoo, which are fulfilled with all sorts of conditions such as more balanced meal, health inspection, suitable copulation might have better life. Human beings are also not different from Panda in a zoo. Human beings, although they have a key to escape from all given environments, wouldn't be different from creatures surrounded by fence of zoo which repeat daily routine within limited spaces such as company and houses. Like most of animals in zoo, pandas here are all sleeping. I drew their portraits on white paper by charcoal. Their weak eyeballs hidden by black spot in the portrait surrounded by frame gaze at the air.
方秀敬作品自述
作家阿兰•德波顿写道，无法满足社会所需的成功时将被淘汰，不得不备受剥夺感的折磨，陷入不安之中……
如今，表达内心悲哀的事情好像沦落成为了向不特定多数的某个竞争对象暴露羞耻的事情……
对于人类来说，不再存在可以哭泣的场所和一起哭泣的人。
浪漫主义的生态学对于人类感受到这种丧失感和忧郁症的原因，正在从破坏可获得安慰和情感交流的自然以及构建人为环境的问题中寻找答案。
大自然不仅是我们的母亲，还是万物的根源，我们是大自然的儿女，自然向我们提供哭泣的场所，同时安慰着我们。
在系列作品“My Garden”中，艺术家在“美术馆”这一“特定场所”中放入了以大自然为基础的设置作品和人工构造物等。人工环境和实际大自然中传达的心灵安稳感的相遇表达出了现代社会的“全新风景(Landscape)”。
自从现代主义时期起一直到被批判的人类中心主义、科学中心主义的世界观是专门破坏大自然的，在与大自然相反对立的位置剥夺大自然的近代意识的世界观，艺术家为了对抗这样的世界观，让自然物体传达的心灵安稳感和崇高感在美术馆这一“特定场所Site- specific”的空间中相遇，表达出了追求人与自然和谐的生态学（浪漫的生态学）观点。
同时展示馆中的观众把除货币以外的任一物品捐赠在设置物旁边的蛋糕圆顶盒中，坐在设置物上，观众体验参与型的美术。
朴美礼作品自述
此次展览的作品中蕴含着45天在北京度过的旅程。飞机起飞，自己犹如神一般的俯视着世界。
在那一瞬间，生活中的喜怒欢乐和自己的存在看起来就像小小灰尘般变得毫无意义。到达庞大的陆地后，经过颐和园和圆明园，来到了故宫博物馆。在漫长地岁月中，经历了一国之主权利角逐的争夺后在流逝的时光面前最终成为了旅游胜地。在曾经的兴亡盛衰的欲望燃烧之地，模糊的无名劳役浮现在了眼前。
无名的存在正如西西弗斯一样反复地劳动。
再次走在资本的巨大城市丛林中看着来往的人群，各自因肩负的缘由，从古至今，在牢固的食物链面前所有的人最终都像西西弗斯一样反复劳动。回到工作室，我不知不觉地在三角形的金字塔结构上重叠画上了食肉狮子和食草鹿。最终一切也许都是每天在攻击、寒冷和饥饿中忍受烦躁的斗争现场。如同冤孽般印刻的本能只会让强者生存下来。上面开着朵朵无名的白花。也许那些花很快就会枯萎。
我还去了北京动物园。人们都在熊猫面前拥挤不堪。动物园里的熊猫虽然活着，却成为了剥制的花哨商品，在人们面前展示。它可爱的面孔让它成为了中国的吉祥物，受到了众人的爱戴。濒临灭绝的熊猫很难独自生活，需要生活在人类的哺乳之中。
但是不能说因偷猎和栖息地的破坏找不到竹子而面临饿死危机的野生熊猫会比动物园里的熊猫生活得更好。在营养均衡的饮食、体检、合适的配对等，满足长寿条件的动物园里生活的熊猫也许会生活得更好。其实人类和动物园里的熊猫没什么区别。人类虽然握着脱离环境的钥匙，但是仍然在公司、学校、家庭等限制的空间中来往于固定的路线，与不断反复同样生活的动物园栅栏中的生命没什么区别。就像大部分动物园中的动物一样，这里的熊猫也在躺着睡觉。在白色纸张上用黑木炭勾画了它们的肖像。困在相框中的肖像中可爱的黑色斑点后面遮盖住的无精打采的眼珠凝视着空中。
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