這一「剎那」, 便成了「現在」, 究竟時間如直線流過, 還是會循環不息?
從早春到初夏, 2020年V54的首個藝展, 與你連成一線.
Photo by Eric Hong
社區藝術展覽 Community Arts Event
「LINE線」Ayumi Adachi Solo Exhibition
日期 Date: 6-21/6/2020
地點 Venue: V54 駐留大宅 Art Residence
(香港跑馬地山村道54號 No. 54, Village Road, Happy Valley, Hong Kong)
Free Admission (Online registration required)
節目查詢 Inquiry: (852) 2277 8209
Admission Free . Visitor need to register !
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節目查詢 Inquiry: (852) 2277 8209
日藉藝術家 Aymui Adchi 首度與保良局社區青年藝術計劃合作，並運用V54駐留大宅呈現全新裝置藝術創作，展覽將延續藝術家遊走日本、台灣等地的創作歷程與體會，以其對線條的獨特觸覺，嘗試在V54這幢歷史建築裡梳理出生命循環的迷思。
“Line” is an installation art project newly curated with resigned materials from experience of past works by the Japanese visual artist, Ayumi Adachi. It is the first collaboration of the “Community Youth Art Development Scheme” and the artist, by presenting the impressive art piece of 2D drawing artistically transformed into 3D installation at V54.
The process of creating paper work are divided in few acts, including drawing straight line, crumpling of paper and its spreading into a curve ultimately. It represents the complicated dealing and circumstances of human life in a certain period of time, eventually inspiring audience to look into moment of the Passed, Now and the Future!
Guided tour and youth workshop will be arranged. Please stay tuned for details.
@ 社區藝術展覽「Line 線」Ayumi Adachi Solo Exhibition, V54, Happy Valley – A grammar of peace and a grammar of life that the artist meticulously, liberally, graciously brings out of an interior space marked at first sight by culture and history. “Peace” as in coming to terms with acknowledged troubles, making them transparent to oneself and others, provisionally suspending them and not at all erasing or avoiding them, experimenting with a different way of touching it, as distant from antagonisms as possible, for now. A state of equanimity in movement.
By what means? The coming-into-Being of fantastical, mythical thinking: tracing paper inscribed with lines of varying volumes encroaches floor tiles and mantelpieces, dysfunctioning their symmetry and apathy. Pieces after pieces of paper lean, hug, cuddle, as corals would the coast. Some are held up by the seal between window and frame. Others spread toward the perspiring pane: is it modesty or pride that it acts upon, in every inch, to stay dry?
There is something erotic about certain potions the artist has prescribed. I must say, tributing Audre Lorde, that the erotic “is a question of how acutely and fully we can feel in the doing.” (in The Master’s Tools Will Never Dismantle the Master’s House, Penguin 2017). The erotic isn’t the pornographic – no. It is the manifestation of the sexual in the spiritual – starkly different from other schools of thinking that juxtapose these two as opposites. Yes,「Line 線」could instil fear – one bends to enter a cave, ambiguously a labyrinth that disorientates. But the artist stops right where the structures must live – balancing gradation of light and shadow, dramatic and contemplative delights, and most importantly perhaps of all, her joy of connection and disconnection. Hearing water in its multiple ways of flow – dripping, gurgling, murmuring – accentuates the connection of the artist’s and ours. The primal in the contemporary. Here’s Lorde again: “Another important way in which the erotic connection functions is the open and fearless underlining of my capacity for joy. In the way my body stretches to music and opens into response, hearkening to its deepest rhythms, so every level upon which I sense also opens to the erotically satisfying experience, whether it is dancing, building a bookcase, writing a poem, examining an idea.” What the endless lines on crumbled paper combined do is to displace linear time, to turn built grids in the room into strength of a different kind.
The artist demonstrates the simplicity of the making – take an A4-size tracing paper – blank, future-time. Put a marker to it short-end-to-short-end; a line is drawn, and another and another; time-past. Crumble each piece of paper; put one against/ along the other; lines meet and miss each other; time-clashed.
And there it is – circumscription engenders a life-form; like Virginia Woolf looking intensely at the mark on the wall, miniaturising it by making it as big as one’s attention can manage.
I can go on and on, because the artist’s interpretation of life as full of uncertainty and the multitude of things that could happen in Setsuna (ksana/ 剎那) goes on and on, is so rich with a sensibility of the times and of an individual’s singular need, that is ecological and dependent, while also uncompromising for being independent.
There is more: nestled upstairs are drawings touched, again, by water. On ink-jet prints of Ernest Haeckel’s drawings of nature’s lives, the artist brushes in water as dots and strokes. And so, “Homage” to nature, to the changes it ceaselessly brings.
Lastly, to backtrack: Steps up V54 are brief but steep. Land on a plain, panting, and be immediately challenged – this time by the artist, the way she spreads her plains.
A must-see if committed to being art-challenged. (Yang Yeung)