Forum--Ox Re-exhibition in the Year of the Ox
Time: 8 March 2009 15:00
Venue: Ox warehouse Art space
就牛房倉庫現時的展覽「牛年牛又展 ─ 大家的回憶和願望」創作特展，牛房將舉行一次藝術家座談會，邀請是次展覽的參展藝術家共聚，一同分享大家的創作經驗及感受，除了讓藝術家互相交流外，亦能讓公眾增加對藝術創作的了解。是次活動歡迎有興趣的人士參與，免費入場。
As “Ox Re-exhibition in the Year of the Ox”, Ox warehouse will organize a forum, especially for this topic, and we will invite the participated artists as well. The aims for organizing this forum, we want to share the creative experience, and thoughts through this exhibition. Beside the artists interchange their thoughts, we also want to the public come along, and understand more about the artistic creation and its process. Welcome to the public and free admission.
素描創作，外人看來似乎可隨手拈來，輕而易舉，屬毋須花太大力氣的表現形式，果真如此？這次的兩位本地年輕創作人，一位寧可隨心所欲、自得其樂地搞作，不 理會外人的反應；一位不想走傳統的創作模式，喜歡發掘更多只屬自己喜愛的表現方式。他們的執著甚至頑固的創作追求正是本地創作人極需擁有的，主辦單位希望 見到更多肯不斷挑戰自己的藝術創作者，透過這次化整為零的創作展示機會讓創作靈氣自在地散播在小城的空氣中，不隨便消散。
本文摘自 華僑報 2009/2/23
Artists Gregory Maass from Germany and Nayoungim from South Korea, present their Artist-in-Residence exhibition at the Ox Warehouse, Macau.
In an effort to introduce international contemporary art forms to Macau audiences, the local art space of the Ox Warehouse has invited two artists at the beginning of 2009 from Germany and South Korea, for an “artist-in-residence” program in Macau. Gregory Maass and Nayoungim both graduated from the famous L’École Nationale Supérieure des Beaux-Arts of Paris in 1996 and have been working as “traveling artists” and partners since 2004. Having traveled widely and exhibited in Europe, America, Korea and Japan, the artists have found themselves preparing an art exhibition in a Chinese territory for the first time. During their 3-week stay in Macau, the couple of artists have not only presented a brand new installation exhibition, but have also held a one-week workshop with local artists on the theme of installation art.
Frank Lei, art director of the Ox Warehouse and curator of the show, has introduced the artist-in-residence and workshop program with a clear pedagogic intention in his mind. “The art form of installation has been very popular in Macau for nearly a decade now, but in general, people’s perception of it remains vague. So-called “Installation Art” is often practiced here as a mere combination of objects, without consideration to creating a connection of thoughts and feelings between the work and the viewer,” Frank explains. “Through the exhibition and workshop with these two experienced artists, I hope we will be able to share their experience and hence help to develop a more sound attitude towards the creation of forms on the art scene in Macau.”
So after two weeks of preparations, the exhibition “You got to be like water” was inaugurated at the Ox Warehouse on the 11th of January. According to the introduction text written by the artists, the title was in fact a quote from an interview with Bruce Lee in which he described how to become a martial art champion. After using the seemingly irrelevant martial arts secret of Bruce Lee as the introduction title, viewers are further led into a world of strangeness. A smoking panda made of six rectangular wooden boxes is installed next to a group of suspended tables and boards. And on top of these hanging objects, are two big
A Couple of Forms
Gregory Maass from Germany and Nayoungim
letters made of neon tubes that can be read as “XO”. Apart from this brief inscription, a hidden sentence can also be read through a combination of social group photos taken from local newspapers. The sentence goes, “BE INVISIBLE”.
The whole setting of the art works is infused with a sense of enigma, activating the viewers to participate and guess. But while our Macau viewers are often too eager to decipher visual forms into literal meanings, it would be a misunderstanding if we push it too far. According to the artists, there are not so many meanings to be found. The best they did to offer an explanation during their one-week workshop about installation art was to tell us the anecdotes behind every single object. “We decided to use a panda because during the first three days of our arrival, we saw news about pandas every night on television. And with a bag of dry ice installed in the nostrils, we have made a smoking panda. It’s fun in this way I think.” Gregory Maass explains. As for the methods and experience of their creative path, the artists are more than economical in their words. “There is not much to say. It works, because the form is there.”
Indeed, the form is there. And in the language of art forms, verbal words are not a necessity. The articulation of this language is situated among different elements, be it visual or spatial. One of the most pronounced examples in this case is the use of mirrors in the
exhibition. A set of three rectangular mirrors was installed on the corner between one of the walls and the ceiling reflecting the giant panda, creating a feeling of perspective and reflection in the rather small space of the gallery. The materials used were all found “in-situ”; in this case mostly wooden objects, thus creating a coherence of visual textures for the viewer. Despite the stinginess of the artists to provide any veritable meanings to what they are trying to convey through their installation art works, their generosity is to be found behind every decision and detail that they have considered in the making of shapes, colors, lightings and space. And the degrees of subtlety and sensitivity applied in these articulations define how skillful and effective this kind of art can be at touching the viewer.
So forms have their own language and in the case of an art exhibition, it is often the object to contemplate. The nature of Gregory Maass and Nayoungim’s work is highly demonstrative in exactly this way. But what if we have not yet learnt the language? Where can we start to communicate? For the artists who are concerned exclusively about forms but not pedagogy, this is where it falls short. What is left is just the experience; an “esthetic experience” if you will. But for the pedagogue, a tangible way has yet to be found, so that artistic ideas are not mere objects of contemplation, but a tool to bring our society to a higher level of awareness and constructive meaning.
photos and text by Alice Kok
Quotation: macau Closer (Feb.)
開幕時間 / Opening :
4:00pm, 21 February 2009
展期 / Exhibition Period :
2009年2月21日至3月29日21 February to 29 March 2009
Ordinary people may think creative drawing is an easy and carefree task, and a kind of expression form that requires little effort. Is that true?
We have invited two local artists Hong (Fan Sai Hong) and Ivy (Ivy Leong) to present this exhibition and share with us their experimental creative fruits collected over some time. We hope it will offer visitors an opportunity to realise how this type of drawing, created with very simple media, can also be very eye-catching and expressive.
They are two different alternative artists: Hong would rather be free and have his own way, indulging in creation irrespective of others’ reaction. Ivy is a different type of artist who does not want to follow tradition and rather prefers to discover her own ways of expression. This kind of persistent and even stubborn creative pursuit is exactly what local artists need most. We hope to see more self-daring artists and sincerely expect that the exhibition Spontaneous Creativity might really help to sow creativity in the sky of Macau, wishing it to flourish.
參展藝術家 / Participated Artist:
范世康 / Fan Sai Hong
梁雅思 / Ivy Leong
李銳奮 Frank Lei
主辦 / Organization：
婆仔屋藝術空間 / Old Ladies’ House Art Space
贊助 / Sponsor:
地點 / Venue：
牛房倉庫 / Ox Warehouse
No Cruzamento entro a Avenida do Coronel Mesquita e a Avenida Almirante Lacerda Macau
開放時間 / Opening time：12:00 ~ 19:00, 逢星期二休息 / Closed on Tuesdays
巴士路線 / Bus Line : 1，1A，3，3A，4，5，6，7，8，8A，9，9A，16，17，23，25，26，26A，28C，32，33，34
查詢 / For enquiry：
28530026 (12:00 ~ 19:00, 逢星期二休息 / Closed on Tuesdays)