7.19-8.19 蔣竹韻：如果，結尾在開始之前
蔣竹韻：如果，結尾在開始之前
Jiang Zhuyun: If the End Precedes the Beginning
時間：2018年7月19日-8月19日
地點：博而勵畫廊
博而勵畫廊畫廊於2018年7月19日呈現最新展覽「蔣竹韻：如果結尾在開始之前」。此次展覽標誌著藝術家與博而勵畫廊畫廊的首次合作。
「如果結尾在開始之前」的命名源自T?S?艾略特的詩作《四個四重奏》中的「…或者說結尾在開始之前，並且結束與開始總是在那裡，在開始之前和在結尾之後」。蔣竹韻以個人經驗和記憶為出發，將其閱讀的目光作為原作的視覺副本，投射出其個人對於秩序與中斷，障礙與反饋的理解。
蔣竹韻的作品涉及了廣泛的創作媒介，現中國美術學院跨媒體學院教師，2017年入圍三亞華宇青年獎。
Boers-Li Gallery is delighted to present 「Jiang Zhuyun: Perhaps the End Precedes the Beginning」 on July 19, 2018. This show marks the artist』s first presentation at the gallery.
「Perhaps the End Precedes the Beginning」 draws from the phrase in T.S. Elliot』s Four Quartets, 「… or say that the end precedes the beginning, and the end and the beginning were always there, before the beginning and after the end. 」 Taking personal experience and memories as a point of departure, Jiang Zhuyun takes the retinal movements of his reading as a visual copy of the original text, to project his personal interpretations on order and pause, hindrance and feedback.
Jiang Zhuyun』s works span a wide range of artistic mediums. He is currently a lecturer at the School of Intermedia Art at the China Academy of Art. In 2017, he was shortlisted for the Huayu Youth Award.
蔣竹韻 簡介
蔣竹韻（出生於1984年）個人項目及個展包括：「系統生存」，西岸藝術與設計博覽會，上海（2017）；「風中絮語」，拾萬空間，北京（2016）；「對畫」，Earport，杜伊斯伯格（2015）；「Pass Word 原型基站發布」，拾萬空間，北京（2015）。此外，他的作品曾在諸多重要群展中展出，其中包括：「在場」 ，中國美術學院，杭州（2018）；「藝術贊助人」，喬空間，上海（2018）；「視覺的詩：面向真實的時間」，貝爾維尤宮#2, 卡塞爾，德國（2018）；「復相影像：廣州影像三年展」，廣東美術館，廣州（2017）；「共同風景」，三亞藝術季，三亞（2017）；「掩體對白」，掩體空間，北京（2017）；「朋友圈+：文化館線上藝術計劃展 」，OCAT上海館，上海（2017）等。
About Jiang Zhuyun
Jiang Zhuyun (b. 1984), has been the subject of solo exhibitions including, 「Survival in System」, West Bund Art Fair, Shanghai (2017); 「I Talk to The Wind」, Hunsand Space, Beijing (2016); 「Letters」, Earport, Duisburg (2015); 「AT LAB: Pass Word Project」, Hunsand Space, Beijing (2015). Jiang Zhuyun』s works and projects have been included in group exhibitions including, 「Stop Making Sense」, Hunsand Space, Beijing (2018); 「Presence」, China Academy of Art, Hangzhou (2018); 「Art Patron」, Qiao Space, Shanghai (2018); 「Concepts of Visual Poetry」 Palais Bellevue #2, Kassel (2018); 「Bad New Days Ahead」, Taikang Space, Beijing (2017); 「Simultaneous Eidos」, Guangzhou Image Triennial, Guangzhou (2017); 「Shared Vision」, Art Sanya, Sanya (2017); 「Bunker Dialogue」, The Bunker, Beijing (2017); 「Moments and More」, OCAT, Shanghai (2017); 「MIC/MAC」, A2Z, Paris (2016); 「No. 0 Be Yourself Festival」, JNBY HQ, Hangzhou (2015); 「Sound is True」, UC Berkeley, Berkeley, USA (2008); 「Pierre Huber Creation Prize Nominees Exhibition」, Bizart, Shanghai (2007) and etc.
張遼源：放映
Zhang Liaoyuan: Play
時間：2018年7月19日-8月19日
地點：博而勵畫廊
博而勵畫廊於2018年7月19日呈現藝術家張遼源與畫廊合作的首次個展：「張遼源：放映」 。此次展覽將展出張遼源的七件作品，其中他在過去十年里創作的作品將與新作品並置呈現，使之共同勾勒出藝術家獨特的創作觀念。
張遼源畢業於中國美術學院新媒體系，他的創作實踐涉及諸多媒介，包括錄像、攝影和裝置等，它們深入探索了視覺現象和圖像形成的過程。
對於本次展覽展出的新作品，張遼源採取了頗為輕鬆、幽默的態度，強調了通常支配著我們的觀看行為的複雜觀念，以及它們對感官的影響。在一些作品中，張遼源通過對觀看語境中的組成元素加以把控，從而製造出錯覺化的現實感。比如，在作品《億萬像素》（2018）中，他通過營造出一個放映的假象，使觀眾在進入黑匣子空間後，透過鏤空的「熒幕」來觀看畫廊空間內其他的參觀者，並會聽到放大的環境音。而在《畫面在牆上》（2018）中，畫廊外的實時影像被投射在消磨了5毫米的展廳牆面上，使觀者在實時影像上找到了似乎有所預期的噪點。在《放映》（2018）和《懶散的下午》（2018）中，張遼源將現場畫面或影像素材作為抽象的形式投射在裸露或是疊映在貼有不同顏色紙張的牆面上，從而製造出變形的現實幻象。
在張遼源在早期作品中就對於關觀看的觀念埋下伏筆。他的《無名小島》（2008）對於影像的載體進行置換，使用粘性膠帶轉換成看似電影膠片；而《排排隊，坐坐好》（2016）和《 0~255之間～1》（2010）則是對數碼圖像中的基本組成成分——像素——的操控。在前者中，藝術家把圖像中的像素值按RBG大小重新排列，組成抽象的圖像；而後者則是把費里尼的電影里一個固定的像素放入一盞落地式檯燈中播放，使這一基本成像的元素與光源相互置換抵消。
張遼源，0~255之間～1，2010，檯燈、LED、筆記本電腦、單片機等
Zhang Liao,between 0~255 ~1, 2010, lamp, LED, laptop, SCM
Boers-Li Gallery is delighted to present 「Zhang Liaoyuan: Play」, the artist』s first solo exhibition with the gallery, opening on July 19, 2018. Among the 7 works on view, a number of recent projects are paired with works selected from the past decade to offer an overview of Zhang Liaoyuan』s conceptual endeavors.
As one of the first graduates of the New Media Department at the China Art Academy, Zhang Liaoyuan』s artistic practice comprises of manipulating video, photography and installation that address the phenomenon of vision, and the processes of image formation.
His recent works presented in this exhibition, Zhang Liaoyuan takes on a playful attitude in addressing the complex conceptual notions that often dictate the act of viewing, and subsequently impact our perception. In some cases, his investigations are carried out through manipulating the elements in the context of viewing in order to create the illusory perception of reality.Billions of Pixels(2018) provides the illusion of film watching as the viewer comes into a dark room, looking at the other spectators in the gallery space paired with amplified ambient sound, whileImages on the Wall(2018) is a projection of live footage taken on the street outside of the gallery, onto a wall whose surface is shaven off by 5 mm so it seems that one is watching the live footage with the expected noise. In other cases, such asPlay(2018) andLazy Afternoon(2018), Zhang translates and superimposes the film footage as abstract forms on the wall that create illusions of an otherwise warped reality.
Zhang Liaoyuan』s interests in exploring the conceptual notions of viewing can be traced back to his earlier works.Anonymous Island(2008) transforms an adhesive tape into film rolls with printed images;Line Up(2016) andBetween 0-255(2010) are manipulations of the primary element of digital image, the pixel, where the former re-aligns the pixels of an image according to its RBG values to form an abstract image, while the latter plays a given pixel from a Fellini film in a lamp shade, thus converting its property to constitute an image to the light source that makes the image visible.
張遼源 簡介
張遼源(出生於1980年)於2006年畢業於中國美術學院新媒體系，目前生活和工作於杭州，在中國美術學院新媒體系擔任講師。他的個展包括：「取景」，箭廠空間，北京（2018）；「半發酵」，想像力學實驗室，杭州（2017）；「升級」，文化館（媒體藝術線上平台）（2018）等。他的作品曾在諸多群展中展出，其中包括：「在場」，中國美術學院，杭州（2018）；「復相疊影 - 2017年廣州影像三年展」，廣東美術館，廣州（2017）；「消夏錄」，拾萬空間，北京（2017）；「掩體-對白」，掩體空間，北京（2017）；「事件的地貌」深圳OCAT藝術中心，深圳（2016）。
About Zhang Liaoyuan
Zhang Liaoyuan (b. 1980), graduated from the New Media Department of the China Academy of Art in 2006, is currently a lecturer at the department, who lives and works in Hangzhou, China. His recent solo exhibitions include, 「Frame」, Arrow Factory, Beijing (2018); 「Half Fermentation」, Imago Kinetics Lab, Hangzhou (2017); 「Update」, Cultural Pavilion (an online platform for media art) (2016) and etc. His works have been the subjects of group exhibitions including, 「Presence」, China Academy of Art, Hangzhou (2018); 「Simultaneous Eidos – 2017 Guangzhou Image Triennale」, Guangdong Museum of Art, Guangzhou (2017); 「Summer Recorder」, Hunsand Space, Beijing (2017); 「Bunker- Dialogue」, The Bunker, Beijing (2017); 「Dig a Hole in China」, OCAT Shenzhen, Shenzhen(2016); 「On/Off – China』s Young Artists in Concept and Practice」, UCCA, Beijing (2013) and etc.
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