• 一立方米的信任

    Comprehensive material Installation <One stere of TRUST>

    材料:PVC盒子、各种信任礼物

    尺寸:一立方米+PLUS

    创作时间:2013-2018终身收集计划并阶段性出一本相关的出版物

    展览

    第九届上海双年展中山公园计划 台东美术馆2013年1月

    第九届上海双年展中山公园计划 上海当代艺术博物馆2013年5月

    深圳圈子艺术中心获得圈子青年艺术优秀奖 2017年4月

    Exhibitions

    The 9th Shanghai Biennale, Power Station of Art, Shanghai, China

    “Stand, Driftage,” Zhongshan Park Project - special project of Shanghai Biennale, Taidong Art Museum, Taidong, Taiwan

    Prize Shen Zhen Quan Zi Art Centre

       2012年8月林苒开始通过个人新浪微博,豆瓣网,厦门本土杂志,报纸,厦门卫视等渠道和途径向社会公开征集信任礼物。

    【信任】在词条释义中是一个动词:相信而敢于托付。林苒在这个作品中把信任提取出来把动词转化为一个名词,再由一个抽象的名词转化为一件物品。邀请社会各界人士,各种职业人群赠送给我的诉说他们对信任的理解和体验的各种物品。这个物品可以是任何一个东西,代表了不同的人心底里对这个名词的认知和体会。而她也希望在思考拿出什么物品的同时,大家能重新审视【信任】这个词。大家将会拿出什么样的物件来诉说自己和信任之间的关系呢?


    随后在几个月的征集中,她惊喜地收到了各种各样的信任礼物,各种各样的故事,各种各样的情绪。每个参与者都在做一个命题的创作,而这些作品,它们组合成了这个【一立方米的信任】。于是,她把人与人之间的微妙关系等无形无量的内容,量化成为一立方米的有限的模板,让它们成为现实社会人群的一个横切面,一个切片标本。

    同时,她在自己的新浪微博上定期发出所收集到的信任礼物的图片和文字,为这件作品建立一个与公众交互对话的机制。

    并且,她在微博上公布此征集活动将会永不停止,而这个大的立方体的装置也设立了一个可以无限延展填充的可能性。这件作品会作为终身计划来实现,并且计划阶段性出一本关于信任的册子作为总结。


    One Cubic Metre Of Trus

       Ash Hempsall

       In her conceptualsculpture “ One Cubic Metre Of Trust”, Lin Ran presents us with an investigation of the notion of trust.The idea is deceptivelysimple: the collection and presentation of various objects and statements froma sample population – ranging from close artist friends to complete strangersmet by chance – within the criterion that the collectibles portray thatindividual’s concept of ‘What Is Trust?’.

     

       Naturally, thesenotions vary enormously - from poeticembodiments of trust to bald statements of a complete lack of trust. Inaccepting these submissions‘blind’, so to speak, LinRan also allows for trustto form the artwork as well as allowing for direct communion with the work –one submission was of medicinal herbal pills, doses of which she ingested ingood faith.

     

       So, what does herwork reveal about the nature of trust and human interaction? The work itself iscompartmentalised so this seems an appropriate starting point to sample some ofthe diverse responses:

     

       Theelderly gentlemanwho donated a vial containing five layers of different coloured sand writes ofhis wistful hope of “truly knowingsomeone”. Trust in the possibility, for him, of at least one full humanrelationship as the finalpiece in the jigsaw puzzle of life.

     

       Or the radioannouncer whose cherished piece of Agilawood expresses his desire to connectwith antiquity (Agilawood is the result of a mould infection which transformsthe normally light and pale heartwood of the SE Asian Aquilaria treeinto a dark, aromatic resin). Trust,perhaps, as some ancient ritual commodity that is no longer available.

     

       Trust as a gamble- a train ticket for the very firsttrain on the reopened line after the Wenzhou high-speed rail disaster in 2011.

    The symphony conductorwho believes trust is the dual act of “benefittingone anotherwhile hurtingeach other”.

     

       The designer who gavea pack of cigarettes along with the darkly banal message "Trust, sometimes,is just a kind of habit".

     

       The elderly man whoselate-life viewpoint is succinctly expressed with "People in the lastmoments of life trust in drugs".
     

       Or as a simple tokenof faith, trusting that the artist will look after a valued personal objet.

     

       Or trust as situation,the pros and cons of which must be weighed up: “Trust is leaving your mobilephone with a stranger while it charges”.

     

       Trust, of course, isa two-way street. So while these different voices offer up how trust hasarrived (or not) in one person’s heart, what is the reciprocal element of thework? What is the other side of the street?

     

       One might wellsuggest that it is trusting to confide in an artist knowing they will make yourprivate thoughts public. Therefore, has the artist earned her subject’s trustin this regard?

     

       As with any goodpiece of art, it is the aesthetic that brings it to life and which connects allthese personal musings beyond a common theme. The assembly of these individualexperiences into a cube is positive, suggestive of a building block.Furthermore its dimensions are lent an airiness by being presented as anexploded or expanded cubic metre, giving it a feeling of hope, of continuationand growth - if only we can trust.

       l

    在此处添加文本段落
  • 一立方米的信任 - 岛

    Comprehensive material Installation <One stere of TRUST-Island>

    尺寸大小可变

    材料:16格中式药柜,线团,丝袜,填充物,结婚证,照片,书信,胸罩,工笔画,假牙,访谈纸屑。。。

    创作时间:2014-2015-至今(收集物品时间至创作时间)

    展览:

    上海艺术门画廊《新感知》展2015

    美国密歇根州布鲁德美术馆《内燃》展2016

    Exhibitions

    “New Perception,” Pearl Lam Gallery, Shanghai, China 2015

    “Fire Within,” Board Art Museum, Michigan, USA 2016

       在《一立方米的信任》的基础下,延续林苒在2012-2013年向社会公开征集“信任礼物”之后,2014-2015年她以另外一种私密的征集方式向Lesbian 女同性恋者群体秘密征集她们的个人信物。

       林苒在给她们的信件中,希望她们送给我她们日常生活中的一些使用过的私人物品或是她们对自己女同性恋身份有思考、感知和再创作的物件(艺术品),并邀请她们回答一些问卷阐述自己的故事。

       这是一件对多元性别人群LGBT的研究之作。作品中林苒用一个16格抽屉的中药柜,有的关闭有的则是打开并且摆上L们送给她的作品,隐喻同性恋人群的出柜和柜内。而她们送给林苒的物件,有作为中国公民却在美国加利福尼亚州领的结婚证,有6条(代表七情六欲)女性白色内裤上写的有色诗歌内心独白,有一幅奇怪的假牙,有一双旧丝袜填充起来的双腿,有一幅漂亮的工笔画,还有一大堆撕得粉碎的照片和情书,有两团纠缠在一起的毛线,有贴满照片的旧胸罩, 有贴上指套的一张胸部的照片。

       而地上围绕着载体中药柜子的是征对LESBIAN群体的一些访谈文字的纸团。参观者可以从地上捡起纸团看看,可以带走,也可以扔回去。或者可以扔进去自己的想法。这样汇集成了公众对于这个群体的认知和交互性沟通。纸团像一个信息的海洋,把中药柜包围起来,让中药柜载体更像一个信息中的岛屿。

  • installation《∞ cup》

    综合材料装置:《无穷尽罩杯》

    acier, soie,dentelle,ect...

    钢材支架,丝绸,蕾丝花边等

    创作时间:2009年3月

     

    这其实是一个冷幽默,巨大的粉红色的胸罩预示着需要存在一对巨乳来穿戴它。女权主义者曾无数次的哀悼乳房们,赤裸上身的游行争取和男性一样的光膀子权利。而一次次的女权主义运动后,女性争取到了受教育权,公民权,投票权,生育权等等,各种各样我们今天习以为常的权益。而今天的女权主义者,更需要一个祭奠先者们为我们争取到的权益的狂欢。燃烧吧,那些丝绸,那些软弱,和那些浮于表面的美丽粉红色,露出我们刚强的骨架。这件作品,在2010年的福建省美术馆全国女性艺术家邀请展上展览。而林苒的初衷是希望这件雕塑能有一次篝火狂欢,在这个狂欢上我们焚烧这件作品,露出粉色丝绸缠绕之下的钢精骨架。---由于种种原因,它没有被燃烧。她希望能有一天用火焰完整这件作品,来一次真正的狂欢盛宴。

  • 综合材料装置《笼中水》

    材料:鸟笼,冰块,冰渣

    创作时间:2010年3月

    尺寸:根据展览场地现场调整尺寸

     

    这是2010年林苒受邀参加福建省美术馆《缺席的身份》中国女性艺术家提名展作品。当时一同受邀参加的还有著名华人女艺术家沈远,向京,崔岫闻等13中国女性艺术家。

    装置《笼中水》来自林苒在巴黎美院时候的一个想法。当时是参加巴黎幕比松美术馆的一个展览。展览邀请艺术家们在幕比松的花园公共空间做创作。后来由于天气问题,她换成另外一件更适合户外空间的作品。而这件作品的草图就一直保留下来并未实施。在福建省美术馆发出《缺席的身份》这样一个主题的邀请后,她感到这正是和她这作品暗合的一个题目。

    综合材料装置《笼中水》--- 用冰块冰封住的鸟笼,随着时间流失,冰块在美术馆展厅现场融化渐小,鸟笼囚禁住了化得小块的冰块。再随着时间消逝,冰块化成水蒸发成空气水分,再次包围囚禁了鸟笼。 用这样的一个囚禁和反囚禁再次囚禁的变化,来提出一个悖论的问题:自由是什么?究竟谁是谁的囚徒?

  • 综合材料装置《失眠梦》Comprehensive material Installation <insomnia dream>

    综合材料装置《失眠梦》Comprehensive material Installation <insomnia dream>

    材料:枕芯棉花,刀叉,羚羊脚,樟木箱,文字碎屑

    创作时间:2014年

    尺寸:可调整

    展览:马来西亚艺博会2014

       心和美术园138一人一个展览

    这件装置作品由一些关于睡眠的文字的碎屑、一口大箱子、枕芯和一副羚羊脚大刀叉构成。

    这件作品是有关于创作者多年失眠且多梦离奇怪梦的体验。一个关于失眠犯的故事。其中,有些梦境文字已经改编成实验动画短片。

    Material: pillow cotton, knife and fork, antelope foot, camphor box, scraps of words
    Creation time: 2014
    Size: Adjustable
    Exhibition: Malaysian Art Fair
    One people one Exhibition for GALLERY N 138 XIN HE Art Park
    The installation consists of some scraps of words about sleep, a large box, pillow core and a pair of antelope feet knife and fork. This work is about the author's experience of insomnia and strange dreams for many years. A story about insomniacs. Among them, some dream words have been adapted into experimental animated short films.

  • 摄影装置:刹那永恒,唯心造

    Instant Eternity, Idealistic Creation

    摄影装置:刹那永恒,唯心造

    装置尺寸可变,现场照片依据装置可变

    材料:现场照片3张,枯树、榆木车轮、石英砂

    创作时间:2015

    展览:集美-阿尔勒摄影节

    这是一个对人的记忆和摄影的照片记忆提出的一个问题的装置。造景,并且提取两张相同的现场照片,一张凝固住了时间,而另一张照片在展厅中迅速衰老,成为一张老照片,模糊在短暂时间和信息洪流之中。

    照片提取了观众前一秒钟的观展记忆,又在另一秒钟模糊观者记忆,并且在渐进的观展过程中提醒观者:“你,还记得吗?”。

    那么,这个记忆中的刹那是在现实中永恒了吗?亦或是,这个现实中的刹那在图片中永恒了?

    这个作品关乎于人的记忆的问题。

    Photographic installation: Instant Eternity, Idealistic Creation
    The size of the device can be changed, and the field photos can be changed according to the device.
    Material: 3 photos, dead trees, elm wheels, quartz sand
    Creation time: 2015
    Exhibition: Jimei-Arle Photography Festival
    This is a device that asks a question about people's memory and photographic memory. Scenery, and extract two identical live photos, one solidified time, while the other rapidly aging in the exhibition hall, become an old photo, blurred in the short time and information flood.
    The photograph extracts the viewer's memory of the first second, blurs the viewer's memory of the second, and reminds the viewer, "Do you remember?" during the gradual viewing process.
    So, is that moment in memory eternal in reality? Or is this moment in reality eternal in the picture?
    This work concerns people's memory.

    随着时间流逝加速老化的现场照片

    集美阿尔勒摄影节海报

  • 影像装置《巨人》

    video installation < Giant >

    影像装置《巨人》

    彩色无声

    无线循环

    展览:法国鲁昂市政拆迁计划展


       这是林苒2007年的一个新媒体影像装置作品。

       葛涵马是位于法国历史名城鲁昂城郊的小镇区。在二战以前,这里是一个巨大的池塘,她的名字“葛涵马”的法语Grand marrais就是大池塘,大沼泽地的意思。在这里,春夏秋冬有不同的动物栖居于此,她曾经是一个美丽的自然保护区。而二战后,为了安置战后失去家园的法国人民,鲁昂政府把这块大池塘区域填平,盖上了一排排混凝土的安置房。也就是图片里我的作品中展示的那些房子。

       2007年,鲁昂市政府决定迁出在这里居住了几十年的居民,改建这片土地,重新恢复葛涵马的原貌,并计划在此处建设文化艺术中心。为了启动这个文化艺术的项目,策划了这个拆迁前夕的艺术展览。而我,作为受邀请的艺术家,做了这件《葛涵马巨人》的作品。作品中,影像的“我”是个被建筑居所囚禁的巨人,在往屋外窥探。

       人类以自我为中心,任意的改变世界,改变自然生态,到底失去了什么,又得到了什么呢?


    附注:这件作品在合适的场地可以根据场地来重新实现。

    video installation < Giant >
    Color silence
    Wireless cycle
    Exhibition: Urban Demolition Planning Exhibition in Rouen, France
    This is Lin Ran's new media video installation work in 2007.
    Grand Mare is a small town on the outskirts of the historic French city of Rouen. Before World War II, here was a huge pond. Her name was Grand Mare in French, which means "big pond" or "big marsh". Here, different animals live in spring, summer, autumn and winter. She used to be a beautiful nature reserve. After World War II, in order to resettle the French people who lost their homes after the war, the Rouen government filled up the large pond area and built a row of concrete resettlement houses. That's the houses in my pictures.
    In 2007, Rouen Municipal Government decided to move out the residents who had lived here for decades, rebuild the land, restore the original appearance of Grand Mare, and plan to build a cultural and artistic center here. In order to start this cultural and artistic project, the art exhibition on the eve of the demolition was planned. And I, as an invited artist, did this work of "The Giant of Grand Mare". In the works, the image of "I" is a giant imprisoned by the building residence, peeping out of the house.
    _What has been lost and what has been gained by human beings who are self-centered, arbitrarily changing the world and changing the natural ecology?
    Note: This work can be reimplemented on the right site.

  • 影像装置《横切面》

    video installation 《Cross Section》

    影像装置《横切面》

    2007年的作品,

    彩色,有声(噪音)

    无限循环

    法国巴黎塞尔奇国立美院展

    中国厦门你好当代艺术馆《在皮肤下》个展

    中国福州《淡定》群展

    这是用偷窥式的镜头解构内心支离破碎的镜面的影像。

       在2007年的日内瓦运动影像双年展上,林苒曾经把这些镜头安装成一个巨大的封闭式方形空间装置,观众可以走入它的腹地,满眼充斥着这些镜头,墙面、天花板、地面无所不在。镜头里面的“我”在茫然地做着各种事情。声音是画面的随机噪音。

       2007年的法国蓬皮杜艺术中心《轨迹外》国际中短篇影像艺术节时,她又把它安装成一个微小的内窥式盒子,观众从猫眼偷窥这些镜头。偶尔听到几声沉闷而空旷的盒子内噪音。

       2011年的福州新华艺术创意园《淡定--先锋艺术交流展》的时候,她又抛出这个影像让策展的朋友把它投影在展厅的地面上,此时仅有画面而无声。观众可以俯视这些画面,也可以从它上面走过。

       随着时光流逝,对其中的许多镜头她有了更多新的想法。对于用噪音来表达也有了一些新的体会。这个影像装置在每一次展览的时候,都是不同时期我思考状态的呈现。这是一个值得往下继续走的一个作品。用他者的目光来偷窥自己的内心,而诚实的表达出来,这会是一个终身课题,像一本写给自己的影像《忏悔录》。

    video installation 《Cross Section》
    Works of 2007,
    Colour, sound (noise)
    Infinite cycle
    Selchi National Academy of Fine Arts Exhibition, Paris, France
    Hello, Xiamen Museum of Contemporary Art, China
    Group exhibition of calm in Fuzhou, China
    This is a peeping lens to deconstruct the image of the fragmented mirror inside.
    At the 2007 Geneva Biennale of Motion Images, Lin RAN installed these lenses as a giant enclosed square space device, allowing viewers to walk into its hinterland, filled with these lenses, with walls, ceilings and floors everywhere. The "I" in the camera is doing all kinds of things in a blank way. Sound is the random noise of the picture.
    During the 2007 International Short and Medium Video Festival of Out of Track, Pompidou Art Center, France, she installed it into a tiny endoscopic box, where viewers peeped through the cat's eyes. Occasionally I heard a few dull and empty noises in the box.
    _In the calm-avant-garde art exchange exhibition of Fuzhou Xin hua Art Creative Park in 2011, she threw out this image for curatorial friends to project it on the floor of the exhibition hall. At this time, only the picture was silent. The audience can either look down at the pictures or walk over them.
    With the passage of time, she had more new ideas about many of them. There are also some new experiences about using noise to express. This image device is a presentation of my thinking state at different times in every exhibition. This is a work worth continuing. It will be a lifelong subject to peep into one's heart with the eyes of others and express it honestly, like the image "Confessions" written to one's own.

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