THE INSPIRATION
These minimalist graphics designed by using lines and colors to
outline the national characteristics in a universal graphic language.
2012/03/22
2012/03/20
Brain Containers
INITIAL IDEA
From my point of view, East and West perception about each other is
shaped by different cultural, social formation and values.
So I took a video of ink integrating into the water to represent
the ideology from nonexistence to pass
into existence.
The reason why used ‘ink’ to stands for ‘ideology’ is that
ink represent Taoist philosophy in the traditional Chinese culture.
THE CONCEPT
Brain Containers
The human face to the West and East. The one’s knowledge and ideology is accepted from the society.
In Chinese culture, the ink represents the artistic conception and
life attitude in ancient Chinese landscape painting.
But relatively in Western culture, the ink is just ink and
everyone's perception about this is different, it does not mean any culture.
This is one of the East-West cultural differences of perception.
THE FAILURES
Two faces will be ambiguous by others, maybe it represents two
individuals, or on behalf of the person has two personalities.
The ink can also cause ambiguity, it will be mistaken as
information, poison, memory, idea shared by 2 people.
Suzanne Rankin recommended me
LIO YEUNG’s artwork-'Obstacle in seeing' in Chelsea GDC final show
last year .
2012/03/12
Julian Opie (‘Julian with T-shirt’) by Julian Opie
Contemporary Portraits
Julian Opie (‘Julian with T-shirt’)
by Julian Opie
2005
NPG 6830
by Julian Opie
2005
NPG 6830
In 1969, under the directorship of Sir Roy Strong, the National Portrait Gallery began to collect contemporary portraits. The Contemporary Collection now numbers over 250 works in a range of media. This display demonstrates the breadth of the Gallery’s holdings.
The contemporary portrait exists apart from the swell of media images. In addition to capturing an individual likeness, contemporary portraits raise questions relating to identity, class, race and gender. Portraits may describe a cultural moment or suggest the personality and psychology of a subject.
Since the revival of figuration in the 1980s, artists have addressed portraiture in new ways, expanding and invigorating the genre. In the 1990s, a conceptual approach such as that taken by the ‘Young British Artists’ focused on ideas relating to selfhood and contemporary experience. In the last decade, developing styles of painting, photography and sculpture have been accompanied by new, ambitious approaches in presentation, often motivated by or using new media technologies.
Zaha Hadid
Zaha Hadid b.1950 by Michael Craig-Martin (b.1941) Wall mounted LCD monitor / computer with integrated software, 2008
national gallery
http://www.npg.org.uk/whatson/display/2008/recent-commission-zaha-hadid.php
Zaha Hadid b.1950
by Michael Craig-Martin (b.1941)
Wall mounted LCD monitor / computer
with integrated software, 2008
Iraqi born and London-based architect. The first woman to win the Pritzker Prize for Architecture in its twenty-six year history, Hadid’s works are characterised by new spatial concepts and bold, visionary forms. Her seminal buildings include the Rosenthal Centre for Contemporary Art, Cincinnati, described by the New York Times as ‘the most important new building in America since the Cold War’, while the BMW Central Building in Leipzig, Pheano Science Centre in Wolfsburg and Nordpark Railway stations in Innsbruck have all been nominated for the RIBA Stirling Prize. Works in progress include the London 2012 Olympic Aquatics Centre.
Craig-Martin is one of the key figures in the first generation of British conceptual artists and, as Professor of Fine Art at Goldsmith’s College in London in the 1990s, he was a significant influence on a younger generation of artists including Julian Opie, Gary Hume, and Damien Hirst. This commission marks a new departure into the realm of portraiture for Craig-Martin whose subjects are generally everyday objects and their relationship with the spaces they inhabit. Although the linear portrait is fixed, the saturated colour palette is controlled by computer software that makes constantly randomised choices. The work slowly changes over time in infinite combinations. Hadid’s projects build on over thirty years of experimentation with cutting-edge technologies, and so it seems appropriate that her own likeness should be realised in the form of a computer portrait.
2012/03/11
lujun digital ink exhibition
http://blog.artintern.net/blogs/folderinfo/lujun/2416
Legend - LUJUN
Lu's art was inspired by traditional Chinese landscape painting.
His "digital ink" technique captures the movement of ink in water,
then through digital manipulation, he carefully gathers strands from each image
which is waved into a new form.
This artwork inspired me to explore the charm ink drop into water. In China, Ink and water represents the essential of
Chinese aesthetic culture.
Ink also contains Taoist philosophy - ‘Everything in the world comes for being, and being comes
from nothing.’
Meanwhile, after I studied for an half year, I found that the
perception is changing when I see my country from outside.
According to these idea, I made the experiments ‘Brain Containers’.
2012/03/10
500张80克A4纸
http://blog.sina.com.cn/s/blog_63339efe01010wl8.html
《500张80克A4纸》01——一本解构的书，一本送给自己的书！
作者是一位在德国留学的平面系研究生许鉴，他将平常在德国的所见所闻和中国进行了比较，并用文字和图片记录生活状态，之后按照“日常”、“那些人”、“旅行”、“设计”、“中国在德国”和“知觉”进行了分类，并做成了一本称为‘解构’的书，这本书只能被阅读一次，书是由薄胶装订，外观和常规的A4打印纸无异。作者借此书来“分解”并“重构”自己对结构和形式的理解；还原结构的开放性和不稳定性；还原形式的物理存在和时间动机。
“我写了一些文字，分别归做“日常”、“那些人”、“旅行”、“设计”、“中国在德国”和“知觉”；我选了一些照片，自己或家人或友人或路人拍的；我收集了一些杂物，常吃的、常用的、常见的、有趣的、特别的、留恋的。我拆开一打500张80克的A4纸，我日常涂写的廉价的纸，把它们装入桌上的机器里，一台既能打印又能扫描的激光复印机。我开始做这本书，这本没有目录、没有页码、没有排版，没有“书”的样子的书。一张接着一张。试图把这段生活，这段“解开”了一个我，又“构成”了一个我的生活，收藏起来。”
上文是《500张80克A4纸》的前言。一本“解构”了的书，一件我送给自己的礼物，在行将结束七年留德生活之际。
书由三部分组成：112篇我的文章、177张（组）私人照片和96张物件复印。文章中德双语，分属上文中的六个章节。
之所以称为“解构”的书，与德里达无关～，在于此书在编辑、编排、制作、外观、收藏和阅读方式上对传统形式的放弃或重构。所有文章直接在Word中以Word初始格式和字体编排；所有照片和物件复印只直接放置于页面中心；全书没有封面、没有目录、没有页码、没有书脊，只在全体页面上方涂一层薄胶装订。全书500页全部直接使用80克A4办公室用纸，用一台家用黑白复印打印机“印制”。一本未拆封的《500张80克A4纸》外观上和一打文具店内的常规“500张80克A4纸”无异。
装帧角度而言这是本只能被阅读一次的书，书在从粘合着的外包装内取出后便难以原样放回。而如要方便阅读这本厚重的书须读完一页撕下一页，500页撕下页面的保存方式取决于读者自己。
除了收藏这段留德生活外，借此书我想“分解”并“重构”自己对结构和形式的理解；还原结构的开放性和不稳定性；还原形式的物理存在和时间动机。
并另外籍此，“还原”自己。
e-space lab
CASE STUDY
This is a cultural exchange website called 'e-space lab', which is
about creating diverse networks of association which are constituted by that
association.
It was international links with 2 provinces, Shanghai and
Liverpool, which people can talked through this platform to communicate culture
and education.
- What if I created an international platform to exchange education
system and student communication between UAL and China Academy of Art?
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