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"Path" Shangyuan Art Museum Argentine artist Luz P
[2018-1-17 8:42:55]
【展訊】上苑藝術館六弓項目——阿根延藝術家Luz《路》裝置作品展
"Path" Shangyuan Art Museum Argentine artist Luz Peuscovich Exhibition
參展藝術家/ Artist： Luz Peuscovich（阿根廷）
開幕時間 | Opening：2018.1.16 12：30 pm
展覽時間 | Exhibition Dates：長期 Long-term
展覽城市：海南 保亭 Location: Hainan Baotin
地點|Venue：海南保亭六弓鄉銀地公司
主辦單位：中國銀地公司-保亭投資公司&北京上苑藝術館
Organizer: Baoting Silverfield Investment Co., & Shangyuan Art Museum Beijing
總述：
連接天與地的“路”落地到六弓鄉，其寓意深遠，并預示著：從此，這里的人隨時可以到達天庭！
"Path" is connecting the sky and the land of LIUGONG. It contains a pregnant meaning: starting here, the people can reach heaven at any time!
上苑藝術館在海南島六弓項目中的藝術主題為：藝術造景，以身心靈為題，用雕塑、裝置、地景、壁畫等方式，使當代藝術與本土環境進行有機的結合。
The theme of 2018 Winter Residency in LIUGONG is: Making art as a landscape, use body, soul and mind as theme, via sculpture, installation, landscaping and wall painting etc., to create an organic fusion between contemporary art with local environment.
【 參展藝術家及作品 制作過程圖片】
露絲·佩斯科維奇（Luz Peuscovich）簡介：上苑藝術館2017年駐館藝術家
視覺藝術家//策展人和文化管理人//占星家//建筑者和收藏家//阿根廷人
安裝 工作開始了。
指揮和示范給工人們，按照她的思想進行工作。
參與協作的是保亭銀地公司的職員們
孩子與老人們在花田中漫步，之后一定會想到彩虹橋上去，與天和地握手。
一天的工作結束了。
第二天的工作又開始了，周工與LUZ一起為大家作示范。
銀地公司的員工們前來助陣。
已具雛形
劉總瞬間被曬黑了
作者自述：
我的工作是持續性的探索對空間中的感官的認識、在特定環境下的身體、我們記憶中和潛意識中積累的經驗、人性本質的集合、我訪問過的民族建筑和當地的環境現實。
物質性是最主要的：從環境中搜集到的不同物品，木頭或者茅草搭成的結構和紡織品材料（線、羊毛和絲帶）。
整個過程開始于旅行，為了探索他們的領域、了解他們生態系統的特點并仔細搜集相關的物料。因此，每個地方的獨特信息逐漸形成一個融合體：自己不但會塑造我們遇見的物體，而且還會影響氣候、環境和社會狀況。這些次元存在于每個地方，并且它們無法避免地出現的同時，也必然要與它們的居民產生聯系。這使得我在某種方式上不得不做出承諾。這些作為整體的經驗最終進入了這些裝置的創作過程：象征符號和形狀的設計，可居住的、浸入式的漂浮的空間。
隨著時間的推移，這些搜集材料的旅行和之后裝置的創作過程，越來越清晰地將前景和我的理解交織在一起了。我發現，在面對這些物品，并將來自不同地方但又相似的材料連結在一起，同時，又遇見不同地方相似的人類經驗。這一切都使得我對一個交匯點產生了興趣：感受我們四周的生物多樣性，由此視覺化我們和地球的關系與反省我們的生活方式。
Luz Peuscovich
// Visual Artist // Curator and Cultural Manager // Astrologer // Builder and collector // Argentina
My work is a continuous research on the perception of the senses in space, on the body in certain contexts, the experiences kept in our memory and in our subconscious, human-nature integration, native cultures’ architectures and the environmental realities of the places I visit.
The materiality is essential: different objects collected from nature, wooden or reed structures and of textile materials (threads, wools and ribbons).
The process starts traveling in order to explore the territory, to get to know the particular qualities of their ecosystem and to carefully collect the materials. Thus, a combination of particular information of each place comes up: the own shapes of the objects we come across, as well as climate, environmental, and social situations. These dimensions are there in every place and they inevitably emerge while getting in touch with their inhabitants, making me commit to them in some way.
These experiences as a whole, end up in the development of installations: symbols and configurations of shapes; habitable, immersive and floating spaces
The SHELTER, as well as life in a COMMUNITY and the search for SUSTAINABILITY, is the main concept of my work. It has been through that reconnecting-with-nature (and its shapes) approach that the research brought me closer to the native communities in order to witness the bond they have with their natural world and to see in their habits (as in ours) the sad domestication of capitalism, and the huge complexity that implies living in a system which does not take into account the costs of consumption and waste.
As time passes by, these trips of collection and the subsequent installation construction clearly come up as ways of interweaving points of view and amplifying my perception.
Appreciating the objects, I find, linking similar materials coming from different places, and, at the same time, coming across the same human reactions here and there, have opened my interest to an integration point: feeling the bio-diversity that surrounds us to visualize the bond we have with our planet and question our way of inhabiting it.
Pagoda
Is a site specific installation for Shangyuan Art Museum.
Its three levels represent three strata of life: the spiritual at the top, the political at the center, and the social at the base. Inside is a symbol of awaking representing the call of nature.
Portal
This is a morphological study of space. Its form is a symbol of the feminine force, a force which commands the opening of the senses.
許總前來示查
大功告成！ 在保亭銀地公司的朋友們一起幫忙的情況，順利完成了工作。
慶典開始
高總和張偉娟向LUZ頒發了《收藏證書》及《六弓鄉民》證書
周工從杭州趕過來之后，工作的進程快了很多。
張偉娟非常辛苦地一路陪同與照顧藝術家們，這件作品的完成也離不開她的辛勤付出。
晚上還有燈光從下面往上射出，成為日夜都閃亮的彩虹。
觀眾們可以在彩虹橋上與作品互動，之后可以準備一些海貝殼，觀眾可以栓在彩虹上，讓風吹動它們，發出音樂的聲音。
保亭銀地投資有限責任公司簡介：
Baoting Silverfield Investment Co., Ltd.:
保亭銀地投資有限責任公司隸屬于中國銀地投資有限責任公司，是以大健康產業為投資方向，以社會企業為發展愿景的投資公司，通過平臺+孵化器的模式，打造研學產“三區合一”的國際健康小鎮，其中藝術、文化、公益是中國銀地投資有限責任公司國際健康小鎮的重要內涵。
Baoting Sliverfield Co., Ltd. is a subcompany to China Silverfield City Investment Co., Ltd. Its goal is to explore and invest in health business and establish itself as a company with a social development perspective. Through platform + incubator mode, we want to develop an international health town with the combination of research, study and production. Art, culture and charity is an important part of the international health town of China Silverfield City Investment Co., Ltd.
北京·上苑藝術館簡介：
Beijing Shangyuan Art Museum:
上苑藝術館是在國際范圍里，具有廣泛影響力的現代藝術館。長期致力于“藝術駐留”項目，十年來不間斷地接待了37個國家四百余名藝術家，涉及詩歌、美術、裝置、音樂、舞蹈、設計、行為、雕塑……等藝術門類。
Shangyuan Art Museum is an internationally influential contemporary art institute. We are dedicated to our residency program. We have been running our program for 10 years continuously, accommodated more than 400 artists from 37 different countries, within the disciplines of poetry, painting, installation, music, dance, design, behavior, sculpture and etc.
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