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[Exhibition News of Mount Huangshan Shangyuan] G &

[2024-10-21 17:19:07]

【黃山上苑展訊】 Gökcen Dilek Acay(德國) 工作室開放展


 [Exhibition News of Mount Huangshan Shangyuan] G ö kcen Dilek Acay (Germany) Studio Open Exhibition


陰影中的視覺藝術

Visual ArtsIcons in Shadow

 

 

主辦單位: 上苑藝術館
參展藝術家: Gökcen Dilek Acay(德國)
展出時間:2024年8月30日(周五)晚6:00開幕
展出地址: 黃山市屯溪區(qū)新譚鎮(zhèn)長源村 上苑藝術館一樓


Host: Shangyuan Art Museum
Exhibiting artist: Gökcen Dilek Acay

Exhibition time: August 30, 2024 (Friday) at 6:00 pm Opening
Exhibition address: the first floor of Shangyuan Art Museum, Changyuan Village, Xintan Town, Tunxi District, Mount Huangshan City


 

混合紡織品,尺寸可變,2021-2022

Mixed technik textile object in banner form, various sizes, 2021 - 2022

 

“陰影中的圖標”是一個系列,探討了圣索菲亞大教堂從博物館到清真寺的轉變。

“Icons in Shadow” is a series that explores the trans , formation of Hagia Sophia from a museum to a mosque.

這個具有普遍文化意義的歷史遺址被改建的決定,導致了其內部基督教偶像的陰影。這一系列作品以視覺方式提醒人們,那些利用胡歷史共同價值觀謀取私利的政治力量。該系列中描繪的基督教偶像現(xiàn)在徘徊在黑暗中,是對當下的尖銳反映。

 

The decision to convert this historic site, which holds universal cultural signifcance, has resulted in the shadowing of the Christian icons within. This series serves as a visual reminder of the political forces that have leveraged the shared values of hu  man history for their own gain. The Christian icons depicted in the series now linger in the dark, a poi gnant refection of the present moment.

 

 

 

鉤針編織,尺寸可變,2021年 crochet varios sizes, on going since 2021

 

 

塑造DNA、人類頭發(fā)、尺寸可變,自2013年


 

 




室內裝置:視頻、文字、瓷器、“超越人類”的各種展覽視圖

在千鳥文化(日本)項目空間,2022展覽探討了人類想象與現(xiàn)實之間的相互作用。它通過并置現(xiàn)實人物和現(xiàn)實人物,對當今的政治和社會問題提出了一種國際觀點。

room installation: video, textil, porcelain, various exhibition view of “More then Human”at project space Chidori Bunka (JP), 2022 exhibition explores the interplay between thehuman imagination and reality. It presents an al ternate viewpoint on today’s political and socialissues by juxtaposing fctional and real characters.

 

展覽是一本視覺日記,通過奇幻人物和我們周圍的問題探索人類的復雜性。作為一名藝術家,我試圖將自己的經(jīng)歷和藝術視野與展覽的主題交織在一起。我從童年、想象中的旅行和時事中汲取靈感,通過人類情感創(chuàng)作了一段神奇的旅程。展覽“超越人類”邀請觀眾對人類精神進行超現(xiàn)實的探索。我將傳統(tǒng)手工藝技術與當代藝術相結合,帶來了獨特的視角。通過使用織物染色、錦、傳統(tǒng)刺繡和地毯編織,我在視覺和技術上融合了新舊。其結果是對傳統(tǒng)與創(chuàng)新之間的相互作用有了新的認識。

 

The exhibition is a visual diary that explores the complexities of being human through fantastical characters and the issues surrounding us. As an artist, I sought to intertwine my own experiences and artistic vision with the themes of the exhibi tion. I drew inspiration from my childhood, imagi nary travels, and current events to craft a phan tasmagorical journey through human emotions. The exhibit, “More Than Human”, invites viewers on a surreal exploration of the human spirit. I blended traditional handicraft techniques with contempo rary art to bring a unique perspective. Through the use of fabric dyeing, kintsugi, traditional embroidery, and carpet weaving, I merged the old and the new in both visual and technical terms. The result is a fresh take on the interplay between tradition and innovation.

 

 

 

“Angst Hase”展覽是“超越人類”的一部分

金和瓷器混合品,35x26x15cm

在亞洲的那段時間里,我有幸在Butoh藝術家Emiko Agatsuma的幫助下,了解了Butoh舞蹈的哲學及其與當代舞蹈的關系。作為這項調查的一部分,我與舞蹈家Emiko Agatsuma合作設計了一種舞蹈,將傳統(tǒng)的日本舞與包豪斯的迷你malist和幾何形狀融為一體。在《Butoh》中,從“空身”開始,通過舞蹈轉變的概念啟發(fā)了我在編舞中描繪轉變。Emiko和我一起將傳統(tǒng)和現(xiàn)代舞蹈動作結合在一起。我的目的是質疑我們與過去、現(xiàn)在和未來的聯(lián)系。我曾試圖通過簡化時間和空間來創(chuàng)造一種新的形式,并相信“舊的東西必須讓位于新的東西的出現(xiàn)”。奧斯卡·施萊默芭蕾舞中使用的革命性的極簡主義幾何和線性元素讓我們對過去和未來持開放態(tài)度。

 

“Angst Hase” part of exhibition More Than Human

found porcelain objects mixed with kintsugi, 35x26x15cm

my time in Asia, I was fortunate enough to ex amine the philosophy of Butoh dance and its relationship to contemporary dance with the help of Butoh artist, Emiko Agatsuma. As a part of this investigation, I collaborated with dancer Emiko Agatsuma to devise a choreography that blended traditional Japanese Butoh dance with the mini malist and geometric forms of the Bauhaus. The concept of starting with an “empty body” and transforming through dance in Butoh inspired me to depict transformation in the choreography. Together, Emiko and I combined traditional and contemporary dance movements. My aim was to question our connection to the past, present, and future. I at tempted to create a new form by simplifying time and space with the belief that “the old must give way for something new to arise.” The revolutionary minimalist geometric and linear elements used in Oskar Schlemmer’s ballet keep our perspectives on the past and future open.

 

 

 

漫長的時期

與Agatsuma Emiko合作

單頻道視頻,17:22分鐘,2020

 

AEON

collaboration with Emiko Agatsuma

one channel video, 17:22 minutes, 2020

 

 

 

15天生活

視頻中的圖像植根于現(xiàn)實,但加上作為森林聲音的鹿和薩滿故事講述者,它呈現(xiàn)出一種奇幻的品質。壁紙由人工智能生成的拼貼圖像組成,提示觀眾質疑他們對

考慮世界事件和日常習慣的影響。

 

15Daily Life

fneliner drawing on paper, hair and gold tread, on goingThe imagery in the video is rooted in reality, but with the addition of a deer fgure that serves as the voice of the forest and a shamanic storyteller, it takes on a fantastical quality. The wallpaper, comprised of AI-generated images collaged together, prompts viewers to question their perceptions of the

world and consider the effects of world events and everyday habits.


 

“生命!我們的渴望像樹一樣獨特而自由,像森林一樣兄弟般。”(Nazim Hikmet Ran)《邀請》通過Nazim Higmet的詩《生命!我們對生命的渴望像樹木一樣獨特而免費,像森林那樣兄弟般兄弟般兄弟。”這部視頻作品帶領觀眾穿越Schmalkaden的森林,呈現(xiàn)了一個由3通道視頻、紙上繪畫和壁紙組成的混合媒體裝置。

 

“Life! Our longing is singular and free like a tree and brotherly like a forest.” (Nazim Hikmet Ran) “Invitation” explores the themes of freedom, equal ity, and brotherhood through the lens of Nazim Hik met’s poem “Life! Our longing is singular and free like a tree and brotherly like a forest.” The video work takes the viewer on a journey through the forest in Schmalkaden and presents a mixed media installa tion of 3-channel video, a drawing on paper, and a wallpaper.



 

房間安裝

1個同步視頻,1個單獨的視頻頻道,1幅畫,采用拼貼技術的壁紙,圖像展覽視圖Acc畫廊的誘惑視頻裝置截圖表演、椅子、煙霧持續(xù)時間:40分鐘在薩爾茨堡Periscope畫廊2014和Watermill Center(美國)完成,2022

Room installation

1 synchronized video, 1 separate video channel, 1 drawing, wallpaper with collage technique which images exhibition view Seduction at Acc Gallery screenshots of video installationPerformance, chair, smoke Duration: 40 min Realised in Salzburg at Periscope Gallery 2014 andWatermill Center (USA), 2022

 

 

 


抗議形式

“抗議形式”表演是一種動態(tài)的多媒體創(chuàng)作,探索活雕塑的概念。我試圖通過使用電機和簡單的運動元件(如吸煙機)來結合運動,以增強穩(wěn)定性,并為作品增添新的運動維度,從而使這件作品栩栩如生。

 

Forms of Protest

The “Forms of Protest” performance is a dynamic and multi-media creation, exploring the concept of living sculpture. I tried to bring to life this piece by incorporating movement through the use of motors and simple moving elements, such as a smoke machine, to enhance the stability and add a new dimension of movement to the piece.

 

Gökcen Dilek(簡介)視覺藝術家/音樂家

教育類
2003-09 Yildiz技術大學藝術與設計音樂系小提琴學士,土耳其伊斯坦布爾
2006-07德國魏瑪李斯特音樂學院交換生項目
2010年明尼阿波利斯藝術與設計交流項目
2009-16魏瑪包豪斯大學,自由藝術與媒體藝術碩士,德國

2024圖林根州視覺藝術州
2024 IFA-北京上苑美術館Künstlerkontakt
2022年SAHA國際項目協(xié)會大伊斯坦布爾展覽項目在日本
2022年NEUSTART KULTUR助學金
2022年柏林文化中心
2022年斯德哥爾摩項目、弗賴斯塔茨圖林根文化基金會和魏瑪體育場盛大開幕
2021/22魏瑪校長文學獎學金
2021 Freistats圖林根視覺藝術家文化基金會,德國
2016年魏瑪包豪斯大學碩士論文展
2015年青年土耳其藝術家3。Preis由伊斯坦布爾馬卡美術館組織
居留計劃(已選擇)
2023/2024巴德利特助學金,巴登-巴登
2023帕爾博克藝術工廠,KR
2022年,土耳其SAHA基金會和日本大阪市為Tra/Travel藝術家駐留提供支持
2020臺北藝術家村,臺北
2018 Dialogfeldern,Klub Soliter e.V.,開姆尼茨
2016年Yarat藝術家項目,巴庫
2016年SulcisHub藝術家項目,Bjcem,Tratalias
2015年巴黎國際藝術節(jié),IKSV支持
2013年LKV藝術家項目,特隆赫姆,NO
個展
2024“Knapp unter dem Himmel”,舊丹普巴德,巴登-巴登,德國
2023“日本作品”,艾根海姆畫廊,德國
2022“超越人類”,日本大阪市千鳥文化館
2022年“Unruhe”獎學金獲得者,Gotha藝術論壇;判定元件
2021“Die Konferenz Die Tiere”,柏林艾根海姆畫廊(沙龍),德國
2020“İçim(iz)deki Kötü-我心中的邪惡”,艾根海姆畫廊項目空間,德國魏瑪
2018“快樂反烏托邦”,NRVK,德國拉文斯堡
2016“未來原始”,涅夫畫廊,伊斯坦布爾,TR
2015“對話”特邀藝術家展覽WTA,巴塞羅那,ES
2013“連接”客座藝術家展,巴別塔藝術空間,特隆赫姆,NO
2011“精神控制”,Alan Istanbul,TR
2008“無盡的故事”,Rumkammerat畫廊,哥本哈根,德國
2008年FI地下攝影館攝影展

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