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環(huán)保藝術(shù)家王馨曼作品入選意大利CANVAS國(guó)際藝術(shù)博覽會(huì) Environmental artist Sophia Xinman Wang's works were selected for the CANVAS International Art Fair in Italy
Image courtesy of ITSLIQUID Group | Palazzo Bembo (1)
Image courtesy of ITSLIQUID Group | Palazzo Bembo (2)
Image courtesy of ITSLIQUID Group | Palazzo Bembo (3)
Image courtesy of Nature and Art (4) | www.wangxinman.com 近日，在意大利威尼斯CANVAS國(guó)際藝術(shù)博覽會(huì)取得巨大成功，這是一個(gè)集聚國(guó)際攝影，繪畫，錄像藝術(shù)，裝置/雕塑和行為藝術(shù)為一體的藝術(shù)博覽會(huì)，于2022年3月3日至3月25日在威尼斯THE ROOM當(dāng)代藝術(shù)空間和ITSLIQUID藝術(shù)空間 - 威尼斯大運(yùn)河舉行， 展覽來自全球30多個(gè)國(guó)家的100多位藝術(shù)家共同參與。CANVAS國(guó)際藝術(shù)博覽會(huì)由3個(gè)主要部分組成：皮膚項(xiàng)目，失衡和混合身份。"畫布"這個(gè)詞在14世紀(jì)的意大利首次使用，它已成為油畫最常見的支撐媒介，取代了木板。幾個(gè)世紀(jì)以來，畫布的含義發(fā)生了變化，從繪畫開始，通過攝影和電影膠片，探索人體，再到數(shù)字世界。畫布是廣告素材的共同點(diǎn)，他們可以在此基礎(chǔ)上表達(dá)自己。我們邀請(qǐng)所有藝術(shù)家通過任何類型的媒體分享他們的個(gè)人藝術(shù)研究，從繪畫到雕塑和裝置，從攝影到錄像藝術(shù)和現(xiàn)場(chǎng)表演。 此次展覽，展示了國(guó)際生態(tài)環(huán)保藝術(shù)家王馨曼的作品“生命與希望-6# 鸚鵡”。該作品由哈佛大學(xué)校友，斯坦福大學(xué)商學(xué)院副主任，自然與藝術(shù)基金會(huì)主席威廉姆湯普森先生私人收藏提供展示。 十余年來，王馨曼從“人與自然的共生關(guān)系”、“保護(hù)生物多樣性”和“低碳生活方式”三個(gè)方面，就環(huán)境保護(hù)的公共問題進(jìn)行藝術(shù)實(shí)踐。她運(yùn)用獨(dú)特的藝術(shù)語(yǔ)言與多種回收材料，融合藝術(shù)、環(huán)保、自然，科學(xué)，大眾教育、為一體，通過創(chuàng)造賦予“無用”與新的生命和價(jià)值。打造集美感與內(nèi)涵于一體、震撼人心且意義深遠(yuǎn)的藝術(shù)品。 王馨曼融合多種綜合材料和丙烯的藝術(shù)作品發(fā)人深省。作品中的動(dòng)物使用了東巴文字，是中國(guó)云南圖片象形文字的表型和表型組合的組合，距今已有1000多年的歷史，至今仍在使用。東巴古籍被譽(yù)為文字的“活化石”，是世界上唯一幸存的象形文字，2003年，東巴古籍被列入聯(lián)合國(guó)教科文組織世界記憶名錄并進(jìn)行數(shù)字化記錄。配合東巴圖文，以量子力學(xué)公式符號(hào)為背景點(diǎn)綴，共同形成時(shí)空的立體對(duì)比，激發(fā)觀者審視古今人類生態(tài)，引發(fā)人類社會(huì)對(duì)自然、科學(xué)、技術(shù)關(guān)系的思考, 和環(huán)境反射。 《生命與希望》是王馨曼典型的系列作品。通過一些“不可控”的偶然色彩關(guān)系，構(gòu)建一個(gè)矛盾的“情境”，讓觀眾體驗(yàn)到不同的情緒。這是通過藝術(shù)語(yǔ)言的“心理雕塑”，從個(gè)體的內(nèi)心記憶和追求中雕刻出來的物種的誕生和毀滅來完成的。她的的作品試圖聚焦于連接天地人的思維。黑白顏色對(duì)比，象征悲傷和痛苦，而顏色，隱喻幸福和希望。在她的一些裝置中，她使用樹枝、剪紙、丙烯顏料、亞麻布、回收塑料及日常生活廢舊物品等作為創(chuàng)作媒介，從人類學(xué)的角度來看待人類如何建立關(guān)系、社區(qū)和自然系統(tǒng)。這些嚴(yán)肅的主題在她的作品中得到體現(xiàn)，并以藝術(shù)符號(hào)的形式重生。王馨曼試圖模糊文化、身份、膚色、貧富之間的所有社會(huì)差異，通過思考量子力學(xué)時(shí)間維度，關(guān)注脆弱與偉大的轉(zhuǎn)變與變異，探索環(huán)境變化對(duì)地球生態(tài)系統(tǒng)的影響。 空氣污染、全球變暖、廢物堆積和不合理的消費(fèi)都關(guān)乎每個(gè)人的現(xiàn)在和未來。在當(dāng)前全球變暖的危機(jī)時(shí)期，可以看出藝術(shù)家王馨曼通過畫面批判精神，從當(dāng)前全球生態(tài)環(huán)境危機(jī)的現(xiàn)實(shí)，延伸到野生動(dòng)生存危機(jī)的現(xiàn)實(shí)形勢(shì)，實(shí)現(xiàn)物質(zhì)與精神雙重批判。作為一名國(guó)際生態(tài)環(huán)保藝術(shù)家，十多年來一直用她對(duì)藝術(shù)的執(zhí)著，為全球氣候危機(jī)發(fā)聲。 The CANVAS International Art Fair (The Exhibit)was held in Venice Italy from March 3 to March 22. The exhibition featured photography, painting, video art, installation/sculpture and performance art from more than 100 artists, from over 30 countries. Sponsored by THE ROOM Contemporary Art Space and ITSLIQUID and held at the Venice Grand Canal, the exhibit featured photography, painting, video art, installation/sculpture and performance art from more than 100 artists, from over 30 countries.. The Exhibit was organized around 3 main sections: Skin Project, Imbalance, and Mixed Identity. The term "canvas" was first used in Italy in the 14th century, and it has become the most common support medium for oil painting, replacing wood panels. Over the centuries, the meaning of the canvas has changed, starting with painting, exploring the human body through photography and film, to the digital world. Canvases are the common denominator for creatives to express themselves. All artists are encouraged to share their personal artistic research through any type of media, from painting to sculpture and installation, from photography to video art and live performances. This Exhibit showcases the work "Life and Hope-6# Parrot" by international ecological and environmental protection artist Sophia Xinman Wang. The work is presented by the private collection of Mr. William Thompson, a Harvard alumnus, associate director of the Stanford Graduate School of Business, and president of the Nature and The Arts Foundation. For more than ten years, Sophia Xinman Wang has conducted artistic practice on the public issues of environmental protection from the three aspects of "symbiotic relationship between man and nature", "protection of biodiversity" and "low-carbon lifestyle". She uses a unique artistic language and a variety of recycled materials, blending art, environmental protection, nature, science, mass education, and giving "uselessness" and new life and value through creation. Xinman's thought-provoking artworks combine a variety of mixed materials. The animals in the work use the Dongba script, a combination of phenotypes and phenotypes of pictorial hieroglyphs in Yunnan, China, which have a history of more than 1,000 years and are still in use today. Known as the "living fossil" of writing, the Dongba ancient book is the only surviving hieroglyph in the world, and in 2003, the Dongba ancient book was included in the UNESCO Memory of the World Register and digitally recorded. With the Dongba Tuwen, the symbols of quantum mechanical formulas are embellished as the background, which together form a three-dimensional contrast of time and space, which stimulates the viewer to examine the ancient and modern human ecology, and triggers the thinking of human society on the relationship between nature, science and technology, as well as environmental reflection. "Life and Hope" is a typical series of works by Sophia Xinman Wang. Through some "uncontrollable" accidental color relationships, a contradictory "situation" is constructed, allowing the audience to experience different emotions. This is done through the "psychological sculpture" of artistic language, the birth and destruction of species carved out of the inner memory and pursuit of the individual. Her work attempts to focus on the minds of people who connect heaven and earth. The contrast of black and white colors symbolizes sadness and pain, while color, metaphorically, happiness and hope. In some of her installations, she uses twigs, paper cuts, acrylic paints, linen, recycled plastics, and everyday waste items as mediums of creation, looking at how humans build relationships, communities, and natural systems from an anthropological perspective. These serious themes are embodied in her work and reborn in the form of artistic symbols. Sophia Xinman Wang attempts to blur all the social differences between culture, identity, skin color, rich and poor, and explores the impact of environmental changes on the Earth's ecosystem by thinking about the temporal dimension of quantum mechanics, focusing on the transformation and variation of fragility and greatness. life. Air pollution, global warming, waste accumulation and irrational consumption are all about everyone's present and future. In the current crisis period of global warming, it can be seen that the artist Xinman has realized the dual critique of material and spiritual through the critical spirit of the picture, from the reality of the current global ecological and environmental crisis to the reality of the wild animal survival crisis. As an international eco-friendly artist, she has been using her dedication to art for more than a decade to speak out for the global climate crisis. It is recommended that everyone be good at finding the beauty of nature in busy work, looking for the beauty of ecology in the practice of low-carbon lifestyle, and embracing the beauty of life in the inner feeling of great love. |
