Mixed media
Dimension variable
2nd part: To turn
memory to own practice
Mixed media, video
Mixed media, video
Experimenting Exhibitions,
Exhibiting Experiments 4
First phase of “Untitled
exhibition”
Led by Janet Chan and Stella Fong
Eventually “Experimenting
Exhibitions, Exhibiting Experiments” comes to the last part. From exploring
possibility of exhibitions by curators to the artists’ re-involvement towards
the existing artwork, at the same time under the coordination of curators and
rules set by other artists, it drives the participating artists to understand his
artwork anew and challenge audiences’ experiences of watching exhibitions.
Rules set by Lee Kit are mostly
about physical limitations. These conditions reflect his concern which is kind
of means beginning with the closest things to tackle limitation. Owing to
forbiddance of using nails or screws on the wall and instructions of setting
the artwork higher than eye level or on the floor, two-dimensional art pieces
are expected to have an unusual presentation. By just following the rules and
placing the artwork only under spacial and visual consideration without any
concern of notion, it is not what I am intended to do. Therefore, I associate
from physical conditions to own artistic concern. In fact, as early as previous
three experiments, I have come up with an idea to make the artwork disappeared.
This is an idea about my own artistic approach. Due to my incoherence upon
media and style, it is always doubtful whether I am too engaged in self-fascination
or not? Do I place myself too much time in the state of art making and thinking
of art? Weirdly, towards the completed art pieces, my fondness and abhorrence
is often not stable. How do I combine my art with Lee’s conditions of art
making then?
As a conclusion, by not changing
the original meaning of the existing artwork, I try to make a box for every art
piece. They will be locked and buried at the end of the exhibition. This is for
making distance before recalling.
You are here invited to take out
the work from the boxes to look at. The situation of the work is the first time
how I get touch with it. Like Chinese paintings, you can unfold to look and
place it back afterwards. That’s only you can touch the artwork. I will not
touch them again.
In addition, I will make portfolio
for the selected art pieces. Please commission me. I am willing to recall them
50 times. Each of the portfolios is unique. Every making is one time recalling.
Does emotion remain same after 50 times?
展覽實驗 實驗展覽四
《無題展》第一階段
陳靜昕及方詠甄領導
展覽實驗 實驗展覽來到第四回，過程由策展人發掘展覽的可能，及至藝術家對作品再度介入，並在策展人協調及服從其他藝術家的規條下，誘發各個藝術家重新理解其創作，亦同時挑戰著觀眾觀看展覽的經驗。
李傑的規則多牽涉到物理限制，這些條件反映其關注，是一種在局限下由自身最親近的事物開展的手段。由於陳設上不能將作品以釘子或螺絲等掛於牆上，亦須設定於視線水平以上或地上，所以平面作品就預設了不能以慣常方法展示。如果單單遵照規則將作品裝置到不同地方，意義並無變化而只具視覺上的轉換，將非我所願。因此，由物理條件聯想至自身關注。我的創作是怎樣的？在媒介及風格上的不一致，縱有貫徹的信念，但那是否一廂情願的自說自話；又反問，在日常持續維持於創作狀態是過度沉醉嗎；對著已完成的作品偶爾相當喜愛，亦間或厭惡它們，矛盾的情緒需要距離以作舒緩；還有，我能如何連結起自身跟李傑的創作狀態？
早在前三次實驗，已想過令作品在展覽中消失。這次，就以不改變已存在作品的觀念下，藉一個承載全部作品含意的方法，給它們各做一個盒子並永久鎖上及埋藏，這是為了製造一種距離，去重新認識它們。
你在這裡，可以隨意從箱子裡取出作品觀看。作品被收藏的狀態是我首次接觸它時得到感動的一個時間。你可以在桌上，如同中國繪畫一樣，翻開細察，過後，箱子是安放它的所在。我不會再觸碰它們，並且在展覽閉幕那天將它們鎖於木盒子裡。
另外，我會替它們做作品集，請委託我，我願意追憶它們50次。每一本都是獨一無二的，每一次製作成每一回追憶，情感在50次過後會否依然？
