[lang_zh]循环剂 — Patrick Hari展览(瑞士)[/lang_zh][lang_en]The Circulation Agent – Patrick Hari (Switzerland)[/lang_en]

海报 Poster

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开幕酒会:2013年一月四号二十时
展览时间:2013年一月四号至一月十八号

昆明市金鼎山北路24号,金鼎1919创意园,A区,苔画廊

 

关于展览:

Patrick Hari(* 1977年,现在苏黎世生活工作) 的跨媒体作品即是这位当代艺术者的态度和坚定信念。他试图测探现代社会中生活和艺术的原理。
此次展览中,他用不同材料和媒体组合实验,从整体上思考宇宙的物理和非物理性。在创作过程中,抹去“造型艺术(Plastik)”、雕塑、装置、表演和文献之间的界限。

行动主义是他作品的重要组成部分,它是“直接辐射”、“动力”和“无常”,这些内容形成了行动主义对他的重要性。他认为在他的作品中不可避免地要涉及过程、改造和时间,作品不只是物品。 现阶段,他的探索是构建一种闭合性的循环,以及触发作品本身的自建。这让他得以从作品的完成过程中脱离,将操作留给作品,人的行为消失于作品,作品制造作品。[/lang_zh]

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Opening: 2013.1.4 20:00
Duration: 2013.1.4 – 1.18

Contemporary Yunnan, A Zone, North Jindingshan Lu No.24, Kunming, China

 

About the Exhibition:

The inter-media work of Patrick Hari (*1977, lives and works in Zürich) is firm conviction of a contemporary artist attitude. He tries to fathom the general comprehension of life and art in modern society.
In exhibition contexts, he experiments with combinations of different materials and medias, holistically considering the physical and non-physical universe. In doing so, he obliterates the borderlines between “Plastik”, sculpture, installation, performance and documentation.

Perfomativ activism is an important component in Hari’s work. It’s the direct radiation, dynamic force, as well as its transitoriness that makes it so crucial for him. He finds it inevitable to involve the process, transformation and time in his work instead of focusing merely on a product.
At the current stage he has involved himself with closed circuits, triggering a process which follows its own path to completion. This goes to the point where he´s taking himself out the operation, leaving the process to itself. The human disappearing in its own, self built environment.

 

Interview with Patrick: Fragment of conversation… Non-sense

P: Patrick Hari   L: Lei Siyu

1

(in a taxi)

L: So you said the title of your work is named not for describing the works?

P: For me it’s additional, additional layer, because it’s the same title of work. If you have a title, which perfectly describes the work, then what is the work for? It’s more a work itself. For example I give an exhibition, like the one I’m making now, I use the title more to put the whole works in certain kind of context, to give a certain atmosphere, a color or a taste. When I have a lot of pictures of flowers, I call the exhibition Flowers. So there is nothing happening, but when I say it Funeral, then the flowers become beautiful and sad in a way. It creates a state of mind, within this state of mind you looking at the works. Or for example when I have a hammer, as an object. I sculpted a hammer out of clay. I could title it Hammer or Tool, but I could also title it Weapon. So if I call it Hammer the title just describes what it is. Sometimes I use this kind of title as well, just to describing one, because I don’t want to give any further context or connotation. Or if I title it Weapon I kind of open a window or a door, a space of imagination. When you think of a body of work, which are putting together, I always see them a family, some are individuals, some are stronger than others, and some are the medium binding them together.

2

(in the print shop)

L: We should have done the “Ten Lunches” interview. I thought it was a great idea.

P: Maybe we should get back to eating. I think eating is very…

L: Inspiring.

P: Yeah, also inspiring, but I think in China, if contemporary art would be more about food, more Chinese people would have more access to it.

L: What are you going to do in this new thing (performance)?

P: I’m going to wear a pan on my head during the performance, a cooking pot over my head, during the preparation next week.

L: Why pan?

P: Because it’s easy find, it’s everyday something. Like food is one of the very elemental very basic notions of human being. That’s what we think most about. And everything like art, money, everything comes after food. So firstly human beings are thinking from within the cooking pot.

L: Your brain is cooking.

P: Yes, our brains are basically in the kitchen or in the restaurant maybe. The major concern of being a human being you have to think about food.

L: The pigs’ heads and their brains are in the restaurant.

P: Yes, they are doing the thinking for us.

3

(in the print shop)

P: Why do people only eat pig head and not cow head here.

L: I don’t know. I never think about it.

P: Because the pig head is more delicious, it has more jelly skin. Better for the skin.

L: Chinese theory.

P: Pork skin is better for the skin, because there’s less hair grown on it. So if you eat a lot of cow skin, you will look like a monkey, and who wants this.

4

(in the print shop)

P: I just recognize the power of symbol in China is much stronger than it is in Switzerland or in Europe maybe.

L: We have to create something to believe in. Most people don’t have a belief.

P: I think this has also something to do with your writing, with the Chinese characters, because they are symbols. They are write symbolization of things, maybe somebody should give back the option to believe in something in China, so people don’t have to believe in pig heads.

5

(in the gallery)

L: Can you talk about these works?

P: I’m trying to open a space where you can dive into and think into a certain direction. I try to open a tunnel going into a certain direction.

L: For all these works you mean?

P: Yes, every single one has its individual direction, but there is a main direction where all of them should go, more or less. Because it should not be coincidental, some goes this direction some goes others.

L: Do you see these works finished or unfinished?

P: Time will tell. This is unfinished. It’s going to be finished maybe on the opening or maybe the day after. Maybe it’s going to be collapse and then…it’s hard to tell. The things that I made in here, it’s hard to say if it’s finished. These one over there has reached a kind of shape. Now it’s like this, maybe next time it will be changed and look different, if I’m going to use it in next exhibition. The sculptures I made or the processes I think of, I want to make them like painting, I want to reuse these “paint color”, to get some other works later on.

L: Could you explain about the title of the exhibition?

P: The title of the exhibition is Circulating Agent, which can be understood “agent” as a medium, as a material, which can be transferred into many different things, the smallest part, like we are made of it, this is made of it, everything is made of it. So it’s one material builds everything. The construction follows the process which is going on inside, defined by the process.

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[lang_zh]展览作品及工作进程[/lang_zh]

[lang_en]Art works and working in process[/lang_en]

Points of concentration 集中点 sugar and wood 红糖和木头 55 x 28 x 32 cm 2012      Morphology (ramp) 形态(斜坡)foam board, glue, paint, plasterboard 泡沫板、胶水、油漆、石膏板 30 x 76 x 18cm 2012      Morphology (portal)形态 (入口) wood and glue 木头、胶 50 x 17 x 14cm 2012Heart of darkness黑暗之心 glue, wood, iron, paint, LED, Sheet metal, cable 胶,木,铁,漆,LED,板材,电缆 166 x 60 x 123 cm 2012      DSC_0415      Work in process工作进程Work in process工作进程      Work in process工作进程      IMG_1233

[lang_zh]余卓志(香港)[/lang_zh][lang_en] Yue Cheuk Chi (Hong Kong)[/lang_en]

poster

[lang_zh]驻地时间: 2012年12月1日到12月31日
开放工作室时间: 12月21日到12月23日

Part 1

空气污染系列–病假一天

病假一天是空气污染的系列作品,作品描述艺术家对急促的城市发展,带出的个人身体反应;作品借用影像、文字互动的手法,带出个人对空气污染问题已到达一个无法忍受的临危点。

drink Medicine

Part 2

空气污染系列—昆城•半边天

昆城•半边天是空气污染系列的延伸概念作品(Conceptual Art),艺术家试图用旅游人士的角色,并用iphone去拍摄昆城都市影像。整个作品主要用摄影日记方式去记录,昆明城市发展与其空气质素关系。 艺术家会用两星期时间、十四张相片,来捕捉昆城及其背景的半边天空,从而引发观赏者反思城市急速发展背后,昆城人民是需要付出沉重的空气污染代价,艺术家亦留下半边天空让您思考一下您的将来。

12月2日 12月3日 12月4日 12月5日 12月6日 12月7日 12月8日 12月9日 12月10日 12月11日 12月12日 12月13日 12月14日 12月15日

 

开放工作室
IMG_1046IMG_1039IMG_1044

关于艺术家 以往作品

艺术家博客 Artist Blog

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[lang_en]Residency duration: 12.1 – 12.31, 2012

Open studio in Kunming: 12. 21 – 12. 23

Ecology and Environment: “What We See” the Air Pollution in Kunming

Part 1  Air pollution series – Sick leave day

Sick leave day is a series about air pollution, the work describes the personal body reaction which brought by the rapid urban development; the work interacts with both images and text, indicates the air pollution issue for people has reached an intolerable threatened point.

co2 Medicine

 

Part 2  Air pollution series – Kunming City • Half the Sky

Kunming City • Half the Sky is a series of extend concept works about air pollution. Artist is trying to play a tourist role and photograph the urban city with iPhone. The series of work mainly use a photographic diary ways to record the relationship between Kunming urban development and its air quality.

Artists will use two weeks, 14 photos, to capture the city and its half sky background, causing the viewer to reflect on the rapid city development behind, Kunming citizen need to pay a heavy cost for this air pollution. The artist leaves half of the sky for you to think about your future.

12月11日 12月15日 12月14日 12月13日 12月12日 12月10日 12月9日 12月8日 12月7日 12月6日 12月2日 12月3日 12月4日 12月5日

Open Studio in Kunming
IMG_1044IMG_1039IMG_1046

Workshop in Yunnan Art Institute
3      6

Previous work
Artist Blog[/lang_en]