“具有意义的材料”
•ANTHONY O. AKINBOLA
•BLANKA AMEZKUA
•MAURICIO ESQUIVEL
•CHUXI GUO
2019年2月8日至3月16日
2月8日下午6点至9点开幕酒会。
1.28.2019，BRONX，纽约......布朗克斯河艺术中心（BRAC）很自豪地展示具有意义的材料，其中包括四位新兴和中期职业纽约艺术家，他们的国际根源包括尼日利亚，墨西哥，萨尔瓦多和中国。 此展览延续了BRAC对文化多样性的长期承诺以及艺术卓越。
工作室货架上的许多（陈旧的！）珍贵的艺术家材料手册证明了艺术家对各种材料和技术的深刻情感和专业依赖，以实现他们的艺术视野。但是这些书籍并没有预料到这个展览中的作品，艺术家对材料的选择对作品的影响和意义至关重要。引用艺术家Mauricio Esquivel的话说，“有时艺术家会发现’具体对象’的动机：本身就是一种研究资源。”
对于艺术家来说，他们对材料的选择是单一的：材料是创作作品和传达信息的必要条件。在“多媒体”的广泛支持下，艺术家们不愿意表现出对其作品构成要素的尊重。在这样做的过程中，他们还宣称自己是工匠/男人的身份，并将艺术创作带到街头，在那里可以被最广泛的观众欣赏。 BRAC新近修复的店面，白色的盒子，画廊，位于布朗克斯的中心，是展示当代艺术的完美场所，将材料装置深深植根于其中。
郭楚夕
郭楚夕的装置，Untouchable，包括一个看似空旷的空间，除了通过几乎看不见的电线和一面墙上的大型监视器屏幕连接的4个柱子描绘中央广场。当观众进入空间时，它会激活大型灰色岩石的屏幕动画，这些动画似乎漂浮在“空”中央广场的范围内。当观察者移动时，岩石开始变形为更明确定义的四肢：始终只在屏幕上。郭的作品是对物质性的本质的形而上学探索，它位于观众，艺术品和传达其“存在”的媒体之间关系的丰富模糊性中。我们不得不质疑看到我们什么时候的本质事实上，看到的不是“那里”吗？一个物体可以同时“在这里”和“那里”吗？
郭楚夕解释说：“这种互动不是将观众置于虚拟世界，如VR或视频游戏，而是让虚拟世界的形式通过电视进入现实世界。电视屏幕反映了观众自己以及与虚拟雕塑互动的现场表演。将构建一个跨越虚拟空间到展览空间的桥梁，创造出对虚拟材料的新感知以及艺术作品与观众之间的新互动。“
郭楚夕（1990），装置和视频艺术家，出生于中国北京，现居纽约。他使用视频和视频交互设备作为主要媒介来扩展视频艺术的各种互动界限。通过考虑观众对空间的敏感性以及他们的身体和身份的信息，并通过不断增强或重复，削弱或撤销不同身份群体的图像，他试图构建图像交互的可能性来寻找人类身份，自我意识和可能的政治思想。
布朗克斯，纽约州10460
718 589-5819转11
718 930-78
郭楚夕简介：
郭楚夕，1990年出生于北京，2016年毕业于中央美术学院雕塑系本科，2018年获得马里兰艺术学院雕塑硕士。他以录像艺术和影像互动装置为主要媒介，尝试影像媒体的各种互动可能性与边界。他以考虑观者对于自我身体与身份的空间和信息的敏感性，通过不断地增强或重复，减弱或撤销不同身份人群的图像，来构建一种影像交互的可能性，来寻找人类的身份和自我认知以及可能产生的政治思考。
近期展览包括：“爱的剧院：亲密”，今日美术馆(2018)；“黑盒子”，Novado 画廊，新泽西市(2018)；“天上有眼”，Graffiti Warehouse 画廊，巴尔地摩(2018)；“白色谎言”，Spacecamp 画廊，巴尔地摩(2017)；“圆&圆”，Sheila & Richard Riggs 画廊，巴尔地摩(2016)。
Bio
Chuxi Guo (1990), born in Beijing, China. He earned a B.A in sculpture from China Central Academy of Fine Arts and graduated from Rinehart School of Sculpture at the Maryland Institute College of Art. He uses video and video interactive devices as the main medium to expand various interactive boundaries of video art. By considering the viewers’ sensitivity to the space and information of their bodies and identities, and by continuously enhancing or repeating, weakening or revoking the images of different identity groups, he tries to construct the possibilities of image interaction to find human identity, Self-awareness and possible political thinking.
Recent exhibitions include: “Love Theatre: Intimate”, Today Art Museum, 2018; “The Black Box”, Novado Gallery, New Jersey City (2018); “Eye in the Sky”, Graffiti Warehouse Gallery, Baltimore (2018); “White Lies”, Spacecamp Gallery, Baltimore (2017); “Circle & Circle”, Sheila & Richard Riggs Gallery, Baltimore (2016).
Untouchable (2016)
TV screen, PC, Kincet, Exhibit barriers
A spinning stone floating in the fence is presented in the TV screen. With AR technology, this stone only exists in the screen, however the audiences can interact with the stone and themselves in the screen.
Instead of putting the viewer in the virtual world like VR or video games, this interaction let the form from the virtual world enter the real world through a TV.
The TV screen mirrors the viewers themselves and the live show of the interaction with the virtual sculpture.
A bridge across the virtual space to the exhibition space could be constructed to create a new connection of the virtual material in the exhibition and a new interaction between the art piece and audience.
不可觸碰 （2016）
電視，電腦，體感，防護欄
嫁接虛擬空間與展覽空間的橋樑，讓展品和觀者產生一種新的互動。
這個互動不是把觀者置身於虛擬世界當中，而是讓虛擬世界中的形體走進現實世界當中。
在顯示屏中讓形體與現場的展覽空間產生關係，這種關係通過觀眾的互動來獲得。
郭楚夕作品在布朗克河艺术中心（BRAC）展览英文版
January 28, 2019
FOR IMMEDIATE RELEASE
CONTACT: GAIL NATHAN, 718.930.7861, 718 589.5819, ext. 11
BRONX RIVER ART CENTER (BRAC) PRESENTS:
MATERIAL WITH MEANING
• ANTHONY O. AKINBOLA
• BLANKA AMEZKUA
• MAURICIO ESQUIVEL
• CHUXI GUO
FEB 8-MAR 16, 2019
Opening Reception, February 8th, 6 – 9 PM.
1.28.2019, BRONX, NY…..Bronx River Art Center (BRAC) is proud to present Material With Meaning, featuring four emerging and mid-career New York artists whose international roots include Nigeria, Mexico, El Salvador, and China. This exhibit continues BRAC’s longstanding commitment to cultural diversity paired with artistic excellence.
The many (well worn!) cherished handbooks of artist materials on studio shelves attest to artists’ deep emotional and professional dependence on a wide range of materials and techniques to realize their artistic visions. But these tomes do not anticipate the works in this exhibit, where the artist’s choice of materials is critical to the work’s impact and meaning. And, quoting artist Mauricio Esquivel, “sometimes artists find in the ‘concrete object’ motivation: a research resource in itself.”
For artists, their choice of materials is singular: the material was necessary to create the work and to communicate its message. Within the wide embrace of “multi media,” artists are not reluctant to display their respect for the constituent elements of their work. In doing so, they also proclaim their identity as craftswo/men and bring artmaking down to street level, where it can be appreciated by the widest possible audience. BRAC’s newly restored storefront, white box, gallery, in the heart of the Bronx, is the perfect venue for this presentation of contemporary art that imbeds the material installations with deep rooted meanings.
Chuxi Guo
Chuxi Guo’s installation, Untouchable, comprises a seemingly empty space save for the delineation of a central square by 4 posts connected by almost invisible wire and a large monitor screen on one wall. When a viewer enters the space, it activates an on screen animation of a large grey rock that seems to be floating within the confines of the “empty” central square. As the viewer moves, the rock begins to morph into ever more sharply defined extremities: always and only on the screen. Guo’s work is a metaphysical exploration of the nature of materiality situated in the rich ambiguity of the relationship between the viewer, the art object, and the media that communicates its “presence.” We are constrained to question the very essence of seeing when what we see is, in fact, not “there”? Can an object be “here” and “there” simultaneously?
Guo explains: “Instead of putting the viewer in the virtual world like VR or video games, this interaction lets the form from the virtual world enter the real world through a TV. The TV screen mirrors the viewers themselves and the live show of the interaction with the virtual sculpture. A bridge across the virtual space to the exhibition space would be constructed that creates a new perception of the virtual material and a new interaction between the art piece and audience.”
Chuxi Guo (1990), installation and video artist, was born in Beijing, China, and is now based in New York. He uses video and video interactive devices as the main medium to expand various interactive boundaries of video art. By considering the viewers’ sensitivity to the space and information of their bodies and identities, and by continuously enhancing or repeating, weakening or revoking the images of different identity groups, he tries to construct the possibilities of image interaction to find human identity, Self-awareness and possible political thinking.
Bronx, NY 10460
718 589-5819 ext 11
718 930-7861 (Cell)
