中國歐洲藝術(shù)中心4月29日下午五時習(xí)海瑞個展《當(dāng)潮之塔》開幕

本周05.01—05.0705.08—05.14共1場(04月24日-04月30日)周六(04月29日)17:00-18:30共5場(05月01日-05月07日)周二(05月02日)13:00-17:30周三(05月03日)13:00-17:30周四(05月04日)13:00-17:30周五(05月05日)13:00-17:30周六(05月06日)13:00-17:30共5場(05月08日-05月14日)周二(05月09日)13:00-17:30周三(05月10日)13:00-17:30周四(05月11日)13:00-17:30周五(05月12日)13:00-17:30周六(05月13日)13:00-17:30
活動地點：廈門思明區(qū)思明南路400號三樓中國歐洲藝術(shù)中心（黑糖咖啡斜對面）
活動類型：展覽

活動內(nèi)容：
當(dāng)潮之塔
習(xí)海瑞 (澳大利亞)
開幕式: 2017 年 4 月 29日 周六下午五時
展期：2017 年 4 月 29日至5月13日
開館: 周二至周六 13:00 – 17: 30
電話/傳真: +86(0) 592 2180850 / 手機(jī): +86(0) 13695046247
福建省廈門市思明南路400號三樓中國歐洲藝術(shù)中心
info@ceac99.org / www.ceac99.org
www.harrisonsee.com





Chinese European Art Center is pleased to announce Harrison See’s first international solo exhibition Tower of Modern.

中國歐洲藝術(shù)中心十分榮幸地宣布習(xí)海瑞的首次國際個展當(dāng)潮之塔展覽開幕。

The artwork I have created in Xiamen is the continuation of the research I carried out last year in Shanghai. As there already existed a strong East/West dichotomy in both historical and contemporary literature, I intentionally made the aim of my 2016 project to discover similarities between Western and Chinese art. As the obvious brergence between these two contrasting aesthetics cannot be denied, it was through a focus on theme and narrative that I identified similarities.

我在廈門創(chuàng)作的藝術(shù)作品是我去年在上海研究的延續(xù)。不管是古代文學(xué)，還是當(dāng)代文學(xué)，東西方之間都已經(jīng)有了明顯的分裂，所以在我的2016項目中，我刻意制定了這樣一個目標(biāo)——發(fā)現(xiàn)東西方藝術(shù)之間的相似性。這兩種截然不同的審美之間必然有分歧，這一點無法否認(rèn)，我將重點放在主題和敘事上，以此來鑒別相似性。






I examined selected paintings of two artists who lived and worked during the same period. The first was Shen Zhou (1427-1509) from Ming Dynasty China, and the second was Giovanni Bellini (ca. 1435-1516) of the Venetian Early-Renascence. By exploring their works I eventually observed mutual and recurring themes. Perhaps the most predominant of which, was the spiritual dynamic between man, heaven and earth. Although, Christianity (of the Renaissance) and Daoism (of the Ming Dynasty) have different ideas about the specifics of heaven, both strongly associate it with the sky and consider it the home of spiritually enlightened beings. As an extension of this idea, both artists also used mountains as a metaphorical bridge between earth and heaven. A place away from the corporal distractions of mankind, where lone figures could undergo deep contemplation or prayer. This mutuality is perhaps best illustrated when comparing Shen Zhou’s work ‘Poet on a Mountain top’ (ca. 1500), and Bellini’s painting ‘Saint Francis in Ecstasy’ (ca. 1476–78); where both artworks depict a lone robed figure housed within mountainous terrain and separated from distant urban environments. Each figure can be seen staring intensely towards the sky, while obviously disengaged from their physical surroundings. It was this cross-cultural narrative that became the foundation of my 2016 practice-led research, and has now also inspired my 2017 project at CEAC.

我選取了兩位生活和工作在同一時期的藝術(shù)家的畫作進(jìn)行了調(diào)查。第一位是中國明朝的沈周(1427-1509)，第二位是文藝復(fù)興早期威尼斯的喬瓦尼 貝利尼(1435-1516)。通過探索他們的作品，我最終發(fā)現(xiàn)了反復(fù)出現(xiàn)的共同主題。也許其中最主要的就是天、地、人之間的精神動態(tài)。盡管，（文藝復(fù)興的）基督教和（明朝的）道教對于天的細(xì)節(jié)有著不同的觀念，兩者都將它與天空緊密相連，并且認(rèn)為它是得道之人的所在。作為對這種思想的拓展，兩位藝術(shù)家利用山作為天地之間的隱喻性橋梁。這是一個遠(yuǎn)離塵世干擾的地方，在那兒人們孑然一身，經(jīng)歷著深度冥想或祈禱。在比較沈周作品“杖藜遠(yuǎn)眺”（1500）以及貝利尼畫作“圣特雷莎的狂喜”時，可能這種共通能得到最好的闡釋；兩件作品都描繪了一個身著長袍的孤獨之人，他們深居山野，遠(yuǎn)離塵囂。可以看到兩個人物都凝視著天空，顯然早已脫離了他們的周遭環(huán)境。這種跨文化的敘事是我2016以實踐為主導(dǎo)的研究的基礎(chǔ)，也是我2017中國歐洲藝術(shù)中心項目的靈感之源。






During my flight to Xiamen I looked out the window and could not help but notice that through advances in modern technology I was soaring high above the clouds; a place that I had only just conclude was of sacred and spiritual significance in both Western and Chinese tradition. I then asked myself, am I trespassing into the homes of both Daoist and Christian immortals

在我來廈門的航班上，我從窗外望出去，不禁注意到由于當(dāng)代科技的發(fā)展，我正翱翔在高高的云端；我方才作結(jié)說此地在中西方傳統(tǒng)中都具有神圣的精神意義。接著我便問自己，我是否正在入侵道家和基督教不朽之人的居所呢？

When asking myself this question something else quickly entered my thoughts. I remembered reading an ancient cautionary tale about the last time mankind utilised technology to reach the skies. The mythical “Tower of Babel” is a story that describes an ancient city that attempted to erect a tower high enough to reach the heavens. It is written that when God saw this structure he become displeased and confused the builder’s speech, turning one language into many. As the workers could no longer communicate the tower’s construction was eventually abandoned.

當(dāng)我在問自己這個問題的時候，其他的一些東西很快進(jìn)入了我的思想。我記得曾經(jīng)讀過一則古老的警世故事，說的是上次人類利用科技登天的事。神秘的“巴別塔”描述了這樣一個故事：一個古代的城市試圖建立一座足夠高的塔，以便登天。據(jù)記載，當(dāng)上帝看到這座建筑之時，他很不高興，便弄亂了建筑者的言語，把一種語言變成了許多種。當(dāng)工人們無法再交流的時候，塔的建造最終便半途而廢了。






With reference to the “Tower of Babel” this exhibition represents my further investigation into cross-cultural narratives. Using paint and sculpture I have illustrated and explored a primitive world of perpetual gathering and construction.

此次展覽借鑒了“巴別塔”，它代表著我對跨文化敘事的進(jìn)一步研究。通過顏料和雕塑，我闡釋并探索了一個永遠(yuǎn)在聚集和建設(shè)的原始世界。






Artist Bio:
Harrison See (習(xí)海瑞) was born in 1990 in his hometown of Perth, Western Australia. He initially began his professional career as a designer, studying a BA degree majoring in Product and Furniture Design, graduating from Curtin University in 2010 with the ‘Industrial Design Award for Excellence’. However, after working in the manufacturing industry for several years he ultimately made the decision to shift his focus to visual arts. Harrison then went on to graduate from Edith Cowan University in 2015 with the ‘Louise Macfie Painting Award’, and the invitation to return the following year to carry out a special honours research project. In addition, Harrison was also awarded one of the prestigious ‘New Colombo Plan’ Scholarships by the Federal Government of Australia, which funded his research allowing him to live in Shanghai for six months while he explored Chinese painting. While studying Harrison See has been exhibiting his artworks in group shows, both within Australia and overseas, as well as having his first solo exhibition just before he left for Shanghai in 2016. He also recently completed his honours degree and was asked to publish his research paper online through his university. His creative practice is now motivated by the pursuit of narratives that can effectively cross cultural boundaries.

<藝術(shù)家簡歷>
習(xí)海瑞于1990年在西澳大利亞的城市珀斯出生。2010年畢業(yè)于澳大利亞科廷大學(xué)，獲得商品和家具設(shè)計專業(yè)學(xué)士學(xué)位，并被授予“工業(yè)設(shè)計卓越獎”，以設(shè)計師的身份開始了他的職業(yè)生涯。然而，在制造業(yè)領(lǐng)域工作了幾年之后，他最終決定把工作的重心轉(zhuǎn)移到視覺藝術(shù)領(lǐng)域。海瑞隨后于2015年畢業(yè)于伊迪絲科文大學(xué)，并被授予了“路易斯·麥菲繪畫獎”，同時被邀請加入下一年度的特別榮譽研究項目。此外，海瑞還獲得了著名的澳大利亞聯(lián)邦政府 “新科倫坡計劃”獎學(xué)金，資助他在中國上海為期六個月的中國畫研究開支。學(xué)習(xí)期間，他曾在澳大利亞以及海外地區(qū)的群展中展出自己的作品，并于2016年前往上海之前舉辦了他的第一次個人展覽。最近，他獲得了榮譽學(xué)位，并被該大學(xué)邀請在線發(fā)表他的研究論文。他創(chuàng)作實踐的動力主要源于能有效穿越文化障礙的敘事活動。


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