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The “Unexceptional Painting Series” and the “Single Layer Painting Series”, however, indicate Chen Xi’s two different painterly treatments to paintings. Whether composed with abstract lines or with the composite images, these works follow the unique painterly rules of the artist. In the “Unexceptional Painting Series”, Chen Xi embeds his innermost memories and emotive states into the hybrid creatures inside his works, and superimposes rigorous contrast colors onto his canvas, these two pictorial elements penetrate with one another, yet weigh equally on the pictorial frame despite the subtle tension that lies underneath. On the contrast, in the “Single Layer Painting Series”, Chen Xi puts his attention onto the precise application of the pastes, from which Chen Xi creates complex compositions with one continuous brushstroke through the use of a single layer of paste, and intentionally avoids the superimpositions of multiple pastes, from which the artist explores an easy yet environmental-friendly painting technique.
Chen Xi inserts multiple characters and details into the various medium of his practices. Yet the radical and the extreme forms of these works subtly reflect the naked inner states of us. Most of the people could envision an ideal person, and perceive the distance between us and this ideal person. In this continuous body of works, each piece of exhibited work is associated with the theme ideal person. As Chen Xi says, the reason for choosing such a huge topic, is to distance viewers from this theme, we, are just happen to encounter here, and ask me a better question…
Chen Xi inserts multiple characters and details into the various medium of his practices. Yet the radical and the extreme forms of these works subtly reflect the naked inner states of us. Most of the people could envision an ideal person, and perceive the distance between us and this ideal person. In this continuous body of works, each piece of exhibited work is associated with the theme ideal person. As Chen Xi says, the reason for choosing such a huge topic, is to distance viewers from this theme, we, are just happen to encounter here, and ask me a better question…
Chen Xi (b.1985) uses drawing and animation to tentatively deconstruct, dissect and reassemble societal values. Animation is a limitless narrative approach, allowing freedom from academic and philosophical systems that have become obsolete; it is an escape from the firmly entrenched system, an indulgence in a paradise interwoven with reality and illusions. Founded upon the concept of the infinitely large “∞”, this exhibition adopts the reciprocal relations of works into installation’s arrangement format, echoing Chen’s unique practice in the midst of creation. It requires tens of hours for the calculator to compute an animation from the initial modeling, the idle hours in between are often appropriated to the production of other works. This peculiar tendency to create multiple works simultaneously has spawned an intricately complex web of time, allowing the exchange between works to mimic the “∞” symbol, like the two rings that influence and react to one another, inciting an infinitely large illusory state.
The works selected for the exhibition extract and edit inundated mainstream elements, and seal it with a narrative that perfectly packages and illustrates the human society while the virtual world of numbers reflect contractions and paradoxes of reality. If the audience is satisfied by these fabricated and tampered concepts that seem ostensibly logical, then perhaps the reality is as askew and distorted? These “mock ethics,” derived from vulgar humor, exposes this mad civilization with ridicules, depicting the origin and history of the fleeting human life. In the end, as oneself is critically observed, a dissonance in viewers’ awareness ensues.
The works selected for the exhibition extract and edit inundated mainstream elements, and seal it with a narrative that perfectly packages and illustrates the human society while the virtual world of numbers reflect contractions and paradoxes of reality. If the audience is satisfied by these fabricated and tampered concepts that seem ostensibly logical, then perhaps the reality is as askew and distorted? These “mock ethics,” derived from vulgar humor, exposes this mad civilization with ridicules, depicting the origin and history of the fleeting human life. In the end, as oneself is critically observed, a dissonance in viewers’ awareness ensues.
アートコレクターズ No.182 2024年5月号
幻想美術 私だけの真実
展覧会Review 評.金澤韻 (現代美術キュレーター)
現代中国の鬼才が描く生存競争の世界
シー・チェン個展「インクに潜む神話:クリーチャーと矛盾のシンフォニー」
会場:CALM & PUNK GALLERY
会期:2024年2月9日〜25日/3月8日〜17日
幻想美術 私だけの真実
展覧会Review 評.金澤韻 (現代美術キュレーター)
現代中国の鬼才が描く生存競争の世界
シー・チェン個展「インクに潜む神話:クリーチャーと矛盾のシンフォニー」
会場:CALM & PUNK GALLERY
会期:2024年2月9日〜25日/3月8日〜17日
ひとりで作った長編3DCGアニメ『鶏の墳丘』でブレイク。気鋭のアーティスト・シー・チェンと配給を担う研究者・田中大裕に聞くアニメーションの可能性
ひとりで作った長編3dcgアニメ『鶏の墳丘』でブレイク。気鋭のアーティスト・シー・チェンと配給を担う研究者・田中大裕に聞くアニメーションの可能性|tokyo_art_beat.pdf | |
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陈熹再谈《步行指南》:这一次,一遍能看懂.pdf | |
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感冬_– artforum.com.cn.pdf | |
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