Issue 50 (Sep/Oct/Nov) Electric Spaces is now available.
總第五十期 (9月／10月 ／11月)：電空間。
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This issue of Pipeline is about Electric Spaces: the pulsing, vibrant art works that embody our modern world’s visions and experiences. It features works connected to electricity effectively, conceptually or aesthetically, that are themselves the locations of a contemporary language informed by technological progress but reflective of human experience. I wanted to work with artists who create charged, expansive works whose presence would reveal a natural connection with the side of our lives dependent on technology and point at the gaps and the overlaps between the values and aspirations of our introspective selves and those of a collective urban civilisation. Often kinetic, they are also characterised by a high degree of autonomy in the way they function and the ways people read them, either because they are site-specific or because they could easily be standalone pieces. These are artists who create a palpable tension for the audience who experience their art works, shifting perceptions of perspective and time. There are many entry points in the art presented in this issue: neon lights, wired architecture and obsolete tapes, fans, blinds and motors. Even in two-dimensional, non-plugged pieces such as paintings and photography we find an obvious or implied electro-luminescence.
And so in the paintings of Cui Jie, a Chinese artist who keeps the lights on in her studio in Beijing at all times;natural and artificial elements become harder and harder to tell apart. Using a rather more sombre palette, the Taiwanese artist Chien-Chung Ding, who also works with light, and specifically light bulbs, shares his fascination with change, industrial spaces, pulsating rhythms and particles.
We experience a great deal of movement in South Korean artist David B. Jang’s kinetic constructions, where he admits that there is something of a tinkering aspect in his work, all the while considering the effects of modern technology and our relationship with it. This consideration is also very important in the works of Thai artist Prasert Yodkaew, who tests it from the particular point of view of Thai spiritual and religious heritage and values.
French-Algerian artist Slimane Rais creates mostly site-specific works and is particularly keen on the production process, from researching a particular location’s history to altering its vibe through thought and work. And Lithuanian artist Žilvinas Kempinas, who often uses VHS tape as a medium, is an energy harnesser who says that he challenges himself to create works that carry their own logic, avoiding a mimetic approach in favour of affecting his audience in associative ways.
William Lim, in his diary, continues to travel the globe, discovering art and places, getting inspired and generously sharing his reflections on his art experiences; and Ruyi Wong reviews Sherman Ong’s movie trilogy screened at La Salle in Singapore. And in our Back Page, Ysabelle Cheung uses a poetry slam to illuminate the theme of Electric Spaces with her verses about Hong Kong.
我們在韓國藝術家David B. Jang.的動力結構作品中感受到大量的動作。他承認他的作品有幾分小修小補的意味，同時他一直在思索現代技術的影響以及其與人類的關係。這種思索在泰國藝術家巴舍．越格爾的作品中同樣意義非凡，他從泰國精神及宗教遺產和價值觀這一獨特視角出發對此進行驗證。
法國籍阿爾及利亞藝術家.Slimane Rais，創作了眾多特定場域的藝術品。其特別熱衷創作過程，從調查特定的歷史地點，再經過思索和創作，最終改變這一場域的環境和氛圍。此外，經常以錄影帶作為媒介的立陶宛藝術家.Žilvinas Kempinas，就像一個能量機，挑戰自我，塑造了一些自成邏輯的作品，避免用模仿的手法以純粹的關聯方式來影響觀眾。
在林偉而的日記中，他續寫著自己的環球旅程，不斷地發現藝術和美景，不斷地得到靈感和啟發，並慷慨地和大家分享自己對藝術體驗的反思。還有，Ruyi Wong回顧了導演王明安在新加坡拉薩爾學員拍攝的電影三部曲。而在我們的封底故事裡，Ysabelle Cheung.以有關香港的詩句點明我們 「電空間」的主旨。