艺术家artists何意达he yida评章访谈中文2013.solo show in case by edward sanderson

元上作品与地面的关系相对凸显（而不是与墙壁或者天花板的悬垂关系），得。的为服料已物整材去对应-----前者对应于·的彩色树脂玻璃金属盒，后者对应于·的毛毡作品。的和被吸纳和规范为一种机制性（这使人想起·插入空间的条纹）。作品在作品中，那种对体制架构的式变得更加灵活和微妙。在何意达的近作LegIn(2012)中，其元素来源均源自商店里的展示制造物，于是整个作品都传达出某种商业语境之下的形式与结构也可以说那C空间的一面墙壁有着奇怪的夹角，这个特色用一根木头抵住的方式展现了出来。而它的平衡又被另一根解释和说明一下此次展览：这些作品一方面表现了对它们所处空间的介入，但另一方面又是空间其自这种促进和间的作用和反作用会使观众和作品之间的关系产生一种张力：当观众来到空间里，同时体验着那些作品。这种到场标志着观者成为体验作品过程的一部分，通过把此种体验融入到作品产生的一系列效果之中，它最终使作品的目的得以达成这样，作品就存在于进入了机制性空间和建筑学空间HeYidasoloshowINCASEMarch2013TheworksinthisshowhavecomeaboutthroughasteadyprocessofcementandrefinementbyHeYida.Thefinalinstallationsprojectafeelingofextremeintentionintheexperienceoftheirarrangements.Theprocessoftheworkmovesfromtheselectionofmaterial,theirarrangementsinrelationtoeachother,andtheirpositioningwithrespecttothespaces.Overallthereisanemphasisontheworks’relationshipwiththefloor(ratherthanahangingrelationshipwiththewallorceiling),astheyspreadoutalongthatne,orriseupfromit.Theeffectisofasenseofflatnessinthenesandtenuousnessintheuprightstructures.Theelementsofthestructuresareready-madeforotherpurposes,variouslyadjustedwithpaintedadditions.Eachmaterialadjuststheeffectoftheothermaterialstheyarecedinarelationshipwith:thehardnessofthemetalbarstandsincontrasttothesoftnessoftheelasticstripthatiswrappedaroundit;thiswrapconcealsandrevealsvariousparts,yingthematerialsoffeachother,changingtheperceptionofthematerialsandtheirarrangementsastheyareviewedfromdifferentangles.TheworkscanbeseentopickuponMinimalism’sexperimentsinform,andwiththe“anti-form”reactionstothosehardgeometriesofMinimalism–DonaldJudd’smetalboxeswithcolouredplexiglassinsertsanexampleoftheformer,andRobertMorris’feltworks,forthelatter.ThesimpleformsofJudd’s“specificobjects”assertedthemselvesinthespacesinwhichtheywereced;Morris’cutsectionsoffelthunglooselyfromthewall,theirformsnotdictatedbutanexpressionofgravityonthedensematerial.HeYida’sownworksclearlyfollowatrajectoryfromthesehistoricaldevelopmentsintoformsofsitespecificity,theinterventionandcritiqueofspacesthatbecamesubsumedandformalisedasinstitutionalcritique(DanielBuren’sstripedinsertsintospacescometomind).Herworksreflectanunderstandingofallthesehistoricaldevelopmentsaswellastheirconsequences,cingtheentropicfallofsoftnessagainstrigidityofform,theinsertionofmaterialintospace,anditsrelationtospaceinmaterial,formandmeaning.Theseareseeminglyfragile,ephemeralanti-structures,whichyarrangementsofthematerialsagainsttheirinctionswiththespaces;yingthe“natural”formsthatthematerialstakeundertheirownandexternals(gravity,entropy)withtheadaptationofthosematerialsandformsintheserviceofthe.InHeYida’sworkBuren’scritiqueofinstitutionalarchitecture esamoreflexibleandsubtleactivity.InherrecentworkLegIn(2012)thematerialsaresourcedfromshopdisymanufacturers,andsotheworkreflectsformsandstructuresfromthiscommercialcontext–thematerialsmightbesaidtoretainaresidueoftheiroriginalfunctions.Howeverthisoriginalfunctionisnotdirectlyreferencedinherworks,norworkedthroughasareasonfortheirbeing.Herstructuresdivertthisfunctionintonewmeaningsbasedontheircurrentlocationinthegallery.Asthe cesandarrangestheworks,they especifictotheirsurroundingsasinterventionsaswellasreactionstothepropertiesofthespaces.TheoddangleofonewallinC-Space’sgalleryisaddressedbyleaningalengthofwoodagainstit.Thisis,inturn,balancedbyasmallerpiece,madeupofashorterwoodbaton,itsendsconnectedbyasnakinglengthofblackrubbertubing.Thisisnotaboutpresentingtheobjectsastheyare,ortheiruses,inanewcontext,therebymakingthemstrangethroughthatshift.Theobjectsdonotremainastheyare,butaremanipulatedtoadjusttheirformsandrelationships.This,insomesenses,usesthematerialsandformsagainstthemselves.Fabricstripshangfrombars,butthefallofthematerialisinterruptedbybeingstitched,hoistinglengthsupintoloops;ortheyarepulledtothefloorbyheavymetalringspinchingthematerialatitsbase.Thecombinationofmaterialsofdifferingqualities,thearrangementofworksofdifferingqualities,thespacestheyoccupyinrelationtoeachother,alltheseaspectsaresignificanttotheexperienceoftheexhibition.Noworkstandsalone,andnoworkisthewholework.Inthisbalanceofinternalandexternalstheresultingpiecerepresentsthecuspbetweenthetwo,acreativereflectiononspaceanditsTotryandrationalisetheactivitygoingonhere:theworksactasinterventionsintotheirspaces,butalsoexistinthereversedirectionasthespaceimesontheworks.Theworkscontributeandatthesametimereacttothosespaces.Inathirdmovement,thepresenceofthebodyactsasasubsequentelementinthisinteryofspaceandwork.Itcanbesaidthattheworkexistsbothinthemovementoutwardsofitsinterposingofitselfintothespace,aswellasitsmovementinwardsofthespace’seffectsonthework.Onecanalsospeakofthespaceinasimilarfashion,ashavingamovementoutwards(whichcorrespondstothework’smovementinwards)andamovementinwards(correspondingtothework’smovementoutwards).Inasimilarway,thebodyhasitsownsetofmovementsinrelationtotheworkandthespace.Thismakesfora6-foldsetofmovementsofthework,thespa