Yu Honglei
“Sketch” May. 30, 2015 – July. 26, 2015
Beijing artist Yu Honglei’s work is generally derived from the everyday objects in his life, redefined through his unique vision, and presented with new identities and functions. Yu’s new project at Telescope seeks the middle ground between conception and realization of art objects. Telescope becomes a window into his art studio and his working process where everything is in flux: full of the possibilities for transcendence as well as failure. Where does art begin and end?
Artists often work in obscurity in the studio creating artwork that will later be seen by the public in a different setting, usually a gallery or museum space. Even though the work can make this transition successfully it can still be somewhat out of context. Yu capitalizes on this odd relationship transferring not only his studio materials but also his ideas, emotions, personal narratives, and working processes to Telescope Sketch is an artwork and at the same time it is not. Pieces of what might be unfinished sculptures are shrouded in sheets like furniture in an abandoned mansion. Whether they are just being protected from the elements and time or they are the art works, these mysterious forms add a compelling yet hazy narrative to the installation. Common materials accumulated over time that might be found in any artist’s studio stand in as sculptures. They are familiar and yet defy direct understanding of what they mean except that they are part and parcel of the studio production process. A video screen flashes fractured scenes from his studio documenting his processes of collecting, thinking, and assembling. Sealed and open crates perhaps containing ‘finished’ art works lie silent on the floor waiting to be shipped. An eerie blue light bathes an entire room and all of its contents. Maybe some of these objects have become finished pieces by just changing their context? Maybe they are just the pedestals or frames that present art or the artists personal story? We don’t know and it is not important to figure that out. The hidden gems of Sketch lay somewhere in-between all of these notions in the relationships between the materials used in making his art. The shapes, sizes, colours, textures, and identities of the objects and how they are juxtaposed with each other all together produce strange and beautiful landscapes as found in memories and dreams. Yu’s installation offers another way of experiencing art: to see the beginning, the process and all of the by-products of his art production, and possibly the end all at the same time but to never really know where we are standing on that timeline. Sketch is a record of the time, music, refuse, energy of the artist’s ways of thinking and sense of being as he works in his studio.
尉洪磊
《速写》 2015.05.30 – 2015.07.26
北京艺术家尉洪磊的作品通常由他生活中的日常物品得来，这些物品透过他独特的视角被重新定义，并携新的身份与功能被展示出来。尉在望远镜的新项目意在寻求艺术品的构思与实现之间的中间地带。望远镜变成了一扇窗，通过这扇窗可以看到尉的工作室及工作进程，在那里，一切都处于不断的变化中：充满着超越与失败的可能。艺术从何而起，又止于何处？
艺术家常常悄无声息地在工作室里创作着艺术作品，这些作品之后会在另一种环境中—--通常是在画廊或美术馆的空间里—--被大众所看见。尽管作品能够成功完成这种转换，但它仍可能或多或少地脱离上下文。尉利用这种奇怪的关系，不仅将他的工作室材料，也将他的想法、情感、个人叙事与工作过程迁移到了望远镜。《速写》既是一件艺术作品，但同时也不是。可能来自未完成雕塑的片断被单子遮盖住，犹如废弃官邸内的家具。无论它们仅仅是被保护起来免受各种因素和时间的影响，还是说它们就是艺术作品，这些神秘的形式都为装置增添了一层引人入胜而又虚缈的叙事。在任何艺术家工作室内都有可能发现的日积月累的寻常材料代替了雕塑本身。人们熟悉这些东西，但却无法直接明了它们的含意，人们只知道，它们是工作室生产过程中必不可少的一部分。显示屏上闪现着他工作室场景的片段，这些片段记录了他收集、思考与组装材料的过程。封闭与打开的木箱静静躺在地上，等待被运走，木箱里可能装着“已完成的”艺术作品。一道诡异的蓝光洒满整个房间以及房间里的东西。或许，这当中的某些物体仅由于环境的改变就变成了完成品？或许它们只是展示艺术或艺术家个人故事的基座或边框？我们无从知晓，而是否弄清这些也无关紧要。《速写》的隐秘精华匿于所有这些概念之间的某处，这些概念又存在于他用来进行艺术创作的材料之间的关系里。物体的形状、大小、颜色、质地和身份，以及它们被全部并置在一起的方式，造就了怪奇而美妙的风景，如同记忆与梦中之所见。尉的装置提出了另一种体验艺术的方式：即同时看到他的艺术生产的开始、过程以及所有副产品，兴许还能看到结果，但却永远无法知晓我们在那条时间线上所处的位置。《速写》记录了艺术家在他工作室工作时所经验的时间、音乐与废弃物——这些是他思考方式及感受存在的动力。
“Sketch” May. 30, 2015 – July. 26, 2015
Beijing artist Yu Honglei’s work is generally derived from the everyday objects in his life, redefined through his unique vision, and presented with new identities and functions. Yu’s new project at Telescope seeks the middle ground between conception and realization of art objects. Telescope becomes a window into his art studio and his working process where everything is in flux: full of the possibilities for transcendence as well as failure. Where does art begin and end?
Artists often work in obscurity in the studio creating artwork that will later be seen by the public in a different setting, usually a gallery or museum space. Even though the work can make this transition successfully it can still be somewhat out of context. Yu capitalizes on this odd relationship transferring not only his studio materials but also his ideas, emotions, personal narratives, and working processes to Telescope Sketch is an artwork and at the same time it is not. Pieces of what might be unfinished sculptures are shrouded in sheets like furniture in an abandoned mansion. Whether they are just being protected from the elements and time or they are the art works, these mysterious forms add a compelling yet hazy narrative to the installation. Common materials accumulated over time that might be found in any artist’s studio stand in as sculptures. They are familiar and yet defy direct understanding of what they mean except that they are part and parcel of the studio production process. A video screen flashes fractured scenes from his studio documenting his processes of collecting, thinking, and assembling. Sealed and open crates perhaps containing ‘finished’ art works lie silent on the floor waiting to be shipped. An eerie blue light bathes an entire room and all of its contents. Maybe some of these objects have become finished pieces by just changing their context? Maybe they are just the pedestals or frames that present art or the artists personal story? We don’t know and it is not important to figure that out. The hidden gems of Sketch lay somewhere in-between all of these notions in the relationships between the materials used in making his art. The shapes, sizes, colours, textures, and identities of the objects and how they are juxtaposed with each other all together produce strange and beautiful landscapes as found in memories and dreams. Yu’s installation offers another way of experiencing art: to see the beginning, the process and all of the by-products of his art production, and possibly the end all at the same time but to never really know where we are standing on that timeline. Sketch is a record of the time, music, refuse, energy of the artist’s ways of thinking and sense of being as he works in his studio.
尉洪磊
《速写》 2015.05.30 – 2015.07.26
北京艺术家尉洪磊的作品通常由他生活中的日常物品得来，这些物品透过他独特的视角被重新定义，并携新的身份与功能被展示出来。尉在望远镜的新项目意在寻求艺术品的构思与实现之间的中间地带。望远镜变成了一扇窗，通过这扇窗可以看到尉的工作室及工作进程，在那里，一切都处于不断的变化中：充满着超越与失败的可能。艺术从何而起，又止于何处？
艺术家常常悄无声息地在工作室里创作着艺术作品，这些作品之后会在另一种环境中—--通常是在画廊或美术馆的空间里—--被大众所看见。尽管作品能够成功完成这种转换，但它仍可能或多或少地脱离上下文。尉利用这种奇怪的关系，不仅将他的工作室材料，也将他的想法、情感、个人叙事与工作过程迁移到了望远镜。《速写》既是一件艺术作品，但同时也不是。可能来自未完成雕塑的片断被单子遮盖住，犹如废弃官邸内的家具。无论它们仅仅是被保护起来免受各种因素和时间的影响，还是说它们就是艺术作品，这些神秘的形式都为装置增添了一层引人入胜而又虚缈的叙事。在任何艺术家工作室内都有可能发现的日积月累的寻常材料代替了雕塑本身。人们熟悉这些东西，但却无法直接明了它们的含意，人们只知道，它们是工作室生产过程中必不可少的一部分。显示屏上闪现着他工作室场景的片段，这些片段记录了他收集、思考与组装材料的过程。封闭与打开的木箱静静躺在地上，等待被运走，木箱里可能装着“已完成的”艺术作品。一道诡异的蓝光洒满整个房间以及房间里的东西。或许，这当中的某些物体仅由于环境的改变就变成了完成品？或许它们只是展示艺术或艺术家个人故事的基座或边框？我们无从知晓，而是否弄清这些也无关紧要。《速写》的隐秘精华匿于所有这些概念之间的某处，这些概念又存在于他用来进行艺术创作的材料之间的关系里。物体的形状、大小、颜色、质地和身份，以及它们被全部并置在一起的方式，造就了怪奇而美妙的风景，如同记忆与梦中之所见。尉的装置提出了另一种体验艺术的方式：即同时看到他的艺术生产的开始、过程以及所有副产品，兴许还能看到结果，但却永远无法知晓我们在那条时间线上所处的位置。《速写》记录了艺术家在他工作室工作时所经验的时间、音乐与废弃物——这些是他思考方式及感受存在的动力。
