СЕРИС ВИН ЭВАНС
ケリス·ウィン·エヴァンス

Form in Space…By Light

source: tateorguk
Forms in Space…by Light (in Time) is the 2017 Tate Britain Commission in which we invite a contemporary British artist to respond to the Duveen Galleries at the heart of Tate Britain.

The artwork is made from almost 2km of neon lighting, suspended from the ceiling and configured into straight lines, sweeping curves and spiralling forms.

Wyn Evans first came to attention as a filmmaker producing experimental films and collaborative works. He has subsequently expanded his practice to incorporate sculpture, photography, film and text to communicate his interest in language and perception.
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source: wallpaper
Wyn Evans’ new masterwork, Forms in Space…by Light (in Time), fills and stretches the Duveen Galleries. Annually, Tate Britain invite an artist to develop a work in response to the grand neo-classical hall, that addresses the heritage of the space as a sculpture gallery.

‘Cerith’s installation sits beautifully within the space, unfolding as you walk through,’ explains Clarrie Wallis, Tate’s Senior Curator of Contemporary British Art. The neon experience builds, from a single ‘peep hole’ ring in the South Duveens, through which you can glimpse swirls of radial light and an imposing octagon in the central gallery. The fractured neon fragments look like frantically drawn sparkler-lines on fireworks night.

But there’s method and logic within these celestial scribbles. Hidden in the design are references to a host of highbrow sources, from Japanese ‘Noh’ theatre, to Marcel Duchamp’s The Bride Stripped Bare by her Bachelors, Even (The Large Glass), 1915-23. Don’t worry if you missed them. The beauty of rendering precise (verging on obscure) references in such a celebratory neon explosion allows for multiple – if not endless – interpretations.

Each way you look at the sprawling 2km of neon tubing, a different shape or symbol emerges. No small thanks to the elegant way in which the structures have been painstakingly suspended. ‘There were over 1000 fixing points, and obviously we couldn’t drill 1000 holes in the Grade II listed building,’ Wallis explains. ‘We had to work with structural engineers very intensely, so as to be completely happy and convinced that we would be able to remove it without damaging the fabric of the building.’

Though it seems too soon to be discussing the installation’s removal, Wallis has a point. It’s a visibly fragile, delicate sculpture – whose impermanence makes it more intriguing. As it is a site-specific sculpture, it can’t be recreated elsewhere. What’s more, because the neon tubes are filled with a constantly moving stream of pulsing, vibrating gasses, visitors will never see the same sculpture twice.
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source: whitecube
Cerith Wyn Evans lives and works in London. In 2011 he was commissioned by the Vienna State Opera to design the safety curtains for 2011-2012 opera season. Recent solo exhibitions include Kunsthall Bergen (2011), Tramway, Glasgow (2009), Inverleith House, Edinburgh (2009), MUSAC, Leon (2008), Musée d’art moderne de la ville de Paris (2006) and Kunsthaus Graz (2005). In 2009 he collaborated with Florian Hecker and Thyssen-Bornemisza Art Contemporary on ‘No night No day’ at the 53rd Venice Biennale and has also particpated in the Moscow Biennial (2011), Aichi Triennale (2010), the Yokohama Triennale (2008), the International Istanbul Biennial (2005) and the Venice Biennale (2003).
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source: fortesvilaca
Cerith Wyn Evans incorpora à sua prática conceitual uma variedade de mídias que incluem instalação, escultura, fotografia, filme e literatura. Dedica atenção especial à linguagem e à percepção, apropriando-se de textos e imagens de artistas significativos das vanguardas do século XX, em obras que unem radicalismo a simplicidade e elegância. Em alguns de seus trabalhos mais conhecidos, Wyn Evans se utiliza de fogos de artifício, neon e da transmissão de fragmentos em código Morse através de luz.
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source: yvon-lambert
Cerith Wyn Evans (né en 1958, vit et travaille à Londres) diplômé du Royal College of Art en 1984, dʼabord cinéaste et vidéaste dans les années 80. Fortement influencé par les enseignes lumineuses au début des années 90, il étend sa pratique à lʼinstallation et à la sculpture. Cerith Wyn Evans oriente ses travaux vers la transcription matérielle du langage.
Aujourdʼhui artiste majeur de la scène anglaise, lʼartiste élabore une œuvre aux multiples lectures, qui interroge les limites conceptuelles de la perception. À travers des médiums aussi divers que les néons, le feu d’artifice, le mobilier, le film, la photographie et la sculpture, il emprunte volontiers à la littérature, à l’histoire de l’art comme au cinéma, pour donner à voir et à vivre l’expérience d’une réalité décontextualisée à travers un dandysme poétique.
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source: entrefortheaestheticrevolution
Cerith Wyn Evans nació en1958 en Llanelli, Gales, vive y trabaja en Londres. El trabajo de Wyn Evans se desarrolla a partir de los setentas en el underground londinense, donde colaboró de cerca con los cineastas británicos Derek Jarman y John Maybury, siendo uno de los protagonistas del movimiento conocido como los New Romantics. Durante la década de los ochentas Wyn Evans realizó una serie de películas experimentales, a la par que colaboró con otros legendarios artistas como Michael Clark, Leigh Bowery, Throbbing Gristle, The Smiths o The Fall. Durante los últimos años, el trabajo de Wyn Evans se ha convertido en un punto de referencia imprescindible de la escena artística londinense, su sofisticada obra ha inspirado a muchos artistas de las generaciones mas recientes. La obra de Wyn Evans está concebida por su relación crítica e histórica frente a las posibilidades y vicisitudes tanto del cine, la música, la arquitectura y la escritura, creando relaciones inusuales entre el espacio, la luz, el lenguaje y los objetos, donde la opacidad, y la experiencia de la obra implican una aceptación de la imposibilidad de una coherencia inmediata.

En 2003, Wyn Evans represento a Gales en la 50 edición de la Bienal de Venecia. Ha participado en la novena edición de la Bienal de Istanbul (2005), Yokohama Triennale (2008) y en la próxima Aichi Triennale (2010). En 2009 colaboró con Florian Hecker y con Thyssen-Bornemisza Arte Contemporaneo en No night No day en la 53ava Bienal de Venecia (2009). Tambien colaboró con Throbbing Gristle en una instalación visual y auditiva titulada A=P=P=A=R=I=T=I=O=N exhibida en la Yokohama Triennale y en Tramway, Glasgow. Exposiciones individuales recientes incluyen Kunsthaus Graz (2005), Musée d’art moderne de la ville de Paris, Paris (2006), MUSAC, Leon (2008), Inverleith House, Edinburgh (2009) y Tramway, Glasgow (2009).
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source: aichitriennalejp

1958年イギリス生まれ、ロンドンに在住。セントマーチンズ美術大学とロイヤル・カレッジ・オブ・アートで学んだあと、デレク・ジャーマンのアシスタントを務め1980年代の彼の実験的映像作品を手がけた。視覚に強く訴えかける詩的かつエレガントな作品には、常に時間や言語の概念が存在する。今回はタイトルでもある光の速度を表す9つの数字、 “299792458 m/s”を、ネオンサインのようにまちなかのビルの屋上に設置する。