Cao Fei
曹斐
ツァオ·フェイ
ЧАО ФЕЙ
La Town
source: aaa-aorg
Indeed, this simulacrum remains unsurpassed in its evocation of the Real. Indeed, this film conveys the Truth. I will always mourn for the fate of La Town, for La Town is always in mourning. – Cao Fei
An ambitious stop-motion feature, La Town exemplifies the artist’s playful-yet-political practice, converging fantasy and reality into a film noir-inspired vision of the contemporary China and the World at large. The trailer for the film was well received at Art Basel Hong Kong 2014, and is followed by the full-length film and related photographic series.
Cao Fei explains La Town as follows:
At a place called the “Night Museum”, open only after dusk, various artifacts about “darkness” are on display. There is the American horror film “30 Days of Night”, Chinese artist Chu Yun’s installation “Constellation”, and surprisingly, there is even the iPad app game for “The Godfather.” The current exhibition is about La Town.
Everyone has heard the myth of La Town. The story first appeared in Europe, but after traveling through a space-time wormhole, reappeared in Asia and Southeast Asia. It was last seen near the ocean bordering the Eurasian tectonic plate, vanishing in its midst as if a mirage.
La Town, struck by unknown disaster – where without sunlight, time froze. Polar night was all encompassing, so the few instances of white nights have been momentously recorded in the town’s history. Yet, through the drifting of time and space, various countries have rewritten La Town’s history, and details have been neglected. Now, the story of the small town’s past – love affairs, politics, life, demons and disasters – have all been sealed beneath the museum’s vitrines, the historical “specimens” becoming an authoritative but limited interpretation of this town’s history.
Night town; is there something happening? What kind of story does it carry? What forces caused such distortions in space and time?
Visitors quietly wander between the displays. This is just the first exhibit of the summer; there will be more interesting shows to come.
At this moment, from the cinema screen of the “Night Museum” drifts a few lines of dialogue:
The Stranger: “Bar the windows. Try to hide. They’re coming.”
Eben Olemaun: “They? Who are they?”
Cao Fei has exhibited internationally to great acclaim, from her extraordinary 2008 project RMB City to her most recent work, the 2013 zombie film Haze and Fog. Her work is included in multiple private and public collections, including the Museum of Modern Art, New York; M+ Museum, Hong Kong; and the Guggenheim, New York.
Cao Fei (b. 1978) is a Chinese artist based in Beijing. She is known for her multimedia installations and videos, and is acknowledged as one of the key artists of a new generation emerging from Mainland China. She mixes social commentary, popular aesthetics, references to Surrealism, and documentary conventions in her films and installations. Her works reflect on the rapid and chaotic changes that are occurring in Chinese society today. Cao Fei’s recent movie Haze and Fog (2013) was screened at the Tate Modern, London, and her previous online project RMB CITY (2008-2011) has been exhibited in Deutsche Guggenheim (2010), Shiseido Gallery, Tokyo, Japan (2009), Serpentine Gallery, London (2008), and Yokohama Triennale (2008). Other exhibitions include i.Mirror by China Tracy, 52nd Venice Biennale (2007), Chinese Pavilion; RMB CITY- A Second Life City Planning, Istanbul Biennale (2007); Whose Utopia, Tate Liverpool (2007), Nu Project, Lyon Biennale (2007). Cao Fei has also participated in 17th & 15th Biennale of Sydney (2006/2010), Moscow Biennale (2005), Shanghai Biennale (2004), 50th Venice Biennale (2003). She has exhibited video works in Guggenheim Museum, the International Center of Photography, MoMA, P.S.1, Palais de Tokyo (Paris), Musee d’Art Moderne de la ville de Paris, and the Mori Art Museum (Tokyo). She was a finalist of the Guggenheim Museum Hugo Boss Prize 2010, and won the 2006 Best Young Artist Award by CCAA (Chinese Contemporary Art Award ). Cao Fei is on the jury of the selection committee for the curatorship of the 8th Berlin Biennale 2014.
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source: blancdexin
曹斐近日在纽约Lombard Freid画廊展出新作《La Town》，40余分钟的定格拍摄影片全部由微缩人物与场景组成。在这个与现实比例为1：87的世界里，艺术家试图描摹一座城市的过往与命运。它反复在虫洞中迁徙至其他时空，逃避着记忆的捕捉，后在当代博物馆展览柜中被封存、展出、遗忘。
我是无意中在淘宝看到小人模型，然后开始搜索相关的东西，又看了一些楼房模型。卖家货源大多数是德国的品牌。我不知道其他人买来干嘛。有些人是为网络最近比较流行的微拍，例如买一个游泳动作的小人摆放到咖啡里，时尚杂志拍摄在爱马仕皮带上搁望远镜之类。但我感兴趣的还是把他们放在一个他们比例的世界里，这个比例是1：87，所以买来或订制所有的模型都是1：87。当时想尝试做装置，在一个空间里面特别小的东西，观众几乎发现不了。拍了一些照片后觉得很单薄，就暂时搁置了。真正开始动手是今年，我想是不是拍video会更好玩?
拍摄有点像自动书写，或者电影书写，就像早期一些先锋实验，例如杨·史云梅耶 （Jan Svankmajer）、让·考克多 （Jean Cocteau）。从某一点切入，没有剧本。可是模型不动，拍起来像静帧，于是开始请摄影师、推敲动态上怎么发展。同时开始进更多楼房模型，手动搭建、做旧。电影里的麦当劳是个完美的麦当劳，损坏后再与其他建筑重组，添加花园、马路，组成一个个场景。基本上边拍边添加，每个小人配不同的小人，配不同的道具又产生另外的感受，要不断考虑空间怎么摆。 一边拍这个故事就发展出来了。作曲Dickson Dee曾与我合作早期作品《三元里》（2003），拍摄过程中我把电影粗剪成小情节发给他，音乐谱好回来后再根据音乐来剪片。
以往《人民城寨》（2007）这类作品是找专人编码制作，我从美学上要求城市如何搭建，该参照什么图片或纹理，但《La Town》（2014）现成品改造中有大量的手工：给小人改发色或者画僵尸妆都是亲历亲为，非常写实的章鱼玩具模型需要添加血污、手绘紫色血管。电影非常难拍，一天只能拍三个镜头，每个镜头拍多次。一个麦当劳或者超市场景就需要拍三天。粘好的小人可能随时倒地，非常小的LED灯半小时就变弱了；地板脏了或者拱起来，按下葫芦浮起瓢，技术上对于我来说有许多全新的问题。我自己向布景中吹烟，接吸管从很远的地方吹烟，一吹就是一盒烟。摄制时需要租大概两米的超小摇臂，却必须特别稳，因为模型非常小：人物高度小于两厘米，一只鸡掉在地板上几乎就找不到了。女人洗菜的菜叶就是烟灰的一丢，要亲手用镊子掰下来。小人发色没涂均匀这些细节经常是拍了视频在电脑放大才看到。
旁白中我希望用一种自己听不懂的语言，英文感觉太实，法语就比较诗意。内容上则又抽象又贴近又来自另外的时空。我很喜欢《广岛之恋》，那种对话就像一个梦，循环往复，女方一直描述我看到什么、我做了什么，男方总是在否定否定否定否定，有一个声音永远在否定你的描述，你看到的现实。这又是一对恋人的声音。录音时没有播放画面，两个配音演员是非常熟悉这部老电影的法国人。我的要求是：要像恋人躺在床上那样一起去谈论这个城市，但同时又注视着这个城市，漂浮在它上空。
对白的作用也是可以将人时时引入语言思考的空间，而不过分纠结于画面。《霾》（2013）中可能一个机位就是一个长镜头，但因为《La Town》场景是静态的，所以一定要通过快剪接，因为停留太久了就看出它是模型，观众会出戏。开头引子中的传说赋予《La Town》存在的合理性：一个城市因为宇宙折叠不断地穿越虫洞，跌落到不同时空。希望观众看完后心理空间有很多层次，无法回落到某一个地方。最后到了美术馆，对话中也不会提到美术馆，而是：你在这里干嘛？我在这里拍一个电影。女方似乎是模型中的一个人，但这个电影是她拍的，还是她在其中扮演一个角色？
我自己很喜欢在美术馆的结尾。本来不在计划之内，但拍着拍着借到了模型，建筑师Ole Scheeren的一个未中选的竞赛设计，于是我想把城市发生的所有东西变成一件艺术品，冰冻封存。这很好玩，又跟当代艺术有一种关系，跟今天我们完全被标签化的生存有关，无论是政治还是恐惧，哪怕僵尸摆在橱窗里观众也是擦肩而过。这也是今天我们与美术馆的关系，或者我们跟切肤之痛的关系。前面所经历的一切都可以被消费，或者可以被这样消费。《La Town》视觉上可能借用大片或者僵尸类型电影把人带进去，但事实上它其实是反商业电影的，在传统的僵尸电影框架里又能感到另外一个维度的东西，比如去趟美术馆，或者今天生存的现状；比如旧工厂、和谐号，在淹水的站台等一辆不知道什么时候来的列车，而不是用僵尸来说僵尸的末日境遇。
很多元素互相抵消，变得不是那么重要。有点像迷宫，环环相扣。这其中有《教父》的悬疑压迫感，因为场景都在晚上，充满了阴谋与暗杀。还有储云的装置《星云》（2006-07），黑暗的房间里电脑，电视，空调，风扇的接电源处提示灯亮，电器却没有开；乍看起来像星云，走进了才看清是人类用的东西。
我的作品里面其实《我•镜》（2007）是最浪漫的，它也是关于一种世界观，但更多是晚期青春期要结束时那种焦虑；那也真的是我做母亲前的最后一个作品。到了今天可能更通透，与此同时白日梦、幻想、虚构与现实等元素依然贯穿我的创作。以往针对性更明确，现在借用、挪用、互文的东西丰富了很多，对于艺术家来说也觉得某种东西被打开了。
— 文/ 采访／王辛
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source: caofei
Cao Fei (b. 1978, Guangzhou) is one of the most significant and innovative young artists to have emerged on the international scene from China. Her multi-media projects explore the lost dreams of the young Chinese generation and their strategies for overcoming and escaping reality. She will premiere new work in her September exhibition La Town (2014) at Lombard Freid Gallery, NY. Cao Fei’s recent movie Haze and Fog (2013) screened at the Tate Modern, the art Institute of Chicago, collected by Pompidou Center.
Her previous online project RMB CITY (2008-2011) has been exhibited in Deutsche Guggenheim (2010), Shiseido Gallery, Tokyo, Japan (2009), Serpentine Gallery, London (2008), Yokohama Triennale (2008). I. Mirror, 52nd Venice Biennale (2007), Chinese Pavilion; RMB CITY- A Second Life City Planning has been exhibited in Istanbul Biennale (2007); Whose Utopia, TATE Liverpool (2007), Cao Fei also participated a number of international biennales, 17th & 15th Biennale of Sydney (2006/2010), Moscow Biennale (2005), Shanghai Biennale (2004), 50th Venice Biennale (2003). She also exhibited video works in Guggenheim Museum (New York), the International Center of Photography (New York), MoMA (New York), P.S.1 (New York), Palais de Tokyo (Paris), Musee d’Art Moderne de la ville de Paris (Paris), Mori Art Museum (Tokyo).
Cao Fei was a nominee for the Future Generation Art Prize 2010 and was the finalist of Hugo Boss Prize 2010, and won The 2006 Best Young Artist Award by CCAA (Chinese Contemporary Art Award).
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source: photographerru
Чао Фей, несмотря на свою молодость (художнице еще не исполнилось 30 лет), — настоящая звезда современного искусства. Она участница самых престижных международных выставок, таких, как Стамбульская, Московская, Сиднейская биеннале. Чао Фей представляла Китай на последней 52-ой Венецианской биеннале. Художница родилась в Кванчжоу в 1978 году, где она закончила Академию художеств. Чао Фей представляет новое поколение китайских художников, которые не только успешно интегрировались в международный художественный процесс, но сделали современное китайское искусство одним из самых заметных феноменов.
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source: rodoviniwordpress
Cao Fei nasceu em 1978 na Província de Guangdon, em Pequim, China. Se formou aos 23 anos na Academy of Fine Arts, Guangzhou. Produtor de vídeos Fotografo e realizador de obras multimídias. Participou do Projeto “Yuannam New Film” em 2006, exibiu em 2004 The San Yuan Li Project. Em 2008 lança a obra RMB City, mas só é aberta ao publico em 2009.
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source: cinaforumnet
È nata a Guangzhou (nel 1978), vive e lavora a Pechino, e il suo avatar si chiama “China Tracy”. Nella realtà “non virtuale” risponde al nome di Cao Fei 曹斐, ed è una delle artiste più promettenti e provocatorie della Cina contemporanea. La sua caratteristica? Mettere in risalto gli aspetti più alienanti della sua generazione e della Repubblica popolare post-riforme, insieme a elementi della tradizione rivisitati in chiave grottesca, per trasfigurarli fino a renderli paradossali, a volte poetici.
Il passo successivo è una trasposizione di tutto questo nella comunità virtuale Second life (SL), un mondo digitale, specchio di quello “reale”, in cui ognuno può avere il suo avatar, incontrare l’amore, fare figli, scegliere se vivere in città o in campagna, gioire e soffrire. Uno spazio migliore di quello “reale”, dove basta un click per staccare la spina. Anche se, su quest’ultimo punto, Cao Fei sembra non essere del tutto d’accordo.
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