Cao Fei

曹斐
ツァオ·フェイ
Чао Фей

Haze and Fog

Cao Fei  Haze and Fog

source: art-itjp

曹斐 (ツァオ・フェイ)
1978年、中国広州生まれ。2001年、広州美術学院装飾芸術設計系卒業。99年、当時の中国でも数少ないDV作品『失調257』を発表。以降、『Hip Hop』(03~06)、『Cosplayers』(04) 、『Un-Cosplayers』(06)など、ポップカルチャーを現代美術に巧みに取り込み、映像や写真、パフォーマンスなどの手法で表現している。05年、広州トリエンナーレで発表した『珠三角梟雄伝』や翌年の『們在這里做什麼?』など、中国が抱える都市の諸問題を独自の視点で鋭く、かつ軽やかに描出した作品も制作。06年には、中国現代美術賞(CCAA)で最優秀若手賞を受賞し、同年、広州から北京へ活動拠点を移した。07年は、第52回ヴェネツィア・ビエンナーレの中国パビリオン、第9回リヨン・ビエンナーレに出展。ZAIM(横浜)で開催された『ART LAN@ASIA~アジアの新☆現代美術!!』にも参加した。
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source: leapleapleap

曹斐,《霾》

《霾》是由东区项目和维他命艺术空间出品,委托自索尔福德和中国艺术中心,东区项目和巴斯大学设计学院以及维他命艺术空间。
我是一名僵尸,不停地晃荡,没有人说得清我到底从哪里来,但每一个人都知道,我将永存此地。我有自己的生存法则,这一点甚至有实证可循。我投入研究,就像人们想要了解祖先时所做的那样。也许僵尸是活死人,但我们也有感觉,只是刚好不是你们人类所认为值得珍惜的那些而已。
最近我主演了艺术家曹斐的一部影片,片名叫《霾》。在故事里,我们僵尸正慢慢地占领北京城外一个新住宅群。那种小区有着童话般的命名,你懂的—大型住宅区、整洁的空间、负责让人们进出的保安人员、有意思的小咖啡馆。
有人跟我说,这些建筑群是中国走向某个方向的征兆。我始终不能明确那到底是什么,但我很高兴被邀请来到这里。这是我头一回。因为我们僵尸还没在中国参与过多少工作,尤其在中国的影片产业。我说不出一部有名的中国僵尸片。你可以吗?
但曹斐觉得,这将会改变。于是,她创作了一部关于这种改变的影片。
在《霾》里,你可以看见我们僵尸跟人类正肩并肩地生活在一起。事实上,在拍摄过程中,有时候我并不确定哪些是僵尸,哪些不是。我猜,人类演员们的感受也同样如此。下次你应该问问他们—假如到时候他们还有幸存者的话。
我说笑的!僵尸式幽默。
这就是生活在北京的感觉?北京的味道?真是诡异。曹斐似乎认为过多地观看大屏幕电视而造成的影响比成为僵尸更糟糕。或许我带有偏见,又或者我无法做到感同身受。为什么人类如此重视共同感觉?请解释。我洗耳恭听。
而后,其中一位人类演员告诉我,他家也住在这类地方。他们是在一年前搬进去的。他说他的祖父母不习惯如此大的空间。那么多的白墙。他们还能听见走廊里的声响。“灵魂。”在曹斐的影片里,你会看见一个在过道里摔西瓜的人,那是我们在2 0 世纪6 0年代制造血渍的方法。我怀念冷战,非常怀念。
我不是中国专家,当然也不是经济学家。我只是一个不断在时间中穿行的、与最出色的影片导演合作的普通僵尸(这听起来会让人觉得我傲慢吗?)。但我不得不告诉你,这种混合状态—北京那灰蒙蒙的天空,仿佛从电脑屏幕里制造出来的灰霾与厚雾—以及这些体量远远超出当地人类比例的新奇建筑,曾经……所有的一切,让我们有家的感觉。这里有着宜人的气候。曹斐告诉我,她永远不会在她的家乡广州拍摄僵尸影片。她说:“北京需要你。”曹斐从不撒谎。
在来到这里以前,我正在美国电视剧《行尸走肉》里担纲演出。你看过吗?那电视剧非常受欢迎。老实说,有一段时间,我们这些僵尸挺担心的,因为“吸血鬼”成为了潮流风向。据曹斐介绍,《暮光之城》曾是《霾》的灵感来源之一,但自从麦克斯·布鲁克斯的著作《打鬼战士II:档案Z》于20 0 6年出版后,情况再次发生变化。布鲁克斯说:“别的怪物也许会威胁某个人类个体,但活死人却威胁着全人类……僵尸是人类终结者。”

《霾》是由东区项目和维他命艺术空间出品,委托自索尔福德和中国艺术中心,东区项目和巴斯大学设计学院以及维他命艺术空间。
改编成电影的工作就像是一场噩梦,你或许已经看过那些接连不断的灾难,简直就是没完没了。最后,电影失去了原著的许多独特性(来个僵尸的“口述历史”。好主意!),但影片确实促使我们的威胁真正渗透进21世纪的人类世界。我们不再只是单个城镇或城市里的个别性爆发。现在的我们已经实现国际化,具有大面积流行的潜力。我们将随资本流入其最为泛滥的地方。如此一来,我们跟当代艺术很相似。我们喜欢当代艺术。
有些人类告诉我,消费主义使人们变得“僵尸化”。不得不说:对此,我感到被冒犯。我的意思是,跟那些由于对微波炉和智能手机产生强烈欲望而导致精神被控制的感知退化、过分物质化的失去存在感的物种相比,我们强太多了。我们实际上正过着简单的生活。至于我们经常选择出没于购物商场,那是因为光就那一个地方已经有很多事情可干。而且,商场的营业时间很长。
我喜欢曹斐影片的原因是,在里面,我们没有以美国僵尸片膜拜那样的方式被膜拜。我的意思是:回顾电影《活死人之夜》,是的,就是在19 6 8年。是的,特技并不先进。但看看那时的我们是如何移动的。慢慢地,我们逐英寸地在地面上移动,然而我们依然能导致并操控混乱。我坚信:缓慢的僵尸更可怕。那些敏捷的吸血鬼就像快速食品。我绝对支持在中国这里的缓慢僵尸运动。尽管说我老套,但那就是前进的方式。任何事情都是如此。
摄影师的妻子是一名经济学家。她将吸血鬼和僵尸进行了对比研究,她说,在人类经济蓬勃发展时期,更多被拍摄的是吸血鬼片。吸血鬼被认为性感、衣着得体,对生命和死亡里的美丽的事物有着洞察力。他们由汤姆·克鲁斯和罗伯·派汀森所饰演。万人迷。当经济急转直下的时候:轰的一声!僵尸片便再次火了起来!而我想知道的是,曾有哪位帅气的或美丽的,又或是有名的人物饰演过僵尸吗?我们只是一群无脸之物,刻意地侵蚀着那些健康之躯。我们是呆坏账、剧毒的抵押贷款,我们是自杀式信用卡签账。我们看上去就是比9 9%更糟的那个1%。(继续喋喋不休,啊呼……打哈欠)
我已经习惯了这一切。被贴标签就是我的生存方式。就像我在文章开始所说的那样,我们将会笑到最后—因为我们不会去别的地方。我们已经死了。来啊,杀掉我们啊,我们只会笑得更开心。哈哈哈……在快要来临的资本破灭中见吧— 别忘了,带上你的信用卡!
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source: caofei

Cao Fei’s ‘Haze and Fog’ is a new type of zombie movie set in modern China made by one of the most important Chinese artists working today. Working with film, photography, installation and performance Cao Fei probes her personal and cultural relationship to metropolitan China.

Rather than positioning activity as good vs evil, Cao Fei’s major new video commission explores how the collective consciousness of people living in the time of what the artist calls “magical metropolises” emerges from seemingly tedious, mundane, day-to-day life. This magic reality is created through a struggle at the tipping point between the visible and the invisible.

Zombies have long been an important metaphor in Western popular culture but not so in China. Often violently blank they allow for evil motives to be projected onto them. In the western zombie film the zombie’s brain is dead but the body is alive. In ‘Haze and Fog’ the ‘walking dead’ are people with something dead inside only not their brain but their soul. The artist has departed from the like of U.S. TV show ‘The Walking Dead’, or the horror adventure game ‘Silent Hill’, and their protagonists’ search for equilibrium. Instead of strong violence and shock, or a tense atmosphere through the unseen, Cao Fei’s ‘Haze and Fog’ examines people up close, slowly and in detail. Zooming into the international modern cells of new immigrants moved from traditional housing areas, we see people whose daily rituals have changed and traditions lost.

The artist focuses on the middle class people who have entered into this new fog of neutral modernity in their house cells, and the community of people created around them as service industries such as cleaners, real estate agents, prostitutes, deliveries, security and baby sitters. ‘Haze and Fog’ shows the miracles of the world are blurring and we need something special to help us see more. Her film is about the invisible miracles of these potentially lost stationary lives.

The characters in ‘Haze and Fog’ are symbolic characters of traditional and modern China. What at first glance may seem a critical glance at modernized Chinese culture in nostalgic favor of older wisdom is a more complex use of characters to question our understanding of right and wrong, progress or tradition.

‘Haze and Fog’ is commission produced by Eastside Projects and Vitamin Creative Space. ‘Haze and Fog’ is commissioned by University of Salford and Chinese Art Centre, Eastside Projects, and Bath School of Art and Design, Bath Spa University, with Vitamin Creative Space.
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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.