YE Cheng

野城
Kong Shanshui – 空山水

YE Cheng

source: highlike

Work: Main materials: 10000 glass petri dishes, LED Lights,PVC Boards Size: 21x12x1.2m (depending on location) 2013, Palacio Quintanar, Segovia, Spain Hay Festival The installation is composed of 10,000 petri dishes, which is stretched along the ridges of the glass hills. The atmosphere of Shanshui dissolved the original characteristics and functions of the petri dish as standardized industrial products, while the eastern rhythm was infused within. The aggregation of petri dishes entailed a visual explication of the spirit of “Shanshui”. The transparent objects are scattered around in free-style before being spread around the obstacles on site, mimicking clusters of cloud wondering above mountain tops, providing shade to the ground. Breaking ground and going out vibrantly, the glass hills exhibit a crystal-like fluid state when exposed to sunlight. Neon light installed under every single glass hill, lights up the night softly. Refracting through the petri dishes several times before filling its surrounding, the light reveals a wonderland, in between the blurred boundaries of man-made and natural, just like a tidal wave of lightning or fog. This piece of work was not an attempt to invoke concrete visuals of Shanshui, but rather, implementing ideologies of thresholds adopted by both Tibetan Buddhism and Japanese zen garden, to extend the physical and immaterial limits of the alienated form of Shanshui-scape. A metaphor for minimalism and the panoramic enchantment of Shanshui.

Biography: Architect, poet, artist, photographer and freelancer. Live and work in Beijing and Paris. JIANG Bin, name atist YE Cheng, graduated from Department of Earth Sciences, Nanjing University. And later he went to Ecole Spéciale d’Architecture (ESA) in Paris and received a master’s degree. His graduation works won the ESA best diploma award. He is also the first among Chinese that won the Encouragement Award for Young Artists by Académie des Beaux-Arts of L’Institut de France. He worked in Jakob + Macfarlane and R & Sie (n) in France, and served as a researcher of Ecole nationale supérieure des Arts Décoratifs (ENSAD) in Paris. He is a typical cross-person, whose works relate to many fields such as literary, art, architecture and photography. He has participated in the L’Institut de France annual Architecture Exhibition, Mercedes-Benz Smart International Design Exhibition, the International Art and Design Exhibition organized by Quai Branly Museum, Galery Laboratoire in paris, Spanish Modern Cultural Centers and other institutions. He has had ISEA International Forum in Istanbul, Nanjing University Institute of Architecture, Chinese Embassy Education Office in Paris for academic lectures. He is dedicated to the promotion of his new urban utopia ECOTOPIA ecological theory, which stands for “rural counterattack City”, the introduction of ecological agriculture within the city, reorganization of the existing relations of production and consumption relations, and first posed the concepts of the “urban farmers” and “Community’s collective ownership of urban agriculture” in civil society.
Photographer: YE Cheng
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source: beautifuldecay

Chinese architect Ye Chang‘s Kong Shanshui/Empty Shanshui is a naturally transforming installation consisting of over 10,000 petri dishes. Part of the “Pavilion of China – Architecture China 2013” exhibition, which recently opened at the Palacio Quintanar in the Segovia, Spain, the piece has a unique, changing quality. The base of the installation consists of layers of white stones which fill the ancient palace’s courtyard, echoing peaceful, meditative gardens. On top of the stones are piles or gatherings of petri dishes, some ten thousand in total, stacked in various forms, resembling miniature hills, mountains and rock formations.
According to Sue Wang at Cafa Art Info, the installation transforms at different stages of the day, citing firsthand that, “…there is dew in the petri dishes in the morning; light is gentle in the morning and the glass is transparent; when there is direct sunlight at noon, the installation is entirely placed in the sun, strongly reflecting, which is in contrast to the dry surrounding environment, making people feel cool; the setting sun is blocked by the house in the evening, so the glass reflects the light from the sky, seen as backlit, it looks like the scales of a huge creature stranded on the beach, with rich tones; the whole glass hills is self-luminous at night, producing a transition effect changing from semi darkness to darkness.” This daily, natural transformation of the installation not only is a quickly-viewable message of transition, but it’s meditative qualities also call to attention how both art and architecture can effect a viewer’s ability to feel at peace in a home, garden or museum experience. (via myampgoesto11 and CAFA Art Info)
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source: douban

装置由10000个玻璃培养皿堆砌成延绵起伏的玻璃山。整体的山水氛围消解了培养皿作为标准化工业产品的功能和属性,并将一种东方气韵注入其中。大量聚集的玻璃培养皿可看做山水之“气”的有形显现。这些透明之物的“聚散离合”有机而灵活,可以根据场地的状况任意调整形态,以柔克刚,在障碍物周围弥散开来。宛如环绕山峦的云雾之气,遮蔽住山脚。

玻璃山从白石子的院子中长出,在阳光下犹如结晶的流体。每座玻璃山之下都埋有Neon灯,在夜间发出柔和的白光。整个山脉在黑夜中显得更加空灵,光线透过玻璃培养皿的多层折射弥散开来,如电如雾,产生出一种介于人造与自然之间的奇幻之感。

这个作品并不试图构筑一个具象的山水实体,而是从藏传佛教立体坛城和日本枯山水的观念出发,以一种极少主义的暗喻和山水意象的立体化呈现,营造出一种异化的山水景观。

“中国宫——建筑中国2013”近期在西班牙古城塞戈维亚金塔纳宫美术馆开幕,展览为期三个月。中国建筑师野城的装置作品“空山水”在本次展览展出,这也是唯一一件被金塔纳宫美术馆永久收藏的参展作品,同期展出的还有王澍、刘家琨、马岩松、马清运、库哈斯等中外建筑师的最新作品。

2013年9月下旬,题为“中国宫——建筑中国2013”的中国当代建筑展在西班牙古城塞戈维亚开幕。展览地点是改造成美术馆的西班牙古老贵族的宅邸金塔纳宫(Palacio Quintanar)。野城的大型室外装置“空山水”在美术馆富有禅意的白石子庭院内展出。“空山水”是本次展览中一件具有代表性的跨界装置艺术作品,组成作品的上万个玻璃培养皿在庭院露天放置,从清晨到午后,从白天到夜晚,状态都不一样:早晨的玻璃培养皿里有露水;上午天光不太强,玻璃很通透;到了中午太阳直射,装置完全在阳光下,反光很强烈,与周围干燥的环境形成对比,感觉很清凉;傍晚斜阳被房子阻挡后,玻璃反射天光,逆光看去就像搁浅海滩的巨大生物的鳞片,层次很丰富;进入夜晚整个玻璃山脉自发光,从半黑到全黑也有各种渐变效果。装置围绕庭院中的一棵大树发散开来,靠近大树的玻璃山还有落叶漂浮在上面。每当有风刮进院子,玻璃培养皿会发出风铃般的清脆细微的声响。

由于建筑师的习惯,野城一向喜欢根据展览现场的状况来布展。塞戈维亚的“空山水”也就不同于今年6月野城在上海喜马拉雅美术馆展出的另一版本的“空山水”。喜玛拉雅美术馆的“空山水”是在室内展出,展厅中间有根巨大的方柱,对一般的装置作品会比较干扰。但“空山水”这个作品就像“气”,遇山环山,遇水顺水,野城索性用玻璃培养皿把柱子底部全部包裹起来,方柱被吃掉了,被消解在玻璃的通透和模糊之中,作品也完全融入了这个空间。这件作品引起了“中国宫——建筑中国2013”策展人方振宁的注意,在他的邀请下,野城的“空山水”成为“中国宫——建筑中国2013”中把东方意境带入西班牙古城的一件室外大型装置作品。

野城的“空山水”是把东方意境带入西班牙古城的一件室外大型装置作品,完全在室外搭建。这次的空山水比喜玛拉雅美术馆的难度大很多,但在室外更有意思:以天空和古城的建筑为幕,以大地为展台。这个由土黄色围墙围合的院子很有东方韵味,其中有一棵树龄两百多年的大树,黑色的树干从白色的石子中长出。野城这次也是用同样的策略,以玻璃山之气把大树环绕,以大树为起始,整个玻璃山脉像四周弥散开来。但这次的围合不像在美术馆内那么紧密,那是为了消解方柱的实体。他不希望把树围死,而是希望在树下制造一点宫崎骏电影或者阿凡达那种发光丛林的奇幻之境。

由于在室外展出,考虑到夜晚的观看,这次的空山水是自发光的。每当夜幕降临,微弱的光线从每座山体中弥散开来,以光线来营造一个整体的东方意境。“空山水”通透的玻璃质感和周围的城堡和古建形成对比,给炎热的西班牙院落带来一股清凉,在白天,玻璃的反射映出了天空、云、树、老建筑、白石滩的各种色泽。在夜晚,像一道发光的冰河,来自宇宙中的发光生物体,这种纯粹的单一性和老城厚重丰富的质感形成戏剧性的互动,可以说这是一个非常梦幻的场景。
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source: city-y

Le corps de cette œuvre, composé par dix mille petits récipients de culture en verre, ressemble à une chaine de montagnes. Sous ce paysage de montagnes, non seulement les nombreux ustensile rassemblés perdent leur valeur ou qualité industriel, mais encore une odeur Oriental se produit, parce que ceux-là pourraient être interprétés comme le “Qi” (énergie) tangible du paysage. Le regroupement ou le dispersement des récipients transparents, peut s’adapter d’une manière savante et souple à différents lieux d’exposition. Par exemple, ils peuvent s’étendre autour d’un obstacle, disons autour d’une énorme colonne carrée dans une salle d’exposition. Ainsi, semble-t-il que des nuages ou de la brume errent au pied de la colonne. Et on a l’impression que la colonne devient une partie inhérante du payage : l’œuvre exposé et le lieu d’exposition se réunissent parfaitement.

Quelques mini-roches artificielles, qui rappelèrent des statues de bouddha de taille variée s’assoyant ou se dressant, parsèment les montagnes en verre. Et parmi les récipients de différents modèles, ces roches semblent flotter sur une mer de nuages ou de brume, tel des coups de pinceau délicat. Toute l’oeuvre, sous l’harmonie établie entre les objets industriels et les rocs, passe à un tableau de paysage classique à trois dimensions, dont une sérénité zen s’échappe dans l’espace.

Contrairement à la création d’un paysage réel, cette oeuvre vise à offrir, à partir de notions du mandala bouddhique et du “paysage sec ” japonais, un décor d’intérieur par une métaphose schématisée et une reproduction à trios dimensions.