Sea • Emptiness • Splendidness​

Performance & Installation Art Project of the Luciana Gallery


* This is a piece of Performance & Installation Work of Art specially designed for the Luciana Gallery. It aims at making use of scene backgrounds in order to transform imagination into Chinese characters.

 

* The use of scene backgrounds has probably been considered during the original intention of setting up the gallery. It extends the imagination of visionary beautifulness of the gallery’s collections. In addition, the use of Chinese characters not only includes the imagination of the scene backgrounds, but also draws back the extended imagination to solid pictures.

 

* The three Chinese characters “Sea • Emptiness • Splendidness” made of special materials are fixed in three special locations outside the gallery:
 
1. The Sea is located in a place where viewers can look down at the sea surface;
2. The Empty is put at a certain height in the air for viewers to face upward the sky;
3. The Splendidness is placed in the courtyard from where viewers can see the exhibition hall of the gallery.

 

* The explanation of the three Chinese characters:
 
1. Sea: waves of layer upon layer, is a pictographic character in Chinese language. It has two parts. Part one is “three-point” that pictographs spoondrift. Another half means “every” indicating the time repeating unceasingly.
2. Emptiness means of (1) the limitless space protected by extraordinary power; and (2) nonexistence.
3. Splendidness has various meanings: (1) fine; (2) flower; (3) work of art (painting); (4) China; (5) glory.

 

* In Buddha’s language: “Zero is Sex, and Sex is Zero”. “Sea • Emptiness • Splendidness”, Emptiness is the link and also the end.

 

* Chinese characters are pictographic - putting these three Chinese characters within a corresponding background of the image is only half way of the whole process. The production has used a traditional Chinese way of hanging curtain which creates a barrier that links the two spaces. Another half process is the performance of people going through the barrier.

 

* Time clues can be testified by the empty space along with people penetrating through the Chinese characters.

 

* The project of performance is:
1. The artist shall carry out the performance at the opening of the exhibition.
2. Audience can or must pass through these three Chinese characters - the passage of the time and space.


海·空·蕐

在卢西亚那美术馆的行为装置艺术计划

这是一个为卢西亚那美术馆特别设计的,针对和利用现场背景,把关于现场背景的想象转变为文字的行为装置艺术作品。


现场风景的利用恐怕在建立美术馆的初衷时已包含了。它延伸了美术馆内收藏品里关于视觉美的想象。而汉字,不仅包含有容纳想象风景的视野,而且也把展开的想象收拢回来成为固定的画面。


三个汉字“海·空·华”用特殊材料组合后张掛起来,固定在美术馆野外环境中的三个特定场所:1. 海,设在可以俯视海面的位置;2. 空,设在有一定高度可以仰视天空的位置;3. 华,设在庭院里可以回望美术馆展览厅的位置。

 
汉字解释:
1. 海,象形层层起伏的波浪,一半是“三点水部首”(浪花),一半是“每”,为不断重复的时间。
2. 空, ①,有神力保护的无限空间;②不存在。
3. 华,有多种含义:①美好的;②花;③艺术品(画);④中国的;⑤光荣。

佛语说:“空即色,色皆空。” 海·空·华,空是纽带,也是结局。

汉字是象形的——把它们置放在可以对应的形象背景中,仅仅是半个过程。这个作品利用中国家庭的掛帘方式——它所建立的屏障是供人通过的两处连接着的空间。另外半个过程即是人的穿越行为。

随着人对汉字的穿透,证明空间中的时间线索。

行为计划为:
1. 展览开幕时艺术家进行表演。
2. 展期中观众可以或必须穿过这三个汉字——时间和空间的通道。