顶上分享｜聂利莎：飞机倾斜的时候，云变成了壁纸
The Public Roof supported by
Pro Helvetia Shanghai, Swiss Arts Council
思想，物品，作品等，以不同的形式出现并留存下来，我统称这些我所经历过，学习过的它们为现成物。通过对它们进行再制与重组，我尝试在我的装置，影像和声音作品中去虚构一种基于现实的情景。作品与作品之间形成链环，一个作品从另一个作品那里摄取意义，又将意义传递给下一件作品。在流通中，物的制作与物的使用、成果和目的之间有什么关系？本雅明在第一稿《机器复制时代的艺术作品》中引用杜拉斯夫人的一句话——“真也许有可能存在，假则纯属人为。”我称这个假为虚构，那么我在做的，是在假中去制造另一种假，在虚构中去制作另一种虚构。
——聂利莎
地心上的工艺，木头
Black Sun Under the Blue Sky, wood
122x105x1cm, 2021
太阳印记，绢布艺术微喷
Of the Presence of the Sun, silk art micro spray
34x44cm, 2021
渐见万象，单屏视频
Into the Gorgeous Crush Of Everything, video with audio
9’14‘’, 2021
一些作品
吻的再制，不锈钢，泡沫，石漆
The Remake of The Kiss, stainless steel, foam, stone paint
2021
十四世纪初，诗人但丁创作了长诗《神曲》。1886年，雕塑家罗丹受到《神曲·地狱门》中一对不顾一切的情人启发而创作了雕塑《吻》。此后，雕塑家康斯坦丁·布朗库西用自己的方式对罗丹的作品《吻》作出回应，并不断用多种雕塑表达方式对其作出演变。聂利莎在《“吻”的再制》中使用了康斯坦丁其中一件《吻》（1917）的3D扫描模型，并在其基础上进行变形——数字技术和人工锻造在其中互相渗透。最终，它们以破碎地方式被展示出来，暴露了一个除了结构什么都没有的内部。
At the beginning of the fourteenth century, the poet Dante wrote a long poem Divine Comedy. In 1886, the sculptor Rodin was inspired by a pair of desperate lovers in it, and created the sculpture "Kiss". Later, the sculptor Constantine Brancusi responded to Rodin's "The Kiss" in his own way, and continued to produce it with a variety of sculptural languages. In The Remake of The Kiss, Lisha Nie reproduced it based on the 3D scanned model of Constantine's "Kiss" (1917). While digital technology and man-made texture intertwins between the production, the final products of those broken pieces show an inner with nothing but the constructed structure.
《焦虑和不安的Alexa》是由聂利莎与Zack Davey共同完成的声音行为作品。ta们从亚马逊及其旗下的有机超市Whole Foods 购买了熟悉且带有明显品牌特征的日常物品，并使用接触性麦克风将身体与商品改变为可连接电子设备的乐器。在间断播放的亚马逊旗下产品广告配乐中，她/他们以无情绪的状态表演如何使用这些商品，声音效果器受不同行为和材质的影响而发生改变。
The Anxiety and Dispassion of Alexa is a sound performance by Lisha Nie and Zack Davey. They bought daily necessities from Amazon and its organic grocery store Whole Foods. Then, they converted those commodity into electronic sound instruments. In the intermittently played Amazon's advertisement, they showed how to use these products in an impersonal way. The sound effects were affected by different movements and the texture of the materials.
07'00‘’, 2019
《无尽地消磨，与时间》旨在呈现高效率数字时代个人被异化过程中的迷失和寻找。它由五个平行章节组成，从左至右依次为《反馈环》，《幸运》，《时间机器》，《主体的情和流动的身体》及《球体》。作品中的表演者是个人痕迹几乎被完全抹去的群体，她/他们生活在商业图库下载的办公室图像中。每一次播放都是继续播放，无限循环直至不插电。通过编排，部分表演者以无情的状态跟着时间的指令重复地对机械化动作进行模仿。不可控的溢出和刻意的模棱两可需要观众自身的答案。视频中的部分文字引自萨缪尔·贝克特的戏剧《等待戈多》中名为幸运儿的角色，以表演者注视屏幕外观众，用练习演讲的方式再次呈现出来。如贝克特本人所说，该角色的幸运源于他无所期待。
Endlessly Idle, With Time is intended to question the state of idleness within the high-efficiency digital culture. It comprises five chapters: Feedback Loop, Lucky, Time Machine, Subjective Affect and Fluid Body, and Circle. The protagonists in this work devote themselves to the apparatus of time, living in the cage-like downloaded image of an empty office. Through choreography, part of them repetitively imitates robotic movements in an emotionless state. Unintentional humanness and intentional inanimateness demands answers from audiences. Could spectators find themselves being watched by the characters on the screens when they look into each other's eyes? Part of the text has been appropriated from a character named Lucky in Samuel Beckett's play Waiting for Godot. As Beckett said the luckiness of this character comes from his lack of expectation from all things.
线上平台
腾讯会议 ID：253 652 001
会议密码：211016
Lisha Nie was born and lives in Chongqing, China, holds a BFA in Painting from Rhode Island School of Design. She is a multi-media artist who works in video, sound, and installation. Her recent exhibitions include bottomspace(Guangzhou, China), Paradise Palase(New York, USA); Times Art Museum(Chengdu, China), Woods-Gerry Gallery (Providence, RI), Jiade Art Center(Beijing, China), Wanying Art Museum(Shijiazhuang, China), Red Eye Gallery(Providence, RI), A4 ARIE Art Center(Chengdu, China), Yuan Contemporary Art Museum(Chongqing, China), Gelman Gallery(Providence, RI).
胡向前，1983年生于广东雷州，2007年毕业于广州美术学院油画系第五工作室。胡向前的创作形式主要包括行为和录像作品，灵感来源对周边的生活环境与现实的敏锐观察和独特的思考。作品在国内外均有展出。现工作生活在广州。
Hu Xiangqian was born in 1983 in Leizhou, Guangdong, and graduated from the Fifth Studio of the Oil Painting Department of the Guangzhou Academy of Fine Arts in 2007. Hu’s works, mainly in the form of performance and video, are inspired by his sensitive observation and unique thinking about his surrounding environment and reality. His works have been exhibited in China and abroad. He currently lives and works in Guangzhou.
不同地方是一个非营利的独立空间：驻地和展览，位于广州。
bottomspace is an independently run non-for-profit residency and exhibition space in Guangzhou.
Pro Helvetia Shanghai is founded in 2010 and represents the Swiss Arts Council in China, Hong Kong and Macau. Its aim is to encourage dialogue between Swiss and Chinese cultural practitioners and institutions by supporting projects that enhance the exchange of knowledge and experience in the cultural field.
*《公共的屋顶》项目由瑞士文化基金会上海办公室支持
The Public Roof supported by Pro Helvetia Shanghai, Swiss Arts Council