BANGBANGBANGBANG
Bangbangbangbang, the seventh work interexchange activity of No_Way Space, is a sound made by all the artists.
After several prior trials, all the participating artists seem to know the interrelation between this Space and personal works more clearly at here. Each work has become an essential part, together constituting a whole entirety, an environment and an atmosphere. This is the meaning of the existing of No_Way Space where you can decide to leave what, bring what and change what after you come here.
After several prior trials, all the participating artists seem to know the interrelation between this Space and personal works more clearly at here. Each work has become an essential part, together constituting a whole entirety, an environment and an atmosphere. This is the meaning of the existing of No_Way Space where you can decide to leave what, bring what and change what after you come here.
Zhuyu
Artist:
Fabian
Celyn Bricker
Marianna
Andreea Hriscu
RJ Trioodi
Paul Sloan
Jesse. Ring
CC Slightly Jaded
Elenacap
Niko de La Faye
朱渔_Zhuyu
杜薇薇_Du Weiwei
韦宏山_Adam Wei
胡莎莎_Hu Shasha
王子洲 Wong Zizhou
Andrew Crooks
Torrey Nommesen
Zimmer Barnes
Monique Leyton & Brad
Nicole Condon
Fabian
Celyn Bricker
Marianna
Andreea Hriscu
RJ Trioodi
Paul Sloan
Jesse. Ring
CC Slightly Jaded
Elenacap
Niko de La Faye
朱渔_Zhuyu
杜薇薇_Du Weiwei
韦宏山_Adam Wei
胡莎莎_Hu Shasha
王子洲 Wong Zizhou
Andrew Crooks
Torrey Nommesen
Zimmer Barnes
Monique Leyton & Brad
Nicole Condon
R.J. Tripodi
“Kailun” Using the most basic phenomenon of color and light this installation gives No Way Space a new atmosphere .
“Kailun” Using the most basic phenomenon of color and light this installation gives No Way Space a new atmosphere .
Niko De La Faye
PAINTED COMPOSITION ON 'VISAGE', fine art paper on aluminum, paint, wooden frame, fire & water, 1mx1m, MAY 15, 2016
VISAGES is my first photo series. It was completed in 2008 and 2009 in Shanghai and Suzhou (China). Some prints were stored in my Beijing house that burnt last year. The pieces were partially burnt and were watered by the firefighters. After this transformation I decided to continue the process and turn this photo into another composition.
PAINTED COMPOSITION ON 'VISAGE', fine art paper on aluminum, paint, wooden frame, fire & water, 1mx1m, MAY 15, 2016
VISAGES is my first photo series. It was completed in 2008 and 2009 in Shanghai and Suzhou (China). Some prints were stored in my Beijing house that burnt last year. The pieces were partially burnt and were watered by the firefighters. After this transformation I decided to continue the process and turn this photo into another composition.
Zimmer, Oil Painting on canvas
My work is wax crayon on paper and canvas. In addition to crayon sketching and coloring, I also used lighters to melt wax to drip and smudge the hot liquid on top of the drawings. This way, the colors are more vibrant and has a pleasing texture.
My work is wax crayon on paper and canvas. In addition to crayon sketching and coloring, I also used lighters to melt wax to drip and smudge the hot liquid on top of the drawings. This way, the colors are more vibrant and has a pleasing texture.
Zhuyu, Home-made Dishes, Cards, video, installations, 2016
I cook the marriage into dishes. I choose two kinds of food materials that can't be mixed as ingredients.
I cook the marriage into dishes. I choose two kinds of food materials that can't be mixed as ingredients.
Roman Hagenbrock(罗曼·哈根布鲁克),我说了这就是北京 - E01: F (FALL), Video, Mini-Projector, 2min, Loop, May 2016, #FALL #NOFAULT, THIS IS BEIJING I SAY SO – E01: F (FALL)
Roman Hagenbrock is a video artist and cinematographer based in Berlin. Questions of how images affect our bodies and their movements, questions of their perception and sensation have been crucial to most of his work. He has been creating trans-media theatre pieces, performances, short and feature films, that were shown at several festivals.
Roman Hagenbrock is a video artist and cinematographer based in Berlin. Questions of how images affect our bodies and their movements, questions of their perception and sensation have been crucial to most of his work. He has been creating trans-media theatre pieces, performances, short and feature films, that were shown at several festivals.
Celyn Bricker, 15th May 2016,Bleach on Paper, 3m x7m
In this most recent version of this project, which I have been working on since November, I applied bleach to the photographic image I had installed in the space. Rather than totally removing the image, as in a previous iteration of the project, I used the bleach to highlight certain aspects of the space. Rather than flattening the image, this ‘removal’ of information in fact increased the 3- dimensional effect of the picture.
In this most recent version of this project, which I have been working on since November, I applied bleach to the photographic image I had installed in the space. Rather than totally removing the image, as in a previous iteration of the project, I used the bleach to highlight certain aspects of the space. Rather than flattening the image, this ‘removal’ of information in fact increased the 3- dimensional effect of the picture.
Chu Haina, It is a kind of psychological hint, It is unspeakable and indescribable portion to hidden in our mind. -
Scope, Inkjet on paper,120*80cm,3/15, 2005延Extension, 120*80cm, 3/15, 2005
Scope, Inkjet on paper,120*80cm,3/15, 2005延Extension, 120*80cm, 3/15, 2005
Celyn Bricker & Nicole Condon-Shih, The Moving Magic Sky and Clouds, Beijing pedicab, dimension variable, 2016
A Beijing pedicab transformed into a moving camera obscura. The playful work invites viewers into this local mode of transportation and allows them to experience their surroundings from a new perspective.
A Beijing pedicab transformed into a moving camera obscura. The playful work invites viewers into this local mode of transportation and allows them to experience their surroundings from a new perspective.
Hu Shasha, Kim People, mixed media 192x168cm 2016
As a young artist, as has just participated in the Utopia exhibition of UCCA, I had a desire to study the view of world order. Happened to have access to the art resident program Artyoo sponsorship, also get contact with local volunteer teaching institutions OFS in Dong Autonomous County in Hunan Province. I was visited Diping primary school, Shangyan primary school, Luotuan Primary school as a volunteer teacher of art.
The painting is based on the overlap of all this, the mysterious figure is the local teacher mark score to the child's art works, black and white scene is influence by the traditional Chinese landscape paint, and the colorful belts are link to the Dong embroidery.
On May 21 I am curating this project and the British charity Roundabout present our works (including one my paint and 28 left behind children) have a show with international school children in Shunyi shine hills community. There will combine with humanity thinking under completely different aesthetic education, so that they know each other different groups of people, by grow up after mutual understanding and help, it is may a little the new chance of Utopia order.
As a young artist, as has just participated in the Utopia exhibition of UCCA, I had a desire to study the view of world order. Happened to have access to the art resident program Artyoo sponsorship, also get contact with local volunteer teaching institutions OFS in Dong Autonomous County in Hunan Province. I was visited Diping primary school, Shangyan primary school, Luotuan Primary school as a volunteer teacher of art.
The painting is based on the overlap of all this, the mysterious figure is the local teacher mark score to the child's art works, black and white scene is influence by the traditional Chinese landscape paint, and the colorful belts are link to the Dong embroidery.
On May 21 I am curating this project and the British charity Roundabout present our works (including one my paint and 28 left behind children) have a show with international school children in Shunyi shine hills community. There will combine with humanity thinking under completely different aesthetic education, so that they know each other different groups of people, by grow up after mutual understanding and help, it is may a little the new chance of Utopia order.
Du Weiwei, Oil painting on cavion
My existence is just to find another me,oil color on canvas, 150cm X150cm, scene painting. I'm outside of my dimension to seek the so-called soul.
My existence is just to find another me,oil color on canvas, 150cm X150cm, scene painting. I'm outside of my dimension to seek the so-called soul.
Paul Sloan
Sloan is interested in examining that which often escapes our attention, in presenting oblique signifiers, and points of transformation. Through the assembly of seemingly disparate and unconnected images viewers are required to construct their own ordering narrative(s). Images are thrown up – as if from the collective subconscious of our visually saturated epoch – devoid of hierarchy, yet laced with arguments, loaded with questions.
From imperial histories to art histories, Sloan identifies colonisation as the unifying strand that connects his fields of enquiry. “As artists, art-historical conventions and aesthetic traditions colonise us and our ways of seeing as much as political and ideological structures. I am fascinated on a broad, overarching scale by the question of what colonises us now?”
In Interior Motives, Sloan presents collages constructed out of images taken from found art, architecture and design magazines. During his artist in residency at HIAP in Helsinki, Sloan established a daily ritual of making collages from the magazines left by previous residents. Produced over a period of three months, these works play into a rich field of practice that was established in the twentieth century.
In Interior Motives Sloan disrupts the privileged, sacred interior spaces of the museum, the art gallery, the artist’s studio, and the biennale pavilion, creating new spaces for contemplation, inviting unexpected things, people.
Sloan is interested in examining that which often escapes our attention, in presenting oblique signifiers, and points of transformation. Through the assembly of seemingly disparate and unconnected images viewers are required to construct their own ordering narrative(s). Images are thrown up – as if from the collective subconscious of our visually saturated epoch – devoid of hierarchy, yet laced with arguments, loaded with questions.
From imperial histories to art histories, Sloan identifies colonisation as the unifying strand that connects his fields of enquiry. “As artists, art-historical conventions and aesthetic traditions colonise us and our ways of seeing as much as political and ideological structures. I am fascinated on a broad, overarching scale by the question of what colonises us now?”
In Interior Motives, Sloan presents collages constructed out of images taken from found art, architecture and design magazines. During his artist in residency at HIAP in Helsinki, Sloan established a daily ritual of making collages from the magazines left by previous residents. Produced over a period of three months, these works play into a rich field of practice that was established in the twentieth century.
In Interior Motives Sloan disrupts the privileged, sacred interior spaces of the museum, the art gallery, the artist’s studio, and the biennale pavilion, creating new spaces for contemplation, inviting unexpected things, people.
Kuhl and Leyton, “Air conditioner installation”, “Worker for hire”, “Space for rent”
Beijing is filled with these messages, which are posted with stickers, flyers and sometimes even spray paint. The ads are quickly taken down or buffed out with paint of various colors. The layers of messages being posted / canceled / posted again create a dense fabric in the city. Our work recreates this process in a five-hour performance in a gallery setting using messages that range from found to fictional. Our performance is a metaphor for ephemerality and the humor that arises from forces canceling each other out.
Beijing is filled with these messages, which are posted with stickers, flyers and sometimes even spray paint. The ads are quickly taken down or buffed out with paint of various colors. The layers of messages being posted / canceled / posted again create a dense fabric in the city. Our work recreates this process in a five-hour performance in a gallery setting using messages that range from found to fictional. Our performance is a metaphor for ephemerality and the humor that arises from forces canceling each other out.
Andrew Crooks, Balloon Self-Portrait
I often use myself as the subject of my art. Balloon Self-Portrait explores vulnerability.
In the performance I have screen-printed my face onto a giant balloon and begin to inflate it larger and larger with a tiny, inadequate air pump. Over the course of inflating the balloon, the printed face cracks and distorts. My action destroys the image of myself. I also become exhausted by the repetitive action and struggle, sweating under the intense physical exertion. It’s never certain when the giant balloon will pop, but the furious action eventually results in a thunderous boom that fills the space. The repetitious and strenuous action leads to a raucous explosion. The result is destructive, yet is a release for the one working and struggling to reach the end.
I often use myself as the subject of my art. Balloon Self-Portrait explores vulnerability.
In the performance I have screen-printed my face onto a giant balloon and begin to inflate it larger and larger with a tiny, inadequate air pump. Over the course of inflating the balloon, the printed face cracks and distorts. My action destroys the image of myself. I also become exhausted by the repetitive action and struggle, sweating under the intense physical exertion. It’s never certain when the giant balloon will pop, but the furious action eventually results in a thunderous boom that fills the space. The repetitious and strenuous action leads to a raucous explosion. The result is destructive, yet is a release for the one working and struggling to reach the end.
Jesse Ring (Sculptor and Educator), “Wind in my Hair”, Raw Porcelain, Digital Print, Video Projection. Dimensions variable, 5/2016
My time in China has presented a constant surge of visual stimulus and rich experience. It has all felt foreign yet strangely familiar. This staging of sculpture, photo, and video is a cumulative narrative response to the strangely familiar.
My time in China has presented a constant surge of visual stimulus and rich experience. It has all felt foreign yet strangely familiar. This staging of sculpture, photo, and video is a cumulative narrative response to the strangely familiar.
Maoyi(毛衣), Little things, 10cmX10cm 陶瓷 软木 热转印图案
It is about gender , and it is not about gender, u can't really tell the gender of each figure . It is about style,and it is not about style, taking off our clothes can't differ us from others.It is just human bodies in daily life,and every detail makes each person more meaty, I'd like to show the way people dressing and moving, through this way I become more and more respect for being an individual person.It is the little things in my life.
It is about gender , and it is not about gender, u can't really tell the gender of each figure . It is about style,and it is not about style, taking off our clothes can't differ us from others.It is just human bodies in daily life,and every detail makes each person more meaty, I'd like to show the way people dressing and moving, through this way I become more and more respect for being an individual person.It is the little things in my life.
Adam Wei
The Oil Painting original series of work refocus more on the life ontology and those primal feelings germinated in the beginning. Here, love and sex can be transformed into more intuitive visual languages, yet they are not reified imaginary schema but more abstract visual products that have risen to the significance of form. It turns the instinctual feelings into “encoded” visual arts. You can specifically associate it with biological phenomena under the microscope, human genitals, the formation of the baby in the womb, etc. One of the functions of art is “touch”, like when somebody touches you, your attention, visual awareness and sensory response and so on will be initiated. However, it expresses the origin of life or the significance of the original level, and makes people see how everything generates and develops ever after, creating life course, including the life course and value of art…
The Oil Painting original series of work refocus more on the life ontology and those primal feelings germinated in the beginning. Here, love and sex can be transformed into more intuitive visual languages, yet they are not reified imaginary schema but more abstract visual products that have risen to the significance of form. It turns the instinctual feelings into “encoded” visual arts. You can specifically associate it with biological phenomena under the microscope, human genitals, the formation of the baby in the womb, etc. One of the functions of art is “touch”, like when somebody touches you, your attention, visual awareness and sensory response and so on will be initiated. However, it expresses the origin of life or the significance of the original level, and makes people see how everything generates and develops ever after, creating life course, including the life course and value of art…
Bruce Adams, Bang Bang, Digital print, 2016
My work was inspired by recent military saber rattling by the US and China. By using iconic plastic children’s toys—one Chinese from a Boxer Rebellion toy set, and one an American cowboy—I am commenting on how aggression is institutionalized within culture. The two comic figures at the top are (Chinese) Old Master Q and (American) Popeye, a sailor who settles things with his fists. Old Master Q is shooting a cannon while Big Potato watches. The cannon makes the sound “Bang,” which seemed appropriate for a show called Bang Bang. That became the title. The scene came from a Old Master Q comic book. The patterns behind the figures represent the peaceful veneer we surround ourselves with. One is from the Theater in the Forbidden City; the other is 19th century American wallpaper. In traditional Chinese art and some American art, the goal is to attain unmediated expression. In life, mediation is necessary.
My work was inspired by recent military saber rattling by the US and China. By using iconic plastic children’s toys—one Chinese from a Boxer Rebellion toy set, and one an American cowboy—I am commenting on how aggression is institutionalized within culture. The two comic figures at the top are (Chinese) Old Master Q and (American) Popeye, a sailor who settles things with his fists. Old Master Q is shooting a cannon while Big Potato watches. The cannon makes the sound “Bang,” which seemed appropriate for a show called Bang Bang. That became the title. The scene came from a Old Master Q comic book. The patterns behind the figures represent the peaceful veneer we surround ourselves with. One is from the Theater in the Forbidden City; the other is 19th century American wallpaper. In traditional Chinese art and some American art, the goal is to attain unmediated expression. In life, mediation is necessary.
Fabian, Drawing, Pencil on paper
Zeng Yining, Eagle, Painting elaborate style, wotercolor on rice paper, 1m x 2m
Elena Cappelli, People finding better places: spaces and people-people and spaces., photography- between 2011 and 2015- 30cmX43cm
This collection of pictures intends to focus on the relationship between people and spaces. Great cities are planned by Urbanists and Architects by their destinations.
Normally economic activities help define the unique qualities of their communities by supporting multiple uses, including squares, active parks, waterfronts, streets, markets, cultural districts and new developments.
In an ideal society each part of the city would have a specific destination. People would go to the market for shopping, to the cinema to watch a movie, to visit a national monument for cultural interests. Real life most of the time is not like originally planned. People are using public spaces for their daily activities, without considering at all the original functions intended by city planners.
This collection of pictures intends to focus on the relationship between people and spaces. Great cities are planned by Urbanists and Architects by their destinations.
Normally economic activities help define the unique qualities of their communities by supporting multiple uses, including squares, active parks, waterfronts, streets, markets, cultural districts and new developments.
In an ideal society each part of the city would have a specific destination. People would go to the market for shopping, to the cinema to watch a movie, to visit a national monument for cultural interests. Real life most of the time is not like originally planned. People are using public spaces for their daily activities, without considering at all the original functions intended by city planners.
Torrey Nommesen (as Doctor Tesla), The sexual appetite of Doctor Tesla, Material, Size, Date: 22 A4 digital prints of erotic photography. All prints printed May 2016 in Beijing.
Artwork Description: Three stories thread throughout this series:
1. The artist was commissioned by a hollywood actress to create a work using sex on canvas as the medium. The actress's interior designer picked the green colors to create the canvas. 3 photos of the work are exhibited here.
2. Reciprocating Nudes. Early in Doctor Tesla's career, the artist created erotic photography of women, and the women in the photographs turned the camera on the photographer. The result was a series of black and white dynamic nudes.
3. Erotic storytelling. The artist explores areas of power play and masturbation in a series of black and white and color photographs.
Artwork Description: Three stories thread throughout this series:
1. The artist was commissioned by a hollywood actress to create a work using sex on canvas as the medium. The actress's interior designer picked the green colors to create the canvas. 3 photos of the work are exhibited here.
2. Reciprocating Nudes. Early in Doctor Tesla's career, the artist created erotic photography of women, and the women in the photographs turned the camera on the photographer. The result was a series of black and white dynamic nudes.
3. Erotic storytelling. The artist explores areas of power play and masturbation in a series of black and white and color photographs.
Wong Zizhou, Water color on paper
Andreea Hriscu, Painter, 10 paintings, ink on canvas, 70/90, 2016.03, A struggle with the unknown, A Dance With Nothingness
An architect and recently a painter, she opened her first solo exhibition this year in April at the Romanian Cultural Institute in Beijing. Her use of ink reminds us of the traditional Chinese paintings, but a closer look reveals a totally new and original technique. Intriguing in their appeareance the paintings depict organic compositions that hold hidden messages. The pictures created put the mind in search for images, and each person sees something else in them. In this way the paintings become personal both for the painter and for the viewer. What for the painter is a struggle to express her fight with the fear of the unknown, for the viewer becomes a mirror into their own subconcious.
An architect and recently a painter, she opened her first solo exhibition this year in April at the Romanian Cultural Institute in Beijing. Her use of ink reminds us of the traditional Chinese paintings, but a closer look reveals a totally new and original technique. Intriguing in their appeareance the paintings depict organic compositions that hold hidden messages. The pictures created put the mind in search for images, and each person sees something else in them. In this way the paintings become personal both for the painter and for the viewer. What for the painter is a struggle to express her fight with the fear of the unknown, for the viewer becomes a mirror into their own subconcious.
Julia Makhalova, Live Performance
Inspired by the idea that only humans can have awareness of their own actions and judge the value of their actions, I introduce “Impact Play” – a performance piece to explore how people would relate to out-of-the-ordinary pain infliction and what lessons are constructed for the audience, performance volunteer and myself
The performance has 3 parts: introduction, the act, and aftercare.
Inspired by the idea that only humans can have awareness of their own actions and judge the value of their actions, I introduce “Impact Play” – a performance piece to explore how people would relate to out-of-the-ordinary pain infliction and what lessons are constructed for the audience, performance volunteer and myself
The performance has 3 parts: introduction, the act, and aftercare.