Ed Fornieles 艾德·弗奈立

Ed Fornieles 艾德·弗奈立

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精神:肉身盛宴 
Der Geist: Flesh Feast
单屏幕影像 Single Channel Video
8' 
2016 

入侵世界:艺术家的身体转化为一个激情充沛的小狐狸,这个重复出现的小替身, 成为打开身份被制造的秘密。这个替身处于艺术家身体和图像世界之间,小狐狸 的超能力让他的身体任意而为,这就是弗奈立认为的关于自我之延展。 
在作品《精神:肉身盛宴》中,我们和弗奈立一起进入到一个自我管理和生物入侵的世界,去理解身体和思想是如何形成系统,并理解和管理对方的。电影描画了小狐狸去体验,受益与失落,以及无处不在的焦虑气氛。 
Hack the World: The artist’s body has evolved into a lovable yet slightly anxious fox; this recursive avatar becomes a tool to pry open the lid of how identity is produced. Existing in the gap between the artist’s body and a world of images, the fox’s superpower becomes a flexibility that allows him to transverse, insert and rub-up- against, fracturing and expanding Fornieles’ own sense of self. 
In Der Geist: Flesh Feast we journey with Ed into the world of self--management and bio-hacking, in which the body and mind becomes systems to be understood and then controlled. The lm charts the fox’s experiences, his gains, losses and constant sense of performance anxiety. 

艾德·弗奈立,1983 年生于英格兰的彼得斯菲尔德,弗奈立目前定居于英国伦敦和美国的洛杉矶。身为一名 利用脸书、推特、汤博乐和 Instagram 进行艺术创作的后互联网时代的艺术家,弗奈立善于将互联网艺术转化为雕塑和表演,抚平线上和线下世界之间的差异。弗奈立曾担任信息分析员,他收集来自网路上的新闻提要和 社交媒体的实时资讯,透过讽刺和夸张的手法去探讨当下的权利结构。他创作的所谓 “脸书情境喜剧”《宿舍的昏眩》,为三位虚构的人物各自建立他们的脸书账号,让他们在脸书上根据他的指示进行互动,从而形成一 场建基于互动、内容生产和有机艺术的表演。弗奈立认为这个作品是发生在“社交媒体上的恐怖主义行动”,因为他虚构的人物确实对脸书的分析工具和可收集的信息产生了影响。与之相似的作品还有他的《摩登家庭》系列,弗奈立借此作品质疑人民梦寐以求的家居布置和当代社会提出的幸福家庭的概念,利用室内的陈设去反思、再现和重塑一些关于家庭的陈旧观念以及美国梦。 

ED Fornieles, British, b. 1983, Petersfield, England, United Kingdom, based in London, United Kingdom and Los Angeles, California. A post-internet artist using Facebook, Twitter, Tumblr, and Instagram as raw materials, Fornieles collapses the distinction between the online and the offline worlds by translating web-based art into sculpture and performance. A former data analyst, Fornieles uses real-time information from news feeds and social media to explore contemporary power structures, all with an underlying satire and excess. His so-called “Facebook sitcom,” Dorm Daze, created Facebook profiles for three fictional characters who interacted based on general instructions from the artist, resulting in an organic, engagement-based, content-generating performance. The artist called Dorm Daze an act of “social media terrorism” for the way his ctional pro les ever-so-slightly corrupted Facebook’s analytics and data. Similarly, Fornieles’s “Modern Family” series questions aspirational home decor and contemporary notions of domestic bliss, using interior objects to reflect, represent, and refresh familial stereotypes and the American Dream. 
 

胡为一 Hu Weiyi

胡为一 Hu Weiyi

陆扬 Lu Yang

陆扬 Lu Yang