• Past

  • 2016.01.09 - 2016.04.17
    Beijing, China

Music and visual arts nowadays have already gone beyond conventional thinking and compound elements are increasingly emerging amid the fusion of diversification. We find quite a few media have seen the edges being blurred and the mutual fusion of various sectors are bringing an unexpected surprise and new possibilities.

Following the first Chinese rock music exhibition for people in China mainland, Hong Kong, and Taiwan, Allow Some Artists to Get Rich First is an experimental multimedia interactive exhibition of upgrade for Serve the Rock brand. By depicting the cultural extension of music bands, the exhibition, with Second Hand Rose band as the sample and the artist Zheng Lu as the curator, strives to break the traditional interpretation from the general public to exhibitions and explore the unlimited possibilities of diversification. The Exhibition reinterprets the apparent comic style but internal seriousness in the culture of Second Hand Rose band. Gathering the designs, drawings, sculptures, and multimedia devices in a same venue, the Exhibition serves as a bridge triggering thinking and interaction among the audiences.

The Theory of Relativity collection by the artist Zheng Lu is inspired by the lyric “a herd of pigs fly high above the sky” of the Second Hand Rose band, in which a pig was split and reconstructed in the exhibition hall, with changing style logos of famous brands. The collection holds an ironic view to the contemporary consumption culture and shows the pity to the excessive desires and deepens the cultural symbol of the brand. The expressive model of ironic face meets well with the spirits and tempers of the band. While The Enigma of Edward FitzGerald is a big device that serves as a visual in-depth interpretation to the connotation of the songs and integrates the classical performing dresses of the artist Song Chen. Providing a more all-around expression of stage elements with manuscripts and videos, the device reintegrates with the exhibition as individuality.

Li Xibin, an artist as well as a designer, interprets the band from speaker box and scarves. With scarves representing the prominent and exceptional temperament of Second Hand Rose, the collection highlights the theme of the exhibition by flattered luxury goods logos. The work makes people reminiscent in the context of material gains. The speaker box, which is built in collaboration with Second Hand Rose, makes music loaders visualized by means of combination of red and green.

In a collision between sound and time, which are like two virtual particles respectively, Y Square Experimental Music Group, inspired by the relationship between the core tone of the exhibition and 3 degrees of music, takes advantage of the computer and Super Collider programming language to break the temporal and spatial limits to enable music to exist matching with the overall style of the exhibition and reinterpret the inborn model between music and spectators, in a relationship between performers and audiences before. The works serve as an integral part of the music to enjoy the fresh and interesting audio and visual feelings.

With some multimedia devices like drawings, photographs, videos, and devices, the 24 artists of Between Art Lab will convey the understanding to the music and lyrics of Second Hand Rose band, realizing an in-depth cross-industry creation experience. In addition, the artists conveyed their personal expressions to reflect the attitudes toward the musical theory and creation of Second Hand Rose band. Using the song Allow Some Artists to Get Rich First highlights thinking of the special artistic atmosphere of China. In a mixed society, the social groups with different identities are being exposed to such realistic environment and showed the status of thinking. The comedy and rebellion have also highlighted the optimism amid the contemporary thinking.

The members of the Second Hand Rose band made a style of flattery women 15 years ago. They always hang a silk curtain in front of the stage. The blurry coquettish and the serious blaming in “game” and “comedy” represent the aesthetics of Second Hand Rose. Light Bunker has again provided a production of fusion for emotion and contemporary technologies. The foresighted curtain technology and that in the era of bars have connected two different ages with a same media. The brand new images will also break the traditional creation thinking and present the possibilities of rock stages in the future.

Growing Grass, the work of Liang Long, the lead singer of the band, also makes presence in the exhibition in an exceptional manner – the most touching voice will be the murmur of the growing grass in the metabolism of “body and skin”.

In this exhibition, the curator Zheng Lu uses the interaction between music and multimedia to implant the unique musical value in the contemporary art system in an efficient manner. He has also made the social value of the contemporary arts come to the heart of the public in all-around manner.

This is like the saying goes: “People Rock for Life and Rock Serves People.”





同时,Y方实验音乐小组通过声音与时间作为两束虚拟的粒子流进行碰撞,以《允许部分艺术家先富起来》的核心音调和三度音程关系作为主要动机,利用电脑与Super Collider声音编程语言,打破现实世界中时间与空间的限制,使音乐可以作为配合展览整体气质的空间密度存在,重新解读以往音乐与观众只是表演者与听众的固有模式,在其作品中,观众作为音乐的构成部分同时也享受着新鲜有趣的视听感受。

Between Art Lab的24位艺术家将通过绘画、摄影、影像、装置等多种媒介传达出对二手玫瑰音乐与歌词的理解转译,实现深层次的跨领域创作的实验。并通过艺术家的个人表达折射二手玫瑰的音乐理论与创作态度。借此选择《允许部分艺术家先富起来》这首歌曲,这是对当下中国特有艺术氛围的思考,在一种混生的社会现实之中,具有不同身份定位的社会群体面对这样的现实语境所产生的思考状态,戏谑与反叛的同时也在思考当下意识形态中产生的模式化的乐观情绪。

十五年前,二手玫瑰把自己涂抹成风尘嫂子的模样,他们总是在演出台前挂一层纱帘,暧昧的骚情加上不留情面的指摘,“戏”、“虐”,从此成为二手美学的代表。LIGHT BUNKER「光掩体」再次为他们织补一层纱幔成为情感与时代技术的糅合产物。而前瞻性的纱幕技术与酒吧时代二手芳心的纱帘,同一介质连接了两个不同的时代。这种全新的可视化影像呈现,也将突破LIGHTBUNKER「光掩体」的传统创作思路,呈现一个未来摇滚舞台的可能性。




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