圖片：“減霾計劃”宣傳圖片 SMOG FREE PROJECT © Studio Roosegaarde

Kind Of Green 似綠非綠

地址：紐約市曼哈頓亨利街191號（Henry Street）

展覽日期：2019年6月1日—11日

開放時間：每天上午11點(diǎn)—下午6點(diǎn)開幕：6月1日下午3點(diǎn)-7點(diǎn)

聯(lián)合國世界環(huán)境日慶?；顒樱河袡C(jī)葡萄酒品酒會 6月5日晚7-8點(diǎn)

觀眾參與藝術(shù)裝置活動|由參展藝術(shù)家盧思潔主持：6月8日下午2-5點(diǎn)

怡畫廊將于2019年6月舉辦藝術(shù)和設(shè)計作品聯(lián)展，參展藝術(shù)家包括安妮?卡特琳?森斯塔（Anne Katrine Senstad），盧思潔（Si Jie Loo），詹米?馬丁內(nèi)斯（Jamie Martinez）和羅斯加德工作室（Studio Roosegaarde）。人類社會正面臨著氣候變化的嚴(yán)峻挑戰(zhàn)-空氣污染，海平面上升，以及由生態(tài)改變而驅(qū)動的全球范圍內(nèi)的大規(guī)模人口遷移。近年來，環(huán)境議題日漸受到重視，社會與個人環(huán)保意識也逐漸提升。隨之而起的是逐漸進(jìn)入主流的環(huán)保行動或綠色消費(fèi)指南。這些環(huán)保理論大多建議人們投資清潔能源汽車或只吃有機(jī)食品，仿佛購買綠色產(chǎn)品和改變個人的生活習(xí)慣就是處理環(huán)境議題的最佳途徑。以消費(fèi)主導(dǎo)的生活方式給社會帶來了前所未有的便利和經(jīng)濟(jì)發(fā)展，但也為地球創(chuàng)造了難以承受的環(huán)境負(fù)擔(dān)和社會資源分配嚴(yán)重不均的問題。僅靠綠色消費(fèi)來實(shí)現(xiàn)可持續(xù)發(fā)展是否明智？此次跨學(xué)科展覽并非只向觀眾描繪一幅令人焦慮的“世界末日”黑暗場景，參展的作品題材也超越了用廢舊材料制作的“綠色環(huán)保”藝術(shù)，其側(cè)重點(diǎn)是藝術(shù)家以獨(dú)特的視角和藝術(shù)的語言觀察和探討緊迫的環(huán)境危機(jī)，思考生產(chǎn)、消費(fèi)和資源分配的關(guān)系，以及人類活動和氣候改變的緊密聯(lián)系。展覽將于6月1日至6月11日在紐約亨利街191號畫廊空間舉行，每天上午11點(diǎn)至下午6點(diǎn)對公眾開放。

圖片：《遷徙之河》大型室外裝置，2010年紀(jì)錄片影像©Anne Katrine Senstad

安妮?卡特琳?森斯塔將以新的呈現(xiàn)方式再次展現(xiàn)《遷徙之河》作品。該作品于2010年在位于美國加利福尼亞州圣塔羅沙的Life is Art Foundation（生命是藝術(shù)）基金會初次展出，以大型戶外燈光和地面裝置的形式呈現(xiàn)。所在地歷史上曾為墨西哥領(lǐng)土。作品由分布在山腰上的72盞太陽能燈組成。2010年在美墨邊境，72名越境的中南美洲移民因拒絕帶毒入美國境而被毒梟殘酷屠殺，森塔斯作品中的72盞燈即代表了72個無姓名的受害人。一盞燈一個人，這條由燈光連成的象征性的“人河”是一座莊嚴(yán)的紀(jì)念碑，對在2010年暴力事件中死亡的72個無名靈魂表達(dá)敬意，同時也為所有在移民過程中慘遭暴力侵害的人們吶喊。森塔斯用她的光之河點(diǎn)亮了復(fù)雜的邊境人口流動和遷徙問題。太陽能燈從黎明開始吸收日光，到黃昏發(fā)亮，因?yàn)榇蠖鄶?shù)越境的移民選擇在天黑后行動。燈光勾勒了一幅夜景中的加州自然地理圖譜，森斯塔以抒情的方式對邊境政策以及難民對待等問題進(jìn)行了批判性的評論。國際移民組織表示，除了戰(zhàn)亂和政治等因素，惡劣的氣候改變也會讓受影響地區(qū)的人們被迫搬遷，成為難民。該組織在孟加拉國所做的一項(xiàng)調(diào)查顯示，40%接受調(diào)查的家庭都表示氣候變化是迫使他們做出遷徙決定的直接原因。聯(lián)合國報告也顯示，最貧窮和最邊緣化群體流離失所的可能性是高收入國家人口的五倍，同時他們處在“氣候難民”狀態(tài)的時間也更長，且隨著氣候變化還在逐漸增加。難民在遷徙途中所遭遇的非自然死亡與氣候變化、資源封閉與全球財富不平等密切相關(guān)。

圖片：《品味特權(quán)》，2019，裝置 © Si Jie Loo

盧思潔的裝置作品《品味特權(quán)》由完全相同的兩組架子組成，左邊的架子上擺放著精致的手工咖啡瓷器，里面裝著研磨過的高級咖啡粉;右邊的架子上放的則是極為普通的咖啡杯，里面盛著咖啡的殘渣。通過視覺上的鮮明對比，盧思潔希望向觀眾呈現(xiàn)消費(fèi)和使用中選擇的差異，同時指出勞動生產(chǎn)和資源分配過程中存在的權(quán)力不平衡問題。盧思潔兒時在馬來西亞喝的咖啡很普通，甜甜的，淺棕色的，由較低劣的咖啡粉混著熱水和煉乳沖泡而成。不像在精品咖啡店里，充滿異域情調(diào)的昂貴咖啡從非洲國家進(jìn)口，品質(zhì)上好，包裝精美，貼著“公平貿(mào)易”的標(biāo)簽。其實(shí)早在殖民時期英國就將最優(yōu)質(zhì)的咖啡專供出口用。昔日的霸權(quán)帝國已瓦解，但其在全球范圍內(nèi)的殘余力量對今天的跨國貿(mào)易仍有深遠(yuǎn)的影響，比如英國等發(fā)達(dá)國家的市場上繼續(xù)流通享用世界上最頂級的阿拉比卡咖啡，相比之下，發(fā)展中國家馬來西亞對外出口較高等級的石油和天然氣，卻從國外進(jìn)口較低等級的材料供當(dāng)?shù)厝耸褂?。在馬來西亞盧思潔父親村里的大多數(shù)人都靠橡膠攻絲謀生-從橡膠樹上采集乳膠。她回憶小時候，她的祖父母和鄰居一般晚上8點(diǎn)之前就睡覺，因?yàn)榱璩?點(diǎn)要起床去干活，收集橡膠奶加工。當(dāng)盧思潔上午9點(diǎn)醒來時，家人都已下班回家了。盡管像馬來西亞這樣的發(fā)展中國家以供應(yīng)上好的自然原料聞名，讓生活在經(jīng)濟(jì)發(fā)達(dá)國家的消費(fèi)者受益，但馬來西亞的這些勞動者生活水平卻不一點(diǎn)也不優(yōu)越?，F(xiàn)在盧思潔是一位生活在西方的藝術(shù)家，她的創(chuàng)作被視為一種奢侈品。雖然制作藝術(shù)是一項(xiàng)極為費(fèi)力的勞動，藝術(shù)家常常在比較艱苦的條件下長時間嘔心瀝血地勞作，但消費(fèi)藝術(shù)卻是極少數(shù)富人享受的特權(quán)，交易和欣賞往往在干凈、高端的“白盒子”畫廊空間里進(jìn)行。在當(dāng)代藝術(shù)的消費(fèi)者與“供應(yīng)”這種生活方式的文化生產(chǎn)者（藝術(shù)家）之間存在著深刻的差異。在盧思潔看來，咖啡產(chǎn)業(yè)中顯現(xiàn)的貧富懸殊與藝術(shù)商業(yè)中隱藏的階級差異有著微妙的相似之處。

圖片：《虛擬現(xiàn)實(shí)-全球變暖》2018，布面油畫 © Jamie Martinez

布面油畫《虛擬現(xiàn)實(shí)-全球變暖》是詹米?馬丁內(nèi)斯作為畫家對加劇的氣候變化做出的直接反應(yīng)。廢棄的熱狗卡車，奇美拉怪獸石像，金字塔，飛行的降落傘，梯子和被洪水淹沒的山脈等視覺元素構(gòu)成了一幅超現(xiàn)實(shí)的圖像。馬丁內(nèi)斯在創(chuàng)作時，首先使用虛擬現(xiàn)實(shí)軟件構(gòu)建這些片段元素并構(gòu)圖，然后他再將虛擬現(xiàn)實(shí)中的模擬圖像畫成油畫，用真實(shí)的油彩記錄下夢幻般的維度。雖然我們在馬丁內(nèi)斯的畫中看不到人的形象，但整個畫面的場景卻暗示著一個可怕的現(xiàn)實(shí)-以人類為中心的活動正在加速氣候改變和海平面上升，最終可能導(dǎo)致地球上的大規(guī)模物種滅絕。糾正這些環(huán)境問題，人類必須立即采取大規(guī)模的集體行動。

圖片：“減霾計劃”宣傳圖片 SMOG FREE PROJECT © Studio Roosegaarde

“減霾計劃”是由荷蘭藝術(shù)家、創(chuàng)新者丹·羅斯加德提出的以城市革新為目的的長期項(xiàng)目，旨在解決全球空氣污染問題，為潔凈的未來提供一系列創(chuàng)意的靈感設(shè)計。其中的霧霾凈化塔、霧霾戒指和減霾單車是主要針對公共空間中的局部空氣而設(shè)計的凈化方案，羅斯加德工作室積極與政府、高校和高科技凈化產(chǎn)業(yè)合作，共同創(chuàng)造無霾城市。羅斯加德的專家團(tuán)隊(duì)創(chuàng)造了世界上最大的霧霾凈化裝置，7米高的“霧霾凈化塔”運(yùn)用了專利的離子技術(shù)在公共場所創(chuàng)造出一個無霾空間，使人們無需消費(fèi)即可享受清新空氣。“霧霾凈化塔”使用環(huán)保綠色能源，每小時能過濾3萬立方米的空氣，用電量不大于一個熱水器（1170瓦）。

圖片：“減霾計劃”宣傳圖片 SMOG FREE PROJECT © Studio Roosegaarde

“霧霾凈化塔”的效果得到了埃因霍溫理工大學(xué)的積極測評2。"霧霾寶石"是“減霾計劃”所衍生出的實(shí)物紀(jì)念品。霧霾戒指和袖扣都是通過壓縮凈化塔所收集到的霧霾顆粒制成的。每當(dāng)你分享一枚霧霾戒指，就相當(dāng)于貢獻(xiàn)了1000立方米的潔凈空氣。

圖片：“減霾計劃”宣傳圖片 SMOG FREE PROJECT © Studio Roosegaarde

羅斯加德在近期的采訪中講到：“我們面臨的很多問題-海平面上升、空氣污染-對我而言，都是糟糕的設(shè)計問題，”對他來說，設(shè)計就是為我們?nèi)祟惞餐奈磥碓O(shè)定目標(biāo)，并為實(shí)現(xiàn)這一愿景創(chuàng)造標(biāo)準(zhǔn)。羅斯加德給這個愿景取了有一個名字：“schoonheid”-該詞源于荷蘭語，意思是美麗。它其實(shí)有兩層含義，既指美麗，也有清潔的意思。“真正的美麗是清潔的空氣，它需要被認(rèn)識、創(chuàng)造和珍惜。”羅斯加德說。這一概念在新的社會價值觀中形成，也包括供人類共同分享和維護(hù)的資源-清潔的空氣，清潔的水和清潔的能源。

引用和備注

1.“‘氣候難民‘地位問題成為波恩氣候變化大會討論的焦點(diǎn)|聯(lián)合國新聞.”United Nations，United Nations，news.un.org/zh/story/2017/11/285402.

2.凈化塔采用經(jīng)過驗(yàn)證的ENS陽離子技術(shù)移除自身周圍空氣中的大型顆粒物質(zhì)。該技術(shù)和霧霾凈化塔都已經(jīng)通過實(shí)地測量和數(shù)據(jù)模擬成功提升了計算流體動力學(xué)。各項(xiàng)結(jié)果證明，霧霾凈化塔能夠捕捉并移除高達(dá)70%被攝入的PM10和高達(dá)50%被攝入的PM2.5。在無風(fēng)天氣中，霧霾凈化塔能夠在以塔為中心，直徑超過20米的開闊地帶讓PM10和PM2.5分別下降多達(dá)45%和25%。當(dāng)塔被放置在半封閉或全封閉的庭院中，其功效將變得更加強(qiáng)大。（荷蘭埃因霍溫理工大學(xué)（Eindhoven University of Technology）以及比利時魯汶大學(xué)（KU Leuven）Bert Blocken博士、教授）

特別鳴謝

展覽環(huán)保袋設(shè)計：丁鈺潔（中國時尚設(shè)計師，現(xiàn)旅居意大利）

Instagram：@yujiedhats

6月5日是聯(lián)合國世界環(huán)境日

#KindOfGreen#WorldEnvironmentDay#BeatAirPollution

關(guān)于怡畫廊

Yi Gallery怡畫廊成立于2018年，致力于推廣當(dāng)代藝術(shù)家，為多元化的創(chuàng)意人才提供自由的展示空間，媒介涵蓋繪畫、雕塑、互動媒體、詩歌、設(shè)計等。怡畫廊定期舉辦藝術(shù)展覽，策劃公共項(xiàng)目，并組織品牌合作、品酒會、手工課和詩歌閱讀等創(chuàng)意活動。

歡迎致函：info@gallery-yi.com

了解更多怡畫廊的信息，請訪問：gallery-yi.com

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Kind of Green

191 Henry Street New York， NY

On View：June 1 - 11， 2019

Opening Reception： June 1， 3pm - 7pm

NEW YORK - A group exhibition comprised of art and design works by Anne Katrine Senstad， Si Jie Loo， Jamie Martinez， and Studio Roosegaarde will be on view starting June 1st， 2019. Society is faced with climate change， pollution， rising sea levels， and massive ecologically driven migration. Many sustainable lifestyle theories advise people to “buy green，” invest in a “clean” car or only eat organic food. But is it wise to rely on consumerism to provide a solution to the very problems it has helped create？ In this interdisciplinary exhibition， artists and designers think beyond “eco” art made from recycled materials or projects that simply paint an apocalyptic scene in order to address the urgent and ongoing ecological challenges the planet is faced with. The exhibition will be on view from June 1st to June 11th every day from 11am to 6pm at 191 Henry Street， New York， NY. An opening reception will be held on Saturday， June 1st from 3pm to 6pm.

The first incarnation of Anne Katrine Senstad's memorial piece， The River of Migration， existed as a large outdoor light and land installation at Life is Art Foundation in 2010. The piece consisted of 72 solar-powered lights placed along a mountainside in Santa Rosa， CA. They formed a symbolic “human river” on what was historically Mexican land. Each of the 72 lights refers to a specific case where a person was brutally massacred by cartels after refusing to be used as a drug trafficker. Using light to create a memorial， Senstad illuminated the urgent migration issue with her symbolic river of light. The project honored the 72 nameless souls who died during the migration process and simultaneously spoke for all victims of migratory violence. The solar panel lights were lit from dusk till dawn， when most people cross borders illegally， and illustrated the very nature of the migratory action. The lights created a geographical mapping of the California landscape and served as a gestural， lyrical， and critical comment on migration policies， border wall politics， and the intensifying climate and political refugee crisis. Unnatural deaths of migrants are intimately connected to climate change and resource enclosures fueled by the growth of global wealth inequality. It is critical to revisit this work today as it raises awareness of the new， and more elaborate， forms of human trafficking as a global business as well as the financial structures on which it capitalizes.

Si Jie Loo’s wall installation， Privilege of Taste， consists of ceramic cups and sourced coffee powders that sit on two contrasting shelves. Through her work， she visualizes the complicated relationship between choice and the illusion or lack of choice and points to the unbalanced power between labor and consumption in our society. The Malaysian coffee that Loo grew up drinking is sweet tasting and light brown. It is made from a lower grade coffee powder mixed with hot water and condensed milk. There was no comparison between tasting the powdery coffee like residue and the “fair trade” coffee， grown in exotic African countries， served by gourmet coffee shops in developed economies. During colonial times， the British took the best quality coffee for exporting. The remnant of imperial power embodied in today’s global economy continues to enable the sale of higher-end Arabica coffee so that it can be enjoyed in the UK and other powerful and developed markets. Similarly， Malaysia exports higher-grade oil and gas and imports a lower grade from abroad for local use. The majority of people in her father’s village earned their living by rubber tapping - a process that involves collecting latex from a rubber tree. When Loo was a child， her grandparents and neighbors were asleep by 8pm and were up for work at 2 am so that they could collect rubber milk for processing. When Loo awoke at 9am her family would have already arrived home from work. Although developing nations like Malaysia are known for supplying some of the best natural resources to the developed markets， the lives of the vast majority of laborers are nowhere close to the luxurious lifestyle of the people who benefit from their labor. Today， Loo is an artist living in the western world producing what is considered to be a luxury good. While making art is laborious and sometimes soul-baring， consuming art usually takes place in a clean， pristine， and often sterile white box by a privileged minority of wealthy clients. To Loo， how we taste coffee serves as a metaphor for the profound difference between the elitist contemporary art connoisseurship and the cultural producers who supply it.

Jamie Martinez’s oil painting on cotton， VR Unity Global Warming， is a direct response to the intensifying threat of climate change. An empty hot dog truck， a Chimera， a pyramid， flying parachutes， an isolated ladder， and mountains submerged by flood waters are among the elements that make up the surreal composition. Martinez’s process involves using Virtual Reality software to construct a collage of visual fragments. He then translates the VR simulation into an oil painting in order to document this new dream-like dimension that was created in the virtual world. Although a human figure is not visible in the painting， the cataclysmic scene suggests that anthropocentric activities on earth contribute to accelerated global temperature and rising sea levels， which will eventually lead to mass extinction. Actions to correct these problems must be massive and collective.

The SMOG FREE PROJECT is a long-term campaign for clean air in which Daan Roosegaarde and his team of experts have created the world's first smog vacuum cleaner. The 7-meter tall SMOG FREE TOWER uses patented positive ionisation technology to produce smog free air in public spaces and allows people to breathe and experience clean air for free. Creating a tangible souvenir， Roosegaarde designed the SMOG FREE RING， which is comprised of compressed smog particles. Roosegaarde has been inspired by nature's gifts， such light emitting fireflies and jellyfish， from an early age. His fascination for nature and technology is reflected in his iconic works such as WATERLICHT （a virtual flood which shows the force of water）， and SMART HIGHWAY （roads that charge throughout the day and glow at night）. “A lot of the problems we’re facing—rising sea levels， air pollution—are， to me， an issue of bad design，” Roosegaarde tells Fortune in an interview. “We have created this current situation， now we have to design our way out of it.” To Roosegaarde， design is about setting goals for our future and creating standards to achieve that vision. The Dutch artist and entrepreneur has a name for it： ‘schoonheid’ meaning beautiful and clean. This concept takes shape in new social core values like clean air， clean water， and clean energy.

For additional information， please contact Cecilia Zhang Jalboukh at cecilia@gallery-yi.com or +1 （929） 356-6087.

Images： SMOG FREE PROJECT © Studio Roosegaarde; Video still from River of Migration （2010） project documentary ©Anne Katrine Senstad; VR Unity Global Warming ©Jamie Martinez; Photograph of ceramic work ©Si Jie Loo

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