填空者 Blank Filler
填空者 —“练习”
这是在日本札幌S-AIR艺术驻留机构完成的项目“练习”，尝试用“练习”的方式讨论我们熟悉的历史文本、图像与固有概念和现实中人的生存状态的关系。
Blank Filler - "Practice"
This is a project "practice" completed in the s-air art residence in Sapporo, Japan. It attempts to discuss the relationship between familiar historical texts, images, inherent concepts and the living conditions of people in reality in the way of "practice".
神话练习
单屏录像，彩色，有声，4K，10分36秒，2019
Myth Practice
Single screen video, color, sound, 4K, 10’36”, 2019
这件作品在形式上看起来有点像古希腊神话中西西弗斯推石头上山的场景，但石头替换成了越滚越大的雪球，而推动者也无神话中的神力，还刚到半山腰就筋疲力尽而放弃了。这件作品是易连在北海道驻地创作时所作，他邀请了驻留机构S-AIR的管理者Umi来完成这个任务, 她在画外音中讨论着自己的工作经历。
This work looks like the scene of Sisyphus pushing stones up the mountain in ancient Greek mythology in form, but the stones are replaced by snowballs rolling bigger and bigger, and the promoters have no magic power in mythology, and they are exhausted and give up just halfway up the mountain. This work was created by Yi Lian when he residency in Hokkaido. He invited Umi, the manager of S-AIR, the resident agency, to complete the task, and she discussed her work experience in the voice over.
Warm Babies
装置，手工纸，暖贴内胆粉末，300x125cm, 2019
Warm Babies
Installation, handmade paper, warm paste liner powder, 300x125cm, 2019
“暖宝宝”常用来作为冬季临时御寒的便利商品而广泛使用，但我想当然的直接翻译成“Warm Babies”和日本朋友说时，他们并不知道是什么。我想“望文生义”也是一种创造力。我将暖贴里面的粉末倒出来组成了看起来趴地上的人形，这些从网上找来形象来自某些意外现场中丧生者的照片。在这个作品的最一开始的几个小时里可以观察到蒸腾的热气冒出来，而后慢慢冷却。
Heating pad (in China we called “warm baby”)is widely used as a convenience product for temporary cold protection in winter, but when I directly translate it into "Warm Babies" and say to Japanese friends, they don't know what it is. I think " Take the words too literally" is also a kind of creativity, so I poured out the powder in the warm paste to form a human figure that looks like lying on the floor. These pictures from the internet found images of those killed in some accident scenes. During the first few hours of this work, transpirational hot air can be observed, and then slowly cooled.
寓言练习
摄影绘画，收藏级艺术微喷，黑色签字笔，60x35cm，8张，2019
Fable Practice
Hand drawing with acid free pen on giclee print, 60x35cm, 8 sheets, 2019
这一组黑白摄影拍摄的关于雪景中的树林，艺术家将这些空场景作为某种未知故事发生的“舞台”，手绘的各种角色依次登场，作为一种图像文本范式的练习。
In this group of black-and-white photography about the woods in the snow scene, the artist takes these empty scenes as a kind of "stage" for some unknown story occurrence, and hand-painted characters successively appear as an exercise of image text paradigm.
Detail
填空者 — “关键词”
The Blank Filler – Keywords
填空者— “关键词”是易连完成于江苏昆山几点艺术中心的一次驻地创作的展览。主要由两件作品组成，分别是《舟能载水》和《行星脱口秀》。
在这个展览中，易连尝试通过水这样一种媒介获得与他人的连接。水的意象在他的过往作品中频繁出现，在这次的创作中，他将水作为一个实验对象，就像一个地质研究员，采集不同水域的样本去做“分析”,但也许只是某种无意义的生产或者劳作。这种“采集”对应着易连和渔民日常对话的关键词抽取，水球上的只言片语正如《行星脱口秀》中出现在大球表面的评论或是“笔记式”文字，在失去文字构成的完整意义背后的一些断章取义。形成了对“事件”本身的假想，或是在试图还原一种作品逻辑回路的过程中，遭遇了一些断裂。来自南美洲的智利艺术家哈维尔，在被要求进入封闭空间中完成即兴演讲的同时，在预先植入他脑海中的某些词汇就开始像进入搅拌机一样破碎，重组甚至丢失。在随时会缺氧窒息的球体中飘荡，在水面即兴产生的演讲文字中，也可被看作一种“废料”生产。某种层面来说，这种没有观众的“脱口秀”看上去更像一个闯入者的“絮叨”。
It is an exhibition of Yilian's resident creation at the PCCA. It is mainly composed of two works, namely, "Boats Can Carry Water" and "Planet Talk Show".
In this exhibition, Yilian tried to get connected with others through a medium like water. The image of water frequently appears in his past works. In this creation, he uses water as an experimental object, just like a geological researcher, collecting samples of different waters for "analysis", but perhaps just some kind of Meaning of production or labor. This kind of "collection" corresponds to the key words of Yilian and the fishermen's daily conversations. The words on the water polo are just like the comments on the surface of the big ball in the Planetary Talk Show or the "note-style" text. Some of the meaning behind the meaning is taken out of context. Formed a hypothesis about the "event" itself, or encountered some breaks in the process of trying to restore a logical circuit of a work. Chilean artist Havel from South America, while being asked to enter an enclosed space to complete an impromptu speech, some of the words pre-implanted into his mind began to break, reorganize or even lose as if they were into a blender. It can be seen as a kind of “waste” production in the speech that can be suffocated at any time. On a certain level, this "talk show" without audience looks more like a "freak" of an intruder.
行星脱口秀
影像, 装置
单屏影像，彩色，有声，HD，10分45秒
透明PVC球，文字，尺寸可变，2019
The Planet Talk Show
Video, Installation.
Single channel video, color, sound, HD, 10’45”
Transparent PVC ball, text, Dimensions variable, 2019
在一个飘荡于湖面上的透明球体内，易连邀请来自智利的艺术家哈维尔进行一场脱口秀，并且命名为“行星脱口秀”, 在给定的一些关键词基础上自由发挥, 关键词包括“旅行”、“月球”、“行星”、“水”、“漂泊”等等，在这个过程中, 哈维尔将在有限的氧气和空间中,根据自己的亲身经历和感想，回应和发挥这些关键词，完成一次脱口秀。随后，易连根据完成之后的演讲内容作出自己的评论，并将文字印于球体表面。
Inside a transparent sphere floating on the lake, Yi Lian invited Chilean artist Javier Gonzalez Pesce to perform a talk show, and named it The Planet Talk Show, which takes certain keywords, including "travel" "moon" "planet” " water" "wandering" etc, and frees them to play. During this process Javier's oxygen and space are limited, and he responds to and plays with these keywords based on his own personal experiences and feelings, completing this talk show. Subsequently, Yi Lian made his own comments according to the content of the speech after completion, and printed the words on the surface of the sphere.
舟能载水
摄影, 装置
收藏级艺术微喷，裱于铝塑板上
透明PVC球，湖水，文字，尺寸可变，2019
Boats Can Carry Water
Photograph, Installation,
Archival Inkjet Print, Mounted on Aluminium Panel
Transparent PVC ball, Lake water, text, Dimensions Variable, 2019
Exhibition View
易连和当地一位渔民一同划船飘荡在湖面上, 在船行进到不同的水域时, 通过携带的注水设备,将采集的水注入透明球体内, 装满整个船舱并带回. 从易连和渔民的交谈对话文本中选取一些关键词或句子印在带回来的这些水球表面, 同时将水球作为结果展示.
Yi Lian and a local fisherman row along the lake, and when the ship enters various waters, collected water is injected into the transparent sphere by the accompanying water injection equipment, filling the entire boat and bringing it back. From Yi Lian and the fishermen's conversation, some keywords or sentences are selected from the dialogue's text to be printed on the surface of the carried back water sphere, and the resultant water sphere is displayed.
填空者 — “形状”
The Blank Filler – Shape
填空者—“形状”是2018年完成于云南腾冲的驻地创作项目。
易连走访和调查了当地的一些加工业和自然景观，比如赌石、翡翠加工、传统造纸、边境线等等，在这些材料和环境中，加入了之前不曾存在过的痕迹，使之成为一个新的可感知对象。
It was completed in 2018 in the resident creation project of Tengchong, Yunnan.
Yilian visited and investigated some local processing industries and natural landscapes, such as gambling stones, jade processing, traditional papermaking, border lines, etc., in these materials and environments, adding traces that have never existed before, making it a New perceptible object
四维纸
动画装置
《四维纸-雨#1》
视频（彩色，有声，38”，2018）
《四维纸-雨#2》
视频（彩色，有声，37”，2018）
构树皮纸浆纸，墨汁，手工造纸竹帘，投影仪，金属支架，厚纸板（亚克力实木外框，86x65x9cm）。
Four-dimensional Paper
animation installation
animation, black and white, sound, 38”, 2018
paper, ink, bamboo curtain
这个动画装置是与云南当地手工造纸作坊合作完成的。在手工造纸过程中，师傅用竹帘每捞起一次纸浆，艺术家便在其上画下一帧画面，在一整天的工作量中将所有画面连起来形成一个即兴动画小品。而堆叠起来的层层纸浆则被挤压晾干成为一张厚纸。这张厚纸除了占据三维空间外，还隐藏了一段动画的时间在其内，因此被称为“四维纸“。
This animation installation is completed with the collaboration of local paper workshops in Yunnan. In the course of producing hand-made paper, every time the worker scoops up a layer of paper pulp with the bamboo screen, the artist would draw on that frame, and the day’s work would compile into an improvised animation. While the layers of paper pulp are dried and compressed into a thick sheet of paper. Not only this sheet of paper occupies three-dimensional space, but also encapsulates the time of an animation, for which it's called "four-dimensional paper".
可见光
综合媒介装置
翡翠原石，缅甸报纸，手电筒，共振喇叭，音频电路，金属支架及展台，文本(铝合金装裱)，130x36x36cm，65x37cm，2018。
Visible Light
mixed media installation
emerald, flashlights, resonance speaker, metal stanchion, 155×35×35cm.
newspaper, text, 38×57cm, 2018
一块由缅甸运往中国的赌石（注：由缅甸报纸包裹严实的翡翠原石，供消费者购买猜测里面翡翠的成色的赌博游戏）被安置在一个装有共振喇叭的金属杆上，上面被数十个手电筒打亮，而包裹石头的报纸被拆开后，艺术家将缅甸新闻文字翻译成中文并臆想补全了整个新闻内容，将其转换成语音后和贩卖石头的商家对石头描述的录音一并在共振喇叭上播放，石头会因声音的强弱而出现轻微的抖动。
A piece of jadeite shipped from Burma to China (note: wrapped in Burmese newspaper, a gambling game that makes the consumer the amount and quality of jade) is placed on a metal rod installed with tremor speakers, which is light under a dozen flashlights. Once the paper that wrapped the stone was unraveled, the artist translates new from Burma and completes the missing information with his own imagination. The recording of the Burmese news and sales pitch given by the stone vendor are played simultaneously through the speakers, and the stone would vibrate slightly due to the sound wavelength felt through the speakers.
光的长度
装置
手电筒，翡翠石雕，镜面不锈钢，亚克力盒子，15x15x36cm，2018。
Length of Light
Installation
Flashlight, emerald sculpture, acrylic stanchion, 36×15×15cm, 2018
在观察玉石时，人们都会使用强光手电筒作为辨识玉石的辅助工具，通过强光来辨别和推测石头内部的信息，光在石头内部所能及的范围和手电筒本身构成了一种互为表里的关系。在这件作品中手电筒通过光将一串未知的信号传递给了只具手电筒外形的玉石，形成了某种信息的传导和交流。
People would often use a bright flashlight as the tool to inspect an emerald, with which to speculate the content of the stone. The extent to which the light reaches of the stone and the flashlight constitute an internal/external relationship. In this work, the flashlight transmits a series of unknown signals to the jade with the shape of a flashlight through light, forming a kind of information transmission and exchange.
燃烧
单屏录像，彩色，有声，4K，3’39”，2019。
Burning
Single channel video, color, sound, 4K, 3’39”, 2019
这个视频拍摄于一处落差巨大的陡峭的石壁上，这个地貌是由火山喷发而形成的。镜头由上而下拍摄了从悬崖顶上到底部的过程，崖顶有几位园林工人往外喷水，随着镜头移动缓缓往下，在中间的“空镜”部分，能听到关于“燃烧”讨论的声音，有点类似空中电台，通过这段声音能大概了解到关于一个喜欢到处放火烧东西的人的故事。
The video was taken on a steep rock wall with a huge drop. The landform was formed by a volcanic eruption. The camera sho the process from top to bottom of the cliff. Several gardeners sprayed water from the cliff top. As the camera moved slowly down, in the "empty lens" section in the middle, the voice of the discussion about "burning" could be heard, which was somewhat similar to the air radio station. Through this voice, we could get a rough idea of the story of a person who liked to set fire everywhere.
