　　谈起本次展览的理念时，艺术家说：“‘半度分隔’这一名称源自‘六度分隔’理念，该理念认为世界上任何互不相识的两个人，只需要六个或不到六个中间人即可建立联系。而半度分隔则是对人际联系进行文化上和身份上的接受或拒绝。”本次亮相当代唐人艺术中心的作品，从家族和历史的角度探讨移民、印尼侨民、土地安置、所有权以及归属感等主题。从这个维度中，我们可以看到现在与过去之间千丝万缕的联系。

　　《裹尸布没有口袋》，铝、汽车油漆、树脂、颜料、线、聚氨酯涂层，168 × 133cm，2017

　　Shrouds Have No Pockets， Aluminum， car paint， resin， color pigment， thread， polyurethane coating， 168 × 133cm， 2017

　　出现在作品中的浮动岛屿、墙壁、藩篱、车辆、桌子等关键意向构建出一个涵盖历史、地理和家族的叙事框架。艺术家把土地和大海视为历史与贸易的舞台：在这里，个体的因缘和向往会助推社会体系的成型和发展，其中某些哲思、冲突和相互关系至今仍在影响着我们。作品所描绘的家族画面将几代人的经历铺陈开来，讲述一段穿越不同文化背景的爱与妥协，探讨了外部压力与期待如何对私人关系的演变造成影响。

　　《灰烬：怪物项目》，布上丙烯、石墨、油彩，以树脂、颜料和线拼贴的眼球，172.5 × 147.5 cm，2017

　　Ember： Monster Projects， Acrylic， graphite and oil on canvas with collaged eyes of resin， color pigment and thread， 172.5 × 147.5 cm， 2017

　　恩唐的最新创作着眼于他在印尼和美国的日常生活中体验到的文化二元性。本次展览既有雕塑和装置作品，也有他在美国完成的一系列绘画创作。其中，《蓝色的林加岛》和《垂死的巨人》这两幅创作于2017年的巨幅绘画，以稠密的构图手法表现人物和风景，明快的色彩中夹带的深渊似的黑色。壁挂式浮雕以丰富的细节把观者带入另一维度的艺术世界，辛辣而不乏幽默的讽刺让人在会心一笑的同时陷入深深的思考。

　　《蓝色的林加岛》，布上丙烯、石墨、油彩，以树脂、颜料和线拼贴的眼球，210 × 390 cm，2017

　　Blue Lingga， Acrylic， graphite and oil on canvas with collaged eyes of resin， color pigment and thread， 210 × 390 cm， 2017

　　本次展出的心理学绘画作品“怪物项目”系列以寂寞的人物和情侣为符号，深入探究人们的内心世界。在作品中，艺术家手工制作的树脂眼球兀然凸显在画布之上，毫无表情地凝视着观者。恩唐说：“怪物项目是在探讨美国和印尼两国正在兴起的‘极端行为’现象，人们的行为趋于狂热和两极分化，越来越不承认他人的感受。我想质疑，在如今移动媒体日趋发达全球联系日益紧密的背景下，为什么还会出现这种现象。这是人们保护自己身份和传统的方式，还是对全球化的抗拒和抵制？”

　　《树荫之下》，铝、汽车涂料、树脂、颜料、线，169 × 279 cm，2017

　　Under Tree Shadow， Aluminum， car paint， resin， color pigment， thread， 169 × 279 cm， 2017

　　Tang Contemporary Art Bangkok is proud to announce that “Half Degree of Separation”， a solo show of Entang Wiharso， will open on 11 January until 25 February 2018。 Entang Wiharso is one of Indonesia’s leading contemporary artists。 This is Wiharso’s first solo show in Thailand。

　　Entitled “Half Degree of Separation，” the exhibition features a new body of work created in his studio in Indonesia and during his 2017 residency in New York City at International Studio & Curatorial Program。 In describing the concept for the show， Wiharso notes， “Half Degree of Separation comes from the idea of ‘six degree of separation，’ when you always have a connection to others in six steps or less。 Half degree of separation is the acceptance or refusal of connectivity， whether cultural or identity， with others。 The work for Tang Contemporary Art focuses on themes related to migration， the Indonesian diaspora， the settlement of land， the power of ownership and the idea of belonging， through the lens of family and history。 We can see the connection that always exists between past and current conditions through this lens。”

　　《川普时代的亚当和夏娃》，布上丙烯、石墨、油彩，以树脂、颜料和线拼贴的眼球，172.5 × 142 cm，2017

　　Adam and Eve Under DTE， Acrylic， graphite and oil on canvas with collaged eyes of resin， color pigment and thread， 172.5 × 142 cm， 2017

　　Key motifs in his work – floating islands， walls and fences， cars and tables – are stages upon which a narrative about history， geography and family are presented。 He looks at the land and seas as a site of history and trade： the personal reasons and motivating factors that shape social systems， and the interconnections， philosophy and conflicts that still impact us today。 The tableaux of the family reflects a timeline of events unfolding over generations and is a narrative about cross-cultural love and compromise， examining how external pressures and expectations unfold within private relationships。

　　《埋藏的历史》，布上丙烯、石墨、油彩，以树脂、颜料和线拼贴的眼球，275 × 390 cm，2012-2017

　　Buried History， Acrylic， graphite and oil on canvas with collaged eyes of resin， color pigment and thread， 275 × 390 cm， 2012-2017

　　Wiharso’s current work focuses on the duality of cultures and experiences in his two homelands - Indonesia and America。 Including both sculpture and installation， the exhibition is anchored by a series of paintings created in the United States。 Two large paintings， Blue Lingga （2017） and Half Dead Giant （2017）， feature dense compositions of figures and landscapes with a vibrant color-palette punctuated by dark recesses。 The wall-mounted reliefs offer lush， detailed surfaces that draw viewers in while offering biting， humorous and poignant commentary。 These works along with an extraordinary series of psychological portraits of lone figures and couples， the Monster Project Series， all contain handmade resin eyes that bulge from the surfaces， engaging the viewer with a frank gaze。 Wiharso states， “Monster Projects looks at the emerging conditions in America and Indonesia - the extreme behavior， the move toward fanaticism and polarization， and an increasingly common refusal to acknowledge other’s feelings。 I’ve been questioning why this situation is occurring when we are more mobile and global。 Is this how people try to protect their identity or inheritance， or is it a resistance to globalization？”

来源:新浪收藏责任编辑:简宁