原标题：麦影彤二《美好家园》展览现场

《美好家园》

Home Sweet Home

展览日期: 2019 年 11 月 23 日至 2020年 1 月 11 日

地址：香港黄竹坑道21号环汇广场20楼

Duration: 23 November 2019 - 11 January 2020

Address: 20/F, Global Trade Square, 21 Wong Chuk Hang Road, Hong Kong

德萨画廊很荣幸呈献香港艺术家麦影彤二于画廊举办的第二次个人展览─《美好家园》。本次展览透过一系列全新的装置，绘画及影像等跨媒体作品来探讨后现代人类存在的可能性，以及在模拟与现实的层面上，艺术家在香港的家是如何被分层虚拟建构和理解的。

展览现场图片 Installation view

模拟体验引人入胜之处在于它能超出物理现状的范畴，让人可以实现生活中不可能完成的任务。通过在游戏当中得到前所未有的快感以至随心所欲地佈置梦想虚拟家居，完善生活方式，人们往往能够用模拟的事物来遮掩不完美的现实。麦影彤二的作品《更完美的海》（2019）是由一系列印有三维虚拟景观的浴帘和浴垫所组成。沙滩，海洋和棕榈树彷彿是人类梦幻世外桃源的缩影，但图案却矛盾地印刷在家中的浴室用品上。将沙滩图像印于浴帘上的原因必然是因为希望能在海边沐浴。然而，浴帘只是模拟著海洋，将人们理想中的完美风景投射到家中。

《美好家园》（2019）这一系列作品分别由几组三联画呈现。作品透过电子游戏《模拟人生》创造，然后再由中国电子购物平台淘宝上的画家描绘出来。在《模拟人生》里，一众玩家能随心所欲地创造自己所喜欢的世界，对艺术家及很多人而言代表了一种规避现实的脱离方式。麦影彤二在这一世界里运用不同的物件构筑了一个怪诞而荒谬，像梦一般的家。只要你电脑屏幕的解析度够高，建构出来的世界就可以看似完美无瑕疵。但当她的电子设计变成真实的画作时, 作品会因为画家们的主观认知、技巧和颜料等因素不一致而变得难一判断 。通过使外部因素介入麦影彤二对于家的个人愿景及绘画本身过程发生在中国大陆的操作，《美好家园》不仅阐明了现实与幻想之间那无可避免的巨大落差, 更像是在讨论在香港现实应该如何被理解与建立 。

美好家园：123 笑

Home Sweet Home: 1,2,3 cheese

2019

布面丙烯 Acrylic on canvas

120 x 213 cm, triptych (each panel 120 x 71 cm)

《假笑》(2018-19) 是一件多频装置作品。麦影彤二邀请了她的家人和朋友在镜头前强颜欢笑；虽然大笑是假装的，但背后的讽刺，幽默以及从这拍摄得来的亲密感却是真实的，艺术家在此质问：「事情来源的的虚实会影响到其带来的效果的真实性吗？有些事情是否无论如何也无法假装的？」

假笑

Fake Laugh

2018-19

六频影像装置 6 screen video installations

Ed. 1 + 1 AP

展示尺寸可变 Dimensions variable

麦影彤二为了更深入的探索模仿能力创造了作品《Robot Mak Mak》 (2019)。艺术家利用全身人像合成科技，将自己的脸叠加至人工智能机器人Sophia的网络视频并与其融合。Sophia的发明旨在尽可能地模仿人类。通过逆转人类和人工智能技术一直被定义成模仿者的角色关系，从而探讨人类是否愿意被其他形式的存在所包容，以及作为机器人相对于人类存在的价值。与真实的人类相比，拥有机器人一样的外表或行为是否能给与她更多的"真实"。

Robot Mak Mak

2019

二频数字影像 Digital video with dual channel video

1'45"

展示尺寸可变 Dimensions variable

在录像装置作品《Out of Body Experience》 (2018) 中, 麦影彤二通过在淘宝购买灵魂出窍的巫术以此来参加一个在洛杉矶举办的的群展。艺术家将全球流动的互联网比喻成超逾物理限制的巫术，用于缓解当前光景中生活的困境。麦影彤二通过互联网将自己的灵魂寄到洛杉矶，绕过现实不可达成的条件的同时也逃脱了社会对她的要求。

Out of Body Experience

2018

录像 Video

Ed. 1 + 1 AP

HDV 2:37

在《美好家园》中，麦影彤二考察模拟用于逃离现实的各种形式。在物价高涨责任纍纍的世代，人性需要应变存在的艰苦。我们编织替代品来满足我们的需求，放弃与现实徒劳的谈判。可是，模拟品能够什麽程度上弥补现实的空白？在一个不屈的世界中，依靠超现实而生存会减少我们作为生物的存在价值吗？在一个普遍存在这些问题的城市，我们该如何应对？

de Sartheis pleased to present its second solo exhibition for the Hong Kong-based contemporary artist Mak Ying Tung 2, titled, Home Sweet Home. Featuring a new interdisciplinary body of work that spans installation, painting, and video, the exhibition explores the existential spectrum of postmodern human beings, the inconspicuous integration of simulation into reality, and how layered unrealities have come to comprise her home, Hong Kong. Home Sweet Home opens on November 23, 2019 and runs through January 11, 2020.

The appeal of a simulated experience is its ability to operate beyond the boundaries of physical actuality, which enables one to pursue what real life prevents. From gratifying our fantasies in games to decorating our homes with imagery of an imagined, perfect lifestyle, we are able to mask unfulfilling reality with simulated facades. Mak Ying Tung 2's A More Perfect Sea (2019) comprises a shower curtain and a line of bath mats depicting sand and sea, and a window overlooking a running stream. While the combination of beach, ocean, and palm fronds is the epitome of imagined paradises, the bathroom accessories on which they are printed suggest domesticity and fixture. The intention behind one wanting an ocean-print curtain is obvious - they wish to shower next to the ocean. Yet, the curtain is merely an simulation of the ocean, an association of the ideal that one can project into one's home.

更美好的海

A More Perfect Sea

2019

浴帘，浴垫，毛巾

Shower curtains, bath mats, towels

浴帘 Shower curtain: 265 x 195 cm each

浴垫 Bath mats: 80 x 120 cm each

毛巾 Towels: 150 x 70 cm each

Home Sweet Home (2019) is a series of triptychs composed using the popular life simulation game "The Sims" and materialized by painters on the Chinese e-commerce platform-Taobao. Lacking in specific objectives, "The Sims" allows players to design their worlds however they find ideal and for the artist, as well as many others, it represents a form of escapism used to circumvent reality. Through its simulated gameplay Mak Ying Tung 2 constructs dream-like home environments using bizarre and nonsensical elements, which the game renders perfect and immaculate nonetheless. However, as her digital home environments are translated into reality via paint and brush, the outcomes become unpredictable owing to interpretive inconsistencies, different skill levels, and varied materials. By enabling external factors to intervene in the actualization of Mak Ying Tung 2's individual vision of home and for the act of painting itself to occur within Mainland China, Home Sweet Home not only elucidate the inevitable disparity between fantasy and reality, they craft a comment on how reality is construed and constructed within Hong Kong.

美好家园：与电视冲凉

Home Sweet Home: TV Bath

2019

布面丙烯 Acrylic on canvas

200 x 355 cm, triptych (each panel 200 x 118.3 cm)

In the multi-screen installation Fake Laugh (2018-19), Mak invites her family and friends to feint laughter in front of a camera. Although the laughter is superficial, the irony, sarcastic humor, and intimacy created through the exercise are genuine, and the artist asks: Does the realness, or the lack thereof, of a source affect the authenticity of its effect? Are there things that cannot be faked no matter how hard we try?

Mak's investigation of simulation's capacity for mimesis is continued in the video work Robot Mak Mak (2019), in which the artist simulates herself. Utilizing full body image synthesis technology, Mak superimposes her face onto online footage of robot Sophia, an AI machine designed to act and look as human as possible. By reversing the relationship between humans and artificial intelligence technology, in which AI predominantly poses as the impersonator, the artist raises questions regarding our willingness to be subsumed under alternative forms of being and the value of existing as a robot vis-à-vis a human. She questions whether looking or acting robot-like affords her more "realness" than being completely human.

In the video installation Out of Body Experience (2018), the artist recaps her experience attending a group exhibition in Los Angeles for free through purchasing witchcraft online that enabled her soul to leave her body. Using metaphysical occurrences as a metaphor, Mak conveys how the global mobility of the Internet accommodates an imagined ease of living in the prevailing conditions of our era. As she ships her soul to Los Angeles via the online network, she overrides the demands of reality and how others expect her to live.

In Home Sweet Home, Mak Ying Tung 2 examines the ways in which simulation is applied in postmodern escapism. In light of rising costs and growing responsibilities, humanity has adapted to face the escalating hardships of being. In lieu of futile negotiations, we settle for satisfying our needs through fabricated substitutes. Yet, to what extent can simulated replacements compensate the void of actuality? In an unrelenting world, does subsisting on hyperreality diminish our existence as living beings? In a city where these questions are common place, how do we cope?

媒体垂询 Media Inquiries:

hongkong@desarthe.com | +852 2167 8896

欢迎与画廊总监预约与艺术家进行採访

Interviews with gallery directors and the artist available upon request

关于麦影彤二：

麦影彤二于1989年出生于香港，并于2013年取得香港城市大学的Critical Intermedia Art学士毕业。她现于香港定居及工作。麦影彤二是一位以多媒介来进行创作的观念艺术家。她近期的作品多以人文科学的视野思考当代议题。她的作品往往呈现出幽默的表达方式与出其不意的手法，例如，她在作品《你最好注意》(2017) 里，通过在一个充气水晶球里加入电子二维码来暗喻互联网无处不在的监控。她的作品不仅充满了玩味的元素，还通过探索空间引导观众思考隐藏在我们周围事物表面之下的力量。

Mak Ying Tung 2 was born in Hong Kong in 1989. She graduated from City University of Hong Kong with a Bachelor’s degree in Critical Intermedia Art in 2013. Mak Ying Tung 2 currently lives and works in Hong Kong. Mak 2 is a conceptual artist and her work is not defined by any medium. Her later works contemplate the topics of our era through the study of Humanities. The aesthetic experience she crafts is bound by the dualism of humor and intense, often dark inquisitiveness. For instance, through incorporating QR codes within a playground-like setting, her artwork You Better Watch Out (2017) illustrates the wide spread surveillance implications of an open internet. She does not prompt audiences to merely laugh, but also to explore spaces and direct the viewer's attention to the forces that lie underneath the surface of their surroundings.

关于德萨画廊 www.desarthe.com

德萨画廊于1977年在巴黎成立，之后在美国开设画廊，自2010年开始将画廊的版图逐渐扩展到香港和北京。德萨画廊代理多个国际知名艺术家，长期专注于呈现最高品质的当代艺术与具有历史意义的艺术项目。

画廊自2010年迁至香港以来，陆续为奥古斯特罗丹(Auguste·Rodin)、汉斯·哈同(Hans·Hartung)、朱德群(Chu The-Chun)、赵无极(Zao Wou-Ki)、罗伯特．劳森伯格(Robert·Rauschenberg)、陈箴(Chen Zhen)和贝纳·维内(Bernar·Venet) 等艺术家举办了极具开创性的展览。画廊更曾在巴黎举办了如具体派（Gutai）及中国先锋现代绘画等群展。德萨画廊于2014年在北京著名的草场地艺术区开设了一个近8000平方英尺的空间，2018年该空间被迫强拆。画廊在开放期间内先后推动及展示了本土当代艺术家极具实验及先锋性的艺术项目。2017年，德萨画廊在香港艺术区黄竹坑开设了近一万平方英尺的空间，在展出艺术大师杰作的同时，积极推广国际当代艺术家的试验项目。德萨画廊的香港空间每年七成的展览都致力于呈现亚洲当代艺术。

同年，德萨艺术家驻留项目(deSAR)启动，每年夏天都会邀请艺术家在该画廊香港空间驻留两个月，此项目旨在挑战艺术创作的标准模式，为观众带来非比寻常的观展体验。

画廊目前代理的当代艺术家有双飞艺术中心、梁半、林菁菁、陆浩明、麦影彤二、马思博、王欣，董金玲、辛云鹏和苏咏宝。

de Sarthe was founded in 1977 in Paris, later establishing galleries in America and most recently in Hong Kong and Beijing.

de Sarthe represents and exhibits a diverse spectrum of international artists, with a focus on presenting the highest quality contemporary art and historically significant programming. Since its move to Hong Kong in 2010, the gallery has continued to host groundbreaking shows for artists like Auguste Rodin, Hans Hartung, Chu Teh-Chun, Zao Wou-Ki, Robert Rauschenberg, Chen Zhen and Bernar Venet. The gallery has also exhibited pioneering group shows such as gutai and the Pioneers of Chinese Modern Paintings in Paris. In 2017 the gallery opened a 10,000 square foot space in Hong Kong’s art district, Wong Chuk Hang, to properly honor masterpiece art works and expand its program of international contemporary artists. Before its forced eviction in the summer of 2018, de Sarthe occupied an 8,000 square foot space in Caochangdi, a renowned art district in Beijing. There the gallery took an important role exhibiting a wide range of artists that lead the emerging art scene. This spirit continues in the Hong Kong space, where 70% of the exhibitions are dedicated to showing contemporary art from Asia. The gallery's roster of contemporary artists includes Double Fly Art Center, Liang Ban, Lin Jingjing, Andrew Luk, Mak Ying Tung 2, Ma Sibo, Wang Xin, Dong Jinling, Xin Yunpeng and Wing Po So.

In 2017 the de Sarthe Artist Residency (deSAR) was inaugurated which hosts an artist in the gallery's Hong Kong space for two months every summer, with the goal of challenging standard modes of art production and exposing audiences to a side of creation seldom seen firsthand.

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