填空者 Blank Filler
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".
Single screen video, color, sound, 4K, 10’36”, 2019
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.
Installation, handmade paper, warm paste liner powder, 300x125cm, 2019
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.
Hand drawing with acid free pen on giclee print, 60x35cm, 8 sheets, 2019
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.
填空者 — “关键词”
The Blank Filler – Keywords
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.
The Planet Talk Show
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.
Boats Can Carry Water
Archival Inkjet Print, Mounted on Aluminium Panel
Transparent PVC ball, Lake water, text, Dimensions Variable, 2019
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
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
animation, black and white, sound, 38”, 2018
paper, ink, bamboo curtain
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".
mixed media installation
emerald, flashlights, resonance speaker, metal stanchion, 155×35×35cm.
newspaper, text, 38×57cm, 2018
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.
Length of Light
Flashlight, emerald sculpture, acrylic stanchion, 36×15×15cm, 2018
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.
Single channel video, color, sound, 4K, 3’39”, 2019
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.