TAO HUI
作品/WORKS
2015/多余的/Excessive  

多余的, 截图, 彩色有声高清影像、透明播放显示器、 硅胶、铁、木头, 19分32秒

Excessive,Screen shot, single-channel video installation HD video, color, sound, glass projector, silica gel, iron, wood, 19’32’’



多余的, 截图, 彩色有声高清影像、透明播放显示器、 硅胶、铁、木头, 19分32秒

Excessive,Screen shot, single-channel video installation HD video, color, sound, glass projector, silica gel, iron, wood, 19’32’’

多余的, 截图, 彩色有声高清影像、透明播放显示器、 硅胶、铁、木头, 19分32秒

Excessive,Screen shot, single-channel video installation HD video, color, sound, glass projector, silica gel, iron, wood, 19’32’’

多余的, 截图, 彩色有声高清影像、透明播放显示器、 硅胶、铁、木头, 19分32秒

Excessive,Screen shot, single-channel video installation HD video, color, sound, glass projector, silica gel, iron, wood, 19’32’’

多余的, 截图, 彩色有声高清影像、透明播放显示器、 硅胶、铁、木头, 19分32秒

Excessive,Screen shot, single-channel video installation HD video, color, sound, glass projector, silica gel, iron, wood, 19’32’’

多余的, 截图, 彩色有声高清影像、透明播放显示器、 硅胶、铁、木头, 19分32秒

Excessive,Screen shot, single-channel video installation HD video, color, sound, glass projector, silica gel, iron, wood, 19’32’’


多余的,UCCA展览现场,北京,2015

Excessive,Installation view at Ullens Center for Contemporary Art, Beijing, 2015


多余的,UCCA展览现场,北京,2015

Excessive,Installation view at Ullens Center for Contemporary Art, Beijing, 2015

多余的,UCCA展览现场,北京,2015

Excessive,Installation view at Ullens Center for Contemporary Art, Beijing, 2015



陶辉在多频视频装置《多余的》中强调了戏剧冲 突。作品讲述了一位年轻女孩因为自己左手多余 的一根手指与家人产生矛盾的故事。冲突导致女 孩用一把厨刀将多余的手指剁下,之后将断指烧 成灰烬。在这件作品中,陶辉将背景去掉,只在 画面留下人物和交代环境的道具,进一步强调表 演在其作品中的重要位置。此外,艺术家在展场 放置了一个盛装断指残骸的盒子,与在盒子内播 放的、记录焚烧场景的影像同时展出。而这些安 排又似乎试图将观众从想象与表演的氛围中拉回现实。


In the multi-channel video installation Excessive, Tao Hui draws viewers in with a narrative of conflict. A young girl’s extra finger causes enormous grief in her family, leading her to cut it off with a kitchen knife and burn it to ashes. Here, Tao Hui eliminates the backdrop of each scene, leaving only the characters with a few props with a male’s narration throughout the video. This technique brings emphasis to the actors within the piece. In the exhibition space, Tao Hui leaves a decorative box housing the ashes of the incinerated finger with a screen at the back projecting the act of the burning. These physical annotations allow the artworks to transgress the virtual into the real.