Crossing Art推出的Katja Loher个展“About Invisible Limits”（“关于无形的界限”）展出了Katja Loher开创性的艺术创作。在这个空间中，Loher邀请参观者通过视频装置、视频雕塑、雕塑灯箱和橱窗投影，探索她的创作论题，呈现出了一场沉浸式的艺术盛宴。
Crossing Art presents the solo exhibition by Katja Loher “About Invisible Limits" featured her trailblazing approach to art. In the space, Loher invites visitors to explore her creative thesis through video installations, video-sculptures, sculptural light boxes, and a window projection. The exhibition presents an immersive feast of the arts.
点击图片观看更多展览信息
洛尔以其开创性的艺术创作方式而闻名：她利用尖端技术天衣无缝地重新想象了有机形态，创造出超越常规的雕塑展示。
Katja Loher is renowned for her trailblazing approach to art: she seamlessly reimagines organic forms with cutting-edge technology, creating sculptural displays that transcend the ordinary.
5月21日艺术家对话与表演现场
5月21日，我们在纽约展览现场进行了一场艺术家对话和现场表演。我们一起与Katja Loher探索她作品中呈现的美丽星球。下面是艺术家对话的内容整理，帮助您更好地理解Katja Loher以及她的作品。
On May 21st, we had an artist dialogue and live performance at Crossing Art space in New York. Together with Katja Loher we explored the beautiful planet presented in her work. Below is the content of the artist dialogue to help you better understand Katja Loher and her work.
Q&A
Question & Answer
Q：在 "关于无形的界限 "展览中
可以看到什么？
Katja Loher：展览由四个连续的空间组成，围绕着元素之间的交叉这一主要概念。我对探索元素之间的界限和过渡状态很感兴趣。旅程从入口处的 "Videoportal "开始，它的功能几乎就像一个神奇的入口（因此我使用了能产生彩虹的水晶），通向各种作品。
此外，展览中还有其他的过渡，例如从大地到天空，提出了一个问题："为了能够与天空对话，树向大地提出了什么要求？” 此外还展示了一些手工吹制的玻璃作品，这些重要的作品也给这个空间带来了许多欢乐。在这些作品中，我与我宝贵的长期合作伙伴坂野美智子（Michiko Sakano）合作，她是一位来自日本的杰出玻璃吹制师，常驻纽约市。当前玻璃系列和 3D 打印物品的形状和形式灵感来自科学家兼艺术家恩斯特-海克尔（Ernst Haeckel）的图画，他对地球上的海洋倒影再次着迷：在显微镜下，同样的图案和形状在金色部分重复出现。
Katja Loher
Videoportal, 2024
Self-contained video-sculpture, wall mounted
Single-channel video with sound, 8:08 minutes,
looped Acrylic hemisphere, video screen
embedded in wooden white finished case
on/off switch and remote control
71h x 97w x 28d cm | 28h x 38w x 11d inches
Unique edition
展览的主要空间是水和海洋，我们正潜入浮游生物的微观世界。参观者被邀请坐在被气泡包围的桌子上，凝视着盘子样的桌面和嵌入其中的作品，反映出我和他们之间无形的界限......然后与坐在桌子另一边的人继续交流，这是一个反思和创造梦想的空间。
5月21日艺术家对话现场，Katja坐在被气泡包围桌子边，与来访者交流
Q：What can be seen in the exhibition "About Invisible Limits"?
A：The exhibition consists of four contiguous spaces that revolve around the main concept of intersections between the elements. I am interested in exploring boundaries and transitional states between the elements. The journey begins with an entrance featuring “Videoportal” that functions almost like a magical portal (hence I use crystals that create rainbows), leading into various works.
Additionally, other transitions are highlighted, such as from earth to sky, posing the question "What did the tree ask the earth to be able to speak to the sky?" Also there is a few handblown- glass pieces showcased and important body or work that brings lots of joy also to private homes. For these, I collaborate with my invaluable longtime partner Michiko Sakano, an extraordinary glassblower from Japan, based in NYC. The shapes and forms of the current glass series and the 3D printed objects are inspired by the drawings of scientist and artist Ernst Haeckel, here again fascinated about earthly sea reflections: In the microscopic view the same patterns and shapes repeat itself in the golden section.
The main space is dedicated to water and the sea, we are diving into the microscopic world of Plankton. The visitors are invited to sit down on the table surrounded by bubbles, gaze into the plates, reflecting the invisible limit between me and them… then the communication continues with the person sitting at the other side of the table, a space for reflection and to create dreams to manifest.
Q：您是如何开始创作录像雕塑的？
Katja Loher：我正是在纽约构思视频雕塑的。在瑞士当学生时，我们与视频管弦乐团（Video Orchestra）一起创作多感官表演。在纽约，我开始学习画廊工作，并开始考虑创作一些 "自成一体"、包含表演艺术和视频的作品。我希望我的作品不仅能让观众看到一段视频，还能与我的视频一起生活。事实上，当一件艺术品进入我们的家庭时，我们会更愿意与它相处。我相信这种关系也有助于我们创造一个冥想空间。如今，我将我的视频雕塑视为环游世界的信使，唤起人们的意识，并改变特定的空间。它们是有生命的自由之物，因为我让它们获得了自由。归根结底，所使用的媒介类型是次要的，而艺术是一种语言；这就是为什么我相信我已经将视频从其载体、工具--电视盒的矩形形式中解放出来。
Q：How did you come to create Video-sculptures?
A：I conceived Video-sculptures precisely in New York. In Switzerland as a student we create multi-sensorial performances with the Video Orchestra group. In New York, I began studying gallery work and started thinking about creating something that was "self-contained" and encompassed performative arts and video. I thought of an object because I wanted the audience not just to see a video but to live with one of my videos. In fact, when an artistic object enters our homes, we are more inclined to spend time with it. I believe this relationship also helps us create a meditative spaces. Today, I see my Video-sculptures as messengers traveling the world, raising awareness that and transforming the given spaces. They are living and free objects because I have set them free. In the end, the type of medium used is secondary while art is a language; that's why I believe I have liberated video from its vehicle, its instrument, the rectangular form of the TV box.
Q：为什么玻璃在您的艺术创作中
非常重要？
Katja Loher：熔融玻璃的流动性和多功能性使其能够创造出复杂的图案、鲜艳的色彩和动感的形状。玻璃的质感和透明度交相辉映，令人着迷。由于手工吹制玻璃的特性，每件作品都是独一无二的。最初，我使用杯子或桌子等日常物品，并在这些物品中插入视频。后来我意识到，我不喜欢使用别人创造的物品...... 无论如何，我都需要参与创作。于是我去了布鲁克林的一家玻璃工作室寻找灵感、新杯子之类的东西。当我试图解释自己的想法时，我看到了一些美丽的玻璃泡泡，我被深深地震撼了。吹制玻璃泡泡的过程激发了我的灵感。吹出的气泡就像一个凝固的瞬间，一个非常脆弱的瞬间。从这个画面出发，我开始萌生在玻璃泡泡中嵌入视频的想法。正是因为玻璃和视频的结合，它变得有趣起来，仿佛二维的视频获得了三维的立体感。一切都发生在寄存和保存内部图像的过程中。
Katja Loher
A FLOATING FOREST OF CREATURES, 2022
Multi-channel video composition, 8:08min, looped
Hand-blown glass sculptures, video screen embedded in white acrylic case
41 x 58.5 x 22 cm / 16 x 23 x 8.5 inches
Q：Why is glass important in your art?
A：The fluidity and versatility of molten glass enable the creation of intricate patterns, vibrant colors, and dynamic shapes. Glass exhibits a captivating interplay of texture and transparency. Due to the nature of hand-blown glass, each piece is unique. Initially, I used everyday objects like cups or tables and inserted videos into these objects. Then I realized I didn't like using objects created by others... Somehow, I needed to have a part in creating the object. So I went to a glass studio in Brooklyn to seek inspiration, new cups, something. While I was trying to explain myself, I was struck when I saw some beautiful glass bubbles. The process of blowing and creating glass bubbles sparked an idea. A blown bubble is like a frozen moment, a very fragile moment. From this image, I began developing the idea of embedding videos inside those glass bubbles. It became interesting precisely because of the combination of glass and video, as if the two-dimensional video acquired three-dimensionality. Everything happened by hosting and preserving the image inside.
Q：在您的视频中，您使用了舞蹈编排。
您是如何创作的？
Katja Loher：编舞是视频的关键，尤其是通过鸟瞰视角来展示。我和我的团队第一次这样做是在 2006 年。起初，我们是在屋顶上即兴创作，我在下面大喊大叫，并让拍摄舞者尝试像字母一样定位。很快，我们改变了工作方法，采用了绿幕技术，将摄像机安装在天花板上，并将地板指定为 "绿幕地板"。这种视角的改变非常重要，因为我开始用不同的方式看待事物。这是从外部到我们的视角--从宇宙到地球的视角，宇航员的视角......将地球视为一个整体，通过集体行动进行交流（一个人只是一个点，6 个人就是一个字母，变成一个词，一句宣言......）。
点击观看视频：Katja Loher编舞创作幕后
Q：In your videos, you use choreography. How did you create it?
A：Choreography is key in the videos, especially shown through the bird's eye view. The first time my team and I did this was in 2006. Initially, it was improvised from a rooftop with me shouting from below and trying to film dancers positioning themselves like letters. Quite soon, we changed our working method by adopting green screen technology and working with a camera mounted on the ceiling and a floor designated as a "green screen floor." This change in perspective was important because I began to see things differently. It’s the view from outside to us - a few from the universe to planet earth, the view of an astronaut… seeing earth as a whole and the way to communicate is through collective action (One person is just a dot, 6 people for a letter, which becomes a word, a statement…)
Q：雕塑对象与插入的视频同样重要吗？
Katja Loher：我们可以说它们是一起诞生的；我的作品结合了物理部分和视听部分。此外，它还与专门为其创作的音乐一起诞生和发展，在展览空间中创造出一种身临其境的体验，因为我还注意控制气味和香味。
Katja Loher
A Floating Forest Of Creatures, 2022
Self-contained video-sculpture, wall mounted
Multi-channel video composition with sound, 8:08min,
looped Hand-blown glass sculpture, video screen embedded
in white acrylic case on/off switch, sound knob
41 x 58.5 x 20 cm | 16 x 23 x 8 inches
Unique edition
Q：Is the sculpture object as important as the inserted video?
A：We can say they are born together; the object combines the physical part with the audiovisual part. Moreover, it is born and developed with music created specifically for it, creating an immersive experience in the exhibition space because I also pay attention to controlling smells and fragrances.
Q：十多年来您一直使用蜜蜂这一标志，
它也是您的徽标。这是如何形成的？
Katja Loher：“蜜蜂宣言”是对蜜蜂的赞美，蜜蜂是小而敏感的生物，是我们生态系统中的重要物种之一。我对以下三个方面很感兴趣：
1）蜂群崩溃紊乱症（CCD）是一种以工蜂在全球范围内消失为特征的现象。这种令人担忧的趋势是我们不可持续的生活方式和干扰生态系统自然平衡的结果。
2）高智能交流：蜜蜂通过肢体动作进行交流，这种交流方式非常复杂，通常被称为 "摇摆舞"。这种非语言的信息交流令我着迷，它与我从鸟瞰角度编排的舞蹈作品如出一辙。通过舞蹈，蜜蜂准确地传达了花朵的方向、距离和质量等信息。
3）蜂巢的社会结构是母系社会，由蜂王领导。以雌蜂为主的工蜂在维护蜂巢和确保其生存方面发挥着至关重要的作用。蜜蜂意识到自己在生态系统中的至关重要性。
Katja Loher
Bee Hive, 2024
Collaged video-still
Hexagon tiles, changing LED lights with print
32 x 38 x 2 cm | 12.5 x 15 x 0.8 inches
3 Editions
Q：You have worked with the symbol of a bee, which is also your logo, for over a decade. How did this come about?
A：The Bee Manifesto is celebrating the bee, small and sensitive creatures that are one of the key species of our eco system. I’m fascinated by following three aspects:
1)Colony Collapse Disorder (CCD) is a phenomenon characterized by the worldwide disappearance of worker honey bees. This alarming trend is a consequence of our unsustainable lifestyles and interference with the natural balance of ecosystems.
2) High-Intelligence Communication Honey bees exhibit a remarkably sophisticated form of communication through their body movements, often referred to as the "waggle dance." I am captivated by this non-verbal exchange of information, which mirrors my choreographed dance pieces viewed from a bird’s-eye perspective. Through their dance, bees convey precise information about the direction, distance, and quality of flowers.
3)The social structure of a bee hive is matriarchal, led by a queen. The worker bees, predominantly female, play crucial roles in maintaining the hive and ensuring its survival. Bee aware of their critical importance in the ecosystem.
Q：目前，您正在研究浮游生物。
为什么会有这种兴趣？
Katja Loher：我的目标是创造能引起人们关注的空间，我想到浮游生物是海洋的蜜蜂。我与从事浮游生物研究的科学家建立了联系，多亏了他们，我发现了许多细节。我用这些小生物作为隐喻。有了浮游生物，我们就进入了 "水 "的主题。"水 "是我研究的元素之一，也是当前的一个重要主题。创作像《浮游生物宣言》这样的宣言有助于增强我的决心，将艺术与经验、艺术与科学以及多学科结合起来。与苏黎世大学科学家的合作确保了信息的准确性。今天，我们正在与大自然重新建立联系，我的浮游生物宣言也引发了人们的兴趣。另外，浮游生物之所以有趣，是因为它不断漂移，因为它别无选择。它无法决定自己的方向。这与遵循直觉最终到达自己真正需要到达的地方的理念不谋而合。
Katja Loher
Earthly Sea Reflections
2023
Self-contained video-sculpture, wall mounted
Two-channel video composition with sound,
7:20min, looped
Hand-blown glass bubble, video screen
embedded in white
acrylic case
on/off switch, remote control
36 x 36 x 25 cm | 14 x 14 x 10 inches
Q：Currently, you are working with plankton. Why this interest?
A：I aim to create spaces that generate awareness and it occurred to me that Plankton is the Bee of the ocean. I connected with scientists working on Plankton research, and thanks to them, I discovered many details. I use these small creatures as a metaphor. With plankton, we enter the theme of water, one of the elements I worked with, a crucial topic at the moment. Creating manifestos like the Plankton Manifesto serves to increase my commitment, combining art and experience, art and science, and being multidisciplinary. Collaboration with scientists from the University of Zurich ensures that the information is accurate. Today, we are reconnecting with nature, and my Plankton Manifesto is also sparking interest. Plus, plankton is interesting because it constantly drifts, as it has no other choice. It cannot decide its direction. This ties into the idea of following intuition to ultimately reach where one truly needs to be.
Q：你与直觉的联系有多大？
Katja Loher：即使只是关于“浮游生物”这一系列新作的想法，也是源于直觉。我坚信直觉的力量，它通过每天的练习得到加强。我每天都会开始练习，因为冥想练习能让我获得直觉。它让我从自我中解放出来，让我直接进入更高的境界。通过艺术，我们可以创造环境，让你进入其他的现实，其他的维度。与大自然的联系--在水中和水外--帮助我创作，帮助我找到节奏。我是水瓶座，与水打交道，我认为艺术家是能够进入超越我们自身世界的信使。作为艺术家，我们是来唤醒人们的。我们可以看到来自这些世界的图像，就像我们是巫师一样。事实上，我认为艺术家就是巫师，巫师就是艺术家。唤醒直觉是我们的任务。
点击观看视频：Katja在大自然中的创作日常
Q：How connected are you to intuition?
A：Even just the idea of this new work on Plankton was born from intuition. I believe strongly in the power of intuition, which is strengthened through daily practice. I start each day practicing because meditative practice gives me access to intuition. It frees me from ego, frees me from my self, and gives me direct access to higher realms. With art we can create the environment to plunge you into other realities, other dimensions. Connecting with nature - in and out of the water - helps me create, help me find rhythm. I am an Aquarius, working with water, and I think artists are messengers capable of entering worlds beyond our own. As artists, we are here to awaken people. We can see the images that come from those worlds as if we were shamans. In fact, I like to think that artists are shamans and shamans are artists. Awakening intuition is our task.
Q：你与大自然的关系是什么？
Katja Loher：通过沉浸在大自然中，我们培养了与真实自我更深层次的联系。大自然的静谧和美丽让我们想起自己内心的静谧和存在，引导我们走向内心的平静和自我意识。这种与自然世界的联系是我们理解和拥抱自我的途径。
通过我的艺术项目，我将自然带入城市，将城市带入自然。连接城市与自然是我艺术使命的重要组成部分。
Q：What is your relationship to nature?
A：By immersing ourselves in nature, we cultivate a deeper connection with our true selves. Nature’s stillness and beauty remind us of our own inner stillness and presence, guiding us towards inner peace and self-awareness. This connection with the natural world is a pathway to understanding and embracing our own being.
With my art projects I bring nature into the city and the city to the nature. Bridging city and nature is an important part of my artistic mission.
点击观看视频：5月21日艺术家对谈现场表演
闭幕活动预告
闭幕日期 | Clossing Reception Date :
2024年7月2日 (New York Time)
时间 | Time :
6pm-8pm (New York Time)
地址 | Address ：
559 West 23rd Street New York NY10011
7月2日，与Katja Loher和Crossing Art创始人Catherine一起探索“无形的界限”！
艺术家介绍
ARTIST
Katja Loher
卡佳-洛尔
卡佳-洛尔（Katja Loher，生于 1979 年）是瑞士视觉艺术家，以视频雕塑和装置艺术著称。她经常将有机、行星和移动舞蹈元素融入全景空中视角。评论家认为她的作品令人联想到另一个维度，过去、现在和未来在这里交汇。她的作品曾在各大洲的艺术博物馆和场所展出，并被著名的公共和私人收藏。
Katja Loher (b.1979) is a Swiss visual artist, known for her video sculptures and installations. She often integrates organic, planetary, and moving choreographic elements into panoramic aerial perspectives. Her pieces are considered by critics as evocative of alternative dimensions where past, present, and future converge.
Loher's works have been shown in art museums and venues on all continents. Her work is featured in notable public and private collections.
Crossing Art
Crossing Art画廊2008年创立于纽约，旨在连接和扩大当代艺术在不同文化之间的对话。自成立以来我们曾在纽约举办一百多场展览和公共艺术项目，优越的地理位置毗邻美国著名的艺术机构。Crossing Art凭借在北美和亚洲之间的独特地位，通过公共艺术、装置、线上艺术频道为艺术家和客户提供服务。Crossing Art致力于推广和培养中西两国的当代艺术家建构双方的沟通桥梁为艺术市场注入新鲜血液。
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559 West 23rd Street,New York
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