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地 | 心 Psychogeography

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Ngan Leong Anna Cheung’s practice is inspired by ‘ordinary landscape’. She interprets what she perceives in the urban and rural landscape and their social environments using a vivid and strange palette. For the geographer Yi Fu Tuan, ‘landscape’ (地景) is an attractive and ambiguous term: the landscape both exists externally to us, caught within our field of vision, and is also shaped by our imagination and emotions. Not entirely synonymous with ‘environment,’ the landscape lies before our eyes rather than envelops us; it becomes real only when we become conscious of it. With “地 | 心” (literally ‘Land | Mind’) as its title in Chinese, the exhibition explores the complexities of the detached yet mutually stimulating relationship between the landscape and the human subject.  As a system of symbols, the landscape embodies the cultural meanings, individual behaviours and social atmosphere that underlies the everyday. If functionality constitutes the landscape’s most obvious aspect ...
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Worlding Art History: Negotiating the Global and the Local

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Organised by  Sophie Guo  - The Courtauld Institute of Art  Jasmine Chohan  - The Courtauld Institute of Art Sat 17 March 2018 Cao Fei. Splendid River. 2015. Outdoor installation. Photo courtesy of Secession Vienna/ Oliver Ottenschlaeger.©Cao Fei The Courtauld Institute of Art’s Modern and Contemporary Postgraduate Colloquium invites speakers to navigate the local and the global through their diverse areas of research, not only in art, but in broader cultural fields. The historical period that this event will cover is from the 19 th  century to the present day. The scope of the colloquium is truly global; papers range geographically—spanning the entirety of the world, from the depths of Asia to the heart of South America. Papers will be presented on topics ranging from the manner in which isolated artists sought to communicate with the international art world, to how artists use globalised materials to recreate bridges with their lo...
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有关隐喻的绘画 Paintings about Metaphor

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薛若哲展览 《存在的隐喻》 画册撰文， 2017.12.2 - 2018.3.9，北京现在画廊 Catalogue essay for Ruozhe Xue's exhibition ‘The Metaphor of Existence,' 2017.12.2 - 2018.3.9, Beijing Art Now Gallery 不，再见 No, goodbye 34x47cm 布面油画 oil on linen  2017 “绘画⼀开始就是⼀种虚拟语⽓…复制真实不再是绘画的任务。对于我来说，真实存在于我的选择中，存在于绘画的缝隙⾥。” 薛若哲的最新系列作品探讨绘画的交流与观看机制。这组绘画伴随着⼼理张⼒，充盈了⼀股冷峻的荒诞。荒诞来源于他对画⾯⾃⾝语⾔的篡改，使得绘画内部的正常逻辑发⽣了病理性的变异。但若结合绘画中所营造的整体⽓氛，及其所折射的⼼理状态看，这变异又显得合情合理。可以说，这是⼀组关于“差错”的绘画。吊诡的空间关系⽣发于错误的透视、前后等⼤的⼈物安排混淆了她们的空间关系；差错玩弄着观者的眼睛，逼迫他们进⾏饱含深思却又略显徒劳的凝视。错误的空间与透视造就了神秘荒诞的氛围，差错在若哲⼿⾥成为了⼀种饱含节制的美学。 体操  Gymnastics 200x180cm 布面油画oil on linen  2017 诚如马格⾥特于1937年绘制的那张《不可复制》所⽰，绘画永远⽆法复刻现实。但绘画可呈现的真实可以来源于⼼理上的体验、对⽣活的体悟及对周遭环境的感应。在《体操》中，两个有着⼏乎相同背影、⾐着也⼀致的⼥孩站在⼀个看似空旷、实则封闭的房间中央，她们规训的⾝体仿佛被栖息在房间某⾓落的⼀股暗藏的⼒量管制、把控，接受着其虚拟的指令。画⾯背景中地⾯与墙壁的分界线与⼈物的腰际线发⽣了重合，不合常理的透视安排致使⼈物所处的空间产⽣了些许倾斜的错觉，加剧了画⾯空间的抽象与神秘。 不规则四边形的入口  Trapeziform Entries 195x175cm x2 布面油画oil on linen  2017 或远或近 Near，Far 布面油画oil on linen   137...
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俯瞰的寓言 The Allegory of Overlooking

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评陆超展览，《黑匣子》，2017年03月11日 - 04月08日，Hadrien de Montferrand, 北京 Catalogue essay for Lu Chao's solo exhibition 'Black Box,' Beijing.         人在现实中的生命逻辑是陆超一直感兴趣的问题。他的绘画就像梦境，反映了人的生存。从对人群的俯瞰式描绘，到以“放大的面孔—小人”为题材的场景构建，“黑匣子”一展反映了陆超自从北京到伦敦以来创作上的转变：即从对中国人在社会主义阶级化环境下之生存状态的关注，上升到对人类存在的思考。这种思考是艺术家对自身存在的体验辐射到对周遭社会生活的反思，       “当我俯瞰一片人群的时候，会有一种虚无的感受。”   远距离观看所能达到的效果，是将观察对象物化的同时，消解主客之间的区分 — 它是一种将主体代入的观察过程。虚无则或许是艺术家在这种代入过程中、思索“我”与人群之间的关系时，所获得的顿悟。我们可以把陆超的绘画理解为对俯瞰这一视角的寓言式解构，其中艺术家用虚实结合的方式探索了现实生活中的疏离与人在其存在意义上的虚无本质。 Elsewhere No. 2, oil on canvas, 120 x 150 cm, 2015        陌生的面孔因被成批嫁接到与其现实脱离的原始森林中而使这批画中的场景变成了“别处”。结在秃枝上的这些不按比例放大的脸孔与周遭环境格格不入，却对他们所处的错位境地毫无知觉。根据德勒兹与加塔利对颜貌（visagéité）的论述，面孔是抽象的表意机器，它遵循白墙（用来投射意义的平面）与黑洞（意义或主体性生成的场所）机制。任何意义都是一种配置，当面孔脱离了其社会性角色，其个体性也将随之土崩瓦解。对德勒兹与加塔利而言，面孔是人类身体中最非人化的部分，当它从赋予其社会定义的环境中被单独抽离出来，就变成了一张不带意指的白纸，不再具备属于人的个体独立性与交流性。陆超则恰好在他的画中作出了这种德勒兹式的描绘。特别是在《别处No.2》一作中的那张漂浮在画面中央水面上的人脸，面对观众的后脑勺空空如也，面孔因此变成了假面，...
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