Narrenturm

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...

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...