地 | 心 Psychogeography
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 in daily life, what Cheung presents is a side view that instead highlights psychology and aesthetics. By adopting an ever-moving panoramic view, by revealing the spatial structure in the often unsightly scene of construction sites, and by alienating us from otherwise familiar public spaces, she has composed various situations in an attempt to depart from conventional views of the urban environment. The term ‘psychogeography’ is included in the exhibition title in order to highlight the psychological perspectives at play in the artist’s perception, research, and translation of urban and rural landscapes alongside the social communities they shape. The exhibition also investigates how she departs from repetitive, mundane everyday life through her artistic practice, challenging the disciplinary structures lurking beneath a society of producers and consumers, and through this process attaining a personal liberation of the spirit.
The multimedia VR work Wandering deploys virtual characters to explore what exists beyond the established impression of a physical space. It sits alongside Conventional Hall in the Night, the largest canvas in the show, to imagine a fictional plot that underlies the physical existence of the spaces depicted. In this way, the work reflects the extraordinary psychological structure which the artist has excavated from the landscape and its surrounding communities.
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一间艺术空间荣幸地呈献艺术家张银亮在北京的首次个展“地 | 心”，将展出艺术家近年来的油画、单版画及VR作品。 张银亮的创作以寻常地景（ordinary landscape）出发。她透过或鲜活、或疏离、或吊诡的色彩描绘，来诠释对日常城乡空间与社会环境的感知。地理学家段义孚认为“地景”是一个既具吸引力又模糊的概念：它既是一个外部的存在、受我们的视界所限定，又是基于感觉与想象的建构。与“环境”不同的是，地景陈列在我们眼前，而非将我们包围；只有我们有意识时，地景才成为真实的存在。展览以“地 | 心” 作为主题，意图探索地景与主体在分隔的疏离关系中却又相互生发、刺激的复杂形态。
每个地景都是一个符号系统，表现了日常生活中所深藏的文化意义、个人行为与社会氛围。假如功能性是地景在日常生活中最直接的面向，张银亮所呈现的即是由个人心理与美学出发的地景侧面图。她通过不断移动的全景敞视、粗陋的建筑施工过程的肌理剖析，及对我们习以为常的城市公共空间的异化处理，构建了种种打破对城市空间刻板印象的情境。Psychogeography（心理地理学）在此作为展览主题的英文解读，强调了艺术家在心理学层面上，对城乡地景及其所形塑的社会群体的个体化感知、研究与转译；并探讨艺术如何由日复一日的机械式生活出发，破除生产与消费社会隐藏的规训，以实现个人的精神解放。
此次展出的多媒体VR作品《漫游》以虚拟人物为主导，探讨实体空间在既定印象以外的另一种可能性。这件VR作品与本次展览中尺幅最大的油画《夜的展览馆》一同构建真实存在的建筑背后的虚拟情节，间接反映出艺术家从建筑空间与其周围社群中所挖掘出的异常心理结构。
Selected works in the show:
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 in daily life, what Cheung presents is a side view that instead highlights psychology and aesthetics. By adopting an ever-moving panoramic view, by revealing the spatial structure in the often unsightly scene of construction sites, and by alienating us from otherwise familiar public spaces, she has composed various situations in an attempt to depart from conventional views of the urban environment. The term ‘psychogeography’ is included in the exhibition title in order to highlight the psychological perspectives at play in the artist’s perception, research, and translation of urban and rural landscapes alongside the social communities they shape. The exhibition also investigates how she departs from repetitive, mundane everyday life through her artistic practice, challenging the disciplinary structures lurking beneath a society of producers and consumers, and through this process attaining a personal liberation of the spirit.
The multimedia VR work Wandering deploys virtual characters to explore what exists beyond the established impression of a physical space. It sits alongside Conventional Hall in the Night, the largest canvas in the show, to imagine a fictional plot that underlies the physical existence of the spaces depicted. In this way, the work reflects the extraordinary psychological structure which the artist has excavated from the landscape and its surrounding communities.
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一间艺术空间荣幸地呈献艺术家张银亮在北京的首次个展“地 | 心”，将展出艺术家近年来的油画、单版画及VR作品。 张银亮的创作以寻常地景（ordinary landscape）出发。她透过或鲜活、或疏离、或吊诡的色彩描绘，来诠释对日常城乡空间与社会环境的感知。地理学家段义孚认为“地景”是一个既具吸引力又模糊的概念：它既是一个外部的存在、受我们的视界所限定，又是基于感觉与想象的建构。与“环境”不同的是，地景陈列在我们眼前，而非将我们包围；只有我们有意识时，地景才成为真实的存在。展览以“地 | 心” 作为主题，意图探索地景与主体在分隔的疏离关系中却又相互生发、刺激的复杂形态。
每个地景都是一个符号系统，表现了日常生活中所深藏的文化意义、个人行为与社会氛围。假如功能性是地景在日常生活中最直接的面向，张银亮所呈现的即是由个人心理与美学出发的地景侧面图。她通过不断移动的全景敞视、粗陋的建筑施工过程的肌理剖析，及对我们习以为常的城市公共空间的异化处理，构建了种种打破对城市空间刻板印象的情境。Psychogeography（心理地理学）在此作为展览主题的英文解读，强调了艺术家在心理学层面上，对城乡地景及其所形塑的社会群体的个体化感知、研究与转译；并探讨艺术如何由日复一日的机械式生活出发，破除生产与消费社会隐藏的规训，以实现个人的精神解放。
此次展出的多媒体VR作品《漫游》以虚拟人物为主导，探讨实体空间在既定印象以外的另一种可能性。这件VR作品与本次展览中尺幅最大的油画《夜的展览馆》一同构建真实存在的建筑背后的虚拟情节，间接反映出艺术家从建筑空间与其周围社群中所挖掘出的异常心理结构。
Selected works in the show:
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| 卡丁车场，Kart Game, 180 x 100cm, 2019 |
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| 上海工地，Shanghai Construction Site. Oil on canvas, 160 x 75cm, 2016 |
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| 通道，Underpass. Oil on canvas, 160 x 75cm, 2017 |
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夏之旅途, 纸上独幅版画, 24.5x30cm, 2019
Summer Road, Monotype on Archival Paper, 24.5x30cm, 2019
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裁缝店, 纸上独幅版画, 24.5x30cm, 2019
Tailor Shop, Monotype on Archival Paper, 24.5x30cm, 2019
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笼中鸟, 纸上独幅版画, 24.5x30cm, 2019
Caged Bird, Monotype and Pastel on Archival Paper, 24.5x30cm, 2019
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XX, 纸上独幅版画, 24.5x30cm, 2019
XX, Monotype on Archival Paper, 24.5x30cm, 2019
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夜的怒放, 纸上色粉及独幅版画, 24.5x30cm, 2019
Blossom In the Night, Monotype and Pastel on Archival Paper, 24.5x30cm, 2019
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About the artist
Ngan Leong Anna Cheung
Ngan Leong Anna Cheung is an artist, now based in Hong Kong and Beijing. Cheung’s practice focuses on painting and printmaking, involves installation and photography. She graduated with MFA degree in painting from Slade School of Fine Art, UCL in 2015 and with BA degree in painting and printmaking from The Glasgow School of Art in 2012, participated in exchange programme at Massachusetts College of Art and Design in 2010. Has attended Stephenie Bergman Studio Residency in Morocco.
Cheung’s solo exhibitions include: Aurae (Yiiie Gallery, Chengdu, 2018), Courtyard in A Nocturne (Minority Space, Beijing, 2017). A selection of recent group exhibitions includes: Elite Young Artists Program- Exhibition of Selected Works (Jining Museum of Art, Jining, 2019), Stance (Eslite Gallery, Taipei, 2019), Have You Forgotten Me- MAMALA Temple Fair 2019 (Chen Gallery, Beijing, 2019), SU Wong-shen With His Young Friends (Eslite Gallery, Taipei, 2018), Paperism (Link Gallery, Beijing, 2018), Elite Young Artists Program (Right View Art Museum, Guofeng Art Museum, Shenzhen, Beijing, 2018).
Cheung’s solo exhibitions include: Aurae (Yiiie Gallery, Chengdu, 2018), Courtyard in A Nocturne (Minority Space, Beijing, 2017). A selection of recent group exhibitions includes: Elite Young Artists Program- Exhibition of Selected Works (Jining Museum of Art, Jining, 2019), Stance (Eslite Gallery, Taipei, 2019), Have You Forgotten Me- MAMALA Temple Fair 2019 (Chen Gallery, Beijing, 2019), SU Wong-shen With His Young Friends (Eslite Gallery, Taipei, 2018), Paperism (Link Gallery, Beijing, 2018), Elite Young Artists Program (Right View Art Museum, Guofeng Art Museum, Shenzhen, Beijing, 2018).
About the curator
Sophie Guo
Sophie Guo is a London-based art historian and curator. She is doing Ph.D. in Modern and Contemporary Asian Art at the Courtauld Institute of Art and received her BA and MA degrees in History of Art from University College London. She is Associate Editor at Immediations, the Courtauld’s peer reviewed journal of art history and a writer for magazines including Art Newspaper (China) and Ocula.
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