宋兮、杨欣嘉双个展「三眼屏幕」「异地狩猎」将于6月6号开幕!

日期:2020-05-22 11:06:54 来源:可以画廊

展览 >宋兮、杨欣嘉双个展「三眼屏幕」「异地狩猎」将于6月6号开幕!

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三眼屏幕 宋兮

THREE-EYED SCREEN

异地狩猎 杨欣嘉

HUNTING OFF-SITE

展期 | Exhibition Period

2020.6.6-7.30

开幕 | Opening

2020.6.6 15:30-18:00

可以画廊,合肥市经开区齐云路11号,周二至周日

No. 11, Qiyun Road Economic Development Zone, Hefei

可以画廊将于2020年6月6日荣幸推出新空间重新开放后的首次展览:“宋兮–三眼屏幕”、“杨欣嘉–异地狩猎”双个展。本次展览是宋兮、杨欣嘉在可以画廊的第一次个展。将完整呈现两位艺术家近5年来的四十余件重要作品。

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有限自由 Limited freedom / 宋兮

112x133cm

2019

“宋兮个展:三眼屏幕”将在画廊1号厅展出,带来艺术家宋兮包括装置、影像、绘画在内的完整创作脉络和呈现,在近10年的创作中,宋兮注重身体与观念的传达和对人在社会中建立的标准化规则与概念提出质疑,并通过作品将事件传达至不同语境。

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风景,纪念碑与金奇里里 Scenery, Monument and Jinqilili / 宋兮

不锈铁 ⼑ 钢丝

300X280X350cm

2018

三眼屏幕

不同维度的世界,形成不同存在的规则。在自身与外界相互感应中,理解生命。三眼是一个观察外界的探头,又是自身世界的窗口。视觉化形态,让肉身维持生命。不可视形态,探索生命轨迹的可能。法则形态,理解世界本原的规则。

屏幕是可视化的客观主体。作为公共媒介窗口,把意识主体对信息的传播控制在自身。屏幕作为私人媒介窗口,是选择获得信息的通道与世界端口联络的眼。同时,身体作为行动的主体,在公共与私人之间不断转换。

在转换的临界点与各方端口,生命体态的小世界,没有开始,没有结束。

宋兮

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水果的流放 Fruit exile / 杨欣嘉

装置、摄影记录

80×120cm

2019

10版+1AP

“杨欣嘉个展:异地狩猎”将在画廊2号厅展出,展览梳理了艺术家近年来的不同实践线索:艺术项目、图像、绘画等方式多路径交叉前行,丰富的创作肌理渗透着艺术家近期的探索和思考:如何在现实世界中通过对关系的重新装配去生成出新的感知逻辑。

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请相信天气预报 Please believe the weather forecast / 杨欣嘉

纸本水彩

110x150cm

异地狩猎

稻田里长出农夫和水蛇,草原上匍匐着牛羊还有开发商。狮子漫步在郊区,后驻足于烂尾楼顶端。高速路上狂奔着灰兔和野猪,狼来到了居民小区,老虎误闯微信朋友圈。渔人夜以继日的追捕金钱鮸,股民集体潜入海底,鲸鱼频繁跃出海面,海鸥从监控摄像头底下掠过,WiFi荡起粼粼波光。男工沉溺于快手厂妹流连于抖音,流水线上的人们来不及对着机器抒情。劳动者被夺走属于自己的词,野兽在社交媒体上被点赞者猎杀。所有疲于奔命的人,所有四处流窜的兽,共同生存在同一座城,并不共享同一片森林。

总有一天,猎人会闯入另一片陌生的丛林,而猎物们将闯入另一座陌生的城市。

杨欣嘉

Ke yi Gallery will be honored to launch the first exhibition after the reopening of the new space on June 6, 2020: "Song Xi, Yang Xinjia Double Solo Exhibition: Three Eyes Screen, Off-site Hunting." This exhibition is the first solo exhibition by Song Xi and Yang Xinjia in the Ke yi Gallery. More than 40 important works of the two artists in the past 5 years will be fully presented.

Three-eyed screen

Different dimensions of the world form different rules of existence. Understand each other in self and the outside world, understand life. The Three Eyes is a probe for observing the outside world and a window for your own world. The visual form allows the flesh to sustain life. Invisible form, explore the possibility of life trajectory. The form of law, understand the rules of the world.

The screen is the objective subject of visualization. As a public media window, it controls the dissemination of information by the subject of consciousness in itself. As a private media window, the screen is the eye to choose the channel to obtain information and communicate with the world port. At the same time, the body, as the main body of action, constantly changes between public and private.

At the critical point of transition and the ports of all parties, the small world of life form has no beginning and no end.

Song Xi

Hunting off-site 

Farmers and water snakes grow in the rice fields, cattle and sheep crawl on the grasslands, and developers. The lion roamed the suburbs and then stopped at the top of the rotten building. On the highway, gray rabbits and wild boars ran wildly. The wolf came to the residential area, and the tiger accidentally entered the WeChat circle of friends. The fishermen hunted down the money owl day and night. The stockholders collectively infiltrated the bottom of the sea, whales frequently jumped out of the sea, seagulls passed under the surveillance camera, and WiFi sparkled. The male worker is addicted to Kuaishou, and Changmei lingers on the TikTok. Workers on the assembly line have no time to express their emotions to the machine. The laborers were robbed of their own words, and the beast was hunted by the likes on social media. All the tired people, all the beasts wander around, live together in the same city and do not share the same forest.

One day, the hunter will break into another strange jungle, and the prey will break into another strange city.

Yang Xinjia

关于艺术家

宋兮,1983年出生齐齐哈尔梅里斯达斡尔族区,现生活工作于上海。注重身体和观念的传达,在身体和意识去标准化过程中,产生政治化结构上探索生命形态的边界。

宋兮近期参与的主要展览有:个展:法外之地,五五画廊,上海,中国,2018。项目:培训信仰,器·Haus空间,重庆,中国,2019。光之身体项目,798金属库,北京,中国,2015。群展:海面之下是火山,博而励实验室,北京,中国,2019。尴尬,香格纳M50画廊,上海,中国,2018。混合的公共性与私密性,第三届北京国际摄影双年展,2018。第三届今日文献展:另一种选择,今日美术馆,北京,中国,2016。民间的力量,北京民生现代美术馆,北京,中国,2015。明天当代雕塑奖,四川美术学院,2015。

Song Xi was born in Qiqihar Merris Daur District in 1983 and currently lives and works in Shanghai. Pay attention to the communication of body and concept, and in the process of standardization of body and consciousness, the boundary of life form is explored on the politicized structure.

The main exhibitions that Song Xi has recently participated in are: Solo Exhibition: A Land Without Law, May 5th Gallery, Shanghai, China, 2018. Project: Training Faith, Qi · Haus Space, Chongqing, China, 2019. Light Body Project, 798 Metal Depot, Beijing, China, 2015. Group exhibition: Under the sea is a volcano, Bollyer Lab, Beijing, China, 2019. Awkward, ShanghART M50 Gallery, Shanghai, China, 2018. Mixed publicity and privacy, the 3rd Beijing International Photography Biennial, 2018. The 3rd Literature Today Exhibition: Another option, Today Art Museum, Beijing, China, 2016. The Power of the People, Beijing Minsheng Modern Art Museum, Beijing, China, 2015. Tomorrow Contemporary Sculpture Award, Sichuan Academy of Fine Arts, 2015.

杨欣嘉,1983年生于广东,目前生活工作于北京/广东。近期的创作源自对隐藏在事物背后的关系进行挖掘,勘察构成事物关系的层次与褶皱,提取出形式进行视觉转化与关系重组。

杨欣嘉近期参与的主要展览有“劳动的词”,要空间,上海 (2019);“工厂、机器与诗人的话”,798,北京 (2019);“刷屏-劳作”,南京艺术学院美术馆,南京 (2018);“接近美好的世界” ,凯尚画廊, 纽约 (2017);“Second Nature”,K11 Art Foundation,香港 (2017);“路不拾遗”,光州市立美术馆驻地项目,光州(2016);“民间的力量”,北京民生现代美术馆,北京,中国(2015);“移动地域”,Firstdraft Gallery,  悉尼(2015)。

Yang Xinjia, born in Guangdong in 1983, currently lives and works in Beijing / Guangdong. Recent creations have originated from digging the relationships hidden behind things, surveying the layers and folds that make up the relationship of things, extracting forms for visual transformation and relationship reorganization.

The main exhibitions that Yang Xinjia has recently participated in are "The Word of Labor", Space Needs, Shanghai (2019); "The Words of Factory, Machine, and Poet", 798, Beijing (2019); "Painting Screen-Work", Nanjing Art Institute Art Museum , Nanjing (2018); "Close to a Beautiful World", Kaishang Gallery, New York (2017); "Second Nature", K11 Art Foundation, Hong Kong (2017); "The Road Is Nowhere To Be Taken Off", Gwangju City Museum of Art Resident Project, Gwangju (2016) ); "The Power of the People", Beijing Minsheng Modern Art Museum, Beijing, China (2015); "Mobile Territory", Firstdraft Gallery, Sydney (2015).

关于可以画廊

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可以画廊 KeYi Gallery 是一间成立于2019年的当代新星空间,旨在为艺术家打造一个开放性的具有学术实验性的平台,致力推广多元独特的展览项目和艺术家作品,挖掘和培育年轻艺术家。可以画廊前身以私人收藏为主,20年间不断收藏那些具有一定学术价值的当代作品,并始终关注艺术当下及未来的发展趋势。

KeYi Gallery is a contemporary star space established in 2019. It aims to create an open and experimental platform for artists, dedicated to promoting diverse and unique exhibition projects and artist works, and digging and nurturing young artists. The predecessor of the gallery is mainly private collections. During the past 20 years, it has kept collecting contemporary works with certain academic value, and always pays attention to the current and future development trends of art.

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编辑: 唐晓星
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