项目预告 | 倒影（11.08-12.04，上海铜仁路）
四方当代美术馆支持项目
Supported by Sifang Art Museum
倒影
Reflections in the Water
策展人 |
Curator
杨鉴
Yang Jian
艺术家 |
Artist
杜京泽
Du Jingze
空间设计 |
Spatial Designer
梁琛
Liang Chen
展期 | Duration
2022.11.08 - 12.04
开幕时间 | Opening
2022.11.08 14:00
访问 | Visit
周二至周日 11:00-18:00
Tue to Sun 11:00 – 18:00
地址 | Address
上海静安区铜仁路314弄7号314室
Room 314, No. 7, Lane 314, Tongren Road,
Jing’an District, Shanghai
鸣谢 | Acknowledgement
艺术家及蜂巢当代艺术中心
The artist and Hive Center For Contemporary Art
四方当代美术馆欣然宣布即将于2022年11月3日在其上海铜仁路卫星空间开幕艺术家杜京泽（1995年出生于山东烟台，现生活工作于爱尔兰都柏林）的个展“倒影”（Reflections in the Water），这也是他在上海的首次个展。作为当下全球范围内最受瞩目的华裔年轻艺术家之一，杜京泽先后毕业于爱尔兰国家设计与艺术学院（BFA，2014-17）和伦敦皇家艺术学院（MA，2017-19）。本次项目邀请到杨鉴担当策展人，以及空间设计师梁琛共同基于杜京泽的创作理念与视觉逻辑，结合铜仁路空间的特殊性与地缘环境，共同为艺术家呈现一个具有空间实验性和漫延作品观念的全新个人项目。
Sifang Art Museum is pleased to present Reflections of the Water, a solo exhibition of Du Jingze (b. 1995, Yantai, Shandong, now lives and works in Dublin, Ireland), opening on November 3rd at its Tongren Road Space. This is also Du’s first solo exhibition in Shanghai. One of the most prominent emerging artists of Chinese descent, Du Jingze graduated from the National College of Art and Design, Ireland, in 2017 with a BFA and Royal College of Art in London, UK, in 2019 with a MA. Emanated from the artist’s creative philosophy and visual structure, integrated with the distinct spatial nature and geo-environment of Sifang’s satellite space on Tongren Road, this project has Yang Jian as the curator and Liang Chen as the interior space designer to introduce a spatially experimental and conceptually extensive solo presentation.
杜京泽
两面神，2022
布面油画
150 x 150 cm
Du Jingze
Janus,2022
Oil on canvas
150 x 150 cm
本次展览的题目“倒影”（Reflections in the Water）来自于艺术家创作时候喜欢听的音乐，“倒影”抽象而灵动，其曲作者德彪西用浪漫主义的繁琐、华丽和沉重截然相反的音律创造了作曲中的“印象主义”，但更深层次的力量与振奋与来自于对作曲家，通过创作，与自己出身的权贵阶层对抗与反思，背后映射的更是突破原生枷锁和对于自由表达的角逐。同样，从表象上的制图化绘画逻辑和网络图像画的素材来源判断，1995年出生的杜京泽很容易被作为媒介剂或图层绘画的世界范围内的群体绘画现象当中去考量，我们拒斥这种粗糙的提炼，与其说杜京泽的绘画是制图式的物质化炮制，倒不如将其看作是一种绘画对于制图逻辑的一种饱含质疑、诘难和机智的挣脱与窥探。
The title of this exhibition, Reflections in the Water, is borrowed from the artist’s favourite music while painting. “Reflections in the Water” is abstract and dynamic. The composer, Debussy, created an ‘impressionist’ composition with a temperament opposite of the elaborate, ornate and dramatic Romantic music. Yet the more profound strength and exhilaration came from the confrontation and reflection of the composer with the aristocracy he was born into through his work, behind which lies the struggle to break free from the constraints of his heritage and to express with freedom. Again, judging from the facile reasoning of representational painting and the source of digital images, it is to consider Du Jingze, born in 1995, as a mediator or member of the global collective painting phenomenon of layer painting. We reject this crude simplification. Instead of graphic materialisation, his paintings can be regarded as an examination, interrogation, witty escape and speculation into the logic of representational painting.
杜京泽
珊瑚，2022
布面油画
150 x 150 cm
Du Jingze
Coral, 2022
Oil on canvas
150 x 150 cm
“倒影”将呈现杜京泽全新创作的具强烈空间概念的肖像绘画作品。杜京泽确实仰仗制图软件与手段完成画稿的初始创作，但这一切的铺垫是他颇具野心地想要将绘画的传统质感带嵌入图稿，对其望闻问切，甚至是瞬移到场，接下图层在叠合溢出绘画的可乘之机。杜京泽借由这种草图层面底层工作的迅捷性，艺术家勇敢而又极富好奇心地去触碰了各种介于绘画与图像边界的造型逻辑，例如他的名人肖像系列，他在夸张的软件逻辑的变形之上竭力强调笔触与绘画痕迹对于形象在情感链接上的煽动性和塑造性。在此基础上，杜又更具挑战意味地将更多美术史元素进行关联，像是立体主义、现代主义、解构主义等一系列经典的绘画线索和观看逻辑。在这个过程中，我们能看到艺术家在借助软件的同时也在使用美术史资源在与之博弈。在艺术家看来，图像和画面调度终归是骨架，笔刷与画面坦率而又生理性的接触才是肉身，进入图像只是为了找到绘画。
This exhibition features Du Jingze’s most recent portraits, which contain a distinctive concept of space. Du relied on drafting software and tools for his initial sketches, but this was all in preparation for his ambitious attempt to incorporate the traditional textures of painting into his sketches, to observe, to see, to hear, and even to transiently reach to take advantage of the layers as they superimpose in the painting. With this swiftness of working on the underlying sketches, the artist ventures boldly and curiously into the various figuration methods that border between painting and image, such as his portrait series of celebrities, where he emphasizes the provocative and figurative nature of brushstrokes and traces of painting on the emotional connection of the figures over the exaggerated distortion in the software logic. From here, Du provocatively introduces more art historical elements, such as cubism, modernism, deconstructionism and a series of classic painting techniques and hints for viewing. During this process, the artist’s adoption of the software is as present as his references to art history. For him, the handling of image and canvas is, after all, the framework; the candid and physiological engagement of the brush with the canvas is the flesh: he enters the image only to discover painting.
杜京泽
猫科动物，2022
布面油画
60 x 50 cm
Du Jingze
Feline, 2022
Oil on canvas
60 x 50 cm
不难察觉，杜京泽有着古典主义的绘画情节和经验，这也是为什么他将肖像作为他个人绘画线索中的一个重要主体。面对这种具有丰厚积淀的母题，或许想对一张脸建立一个新的个人化的审美的认识，就必须拒绝历史的、既有的和常识的认识，每个物体都视作可能创造了无限的空间。无论是作品内外，艺术家寻求一种与空间概念链接的可能，提示着一种对于未来超越身体内部存在的一种心理纬度上的空间概念。艺术家试图对抗着的或许正是这样的关于形体边界的内核，是某种将形与状看作什么也不是的限制；很多时候就像是只能从一系列的结果出发，回溯性地把它建构为逃避那些熟悉的人造型逻辑与对于特征的理解，自情感细微之处和文化罅隙之间，杜京泽在阻止画面中的一切场域走向某种象征常态的闭合。这也是为什么在杜京泽的画面当中均质的黑、留空的白和锋利的边缘线都在运营一种反向的绘画逻辑，在塑造一种不一样的视觉和心理空间。对于观看也提出来一些挑战，“自其不变者而观之，则物与我皆无尽也”，令人们不断进行着转换时空视角的思维训练、冲破“此时此地”的局限，有时候“曲解”正是我们所需要的。
Evidently, Du Jingze considers the portrait an important subject in his notion of personal practice based on his classical approach to painting narrative and experience. Confronted with such an objective with accumulation, perhaps the desire to create a new individual understanding of a face requires resistance to the established and common sense perceptions of history as each object is perceived as potentially creating an infinite space. Both within and beyond the work, the artist explores the possibility of a relationship with the notion of space, a notion which prompts the psychological latitude for an experience beyond the internal, physical existence in the future. The artist is grappling with what is perhaps the very definition of the boundaries of form, a certain restriction that dismisses form and shape. Very often, he can only depart from a series of results, retrospectively constructing it as an escape from the established figuration methods and understandings of features; from the emotional nuances and cultural gaps, Du is preventing the tendency towards particular representational normality in all extents of the painting. This explains the homogeneous blacks, vacant whites and sharp lines in Du Jingze’s work all function in a reverse reason of painting to construct a different visual and mental space. Some challenges are also posed to viewing: “from the unchanging perspective of things, all things are eternal to us”. Sometimes misinterpretation is precisely what we need as we continue as we are constantly trained to shift our perspective, to break through the confines of the here and now.
关于艺术家
About Artist
杜京泽
Du Jingze
杜京泽，1995年出生于中国山东烟台，2017年毕业于爱尔兰国家艺术设计学院（BFA），紧接着在英国皇家艺术学院（MA）完成研究生课程的学习，并于2019年毕业。曾受到过RHA Studio Prgramme（2020）驻留项目、NUI Art and Design（2017）奖、NCAD Staff Prize奖等多项具有国际影响力的奖项支持与赞助。
杜京泽异常个人而又平和地自由选取他所感兴趣的描绘对象，古典的、流行的，甚至是合成的人物形象被平等对待，这背后反映的是艺术家本人对社会或外界赋予的文化身份与预设的不服从，而更多的是主动地选择、编辑与取舍一些自身更为感兴趣的成分，像是一种自由度极高的新生世界公民心态。
Born in 1995 in Yantai, Shandong, China. After graduating and receiving his BFA at Ireland Studio Programme residency (2020), NUI Art and Design Award (2017), NCAD Staff Prize, etc..
In this age of conflicts, Du Jingze embraces subjects that intrigue him in an extremely private and liberal manner. Classic and pop, collaged figures are treated equally, which hints at the artist’s disobedience to cultural identity and assumptions assigned by society and the outside world. Instead, the artist chose to include more elements of autonomous decisions, editing, and selections derived from his mentality of an independent citizen ofthe new world.
关于策展人
About Curator
杨鉴
Yang Jian
杨鉴（出生于1990年）的策展工作是以艺术史与艺术行业机制的研究和写作为基础，立足本土性深入调研大量亚裔艺术家个案作为主要研究与策展方向。力求将具有时代关照与延展可能的艺术家案例以视觉化和具有社会维度的方式展开于商业或公共的展览场域之中，实现艺术家能效最大化。企图以不同艺术层面、相似时空语境下的迥异个人史勾联出能够佐证当下大历史中的艺术轮廓。
As a curator, Yang Jian studies and writes about art history and the mechanism of the art industry with a research and curatorial focus on Asian artists worldwide from a local perspective. Dedicated to presenting extensible cases of artists that reflect the times by means of visualization and in a social dimension to maximize their functions as artists, Yang attempts to draw a map of art that can highlight the contemporary times in history with different personal histories which have developed on different layers of art yet in similar contexts of time and space.
关于空间设计师
About Spatial Designer
梁琛
Liang Chen
建筑师，艺术家。1987年生于辽宁丹东，2011年毕业于吉林建筑工程学院，获建筑学学士。2011至2015年工作于直向建筑，任理事；作为项目建筑师完成阿那亚三联海边图书馆（“孤独图书馆”）。2017年开始独立建筑与艺术实践，成立工作室阿莱夫时空研究所（www.aleph-liangchen.com）。建筑代表作品：众方纪；曾于A4美术馆，外交公寓12号举办个展；曾于北京山中天艺术中心策划展览《从安东到丹东》，于上海OCAT策划展览《空间规训》。
在建筑和艺术的双重实践中，梁琛关注一个确定集合（具体概念、物体、空间等）在时间上长时段、多时段、大尺度的流变与时空积累。自2013年开始，梁琛在对家乡辽宁丹东长时段、多时段的观察研究与自我分析中层层推进，构建起他创作的起点和源泉。基于近年来在丹东、额尔古纳、新疆等地丰富的地方文化研究和建筑实践，梁琛亦发起了以艺术、建筑、人类学等跨学科研究为基础的“边界计划”。聚焦于知识生成与交换之前沿的边境地带，他试图以跨学科的视角管窥更为广阔复杂的文化、历史、语言和社会心理的边界。
Liang Chen was born in Dandong, Liaoning, China, in 1987. He graduated with a degree of Bachelor of Architecture from Jilin Jianzhu University. From 2011 to 2015, as a former associate and senior project architect at Vector Architects, Liang completed projects including Aranya Seashore Library. In 2017, Liang established his independent architecture and art studio Aleph-Liangchen (www.aleph-liangchen.com). His representative architecture projects include Singer House, Erguna, China. His solo exhibitions include 1976/2020, DRC No.12, Beijing (2020); Liang Chen: Aleph, Luxelakes A4 Art Museum, Chengdu (2019). As a curator, his curatorial practices include From Antung to Dandong, Wind H Art Center, Beijing (2022); Space Discipline, OCAT Shanghai, Shanghai (2020).
Liang focuses on the flow and temporal accumulation of a definite collection (a specific concept, object, space, etc.) over a long period, multiple periods, and large scale in his dual practice of architecture and art. Since 2013, he began to observe his hometown Dandong, Liaoning, in the aforementioned way, which anchored the departure point and source for his work. Built on his research and project experience in Erguna, Dandong and Xinjiang, Liang initiated interdisciplinary research “Border Project” in art, architecture, and anthropology, which focuses on geographical borders, namely the forefront of knowledge production and exchange, to further explore the broader borders of culture, history, language, and social milieu.
图片由艺术家及蜂巢当代艺术中心惠允。
Image courtesy of the artist and Hive Center For Contemporary Art.
展览公众开放时间 | Opening Hours
周二至周日 Tue. - Sun.
11:00 - 18:00
*开幕现场敬请佩戴口罩进入室内，为避免室内聚集，
我们将根据现场具体情况采取相应限流措施。
地址 | Address
上海静安区铜仁路314弄7号314室
Room 314, No. 7, Lane 314, Tongren Road,
Jing’an District, Shanghai
即将展出
Upcoming
企业
Enterprise
塞尔·戈麦斯
Sayre Gomez
展期|Exhibition Duration
2022年11月4日-2023年4月9日
November 4, 2022-April 9, 2023
地点|Venue
南京四方当代美术馆
Sifang Art Museum, Nanjing
往期推荐
Review
关于我们
SIFANG ART MUSEUM