郭国柱: 城岭
德玉堂
日期 ：2019年9月7日 – 10月27日
地址：上海市黄埔区北京东路99号, L205 – 206A室
开幕酒会：2019年9月7日 下午 4 – 7 点
德玉堂画廊荣幸推出长居厦门的艺术家郭国柱在本画廊的首次个展《城岭》。本展将于2019年9月7日下午4点至7点开幕，并持续至10月27日。在过去的十多年间，郭国柱一直在通过他的摄影作品研究和记录中国社会、经济和环境的变化。他常常拍摄那些被遗弃的民宅中所留下的以前居民生活痕迹，关注生活中遗失的完整性以及身份的断裂。这些照片就像褪色的记忆，揭示了被城市化进程所碾压的真实的生活和社会结构，以及更重要的是现代化的过程中不断被改变的价值观。本次展览呈现出自《流园》(2015-至今)、《堂前间》(2014-2015)以及《遗物》(2014-2015)三个系列作品，表现中国农村地区正在消失的村落、以及在快速城市化进程中逐渐消融的群体和传统价值观。流园 No.2 | 122°82'E30°72'N Garden No.2｜122°82'E30°72'N , 2015
《流园》（2015年至今）是郭国柱最受赞誉的系列之一，这些作品记录了那些被为寻求社会阶级的上升而移居城市的农民所遗弃的村庄。他们留下的房屋已逐渐破败并被大自然吞噬，最终将被湮没遗忘。照片中人的缺失基本上是过去几十年间人口从农村到城市地区大规模迁移的明证。出身于农民的工人们深信他们将享受更美好的生活，因而留下了许多象征传统亦即被认为是落后的物件，如一整套陶瓷茶具、有着精美木刻的仿古木制床架以及明式的神台。然而稍具讽刺意味的是，类似的物品长期为收藏家所追捧，并在世界各地的拍卖会上以天价售出。在《流园 No.1 | 122°82'E 30°72'N》（2015）和《流园 No.2 | 122°82'E 30°72'N》（2015）中，郭国柱从高处拍摄下这些被遗弃的村庄，捕捉了这些房子的隐忍、安静和谦和之美。他的构图与那些表现意大利卡普里岛或希腊圣托里尼岛别墅的照片相仿，隐隐质疑“进步”和“美好生活”的定义。堂前间 No.22 The Entrance Hall No.22, 2014-2015
《堂前间》系列（2014-2015）呈现出相似的哀婉之意，这些摄影作品记录了浙江省杭州市的一个小村庄中被拆毁的房屋。堂前间是农村家庭重要的社交空间，不单用于接待亲友及访客，也是每年年底举办整个家族的庆祝活动或仪式的场所。堂前间内的物件、装饰和家具通常揭示出主人的社会地位、品味和宗教取向。此外，这些空间在维系家族尊卑长幼秩序方面也发挥着重要作用。郭国柱所拍摄的表现这些空间被遗弃和拆除的照片体现了快速城市化对私人生活的残酷侵袭，也是中国传统家庭结构逐渐瓦解的挽歌。《遗物》系列（2014-2015）则探索记忆和个人经历中最私密的部分，郭国柱将他的镜头聚焦在村民留下的弃物上：一篮子土豆、花瓶和植物、杯子和盘子、褪色的肖像照、一个旧的旅行箱、一个生锈的闹钟、一个有着华美布面的单人沙发和一张约瑟夫·斯大林画像，都被抛入了灰尘和颓败中。出于种种原因，原居民认为这些物品被与他们的新生活格格不入，因而被排除在他们前进的旅程之外。然而，这些诗意的照片让观众得以一瞥这些空间中曾经饱含的私人生活，并邀请他们用想象填补其中的空白。遗物 No.29 Relics of a village No.29, 2014-2015
郭国柱于1982年生于福建永春，并于2005年毕业于南昌航空大学机械系。他的作品被收藏于中央美术学院美术馆及中国丽水摄影博物馆。他曾在多个画廊及艺术机构举办个展，包括德玉堂画廊，上海，2019；莲艺国际，纽约，2017中央美术学院美术馆，北京，2015。他参与的群展包括《东北亚当代摄影展－意义的流转》，2018台北国际摄影节，中正艺廊，台北，2018；《Yes or No》2018青年艺术100北京启动展，嘉德艺术中心，北京，2018；《无量：2016年度三影堂摄影奖作品展》，三影堂艺术中心，北京，2016；《集美×阿尔勒国际摄影季》，三影堂厦门摄影艺术中心，厦门，2015；及《手感》中国美术学院摄影“新学院活动”，中国美术学院美术馆，杭州，2015。郭国柱曾获第五届中国摄影年度排行榜、2016新锐摄影奖、第七届 Prix Pictet 摄影奖提名以及2016三影堂摄影奖入围等多个重要奖项。艺术家工作生活于厦门。更多信息，请致信info@mlfinearts. com或联络 +86 21 6315 1582。遗物 No.07 Relics of a village No.07, 2014-2015
Guo Guozhu: Abandoned
Matthew Liu Fine Arts
Date： September 7, 2019 – October 27, 2019
Address：Suite 205-206A, 99 East Beijing Rd
Opening Reception：September 7, 2019, 4-7 pm
Matthew Liu Fine Arts is pleased to announce the first solo exhibition of the Xiamen-based artist Guo Guozhu at the gallery. Entitled Abandoned, the exhibition opens on Saturday, September 7th, with a reception from 4-7pm and runs through October 27th, 2019.For more than a decade, Guo Guozhu has been researching and documenting the social, economic and environmental changes that have been taking place in China through his photographic works. He often captures abandoned domestic sites with traces of their previous residents, emphasizing the lost coherence in life, and fragmentation of identity. Like faded memories, these photographs reveal a truthful life and social structure that was not only trumped by urbanization and more importantly, the changing values in the process of Modernization. Comprised of works from three series, including Lingering Garden (2015-present), The Entrance Hall (2014-2015) and Relics of a village (2014-2015), this exhibition shed lights on the vanishing villages on Chinese rural regions along with the dissolving communities and traditional values in the process of rapid urbanization.流园 No.91 | 112°43′E 22°22′N Lingering Garden No.91 | 112°43′E 22°22′N
As one of Guo Guozhu’s most critically acclaimed series, Lingering Garden (2015-present) captures the villages abandoned by farmers in search of a gentrified urban life. The houses that they left behind had been dilapidated and devoured by nature and eventually en route to oblivion. The absence of people in these photos are essentially documents of the massive migration from rural to urban areas in the past few decades. Convinced that they are going to enjoy a better life, the migrant workers left objects that symbolizes tradition and hence backward, such as a set of porcelain tea wares, a beautifully-carved antique wooden bed frames, and a Ming-style offering table. It is ironic that similar objects are constantly being sought after by the refined collectors and are sold at astronomical prices in auctions around the world. In Lingering Garden No.1｜122°82’E 30°72’N (2015) and Garden No.2｜122°82’E 30°72’N (2015), Guo photographed the village from above, capturing the seclusion, quietness and humble beauty of these houses. While the composition resembles those photos of the villas in Capri island, Italy or Santorini, Greek, they question the very definition of advancement and good life.堂前间 The Entrance Hall No.12, 2014-2015
Assuming a similar tone of lamentation, The Entrance Hall (2014-2015) recorded the demolished homes of a small village in Hangzhou, Zhejiang province. Entrance halls function as the pivotal social space for rural families, where they receive friends and visitors, and host the extended family celebrations or rituals at the end of each year. Objects, decorations and furnishings in the entrance halls often reveal the social status, tastes, religious orientations of the hosts. These sites also play an important part in maintaining the hierarchy of seniority in domestic life. Guo Guozhu’s photographs of the demolition of these spaces present a brutal invasion of the private life, and are elegies of the loss of the traditional family structure and value in the rapid urbanization.遗物 No.03 Relics of a village No.03, 2014-2015
Exploring the most intimate parts of the memories and personal experiences, in Relics of a village (2014-2015) GuoGuozhu focuses his lenses on the abandoned objects left by the villagers. A basket of potatoes, vases and plants, cups and plates, faded portrait photos, an old travel suitcase, a rusty alarm clock, a majestic chair with beautiful fabric and a portrait of Josef Starlin, are all left in dust and decadence. For some reason, these objects are considered to be incompatible to the inhabitants’ new life and thus being excused from their journey moving forward. Yet these poetic photographs provide the viewers a glimpse into the private life that was held in these spaces, inviting them to fill the blanks with their imagination.遗物 No.28 Relics of a village No.28, 2014-2015
Born in 1982 in Yongchun, Fujian, Guo Guozhu received his B. A from the Mechanics of Nanchang Hangkong University in 2005. His works are included in the public collections of the CAFA Art Museum and Photography Museum of Lishui China. Guo has been the subject of solos exhibitions at Matthew Liu Fine Arts, Shanghai, 2019; W. Ming Art, New York, 2017 and CAFA Art Museum, Beijing, 2015. His works have been included in numerous group exhibitions including Taipei International Photo Festival, Taipei, 2018; Yes or No, 2018 Art Nova 100 Opening Exhibition, Guardian Art Center, Beijing, 2018; Art intervention in rural area: Salvation and symbiosis, Guangdong Museum of Art, Guangzhou, 2016; Jimei × Arles, International Photo Festival, Three Shadows Xiamen Photography Art Centre, Xiamen, 2015 and Senses of the Hand, Photography New Academy Exhibition of China Academy of Art, CAA Art Museums, Hangzhou, 2015. His is the recipient of numerous awards, including 5th Annual Photography Rankings Of China, New Talent Award 2016 and The 2016 Three Shadows Photography Award. The artist currently lives and works in Xiamen.For further information, please contact info@mlfinearts. com or +86 21 6315 1582.
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+86 21 6315 1582
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