展览 EXHIBITION | 雨果·德维切尔 Hugo DEVERCHÈRE「远方」| 杜梦堂 上海
有两种东西，我对它们的思考越是深沉和持久，它们在我心中唤起的惊奇和敬畏就越日新月异，不断增长，这就是我头上的星空和心中的道德定律。我不去寻找或揣度它们中的任何一个，它们仿佛是我视野范围之外的朦胧晦涩之物或奢侈之物；当它们出现在我眼前，我便将它们与我的存在联系起来。
—— 康德《实践理性批判》
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Hugo DEVERCHÈRE | 雨果·德维切尔 (b.1988)
Two things fill the mind with ever-new and increasing admiration and awe, the more often, and steadily we reflect upon them: the starry heavens above me and the moral law within me. I do not seek or conjecture either of them as if they were veiled obscurities or extravagances beyond the horizon of my vision; I see them before me and connect them immediately with the consciousness of my existence.
—— Immanuel Kant“Critique of Practical Reason”该项目始于2019年，时逢中国“嫦娥四号”探测器首次登陆月球背面，人类第一次能够观察和研究这片既近又远，在我们意识之中却又逃离我们凝视之外的区域。通过借助有关太空探索的最新发现，德维切尔研究了地球与其他行星在地质和化学层面强烈相似的地形景观。正如外行星地质学家和天体生物学家所说：想要研究外行星世界，首先需要探索和重新发现我们自己的环境。
Between the United States, Italy, Chile, Spain, and China, "The Far Side" investigates these landscapes' multiple physical and symbolic dimensions. Their appearance evokes both what the Earth must have looked like during its chaotic birth and the vision of its destruction and post-human future. They represent the uchronic fantasy of a cosmic elsewhere and embody past, present, and future projections.
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Hugo DEVERCHÈRE | 雨果·德维切尔 (b.1988)
The Far Side - Uchronia #01 | 远方 - 乌有史 #01
2023
Digital pigment print
艺术微喷
150 x 225 cm
Ed. 5 + 2 A.P
艺术家发展出了多种不同的技术和处理方式来实现这些特殊的景象。《域》(Field)和《乌有史》(Uchronies)系列的每张图像都是由几百张从同一视角拍摄的照片组合而成。这种技术借用了天体摄影的方式，使图像的精度和细节远超我们自身感知的敏锐度。这种“逼真效果”对这些地点的性质和存在造成了潜在的干扰。
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The Far Side - Uchronia #03 | 远方 - 乌有史 #03
2023
Digital pigment print
艺术微喷
107 x 160 cm
Ed. 5 + 2 A.P
The "67P/T-G" series combines images of the comet Churyumov-Gerasimenko taken by the Rosetta spacecraft with images of rocks collected by the artist during his travels through different algorithms. The resulting images are materialized by this same rock reduced to powder and mixed with carbon - an essential element for the emergence of life - on photo etching plates.
The "Regolith" series, created using the same technique, combines images from the Mars Reconnaissance Orbiter with macro photographs of terrestrial soils. The dust from this soil, mixed with a synthetic pigment called "Mars black", here becomes embedded in the engraved plates.
The Far Side - 67P/C-G, 5x∞h #11｜远方 - 67P/C-G, 5x∞h #11
2023
Carbon and minerals on photopolymer plate
碳、矿物、感光树脂版
38.5 x 29 cm
Unique Piece 独版
两件霓虹装置则把我们带到了天文学探索与研究的最前沿。《行星9》模拟了太阳系深处可能存在的天体“行星X”的轨道，其质量约为地球的十倍，处于最遥远的偏心轨道，作为其位置参照的是七个已知的遥远太阳系物体的轨道。这组椭圆照亮了诸多关于太空探索的情感和问题，以及我们为发现自己在宇宙中的位置所做的努力——我们从哪里来，生命是如何出现的，而我们又将走向何方。
The two neon installations bring us to the latest astronomy hypothesis and discovery. “Planet 9” simulates the orbit of hypothetical Planet X with possibly ten times the mass of the earth in the most distant eccentric orbit aligned with seven previously known extremely distant objects of our solar system. These ellipses illuminate so many emotions and questions, such as the efforts we have made to discover our own place in the universe – where we come from, how life appeared, and perhaps, where we’re headed.
《行星h》描绘了围绕恒星Trappist-1的一颗可能承载液态水的类地行星的推测轨道。图像由计算机模拟生成，它试图从各种近似的测量结果中推断出恒星的确切位置。这件作品使我们直面自身观察、发现和理解能力的界限，而这些能力又都依赖于科技和技术领域。在没有比例参照的情况下，该图像同样可以代表一个粒子的无穷小轨迹，根据一些量子理论，它可以在同一时间出现在几个地方，与我们理解世界的逻辑和直觉相悖。
"Planet h" maps out the possible orbits of an exoplanet of the Trappist system that could host liquid water. The drawing was generated by a computer simulation that attempts to deduce the exact position of the star from various approximate measurements. The work puts us in front of the boundaries of our observation, discovery, and understanding abilities based on our technical and technological faculties. Here given to see without scale reference, the drawing could equally represent the infinitesimal trajectories of a particle which, according to some quantum theories, can be in several places simultaneously, thus defying the logic and intuition with which we understand the world.
Hugo DEVERCHÈRE | 雨果·德维切尔 (b.1988)
The Far Side - Regolith #04 | 远方 - 火壤 #04
2023
Minerals, "Mars black" pigment and soil on photopolymer plate
矿物、“火星黑”色粉，土壤， 感光树脂版
53 x 38 cm
Unique piece 独版
Besides space and place, the exploration of time is also key notion in comprehending the exhibition. The "67P/C-G, 5x∞h" series comprises 40 snapshots on which we gradually observe the comet's rotational motion as it travels towards us. The anachronism of the techniques used by the artist is put back into perspective in these images that can recall both Muybridge's early studies of the decomposition of motion and photogrammetric shots of objects intended to create their three-dimensional digital model. The same imaging intervals were then reproduced by the artist on earth in the "Uchronia, ∞+1h" series, in which we now witness the evolution of atmospheric conditions merging with the smoke plumes of a volcano.
The Far Side - Artefact #01 | 远方 - 考古挖掘 #01
2023
Water, salts, volcano rocks, glass, steel
水，盐，火山岩，玻璃，钢架
180 x 40 x 40 cm
As Henri Guette wrote about his practice, Hugo Deverchère’s installation work puts us at the crossroads of a sci-film set and a laboratory, allowing visitors to comprehend phenomena beyond them. "The Far Side - Artefact #01, #02, and #03" is no different and invites us to enter a microcosm of volcano rocks, Magnesium sulfate, and water. Natural matter from distinct environments interacts. This process allows, on a microcosmic scale, the emergence of a new landscape in constant evolution that re-enacts some geological phenomena, as we see in " Exotime #01 and #02 » that can take millions of years to develop, here brought within our reach in the time span of the exhibition.
The Far Side - Artefact #01(detail) | 远方 - 考古挖掘 #01(局部) 2023
Here dissected through multiple scales, times, and processes, the landscape, its evolution, and its compounds question the materiality of photography and its speculative dimension. By bringing together the near and the far, the present, the past, and possible visions of the future, and by bringing terrestrial landscapes together with astronomical observations, Hugo Deverchère develops possible evocations of an unexplored elsewhere, perhaps disappeared or not yet realized.
关于艺术家
ABOUT THE ARTIST雨果·德维切尔1988年出生于法国里昂，先后毕业于国立高等装饰艺术学院(École Nationale Supérieure des Arts Décoratifs)和图尔宽的法国国立当代艺术中心(Le Fresnoy - National Studio for Contemporary Arts)。2019年至2020年期间，德维切尔在法兰西学术院Casa de Velázquez完成了艺术家驻留项目。
Born in 1988 in Lyon, France, Hugo Deverchère graduated from ENSAD Paris (École Nationale Supérieure des Arts Décoratifs) and from Le Fresnoy - National studio for contemporary arts. Between 2019 and 2020, Deverchère completed his artist residency program at the Casa de Velázquez of the Académie Française.
His work has recently been exhibited and screened in Palais de Tokyo (Paris FR), MAMC+ (Saint-Etienne), Collection Lambert (Avignon), Nuit blanche (Paris and Kyoto) FRAC Grand Large (Dunkirk), Pearl Art Museum (Shanghai), MACRO (Rome), the International Film Festival Rotterdam, CPH:DOX (Copenhagen), Ars Electronica (Linz) and the Festival du nouveau cinéma (Montreal).
Driven by an almost scientific approach, Hugo Deverchere’s work attempts to set up a body of experiences which are just as many ways to question and evaluate our relationship with the world. Whether based on stories, collected data, captured or simply found images, his research often involves processes such as modelization, conversion, and transposition.
The resulting forms act as a prism between reality and its representations, revealing the interval which separates our perception of the world and the knowledge and awareness we have of it. By questioning the role of imagination and collective memory in our approach to reality, the artist wishes to highlight phenomena and events which by their very nature are intangible and therefore remain subject to doubt and uncertainty.
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雨果·德维切尔 Hugo DEVECHÈRE｜杜梦堂艺术家