暗面 | 胡子
开幕时间：2020年9月5日 16:00-19:00展览时间：2020.09.05-2020.09.30
他们是暗红色，和凝固的血是一样的颜色。皮肤稍稍更浅些，头发稍稍更深些。目光朝着同一方向。
“ 瞧！米开朗基罗，她的皮肤苍白，像一块卡拉拉大理石。”“ 伦勃朗，她的眼睛也是黑色，像一颗坠落的黑钻石。”“ 橘色的双唇微微张开，湿润而邪恶。教宗，她诚实么? ”他们是暗红色，和凝固的血是一样的颜色。肉体稍稍更轻些，灵魂稍稍更暗些。
胡子在东画廊的第四个展览将呈现全新画作系列“暗面”。胡子重访了11幅十六十七世纪的皇家贵族肖像画与当时艺术家们的自画像，并将这些画重新创作为极简的、波普的图画，而其背后隐藏着文艺复兴与启蒙时期的暗影。米开朗基罗、提香、伦勃朗、菲利普四世、亚历山大·蒲柏、伊丽莎白一世、玛丽·安托瓦内特……时隔三四百年，“这些西方艺术史上的著名人物和他们的肖像令人仰视，它们反复出现在书籍、博物馆乃至明信片等复制品中，让人看得快麻木了。而胡子的重访，则给了我们新鲜的眼光去重新观看他们。”（Andy Cohen 语）这也延续了胡子长久以来肖像绘画的个人传统，可以说，每一张也都是她的自画像。
Marie Antoinette in Versailles 玛丽·安托瓦内特在凡尔赛宫, HU Zi 胡子, 2019. Gouache on paper 纸上水粉, 74.7×54.7 cm
从早期水粉到现在水粉、油画兼顾，“胡子画中的线条仍具有极高的辨识度，它们有棱有角，直来直去，非常胡子。这种线条强化了画中人物个性、权力与时代的暗面。”（Andy Cohen 语）
此次展览还将展出胡子的三幅自画像，也是胡子第一次明确定义的自画像。“《穿着橙色皮衣的自画像》（Self-Portrait with Orange Leather, 2020）与本系列中所有其他正面肖像对比鲜明，因为胡子侧着头，她的头发遮住了她的眼睛。不过，这种隐藏同时也是一种显露。观者透过她的耳朵、鼻子、嘴和手的轮廓，拼出了一幅关于艺术家个性的肖像。三幅画分别就像一部电影里的三帧画面，从还能看到她左手捏着一根烟的远景镜头递进到了头部特写。”（Andy Cohen 语）
Rembrandt 1634 (after Rembrandt) 摹伦勃朗的伦勃朗1634, HU Zi 胡子, 2019. Oil on canvas 布面油画, 50×40 cm
“如果借用贡布里希 ‘图式与修正’（schema correction）的说法，那胡子对这些西方肖像画“图式”的重访，也即她以自己独特的视觉语言对其所作的 ‘修正’。贡布里希在《艺术与错觉》一书中写道：‘艺术家的创作不可能无中生有，但可以对前辈们评头画足。’ 这些自画像等待着后世艺术家的 ‘修正’，一如她‘修正’了十六十七世纪的这些历史肖像。光明与黑暗，昼与夜，阴与阳贯穿着人类的全部历史，也潜含于人类存在的本质，一同溶解在了胡子的暗面中。”（Andy Cohen 语）
关于艺术家
胡子 (生于1981年) 毕业于中国美术学院综合绘画专业并获艺术硕士学位 (2007年), 曾在巴黎美术学院交换生期间于巴黎国际艺术城驻留 (2006年) 并入选苏格兰格兰菲迪艺术家驻村计划 (2014年) 和瑞士文化基金会驻留项目 (2019年), 现生活并工作于上海。她通常使用水粉, 但也涉猎油画, 两种颜料在她手上都会被处理出一种半透明的质感。她在长期的肖像创作中, 通过制造身体轮廓的独特触感整理个体经验并建立自我表象, 同时把自己对异域文化的理解和对异性的不对称凝视结合到一起。题材涉猎摇滚巨星、文学巨匠、艺术家等对她产生过影响的人。胡子的个展包括“暗面”(东画廊,上海, 2020年)、“石肉”(东画廊,上海, 2018年)、“Mozart”(Studio D’Arte Raffaelli,意大利,特伦托, 2017年)、“Lover”(Fab Union,上海, 2016年)、“肉” (东画廊,上海, 2014年)、“Kids”(东画廊,上海, 2014年)等。她曾参与上海美术馆的展览“果冻时代”(2007年), 巡展至法国里昂当代艺术馆与瑞士巴塞尔 Dreispitzhalle艺术中心 (2010年)。
本次展览由东画廊和上海光启文化产业投资发展有限公司联合举办。
Opening on: 5th September, 2020, 16:00-19:00Duration: 5th September - 30th September, 2020Address: Hall D, 2555 Longteng Avenue, West Bund, Shanghai, ChinaThey are in the color of merlot, the same color as coagulated blood. The skin is slightly fairer, the hair slightly duskier. They are gazing in the same direction.“Look, Michelangelo, her skin is pale, like a Carrara marble.”“Straight nose, grim and dangerous eyes, the face of a knight.”“Rembrandt, her eyes are also black, like a falling black diamond.”“Orange lips merely open, moist and evil. Pope, is she honest? ”“If your hand causes you to stumble, cut it off and throw it away.”“Velázquez, she is walking even closer toward you.”
“Same as the dark soul, is the dark side of a beaming light.”They are in the color of merlot, the same color as coagulated blood. The flesh is slightly lighter, the soul slightly darker.In her fourth exhibition at Don Gallery, Hu Zi presents her latest series of paintingsDark Side. She appropriates iconic portraits of sixteenth and seventeenth century kings and queens and fellow artists and refigures them into eleven minimalistic, pop-like imagestormented by the dark side of the Renaissance and Enlightenment—periods during which both the arts and slavery flourished in tandem. Many of these images are so ingrained in the institutionalized western canon — Michelangelo, Titian, Velázquez, King Philip IV, Rembrandt, Alexander Pope, Elizabeth I of England, and Marie Antoinette… “These historical figures and their portraits have been reproduced in art history books and museum postcards ad infinitum—that we have become desensitized to them. Hu Zi’s variations gives us a fresh perspective, and makes us look anew. ” (Andy Cohen) This series continues her own tradition of portrait making, and each of these portraits could be read as her self-portrait too.Self-Portrait with Orange Leather III 穿着橙色皮衣的自画像 III, HU Zi 胡子, 2020. Gouache on paper 纸上水粉, 55.5 × 37 cmFrom earlier gauche to both gauche and oil painting now, “Hu Zi’s lines are highly discriminating — angular, and straight forward. The jagged-edged outlines of her subjects’ physical features reinforce the dark sides of their personalities, power and time.” (Andy Cohen)Also on display is Hu Zi’s self-portrait triptych, Self-Portrait with Orange Leather (2020), her very first explicitly defined self-portraits. “Here, in striking contrast to the depictions of overt facial expressions in all the other portraits of this series, Hu Zi hides her own eyes behind her hair. This concealment is nonetheless revealing. The viewer is left to put together the puzzle of her personality through the minimalistic lines of her profiled ear, nose, mouth and her hand. The works in the triptych are like film frames that zoom out from a close-up to full body shot in which we see her left hand holding a marijuana joint. ” (Andy Cohen)Self-Portrait with Orange Leather I 穿着橙色皮衣的自画像 I , HU Zi 胡子, 2020. Gouache on paper 纸上水粉, 54.5 × 37.5 cm “Hu Zi’s renderings of these icons engage in a sort of ‘schema correction’ — to borrow a phrase from EH Gombrich--of western canonical images (the schema) that results in her own original, visual language (the correction). As Gombrich wrote in Art and Illusion, ‘The artist cannot start from scratch, but he can criticize his forerunners.’ Hu Zi leaves plenty in her self-portrait for future artists to ‘correct’, as well as in her rectified portraits of historical icons from the 16th and 17th centuries. Light and darkness are as common to every period of human history as they are to each day and night — the Yin to the Yang. Hu Zi’s latest body of work embraces the underlying bipolar nature of human existence as well as society’s need to whitewash its dark side. ” (Andy Cohen) Hu Zi (b. 1981) graduated from The Department of Comprehensive Painting at China Academy of Art with M.F.A. (2007), once stayed in Cité internationale des arts Paris for residency during her exchange student at École des Beaux-Arts de Paris (2006) and was selected for Glenfiddich Artist in Residence Programme in Scotland (2014), Swiss Arts Council Artist in Residence in Switzerland (2019), currently living and working in Shanghai. She works most often in gouache, but also in oil paint, both invested with translucency. In her long-term practice of making portraits, she collates individual experiences for the construction of a self-image by fabricating the very unique touch of body boundaries, also brings together her understanding of exotic culture and her misaligned gaze on the opposite sex. The subjects addressed include rock gods, literary giants, great artists and those who have or had an impact on her. Hu Zi’s solo exhibitions include “Dark Side” (Don Gallery, Shanghai, 2020), “Stone Flesh” (Don Gallery, Shanghai, 2018), “Mozart” (Studio D’Arte Raffaelli, Trento, Italy, 2017), “Lover” (Fab Union, Shanghai, 2016), “Flesh” (Don Gallery, Shanghai, 2014), “Kids” (Don Gallery, Shanghai, 2014), etc. She was also featured in “Infantization” organized by Shanghai Art Museum (2007), later toured to Musée d'art contemporain de Lyon, France and Basel Dreispitzhalle, Switzerland (2010).
“Dark Side” is held jointly by Don Gallery and Shanghai Guangqi Culture Industry Investment Development Co., Ltd.
上海市徐汇滨江龙腾大道2555号D馆
Hall D, 2555 Longteng Avenue, West Bund, Shanghai
参观时间：周二-周六 10:00-18:00，周日 13:00-18:00
Visiting hours：Tue-Sat 10:00-18:00, Sun 13:00-18:00
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