BANK 新展｜陈哲《你仍然知道的事》11月13日开幕 | Chen Zhe | Opening on Nov 13
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你仍然知道的事
A Slow Remembering of A Long Forgetting
开幕式 /Opening: 11月13日 Nov 13，5-8pm (需要邀请函）
展览时间/Show Duration：11.13-2021.1.13
地点/Address: 上海市徐汇区安福路298弄2号楼底楼
Basement, No,2, Lane 298, An Fu Rd, Shanghai
继三年前广受好评的《向晚六章》后，BANK画廊即将迎来艺术家陈哲的第二回个展《你仍然知道的事》。从早期的摄影作品到近期的综合媒介，陈哲持续以个人的体验为切入口，通过研究型创作来探求人之存在的普遍境遇。如果说《向晚六章》的对象是往返于日与夜、知与未知之间的黄昏谜语，《你仍然知道的事》则试图在一个更为悠远的时间框架下理解集体的历史和个人的命运。过去一年的全球剧变让我们不得不重新审视自己与身体的关系，这种渗透入每一天的变化同样影响了艺术家。在新作中，陈哲同时受到医学、文学与巫术的启发，将早期作品中对肉身的关注与神秘主义结合，对人类在地球历史中的位置提出了深刻的发问。
在自述中，陈哲提出了人类与生俱来的两幅地图，作为她对于时间和命运的看法和展览结构的阐释。其一是我们出生时的星图，反映了太阳和行星在天空中的位置与关系。我们生命故事的所有元素都暗含其中，并在特定的时间、以不同的方式被激活。它既是确定性的预言，也是可能性的指引。另一张地图是连接我们头上额骨与顶骨的T字形接缝，即冠状缝和矢状缝。在幼儿时期保持柔软的颅缝，会伴随人的发育逐渐闭合，形成独一无二的曲折交错。在法医人类学中，颅缝也用于测量人类遗骸的年龄。关于这两张地图，艺术家写道：“很遗憾，它们要么离你太远，要么离你太近。两者你都看不见，也说不清。但是你仍然知道它们。像是对皮肤之下的身体的那种知道，像是对未曾谋面的祖先的那种知道，像是人在梦中的那种知道。”
此次展览提醒我们，人类所面临的永恒困境或许并不古老。虽然这些图案已经为我们描绘出命运的路径，及其所通往的不可避免的终点，但它们书写得太过秘密，和指引出路的地图相比，更像是等待破译的迷宫——解谜的一刻往往为时已晚，甚至永远无法彻底走出谜团。在宇宙的时间里，人类只是一支短暂的插曲。然而我们往往埋首于生活的褶皱，而忘记了我们不仅存在于宇宙的时间里，而且也存在于彼此的时间中。
Following her celebrated Towards Evening: Six Chapters three years ago, Chen Zhe returns to BANK with her second solo exhibition, A Slow Remembering of a Long Forgetting. Spanning the artist’s original medium of photography as well as many new materials and forms, Chen continues to combine a research-based practice with direct experience in her exploration of the human condition. Wherein Towards Evening was a journey in search of the nebulous space between day and night, the known and unknown, A Slow Remembering emphasizes the intertwining of our collective and individual destiny’s. Inspired in part by the past year of global upheavals and changes that have recalibrated our relationships with the mind and body, Chen Zhe extends her early explorations into the mystical by employing scientific, literal and shamanistic elements to pose some profound questions about universal spiritualism and our position in geological history.
In the artist’s statement Chen outlines two maps that are innate to all human beings as a way to expound her views on time and destiny as well as structure the exhibition. One is the Zodiac constellation under which we are born, reflecting the position of the sun in the sky and configuration of the universe at our moment of birth. Each of the zodiac signs is determined by an element; associated with a quality, and ruled by a planet. It is a map that becomes a mystical blueprint to our characteristics and personal paths that we navigate in the cosmos. The other map is formed by the Coronal Suture and the Saggital Suture, a large T-shaped seam on the top of our cranium that fissures together the Frontal Bone and the Parietal Bones. This suture changes for most of our lives, until when at about 29 years it begins to close for good, sealing permanently at age 35. In forensic anthropology, the Suture is one method used to date human remains. Of these two charts the artist writes: “It's a shame that these maps are either incomprehensibly distant or so painfully close that you can perceive neither. But still you know them like knowing one's body under the skin, or an unknown ancestor, or knowledge that one gains in a dream.”
Throughout the show we are reminded of human’s ancient struggles yet very recent existence in the scope of geological time. While these maps have charted our destiny’s or point towards our inevitable mortality, they are complex as mazes, often not unveiling their destinations or routes until the end, or never ever fully. While the human species in the scope of time occupies a mere blip on the timeline of the universe, we import so much on the minute details of life, and tend to overlook that we not only belong to the universe but to each other as well.
关于艺术家
About the artist
陈哲的艺术实践接近于一个不断探寻、发现与研究的过程。在早期作品《可承受的》与《蜜蜂》中，陈哲从作为精神洗礼的自毁行为出发，通过摄影与书信档案向自我与他人的内心洞穴展开掘进。2012年至今，陈哲以黄昏为母题，在长期项目《向晚六章》里延续了她对于“另 一种讲述方式”的思考，在视觉和语言的交汇处探索“可见”与“可说”的界限。
陈哲(B.1989)，工作居住于北京，2011年毕业于洛杉矶艺术中心设计学院，获摄影与图像学士学位。她的作品先后展示于日本横滨三年展（2020） ；德国巴登巴登国家美术馆（2019） ；澳大利亚亚太当代艺术三年展（2018） ；日本东京写真美术馆（2018） ；香港Para Site 艺术空间（2018） ；广州影像艺术三年展（2017） ；第11届上海双年展（2016） ；民生现代美术馆（2016） ；尤伦斯当代艺术中心（2013）及北京三影堂摄影艺术中心 （2011）等。
曾先后获得 Foam Talent (2018) 奖项，无忌新锐摄影奖（2015）奖项，连州摄影节新摄影奖(2012) ，三影堂摄影奖(2011)、玛格南基金会INGE MORATH奖(2011)、 连州摄影节新摄影奖(2012)、无忌新锐奖(2015)等，并受邀参与法国ARTE电视台纪录片 《镜头下的中国》(2013)和日本NHK电视台纪录片《青年摄影师眼中的中国》(2014)。 出版物《蜜蜂&可承受的》获得卡塞尔摄影书节2016年度摄影书奖。
Chen Zhe (b.1989, Beijing) received her BFA in Photography and Imaging from Art Center College of Design in Los Angeles. Her works has be featured in exhibitions at the Yokohama Triennale, Japan (2020); Staatliche Kunsthalle Baden-Baden, Germany (2019); The 9th Asia Pacific Triennial of Contemporary Art, Australia (2018); Tokyo Photographic Art Museum, Japan (2018); Para Site Art Space, Hong Kong (2018); Guangzhou Photo Triennial, Guangzhou (2017); CAFA Art Museum, Beijing (2017); The 11th Shanghai Biennial, Shanghai (2016); Power Station of Art, Shanghai (2016); Minsheng Art Museum, Shanghai (2016); The Ullens Center for Contemporary Art, Beijing (2013); and Three Shadows Photography Art Centre, Beijing (2011).
Chen is the recipient of the Foam Talent (2018), Xitek New Talent Award (2015), Lianzhou Festival Photographer of the Year Award (2012), Three Shadows Award (2011) and the Inge Morath Award from the Magnum Foundation (2011). She is also subject of TV documentary films Chinese Viewfinder produced by ARTE, France (2013) and China Through the Lens of Youth produced by NHK, Japan (2014). Her latest publication Bees & The Bearable was awarded the Best Photobook of the Year by Kassel Fotobookfestival in 2016.
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