展讯：Four-Folds 四重折叠
Four-Folds
展期: 2024. 02. 16 - 03. 16
PV 2024.02.15 18:00 - 20:00
文：乔纳森·迈尔斯
如果要做到认知与展现，把事物置于其应有的位置，那么想象力会以一种自由游戏的形式置于事物的动态之中，这种自由游戏的部分是从关系到想象中感知到的折叠次数。这次展览的四位艺术家，即四重折叠，都参与了这一场自由的游戏。在这次的通道中威廉·布莱克的形象以及他可以被理解为靠想象力调节无限性和神性领域之间关系的“四重折叠”观点浮现出来，彷佛开始建立了一条关系链，链接到福柯主体化思想的四重折叠，由四位对想象进行研究的理论家完善。至此，迈入艺术家作品的关系梳理已经完成，它构成了一个出发点或者是一条认知形成的参考曲线。
Four-Folds
2024.02.16 - 03.16 PV: 15th Feb. 6 - 8pm
Text by: Jonathan Miles
If cognition, and in turn representation, put things in place, then imagination sets things in motion in a form of free play. Part of this free play is the number of folds that might be figured in relationship to imagination. Four artists, four folds, all in this free play. In this passage the figure of William Blake comes to mind and his notion of the ‘four-fold’ which can be understood as imagination mediating the relationship between immeasurability and the sacred realm. As if starting to establish a chain, next comes Foucault’s idea of the four folds of subjectification[1] and this is completed by four theorists of imagination[3]. My leap into a relationship to the work is now complete, forming a springboard or curvature of becoming.
I suppose that an idea for an exhibition starts with an impulse, if only an impulse to show something in a state of emergence and this is followed by the timing that is made actual. Slowly elements are woven together in this process. Warp and weft, absence and presence, actual and virtual. Then there are elements that reside in the air itself, like floating intuitions becoming figures or relations of thought. Re-enchantment, fantasy, uncanny, bodies, presentation, freedom, nature, poetics, being foremost, but anyway, a quite different set of textures to politics, technology, power, media, identity, and representation. Polarity it seems is the air that we are currently breathing. By way of a detour, Aristotle viewed the image not only as a bridge between inner and outer but as a way of connecting the mirror in the mind with the window of the world. It is the image which serves not only to create a link between cognition and sensation, but also inner and outer worlds and it is this sense of entanglement of worlds that the impulse of presentation[3] of this works discover their (wild) relation in ways that occasion ‘strange nostalgia’. So, to create an exhibition is an interruption of sense, a reconfiguration of faculties in conjunction to material interfaces, a series of spacings, and an eruption of possibilities.
Salvatore Pione works a complex number of narratives derived from traditional craft and ancient materials that draw upon childhood experience. These elements are drawn
from the sensations of life in Sicily and can draw upon grotesque theatricality which infiltrates into everyday life. This serves as the basis for micro-narratives through which
the sculptural and performative dimensions of the works are joined together into reveries[4] of the elsewhere that lead into the uncanny.
With the art of Elena Rivera-Montanes themes of lost time, liminal spaces, fragmentary passages, and memory infiltrate the presentation of the image. Moods are in
circulation, not unlike scents, and with this the air appears thickened. A whole number of objects appear to contest attention that included the in-between of the invisible
which is animated by the force of the imagination.
Cheri Smith’s paintings serve to cross relate references to art historical references such as Pisanello, Bosch, Carrington, with genres of landscape, still life and portrait all mixed into hybrid passages, which are in turn animated by figures of thought such strangeness, animality, wildness, and unknowability. A case then of a mixture of four elements: identity, art history, concepts, and genres. Yet something is missing from this, a sense of touch, nuance, improvisation, invention, and it is within these indirect elements, that an art emerges as a series of complex and strange entanglements that open the body to the void.
Creating in a multiplicity of forms and mediums, Haoyan Zhang draws upon reference to the different worlds of popular culture, mass media and information portals through which created characters can both enter and exit. The various configurations that are formed, present worlds at the intersection of the actual and the virtual which enable these characters to roam across different realms of becoming other.
---Text by Jonathan Miles
1.See Gilles Deleuze, Foucault (Bloomsbury, 2016) “Subjectification is created by folding. Only, then there are four foldings...” These folds are the body, the relationship of forces becoming a relationship to oneself, the third is to knowledge and truth and the last is to the outside itself. P.863.
2.Aristotle, Kant, Hegel, and Bachelard each advanced important theories of the imagination.
3.Presentation is like a drama of becoming whereas representation is based upon a fixed identity and a recollection of being. Presentation relates to the faculty of the imagination and the possibility of the free accord of the subject. Kant performs a central role in the modern period to the question of presentation (darstellung).
4.See Gaston Bachelard, Poetics of Reverie, (Beacon Press 1971)
艺术家简介
萨尔瓦多·皮奥内（Salvatore Pione）（出生于1995年，意大利）是一位多才多艺的艺术家，创作的作品涉及怪诞戏剧性、坎普趣味以及纪念主题。他深受西西里的习俗和传统的影响，他童年成长的地方和经历经常成为他实现作品的灵感来源。色彩、声音，以及西西里遗产中不可或缺的方言和神话是他研究的重要元素并试图通过他的创作进而得到保护和保存的。在他的作品中，一个酷儿的叙事贯穿其中，描绘了受到意大利天主教扭曲了的男子气概的形象参与homoerotic scenes的场景，且有呈现女性化特征。这是一个个人过程，通过过去和现在之间的对话，与怪诞的戏剧性交织在一起，探讨传统的历史，以及身体可能作为叛逆者的可能性。
Dentro , Somers Gallery, London, UK (2023);
Homodeus , Fondazione San Fedele, Milan, IT(2023);Fantasmagorie, Andrea Festa Fine Art, Rome, IT (2023);
Cancer Season, Saint George Street Gallery, London, UK (2023);Forgetmenots , Split Gallery, London, UK (2023);
On the flip side, Guts Gallery, London, UK (2023);
Hemispheres, AliceBlack Gallery, London, UK (2023);
埃琳娜·里韦拉-蒙特内斯（Elena Rivera-Montanes）(b.1998, 出生于英国萨里郡Frimley) 是一位居住在伦敦的英国画家。她在温布尔登艺术学院Wimbledon College of Arts 获得了美术学士学位，并在毕业时获得了普鲁内拉·克劳夫（Prunella Clough）驻地奖。埃琳娜曾在多个群展中展出，最近是由卡罗琳·沃克（Caroline Walker）策展的阿姆斯特丹GRIMM画廊的《The Painted Room》。
The Painted Room, GRIMM Gallery, Amsterdam, (2023) ;
Colour, Texture, Substance, No Name , Warbling, London (2023);
Only When This Cigarette Is Ended , Pictorum Gallery, London (2023);
The Angel in the House, Studio West Gallery, London (2023);
International Women’s Day, Art on a Postcard, Fitzrovia Gallery, London AWARDS/RESIDENCIES (2023);
UAL, Wimbledon College of Arts (2021)
切里·史密斯（Cheri Smith） (b. 1991) 居住和生活在伦敦。她于2018年在皇家绘画学院Royal Drawing School取得了绘画的研究生学位，并于2013年在诺里奇艺术大学Norwich University of the Arts获得美术学士学位。她的作品探索了真实、虚构、动物性和怪异等主题。她的绘画世界充满了动物、人类、植物和自然元素，并且充满了特殊性和奇异感。每个场景都是通过对自然的详细观察和对生活经验、梦境、文学和艺术史中挖掘的叙事元素进行想象性转录来创作的。
近期展览经历:
Here be Dragons, James Freeman Gallery, London (2023);
The Consolation of Clinamen, Tabula Rasa Gallery, Beijing (2023);
It is Better to be Cats than be Loved, Tabula Rasa Gallery, London (2022);Bookworks, James Freeman Gallery (2022);
The Amber Room, Reference Point library (2022);
Charta , Fortnight Institute, online salon (2022)
张皓言(b.1996)，出生于山东淄博，毕业于伦敦艺术大学纯艺术专业，现工作生活于上海。. 张皓言的创作涉及绘画、影像、写作等多重媒介，他通过对世界范围内不同时期的多重经典荧幕形象的考古，将艺术家个体经历、流行文化与全球化/去全球化的社会现实相杂糅，通过展现角色完整性，并借此创作对象还原至其同时期的社会情境中，以此让观者重临历史现场，也线性的将历史内容和个体记忆得以进一步的扩充和修补。
近期展览经历:
The lost fourth wall, , Chi K11 Art Space, Shanghai(2023);
Mille Cortex, Tang Contemporary Art, Hong Kong (2023);
Global Citizens-Asia, The Shophouse, Hong Kong (2023);
Fantasy, on edge of the earth, Gene Gallery, Shanghai (2022);
9th West Bund ArtFair, Gene Gallery, Shanghai (2022);
A Marvellous Memory, Bund 18 Jiushi Art Gallery, Shanghai (2022)
Lychee One
荔 枝 一 号
Unit 1, The Gransden
39-45 Gransden Avenue
London E8 3QA, United Kingdom
英国伦敦格兰斯顿大道39-45号
格兰斯顿一号空间
邮编E8 3QA
www.lycheeone.com
info@lycheeone.com
+44(0) 7427 665 369