SCôP Exhibition |《重·现》史国威个展现已开展
《重·现》
The Drawn Out Moment
2021.02.06 - 2021.05.30
上海摄影艺术中心 (SCoP) 荣幸呈现：摄影艺术家史国威个展《重·现》（The Drawn Out Moment）。本次展览汇聚了艺术家从2006年至今创作的21幅作品，是史国威的首次大型回顾展，也是他迄今为止在国内举办的最大规模展览。
史国威将自己的作品形容为“摄影-绘画”，他小心翼翼地游走于摄影与绘画两种艺术形式之间，保持着一种微妙的平衡。首先他使用大画幅相机拍摄黑白照片,随后在打印出的相纸上进行上色。这样的创作方式需要耗费数月甚至更长的时间才能完成，必须在极高的眼手协调下，全神贯注地一层层叠加水彩颜料，且没有后悔的余地。因此，史国威的作品是无法修改和复制的。
在为照片上色时，史国威愈加被想象的力量所吸引。他并不试图写实，反而削弱或是质疑我们在一幅照片中体会到的现实。他对色调的运用出于直觉、源于记忆，以个人化的色彩将快门按下那一刻的瞬间重现。史国威曾说道：“每个人对同样的颜色都有自己的理解，这也是为什么我认为有情绪的颜色才是最真实的。我选择我认为恰好能让我的作品变得生动准确的色调，但是也用更能激起我情绪的方式主观地对原始色彩做出了强调。这些色调只有通过人为干预才能得到，所以最后的效果并非完全不切实际，也不是完全的想象，它介于两者之间。”
倾斜的树林，2016
©史国威，图片由艺术家与魔金石空间提供
纵观史国威近年来的艺术轨迹，由早期具象的作品如《风》（2008)、《丑角》（2009），逐渐趋向“去主题化”。从2015年开始，自然成为了他创作的主导题材。在中国文化语境中，风景具有独特的隐喻共鸣。与水墨画传统对风景的运用类似，史国威并非纯粹的描述或纪实，照片被他用作一个道具，将观者从他们所处的时空，转移到他画面中的世界。近年来的新作，如《流淌的红色》（2020)、《初春的杨树》（2020），史国威邀请观者在他的画面空间中漫步，在树木林地、石头和岩壁、青草和海藻、苔藓和地衣中畅游。这些画面不应被简单看作“风景”，而是对于情绪和心理状态的沉思。史国威的作品总是充满着各种捉摸不定的情绪，这些情绪会随着观者观看时的心境而发生变化，可以被每个人带入不同个体的人生体验。
初春的杨树，2020
©史国威，图片由艺术家与魔金石空间提供
馆长语
史国威精心缜密地绘制和重现了一些关于自然的有着最持久生命力的照片，随着时间的推移，愈发引人凝视和深思。之所以称之为“重现”，是因为他在回到工作室后，通过在作品上作画改变了拍摄的画面。通过这种相当传统，也越来越罕见的技术，让他的“照片”不再被视为普通的图像，而是经强化的现实。史国威对他所呈现的一切经由幻想进行了描述；熟悉的事物变得陌生，我们能在其中发现许多值得思考品味和为之惊叹的细节。
——刘香成上海摄影艺术中心创始人策展人语
在照片上作画乍听之下像是个相当简单的过程，但实际却远比在单色地图上填色要更为复杂得多。史国威的目标不是再现完美如画的风景或静物，他希望我们在作品前驻足，思考他呈现给我们的“现实”。因此，他需要我们看到他涂在照片上的薄薄一层色彩，因为正是这些色彩照亮了亲身体验和抽象情感的内在世界。用他的话说：“我努力去描述语言所不能描述的东西；去激活迟钝的神经。”他通过激活自己对某处或某个物体的记忆依靠直觉指导自己的颜色选择。这些照片因此拥有了绘画特性，对大多数场景而言，都包含了那些非常普通或常见的元素，我们难以想象在日常所忽视的、毫无存在感的、无处不在的植物能够被视为一件艺术作品的主题。我喜欢这样一个事实，我们接受了史国威的绘画给予我们的观察世界的新感觉，并重新发现了自然，如同他在城市里漫无目的地闲逛时一样。——凯伦·史密斯策展人，上海摄影艺术中心艺术总监
展览展厅
The Drawn Out Moment
Shi Guowei Solo Exhibition
Shanghai Center of Photography (SCoP) is delighted to present Shi Guowei’s solo exhibition “The Drawn Out Moment”. The exhibition brings together 21 works by the artist, created between 2006 and today, for what will be Shi Guowei’s first major retrospective, and the largest showing of his work in China to date.
Shi Guowei describes his artworks as “photo-paintings”. He wanders in the interspace between photography and painting, keeping a delicate balance between them. He first makes a black-and-white photograph using a large format camera. Once the photograph has been printed to his satisfaction, he begins the second act of creation, the work of painting on the photograph to transform the black-and-white base into a richly colored new photograph. The process can take several months, and requires the artist’s steadfast coordination of eye and hand. Through the lightest touch of the brush, one delicate layer after another with great concentration, there is no means of altering mistakes, no room for correction for Shi Guowei’s work.
While applying color to photographs, Shi Guowei relies on his intuition and imagination. He is not trying to depict reality, rather to undermine or at least question the perceived reality a photograph represents. The tones of color are applied intuitively from memory, as Shi Guowei recreates the moment that the shutter clicked in his own color. Shi Guowei says, “Each person has their own understanding of the same color, which is the reason I believe emotional color to be the most real. I chose tones I think are suitable to make the work lively and accurate, but subjectively highlight the original colors in ways that are more stimulating to my mood. Such tones can only be obtained through human intervention, so the effect is not entirely unrealistic, nor entirely fantasy. It is somewhere in the middle.”
Looking through Shi Guowei's creation in recent years, from the early figurative works, such as Wind 2008 and Pierrot 2009, over time he has moved away from specific themes. Since 2015, nature has become a dominant subject of his works. Within the cultural context of China, landscape owns a distinctive metaphoric resonance. Similar to the ink painting tradition, Shi Guowei’s work is not purely descriptive or documentary. He uses photograph as a medium to transfer viewers to his own painting world. His recent works, such as Flowing Red and Early Spring Polar Tree, both 2020, extend an invitation to meander through the pictorial space, roaming in grass and algae, stones and rocks, mosses and lichens. The scenes not meant to be read simply as “landscape” etc., but as musings on mood and psychological states. Shi Guowei's work contains a variety of unpredictable emotions, which change with the viewers’ mood and bring the viewers into their personal life experience.
Director’s word
“Shi Guowei meticulously and painstakingly recreates enduring photographs of nature, and scenes from the physical world. They are “recreated” because in his studio, he alters the photographed scenes by painting on top of them. Through his use of this rather conventional, if increasingly uncommon, technique, his “photos” are no longer ordinary images, but enhanced versions of reality. Shi Guowei makes imaginary versions of all the things he presents; the familiar given an unfamiliar twist, in which we find much to contemplate, and to marvel at.”Liu Heung Shing
Founding Director, SCoP
Curator’s word
“Painting on a photo still sounds like a fairly simple process yet, it is more complex that filling in blank spaces on a monochrome map. Shi Guowei’s goal is not to recreating a picture-perfect landscape or still-life. He wants us to pause in front of a work to contemplate the “reality” he presents to us. Thus, he needs us to see the thin layers of color he applies to a photograph, for it is these that illuminate an inner world of experiences and abstract emotions. In his words; ‘I work to describe what words cannot; to activate dulled nerves.
‘He does this by activating his own memory of a place or an object to intuitively guide his choice of color. The photographs thus become painterly visions, for most of the scenes contain elements so utterly normal or common that we would not imagine the humble, ubiquitous vegetation we daily overlook to be the subject of a work of art. I love the fact that we take this renewed sense of looking at the world, which Shi Guowei’s paintings give us, and rediscover nature, exactly as he did on some aimless ramble around the city.”Karen Smith
Curator, Artistic Director of SCoP
About the artist
Shi Guowei (b. 1977), currently lives and works in Beijing, and studied at the Fachhochschule, Dortmund.
Major solo exhibitions include: “A Walk in the Woods”, Magician Space, Beijing (2019); “Crossing Four Girls Mountain”, Magician Space, Beijing (2016); “What Year Is It Today”, In-Shine Gallery, Beijing (2010); “Old Stories, Contemporary Retellings”, Cetus Gallery, Shanghai (2008).
Selected Group Exhibitions: “Among the Trees”, Hayward Gallery, London (2020); “Chinese Whispers: Recent Art from the Sigg Collection”, MAK Museum Vienna, Vienna, Austria (2019); Changjiang International Photography and Video Biennale, Chongqing (2017); "Nature: A Subjective Place", Shanghai Center of Photography (SCoP), Shanghai (2016); "Don’t Shoot the Painter", Galleriad’ Arte Moderna Milano, Italy (2015); "The Civil Power", Minsheng Art Museum, Beijing (2015); "The Bright Eye of the Universe", Sundaram Tagore Gallery, New York (2015); "Made in China", London (2013); 6th Chengdu Biennale, Chengdu (2013); "Pop Sensation" from the UBS Art Collection, Hong Kong Arts Centre, Hong Kong, China (2012); "China: Memories & Imagination", Albemarle Gallery, London (2011); Dimplom-Arbeiten Dortmund Photography Exhibition, Germany (2006).
About Magician Space
Magician Space was established in Beijing, China, in 2008.
Since its establishment, Magician Space has been a reflective participant in the contemporary art community. Focusing on artists’ individual practices, Magician Space seeks to provide artists with an experimental and open platform. Through in-depth research, it documents and studies contemporary artists’ works.
THANKS
SCoP would like to thank the artist for his kind assistance in the preparation of this exhibition.
Thanks also go to the director and staff of Magician Space, Beijing, for their great assistance in the preparation of the works for this exhibition.
Thanks to the collectors who have generously loaned works for the exhibition. Joann Feng, Lin Yan, Niki Fan, and anonymous.
We would also like to thank VANKE and Dior for their kindly support.
《重·现》将展出至2021年5月30日，我们期待在展览中看见您的身影！
史国威1977年出生于河南洛阳，现工作生活于北京，曾就读于德国多特蒙德（Fachhochschule Dortmund）高等摄影学院。
主要个展：林中漫步，魔金石空间，北京（2019）；过四姑娘山，魔金石空间，北京（2016）；今夕为何年，印象空间，北京（2010）；前事今声，海鲸画廊，上海（2008）。
重要群展：在林中, 海沃德美术馆, 伦敦（2020）；乌利希克收藏展“中国私语”，奥地利应用技术与当代艺术博物馆，奥地利 (2019); “万丈高楼平地起”——第二届长江国际影像双年展，重庆（2017）；自然：主观的景态，上海摄影艺术中心，上海（2016）；Don’t Shoot the Painter，米兰当代艺术博物馆，米兰（2015）；民间的力量，北京民生现代美术馆，北京（2015）；The Bright Eye of the Universe，Sundaram Tagore Gallery，纽约 （2015）；“新身份”德中文化交流会，柏林（2014）；中国制造，伦敦（2013）；第六届成都双年展，成都（2013）；波普 狂热，瑞银集团UBS艺术藏品展，香港艺术中心，香港（2012）；中国：记忆与想象，Albemarle Gallery，伦敦（2011）；Diplom-Arbeiten Ausstellung多特蒙德摄影作品展，德国（2006）。魔金石空间于2008年成立于中国北京。始终坚持从自身的语境出发，以反思的姿态介入当下的社会生态。魔金石空间聚焦于艺术家的个体实践，力求为艺术家提供一个严肃、开放、实验性的平台，并通过广泛而深入的研究，系统地梳理艺术家的工作。
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