摄影在复制现实过程中所残留的表演性：罗伊·埃斯里奇 Roe Ethridge
▶︎ 格莱斯顿画廊 ｜ 正在展出
罗伊·埃斯里奇 Roe Ethridge
格莱斯顿画廊 ｜ 布鲁塞尔
Gladstone Gallery, 12 Rue du Grand Cerf, Brussels
展期：2018.04.18 - 06.16
▲ 《Amalie Moosgaard与表情符号》Amalie Moosgaard with Emojis, 2017, 染料升华打印、铝板 Dye sublimation print on aluminum；152.4 x 101.6 cm ; 含边框 156 x 105 x 4 cm framed.
▲ 《罗伊·埃斯里奇》展览现场，布鲁塞尔Gladstone Gallery, 2018.04.18 – 06.16 / Installation view of Roe Ethridge, Gladstone Gallery, Brussels, 2018.04.18 – 06.16.
▲ 《果汁店的郁金香》Tulips from the Juice Place, 2018, 染料升华打印、铝板 Dye sublimation print on aluminum；101.6 x 76.2 cm ; 含边框 105.1 x 80 x 4 cm framed.
本次展览是格莱斯顿画廊与罗伊·埃斯里奇合作的第四个展览。埃斯里奇的摄影作品通过对商业图片和纯艺术图像进行的有意识改造，对我们惯常思维下的视觉语法加以解构。展览展出的新作品延续了艺术家对荷兰绘画传统之体裁和风格的思考，特别针对静物、家庭场景和肖像画。他将这些绘画模式视为“视觉文化”的根基，把图像作为物质结构进行展示，在构建复杂关系——艺术家与主题，自然与科技，个体与社会——的同时它们也被关系所塑造。透过镜头，埃斯里奇将互不相干的图像相互串联，比如蘑菇孢子、节日装饰品和时尚模特，借由微妙的形式线索——如色彩、反复出现的图案或构图上的相似性——瓦解着摄影照片所声称的客观性。
▲ 《罗伊·埃斯里奇》展览现场，布鲁塞尔 Gladstone Gallery, 2018.04.18 – 06.16 / Installation view of Roe Ethridge, Gladstone Gallery, Brussels, 2018.04.18 – 06.16.
▲ 《蘑菇时钟》Mushroom Clock, 2018, 染料升华打印、铝板 Dye sublimation print on aluminum; 125.7 x 83.8 cm.
在这些诡秘复杂的图像中，埃斯里奇融合了数码和胶片摄影技法，从根源处剥离了它们的表意性，把既定的叙事关系重置于艺术史和当代文化迷因间的古怪地带。围绕着大规模生产的物品和起递质作用的图像，埃斯里奇在生产与传播的赋格式重复中构建着他的图像，对摄影的可靠性投去了质疑的目光。透过这种方式，埃斯里奇将荷兰绘画巨匠们的传统形式放置在拍照手机时代的框架之内，同时批判了图像的无所不在，以及无技术创作和观念艺术实践之间的模糊界限。埃斯里奇的肖像作品捕捉了令人出乎意料的主体，比如一只充气的外星人玩偶，或是一身西部风格打扮的少年变装皇后拉柯塔西娅（Lactacia）。花里胡哨、火鸡形状的盐和胡椒瓶取代了那些在静物作品中常常出现的繁复的家用物件——此刻被荧光绿色的黏液覆盖，像是被美式“有害的男子气概”（toxic masculinity）所塑造或感染。艺术家使用看似无存在感的背景图案，在它们的无限重复中，这些表情符号、真菌孢子、甚至是艺术家理查德·普林斯（Richard Prince）的肖像，彻底驱逐了有形的空间假象，加强了图像构成中的紧张感。这组作品紧贴摄影在复制现实过程中所残留的表演性：舒适家庭布景中的遗留物引向一种风格化的怀旧感所固有的虚假性；封面模特看向手机时那令人匪夷所思的面目表情，同时强调了刻画主体和观者在日常生活之网中的复杂性。
▲ 《露露！》Lulu!, 2018, 染料升华打印、铝板 Dye sublimation print on aluminum；182.9 x 121.9 cm.
▲ 《罗伊·埃斯里奇》展览现场，布鲁塞尔 Gladstone Gallery, 2018.04.18 – 06.16 / Installation view of Roe Ethridge, Gladstone Gallery, Brussels, 2018.04.18 – 06.16.
▲ 《史莱姆泥火鸡》Slime Turkey, 2018, 染料升华打印、铝板 Dye sublimation print on aluminum；114.3 x 76.2 cm; 含边框 118 x 80 x 4 cm.
罗伊·埃斯里奇1969年出生于美国佛罗里达州迈阿密，目前在纽约生活和工作。他曾在诸多国际性艺术机构举办过摄影个展，其中包括：波士顿当代艺术博物馆；莫斯科车库当代艺术中心；Le Consortium当代艺术中心，第戎，法国。埃斯里奇还曾参加众多重量级艺术机构举办的群展，包括：大都会博物馆，纽约；阿斯彭艺术博物馆，科罗拉多，美国；惠特尼美国艺术博物馆，纽约；巴比肯艺术中心，伦敦；纽约现代艺术博物馆PS1馆；芝加哥当代艺术博物馆；汉莫尔艺术博物馆，洛杉矶。
▲ 《变装皇后Lactacia与理查德·普林斯》Lactacia with Richard Prince, 2017, 染料升华打印、铝板 Dye sublimation print on aluminum；125.7 x 83.8 cm.
This is Gladstone Gallery’s fourth exhibition by artist Roe Ethridge, whose photographs deconstruct visual syntax by consciously reworking tropes of both stock imagery and fine art. These new works serve as an extended meditation on genres and styles associated with the traditions of Dutch painting, particularly the still life, domestic scene, and portraiture. Ethridge reflects on these models as foundational to “visual culture” in exposing the image as a material construction that simultaneously produces and is produced by complex relationships: artist and subject, nature and technology, and the personal and the social. Through this lens, he connects disparate figures, including mushroom spores, holiday tchotchkes, and fashion models, via subtle formal cues—such as color, reoccurring motif, or compositional correspondence—that denaturalize the photograph’s claims to objectivity.
▲ 《沼泽、外星人头骨与火鸡尾菌丝体》Swamp with Alien Skulls and Turkey Tail Mycelium, 2018, 染料升华打印、铝板 Dye sublimation print on aluminum；108 x 76.2 cm; 含边框 111.5 x 80 x 4 cm.
▲ 《罗伊·埃斯里奇》展览现场，布鲁塞尔 Gladstone Gallery, 2018.04.18 – 06.16 / Installation view of Roe Ethridge, Gladstone Gallery, Brussels, 2018.04.18 – 06.16.
▲ 《洛克威海滩解冻》Rockaway Thaw, 2018, 染料升华打印、铝板 Dye sublimation print on aluminum；101.6 x 76.2 cm.
In these slyly complex images, Ethridge utilizes a hybrid of digital and analogue techniques to denude signification from its source and resituate assumed relations within an uncanny valley somewhere between art history and contemporary meme culture. Indexing the fugal reiterations of production and transmission, Ethridge constructs his images around mass-produced objects and mediated layers of imagery to reveal his own ambivalent stance on photography’s authenticity. In this way, he reframes the generic customs of the Dutch masters for the age of the camera-phone, critiquing both the ubiquity of the image and blurring the distinction between deskilled and conceptual practices. His portraits capture unexpected subjects, such as an inflatable alien toy, or the pre-teen drag queen Lactacia dolled up in Western wear. Kitschy salt and pepper shakers in the shape of turkeys replace the domestic abundance associated with still life painting—now covered in electric green slime, as if molded over or infected with American toxic masculinity. He uses patterns that seem like innocuous backdrops; and yet, in their repetition, emoji graphics, mycological spores, or even portraits of artist Richard Prince evacuate the illusion of tangible space, heightening tension within the construction of the image. This body of work coheres around the performative residue in the photograph’s reproduction of reality: relics of domestic comfort promote a sense of phoniness inherent in stylized nostalgia, while the enigmatic expression of a cover model looking up from her phone emphasizes both the subject’s and the viewer’s complicity in the fabrication of everyday life.
▲ 《嘴唇贴纸》Lip Stickers, 2018, 染料升华打印、铝板 Dye sublimation print on aluminum；152.4 x 101.6 cm.
▲ 《模特Skylar Tartz与自我肖像》Skylar Tartz with Self-portrait, 2018, 染料升华打印、铝板 Dye sublimation print on aluminum；152.4 x 101.6 cm ; 含边框 156 x 105 x 4 cm.
▲ 《《罗伊·埃斯里奇》展览现场，布鲁塞尔 Gladstone Gallery, 2018.04.18 – 06.16 / Installation view of Roe Ethridge, Gladstone Gallery, Brussels, 2018.04.18 – 06.16.
▲ 《蛋 壳》Egg Shells, 2018, 染料升华打印、铝板 Dye sublimation print on aluminum；125.7 x 83.8 cm.
Roe Ethridge was born in 1969 in Miami, Florida, and lives and works in New York. His photographs have appeared in solo exhibitions at the Institute of Contemporary Art, Boston; the Garage Center for Contemporary Culture, Moscow; and Le Consortium, Dijon, France. Ethridge has also been included in group exhibitions at notable institutions including: the Metropolitan Museum of Art, New York; Aspen Art Museum, Aspen, Colorado; the Whitney Museum of American Art; the Barbican Center, London; MoMA PS1, New York; the Museum of Contemporary Art, Chicago; and the Hammer Museum, Los Angeles.
▲ 《充气外星人》Inflatable Alien, 2017, 染料升华打印、铝板 Dye sublimation print on aluminum；125.7 x 83.8 cm.
▲ 《Ine Neefs》Ine Neefs, 2017, 染料升华打印、铝板 Dye sublimation print on aluminum；115.6 x 83.8 cm ; 含边框 129 x 87.3 x 4 cm.
▶︎ About Gladstone | 关于格莱斯顿画廊
格莱斯顿画廊（Gladstone Gallery）由芭芭拉·格莱斯顿女士（Barbara Gladstone）于1980年在纽约曼哈顿创办，目前在纽约和布鲁塞尔有多家分部。画廊代理超过五十位著名在世和已故的艺术家。
更多展览详情与艺术家动态将第一时间通过官方微信以及官方网站公布，敬请保持关注。
微信：gladstonegallery
官网：www.gladstonegallery.com
▼ 长按并识别以下二维码，关注画廊最新动态