LINSEED | 展览预告 | 隔岸观火 Watch the Fire from the Shore
隔岸观火
Watch the Fire from the Shore
每周二至周六 Tuesday - Saturday, 11:00- 18:00
2021.11.12 - 2021.12.4
Oh！你们！，上海市黄浦区茂名南路159弄19号3楼
121 × 170 cm
波比·琼斯 Poppy Jones
《书（光年）》A Book (Light Years), 2021
绒面革油画与水彩、铝框
Oil and watercolour on suede, aluminium frame
25.5 × 19.5 cm（× 2）
王雪冰 Kiki Xuebing Wang
《威尼斯咖啡馆（一）》Cafe Venice I，2021
棉布面油画 Oil on calico
30 × 40 cm
苏菲·康托 Sophie Cantor
《生存策略》Survival Strategy, 2021
布面油画 Oil on canvas
152 × 152 cm
抚平地域与文化背景的界限，艺术家们似抽离又缜密的视角似远又近地映照着将我们包裹其中的纷繁世界，似轻松戏谑的呼应，又似深沉有力的回响，也存在于既疏离又亲密的时空间的相隔相望。
Watch the Fire from the Shore
Tuesday - Saturday, 11:00- 18:00
2021.11.12 - 2021.12.4
Oniment, 3F, No.19, 159 South Maoming Road, Shanghai
Opening: 6 - 10 pm, Friday, November 12, 2021
2021.11.10 - 2022.1.9
Design Republic, 511 Jiangning Road, Shanghai
Opening: 3 - 9 pm, Wednesday, November 10, 2021
LINSEED Projects is pleased to present Watch the Fire from the Shore, a group project divided into two chapters simultaneously taking place during the busy art fair season of Shanghai in November, in collaboration with Oniment, an event space located in the bustling living scene of downtown Shanghai, as well as Design Republic, a historical exhibition space renovated by Neri&Hu Design and Research Office. An exploration of space, presented through two different forms that are exhibition and salon, and presenting fifteen young artists from here or abroad, all of which emerging on an international scale: Nell Brookfield, Sophie Vallance Cantor, Cheng Chi Tien Lin, Tom Howse, Poppy Jones, Li Hei Di, Lukas Leichtle, Ellie Pratt, Pu Yingwei, Shi Jiayun, Mary Stephenson, Kiki Xuebing Wang, Eva Zhang Yi, Zheng Zhilin, Zhi Wei. The exhibition chapter will be held at Oniment, on view from November 12th to December 4th, 2021; while the salon chapter opens on the second floor of Design Republic Design Commune, from November 10th, 2021, to January 9th, 2022.
汤姆·豪斯 Tom Howse
《天鹅随意门》Swan Portal, 2021
亚麻布面丙烯 Acrylic on Linen
120 x 110 cm
《隔岸观火》Watch the Fire from the Shore，2021
木板油画、丙烯、旗帜、油漆笔 Oil on wood, acrylic, flag, paint pen
30 × 40 cm
Our ordinary senses of living have been diverging and broken in the era of post-globalization driven by the pandemic, yet in such struggle and reconstruction, new trains of thoughts are in their constant attempts to be formed. Compelled in geographical isolation and apart from each other, we yearn for a sociocultural life more than ever. Our methods and demands for communication have become more intimate and various. Our mind states and social behaviours have been rapidly changing along with the world: questions of personal or cultural identity, reflections upon consumerism, rational recording and sensitive catharsis. The symbolized abstract metaphor of Pu Yingwei spans the narration of grand topics such as race, nationality, language, and colonization, presenting in multiple dimensions his composited discussion of social politics, history, and identity; progressing to the minute and mundane, the superimposition and combination of living scenes and the nature, in the hands of Tom Howse, presents his interpretation and fantasies about human and all species. In the reconstruction of ordinary things, Mary Stevenson humorously reveals the tension and contradiction of life. Shi Jiayun, however, tends to capture and translate images unconsciously, and to condense light, colours and lines into the canvas through her practice without anticipation. Based on photographic perspectives and techniques, Poppy Jones ponders over the concept of time by distorting, duplicating and mixing the images she captured of the surrounding world. In contrast, Zhi Wei cuts, disassembles and segments old handmade books, then restructures the images in the timeline of past and present, a practice through which the artist explores the subtle relationship between the potential objecthood of images and the existing objecthood of paintings.
玛丽·斯蒂芬森 Mary Stephenson
《无题》Untitled, 2021
布面油画 Oil on canvas
200 × 130 cm
The observation and amplification of details are also reflected in Kiki Xuebing Wang’s approach to luxury goods: in the intense colours, hazed light and imbalanced proportions, the glittering commercial image along with its assigned value disintegrates in her hands. Meanwhile, in the transient images captured by Ellie Pratt, the female figure poses in a style of fashion magazines posture, and the pictorials seem to be in an undefined space and time, walking on the indistinct boundaries of unconsciousness and reality.
艾莉·普拉特 Ellie Pratt
《等——待（鸟）》Waaaaaaiiiting (Birds), 2021
布面油画 Oil on canvas
140 × 115 cm
On the other hand, observations and reflections on the individual are inevitably mentioned many a time: masculine bodies under the medical gaze, in the lucid portrayal by Lukas Leichtle, somehow reveal their sensitive and vulnerable side. Appearance anxiety, created by public standards, is projected in the witty and vivid shapes and colours of Sophie Vallance Cantor, as a defence against the gaze from society. Eva Zhang Yi challenges the concept of “Nü Gong” (women’s work), a term from East Asian culture that constantly binds femininity to needlework. Through reshaping and subverting the regulations implied by the sewing machine, Zhang seeks the rebellious potential of woman figures. We continue to witness the exploration of the inner self in the painting practice of Li Hei Di, which lies at the intersection of popular film culture, gender performativity, and sensory perception, with its fuzzy colours and bodily outlines taking on a moist texture. Nell Brookfield’s visual language swings between imagination and memory, drags the distance among humans from emotions to reality, and enables the coexistence of conflicts as well as gentle touches. The imaginary space and characters in the works of Zheng Zhilin create an exaggerated but flowing narrative nonetheless; while in a similar mechanism, Cheng Chi Tien Lin constructs allegorical narratives of memory, dream, culture and collective consciousness in the images between abstract and figurative.
Eliminating the differences in regional and cultural background, these artists share a detached yet rigorous vision, which reflects from near or far this miscellaneous world we are in, like a playful response, also a deep and resounding echo. In a distance of time and space, we look at each other, cold and distant, yet thick as thieves.
Oh! 你们!（Oniment） 坐落在上海茂名南路南昌路交界街区的一座百年洋房中，曾为中国清代制墨名家曹素功故居。延续修旧如旧的观点，空间的原始壁画，墙顶，地面等均被最大程度保留，在繁忙的城市核心构建注入新活力的美学创造分享空间。
Oniment is located in a century-old house at South Maoming Road in Shanghai. It was the former residence of Cao Sugong, a famous ink maker in the Qing Dynasty in ancient China. By maximizing the preservation of the antique style —— the original murals, ceilings, and floors, the space creates a shared place infused with new aesthetic vitality in the lively urban centre.
设计共和 (Design Republic) 由郭锡恩先生（Lyndon Neri）和胡如珊女士（Rossana Hu）所创建，前身是英国⼈建造的警察局，始建于1909 年，如恩设计研究室 (Neri&Hu Design and Research Office) 对建筑进⾏了如同外科⼿术般详尽的修复与改造，赋予现有建筑新的功能，让⼏乎荒废的⽼建筑重新焕发光彩。具有强烈现代⻛格的⽩⾊空间与原有的未经处理的红砖墙并存并形成强烈视觉冲击。如恩设计研究室通过巧妙关联建筑细节体现新与旧的融合，让整栋建筑拥有和谐统⼀的视觉感和空间感。
Design Republic founded by Lyndon Neri and Rossana Hu, situated within the historic relic of the Police Headquarters built by the British in 1909, the project takes a surgical approach to renovation by Neri&Hu Design and Research Office. After its careful restoration and reconstruction, with the attachment of a brand new appendage which, like a prosthetic, enables the existing building to perform new functions, the nearly abandoned building begins its life again. The clear intentionality behind the detailing of connections between the old and the new creates a visually and spatially tectonic balance in relation to the building as a whole.