新展开幕 Upcoming Exhibition
"Dwells in the Solid Shadow开幕 Opening：19.11.06 | 4 - 7 pm
展期 Duration：19.11.07 - 12.22
地点 Address：
马凌画廊 | 上海 | 龙腾大道2879号2202室
Edouard Malingue Gallery | Shanghai
2202, 2879 Longteng Avenue
(Scroll down for English version)
马凌画廊很荣幸将在今年十一月上海的艺术盛会中推出本地艺术家何意达的个展“居住在那些无法取得之物的固体影子中”。本次展览将展出何意达一系列新作，概括了她一直以来工作方式的两个重点：重新审视我们对熟悉的城市元素的认知和对于雕塑语言的痴迷探索。何意达的创作从来不是一种真正的“创作”，用她自己的话说：我不创造新的东西，世界上的该有的东西都早已被创造的出来，我的工作是去观察、发掘和研究身边的事物和它们所呈现的样子，我研究的是认识世界的方式。
何意达从城市的各个角落获得灵感，街头废弃物、金属切割后留下的框架、各种用石膏覆盖的脆弱的表面，都成为她作品中模拟的对象，通过精心安排的结构，挑战着日常生活美学、物体之间的关系，以及更广泛地探究艺术的起源和对于纪念碑式的价值观的反抗。何意达对于现成品的采用是基于材料的一种整合：她观察这些材料所表现出来的曲线、纹理、重量，通过对于现存的元素一系列选择后，将其组成新整体的一部分。由此，何意达创造了属于她自己的雕塑语言：一方面认可物体原来的实用目的，同时也基于此建造一个明显但宏大灵巧的的来源于街头的物体剧场。
≡ 何意达 He Yida
作品细节 Artwork Detail
大厦在空荡荡的“我的街道”上拉出影子 6
Edifice draws shadow on empty “my street” 6, 2019
铝合金，石膏，塑料 Aluminum alloy, plaster, plastic
© 图片由艺术家和马凌画廊提供
Image courtesy of the Artist and Edouard Malingue Gallery
铝合金金属模型系列，是由现成的铝合金石膏线模具组成，底面粘连着石膏，就好像翻模时底部溢出的石膏浆凝结而成，它们层层叠叠，填满了金属主体的缝隙，与金属模具上的凹凸起伏融合在一起，金属柱子似乎从底部升起一般。真正的“主角”罗马柱石膏线从未出现始终缺席，只有勾勒出它形态的物体——模具，和制作它所使用的材料——石膏，在空间里错落纠缠。缺席，是何意达喜爱但隐晦的主题，在所有过往的作品中，即便形态和尺寸各异，材料各不相同，“空”（void）总是在场。我们通过什么去认知一个事物？是什么让事物成为它“应该”有的样子？何意达试图展示缺省的部分让我们看清那些不在场的“主角”，通过一些无关紧要的事物：被抛弃的元素、配件、原始的材料，真正主体的形态轮廓逐渐被展现出来。
纤细且锐利的金属是何意达常用的元素之一，她喜欢它们脆弱轻盈却充满存在感，从雕塑的语言上看它们是拥有更多可能性的元素。何意达起初对百叶窗的兴趣是因为她的工作室和居所中都安装了大量的百叶窗，秩序感并且脆弱的秩序感成为吸引她的因素，窗子上的把手，一条没拉直的拉绳，都能引起混乱。作品中的百叶窗被剪断了部分拉绳，混乱应运而生，一如何意达过往作品，秩序和混乱可以并存。儿童建筑模型中被掏空了有用部件的板材作为蓝本，她用银色喷漆在百叶窗上重现了这些“有用部件”，“空”的概念在这件作品中又一次出现。
阳光板隔墙，是这次展览的一个大体量作品，何意达在考虑建造空间隔墙的时候，决定让这个功能性的部件成为装置作品本身。轻盈通透的外观和中空的结构提供了各种可能性，何意达让白色液体（油漆、乳胶）从中空的阳光板里浇灌进去，流淌而下附着在内壁上的白色液体意外地把阳光板变成画廊里的常规白墙。从之前把油漆倒入透明挂袋中，到最近几年将金属结构浸没在硅胶中，在玻璃板上滴上油漆等等，何意达已经将液体属性容纳到她的体系中。对于她来说，这些能被泼洒，打翻并形成自由状态的液体，由于不可控制从而成为最完美的混乱制造者。探索雕塑语言对何意达来说是一种更接近真实的过程，不同的材料只承载表达的语言，轻盈或沉重，平坦或褶皱，柔软或坚硬，材料还是材料本身，却看不到任何她想要表达的情感或内容，将表达方式视为内容，何意达将之称为雕塑研究，或者真实性探索。
≡ 何意达 He Yida
曾经有光透过，照耀在假想的城市里 1
There was light coming through shining on the imaginary city 1, 2019
百叶窗，百洁布，螺丝，镀铬喷漆
Window blinds, hard sponge, screw, chrome spray paint
110 x 79 x 3 cm
© 图片由艺术家和马凌画廊提供
Image courtesy of the Artist and Edouard Malingue Gallery
Edouard Malingue Gallery is delighted to present female artist He Yida's solo exhibition, "Dwells in the Solid Shadow of the Unreachable" during the November art season in Shanghai. Comprised of the artist's latest works, the exhibition focuses on two critical aspects of her ongoing practice: a reinvestigation of our understanding of familiar urban elements and her passionate exploration of the language of sculpture. He Yida's practice has never involved "creating works"; in her own words, "I don't make new things, what should be here in this world has already been created, my practice is to observe, unearth and study the objects around me through my presentation. And what drives my research is to discover the ways of perceiving the world." He Yida draws inspiration from various corners of the city, be it the abandoned objects on the street, the frames left from cut-off metals, fragile surfaces covered in plaster - these have all been the objects of emulation in her work. Through meticulous structural planning, her practice challenges the aesthetics of everyday life, the relationship between the objects, and searches for the origin of art on a broad scheme, while resisting the value of monumentality. He Yida’s adoption of the readymade for her practice is grounded on the consolidation of materials: she observes the curves, textures, weight of these materials before she selects from their existing qualities to bring them together into a new ensemble. Hence, He Yida has developed a sculptural language that is uniquely hers: on the one hand, it acknowledges the former practicality of the object, on the other, it builds a conspicuous yet grand and dexterous theater of objects gathered from the street. ≡ 何意达 He Yida
作品细节 Artwork Detail
在阴影中拖拽出缺失的反射
Draw absent reflection in shades, 2019
油墨，亚克力 Ink, acrylic
装裱尺寸 Frame：115 x 160 x 8 cm
© 图片由艺术家和马凌画廊提供
Image courtesy of the Artist and Edouard Malingue Gallery
A set of amalgamated rods emerge from the ground, a carved out metal panel existing as the base. To the bottom a carved piece of plaster anchors the sculpture. In effect, there is a not to the iconic Roman column yet it does not appear in its formal essence. Absence is a subject matter He Yida addresses but is ambivalent in displaying. Through her latest works, although the pieces may vary in forms, dimensions and applied materials, the "void” is always present. What are the ways in which we conceive things? What gives them the form they "should" have? He Yida tries to present the missing parts for us to look at the absent "protagonists", and as irrelevant as these objects may be, the abandoned elements, parts, raw materials, are configured according to their true forms and contours. Thin and sharp metal is a material He Yida often uses in her work. She appreciates its fragility and lightness with a sense of presence, the qualities that seem to foster greater possibilities in the language of sculpture. He Yida's initial interest in using the blind was from the installation of this everyday item in her art studio and home. The visual order and subtlety, the handle on the blind, and an idle pulling cord could cause chaos. The cord hanging from the blind has been partly cut off. This is where disarray occurs, like many of He Yida's previous works - one finds order and chaos in the same context. The useful parts in a child's architecture model are removed and used as the blueprint; she uses silver spray paint to highlight the "useful parts" on the blind, allowing the notion of the "void" to emerge again in this work.
The dividing walls made of hollow PET sheets is the largest work in this exhibition. He Yida decided to turn the functionality of this part as the installation itself in her decision to make wall dividers. The lightness of this material and its hollow structure provide greater structural possibilities, in which, He Yida fills the PET sheet with white liquid (paint and glue), and the residue left on the inner surface unexpectedly turned the PET sheet into the common white walls in the art gallery. Since her earlier practice of pouring paint into transparent sacks and casting metal structures in silicon and dripping paint over the mirror sheet, He Yida has integrated the qualities of liquids into her artistic system. For her, the liquid is a material that can be poured, spread into its forms its an uncontrollable element and the perfect candidate to fabricate chaos.For He Yida, exploring the language of sculpture is synonymous to the process of searching for the truth where the various materials become manifestations of different qualities. Be it light or heavy, flat or creased, soft or rigid, they are only embodiments of a language of expression in sculpture without being the conduit for content. The objects are still themselves, and sublimating the mode of expression as content is what He Yida calls “truthful exploration”.
艺术家简介 About the artist
何意达于1980年生于上海，2007年在英国伦敦切尔西艺术学院获得学士学位。目前在上海工作生活。何意达的艺术实践专注于展示和表达：对于雕塑语言的探索，并用其对我们熟悉的认知进行重新审视，将“真实”和“假象”并列，去挖掘它们的相互关系。在雕塑语言上的探索对何意达来说是一种更接近搜寻真实的过程，不同的材料和形态只承载表达的语言，轻盈或褶皱，柔软或坚硬，雕塑语言的表达方式变成了承载的内容，除去了指代的投射，它是最接近本体的真实。在她的作品中，即便形态各异、材料各个不同，但“重要的”和“核心内容”从不出席，而“空”（void）总是在场。利用那些无关紧要的事物、被抛弃的元素、配件，何意达试着用缺省的部分去塑造对象，从而重新审视我们对事物的认知过程。结合着她的表面化、形态化的雕塑语言，她的世界是在假象中被重新认识的真实，也是在真实中被投射出的假象，并行交互。
她的个展包括：居住在那些无法取得之物的固体影子中（马凌画廊，上海，2019）；正确的错位（亚洲艺术中心，上海，2016）；提.防（C空间，北京，2013）。参加的群展有：Longan（House of Egorn，德国柏林，2019），藏木于林（香港大馆当代美术馆，香港，2019），林中的树倒下而没有人在（上海当代艺术博物馆，上海，2018），Condo上海：无灵之灵（马凌画廊，上海，2018），转瞬之间（马凌画廊，香港，2017）；难看：暧昧的伦理，去阶级眼光（剩余空间，武汉，2016）；每日形式（BANK，上海，2016）；炼金术（Between Art Lab，上海，2015），窥视秀（长征空间，北京，2015），+关注（上海当代艺术馆，上海，2011）。2018年何意达结束了位于英国曼切斯特中国当代艺术中心（CFCCA）的利物浦双年展驻留项目。
© 图片由艺术家和马凌画廊提供
Image courtesy of the Artist
and Edouard Malingue Gallery
He Yida (b. 1980, Shanghai) currently lives and works in Shanghai. She graduated from Chelsea College of Art and Design, London in 2007. He Yida’s practice is not just an exploration of the language of sculpture, but also a reexamination of our cognitive process of familiar urban elements. Focused on presentation and representation, He juxtaposes actuality and image of things, which challenge the way idea forms. Exploring the sculptural language is an approach towards reality for He. Materials and forms carry their specific language of expression. Whether light or heavy, fragile or strong, the composition of the individual materials forms the expression. The presentation becomes the representation it carries. Without the projection of reference, the actual substance emerges. In He’s works, regardless of various forms and materials, “essential” and “core” are absent while "void" is always present. Using inessential things, abandoned elements and attachments, He Yida tries to shape the object with missing parts and re-examine our cognitive process of things. He’s sculptural language of superficiality and morphology simultaneously becomes a reality regenerated from images, as well as phantom haunted from behind.
Her solo exhibitions include: Dwells in the Solid Shadow of the Unreachable (Edouard Malingue Gallery, Shanghai, 2019), Right Misplacement (A+ Contemporary, Shanghai, 2016), In Case (C-Space, Beijing, 2013). Her selected group exhibitions include: Very Natural Actions (Tai Kwun Contemporary, Hong Kong, 2019), Longan (House of Egorn, Berlin, 2019), A Tree Fell in the Forest, and No One’s There (Power Station of Art, Shanghai, 2018), Condo Shanghai: Soul of the Soulless (Edouard Malingue Gallery, Shanghai, 2018), One Second Ago (Edouard Malingue Gallery, Hong Kong, 2017), NAN KAN: Inexplicit Ethics and De-ranking Perspective (Surplus Space, Wuhan, 2016), Daily Formalism (BANK, Shanghai, 2016), Alchemy (Between Art Lab, Shanghai, 2015), Peepshow (Long March Space, Beijing, 2015), Follow (MOCA Shanghai, Shanghai, 2011). In 2018 He Yida completed a residency at the Centre for Chinese Contemporary Art, Manchester supported by the Liverpool Biennial.