【SPURS 新展】Therefore, I am
2021年9月25日至10月31日SPURS Gallery I | 北京朝阳区酒仙桥路二号院798艺术区D-06
SPURS画廊荣幸地宣布将于2021年9月25日在Gallery I推出宋琨、杰西·莫克林（Jesse Mockrin）和米拉·丹西（Mira Dancy）三位女性艺术家的群展“Therefore, I am”。
以绘画作为主要创作媒介，三位艺术家的作品所涉猎的题材各有不同但都与身体相关，她们或将身体塑造为“赛博格”躯体、或以人体和肖像连缀广阔的历史绘画和素材、或以高饱和度的色彩勾勒出极具生命力的女性形象。“Therefore, I am”或可以理解为艺术家们的目的趋同，即以身体作为媒介，真挚地描摹有关于身体的图像，印刻出有关自己的轨迹。她们的作品在呈现对身体的反思时，反在积极地调动观者对人体（裸体）的观看欲望。如米拉·丹西所说，“这些图像可能不是天生丽质的，但这是我们自己，当我们站在镜子面前时，我们看到自己闪烁在天地之间。”此处，“Therefore, I am”的肯定来自于：她们的实践能够反映她们所生活的世界，捕捉到了21世纪的现实，对当下作出了回应。只有在这样的前提下，“我存在”这样真理陈述式的肯定才有了额外的分量。
宋琨，1977年出生于内蒙古包头，现生活工作于北京。她的作品以绘画为主, 同时结合了音乐现场、Music Video、装置等方式。近年来宋琨的创作步入了一个新的阶段，实验性地将当代亚文化及宗教元素与其创作系统相融合，延续对人类身体、潜意识与生存现状的探索，通过提炼、融合传统及各类亚文化元素，生成泛文化的未来肉身。她的最新创作集中描绘了一系列她称之为“泛灵族”的形象。如此次展出的《写真：自画像No.2》（2020），这些形象有的来自艺术家自己和其身边的亲人朋友，有的是艺术家用3D软件制作的。这些人体形态半透明的属性源于佛法中“东方琉璃净土”的概念：“人所想象不到的、自性发光的净土世界”，指涉灵与⾁的互为因果；嵌入身体的机械部件及机械化错位提示当下人类被秩序控制、进而赛博格化的生存现状，使其在现实与超现实世界间穿越。
杰西·莫克林，1981年出生于美国马里兰银泉，现生活工作于洛杉矶。莫克林创作的肖像从鲁本斯或安格尔等早期绘画大师的作品中提取场景，扭曲或放大身体部位，再经过图像的剪裁，在画布上构建出完全不同的空间和奇特浪漫的画面。以历史绘画为兴趣所在，她更对双性化和不同时期的性别规范进行探索，以此用绘画与流行文化和性别界限进行连接。展览中展出的三幅绘画的标题均有所本，来自被莫克林重新诠释的经典艺术作品背后的原典，尺幅最大的作品之一《她害怕得几乎昏厥，向后一瞥》（2021）援引自奥维德在《变形记》中对劫掠欧罗巴的描述。莫克林对画面的剪裁和节录暗示了叙事外更大的世界，如作品《被弄瞎的、被嘲弄的、被哀怜的》（2020）在不同画布上划分构图，同时整个图像的关键部分被消除，打破原有的沉浸式的幻想。
米拉·丹西，于1979年出生，现生活工作于洛杉矶。她的创作集中于描绘女性身体与几何结构的关系，经常采用大尺幅绘画表达强烈、淋漓的人体。她以绘画作为主要创作媒介，同时涉足壁画、霓虹灯装置等。她的图像希望让观众重新审视关于女性气质、权力和力量的话题；她描绘的女性形象除了夸张的性感，还充满了力量和沉着的态度。丹西近期的创作中，女性与其置身的风景经常共享同一个调色盘，强烈的黄色、红色、粉红色、紫色和蓝色线条呈现出的画面似乎在提示女性与自然之间存在的联系。
展览将持续至2021年10月31日。
SPURS Gallery is honored to announce the exhibition “Therefore, I am,” featuring Song Kun, Jesse Mockrin and Mira Dancy. The exhibition will open in Gallery I on September 25, 2021.
All three artists work mainly in painting, and while their works touch on different subject matter, all are in relation to the body, sometimes shaping the body into “cyborg” nudities, sometimes clustering figures and portraits into vast historical paintings and themes, or sometimes weaving vibrant images of femininity out of highly saturated colors. “Therefore, I am” could be understood as shared goal of the artists, to use the body as a medium to depict sincere images of the body and trace out their own trajectories. As their works present reflections on the body, the works in turn are activating the viewer's desire to gaze upon the (nude) body. As Mira Dancy says, “The images aren’t perfections, but amalgams of all the who’s we were standing in the mirror when we saw our bodies flicker on the horizon.” Here, the affirmation of “Therefore, I am” stems from the way in which their practices reflect the world they live in, capturing the reality of the 21st century, and responding to the present. Under these conditions, such a statement as “I am” becomes especially prescient.
Song Kun was born in 1977 in Baotou, Inner Mongolia, and currently lives and works in Beijing. She mainly works in painting, while also incorporating live music, music videos and installations. Song’s art has entered into a new phase in recent years, as she experiments with a systematic fusion of subculture and religious elements into her creations in a continued exploration of the human body, the subconscious, and existence, refining and fusing various traditional and subculture elements to generate pan-cultural bodies of the future. Her most recent works focus on depicting images of what she calls “Animists.” As in the work Portrait: Self-Portrait No. 2 (2020), featured in this exhibition, these images come from the artist herself and the people around her. Some are produced using 3D software. The semi-transparent properties of these bodies come from the concept of the “Lapis Lazuli Pure Land,” a “radiant, pure land that is unimaginable to mortals” that references the karmic connections between the spirit and the flesh: the mechanical components and dislocations embedded in the body reveal the systemic control imposed on humanity and the emergent cyborg state of existence, traversing the realms of reality and hyperreality.
Jesse Mockrin was born in Silver Spring, Maryland, in 1981, and currently lives and works in Los Angeles. Mockrin's portraits extract scenes from such old masters as Rubens and Ingres, distorting or magnifying parts of the body, and cropping and sectioning the images to construct entirely different spaces and romantic pictures on the canvas. Her interest in historical painting is more about the exploration of sexuality and gender norms in different time periods, which she uses in painting to create connections with popular culture and gender fluidity. The three paintings in this exhibit derive their titles from the classic works she reinterprets. The largest, Almost Fainting with Terror She Glanced Back (2021), is a quotation from Ovid’s description of the rape of Europa in his Metamorphoses. Mockrin’s cropping and selective quotation of the picture hints at a wider world beyond the narration at hand. Blinded, Ridiculed, Pitied (2020) is composed across multiple canvases, while the key section of the image has been removed, breaking the illusion of immersion.
Mira Dancy was born in 1979, and currently lives and works in Los Angeles. Her works mostly depict exploration of the body in relation to geometric structures, giving vivid, powerful expression to the body in large format paintings. Painting is her main creative medium, though she also works in murals and neon installations. Her images lead the viewer to reexamine questions of the character, power and strength of women. Her images of femininity show a heightened sexuality, but are also filled with strength and attitude. In her recent works, Dancy’s women often share a color palette with their surrounding scenery. The pictures that emerge from these powerful yellow, red, pink, purple and blue lines seem to allude to the connections between women and nature.
The exhibition will remain on view until October 31.
SPURS 即将展出
冯国东：1989—1999生活与工作
2021年9月25日至10月31日SPURS画廊（Gallery II）| 北京朝阳区酒仙桥路二号院798艺术区D-06
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