【SPURS 新展】袁可如：后像之痕
袁可如：后像之痕
2021年12月18日至2022年1月16日
SPURS Gallery | 北京朝阳区酒仙桥路二号院798艺术区D-06
SPURS Gallery荣幸地宣布将于2021年12月18日呈现袁可如个展“后像之痕”。此次展览是袁可如在SPURS Gallery举办的首次个展，在Gallery I & II双层空间展出艺术家在疫情之后创作的两组全新的影像装置作品。
展览展出的两组影像作品与疾病创伤相关，延续了袁可如一贯以来叙述性电影化的影像创作方式，持续探讨与关注不同历史切片中的个体困境。后像（afterimage）是一种视觉错觉，在较长时间的注视或视觉刺激后，在刺激从视野中撤离后的短暂时间内，大脑依旧能感知到短暂的视觉残留的现象。在本次展览中，艺术家将这个词延伸为心理学层面上创伤感知的残留，描绘了一种即使在疾病治疗之后，创伤在病患生活中依然如影随形、存在一种幽灵幻感，并对其本人、其家庭关系和社会关系产生持续的影响。
展览一层空间以影像作品《雾中来的人2037》（2020–2021）为中心，并抽取了影片中疫症心理诊所的场景与图像置于展厅中。观众步入空间，雾气伴着霓虹灯发出的光亮，将如处在故事发生的实景之中。《雾中来的人2037》是一部虚构影像作品，从对新冠疫情的体验和反思出发，以萨拉马戈的小说《失明症漫记》中的失明瘟疫作为背景设定和平行隐喻，将故事发生时间拟设在了2037年的未来。艺术家邀请了10位非专业演员，他们本身是从事不同职业的盲人；特邀演员李梦作为影片主角，以她所扮演的失明疫病幸存者的视角，呈现了残疾人世界的折叠不可见、现代文明的脆弱和困境，以及在紧急状态下所谓“弱者”也可以成为一种觉醒和推动力量。
二楼的《永恒与片刻》（2021）则是袁可如从自己家族的乙肝病史出发的系列研究第一阶段的呈现，媒体人余雅琴为共同发起人。HBV病毒曾在中国拥有庞大的人群基数和海量的新闻信息，却长时间在文化演绎层面失语，让艺术家产生了对疾病审美化的追问。作品由三个屏幕影像组成，选择了三个真实人物作为原型切入，屏幕里的人物代表了被HBV病毒深刻影响的三个人群——母婴传播链中的母亲、失去父辈亲人的少女、以及处在就业困境中的求职者。他们各自在海边有了一次短暂的出走，并在出走中表达遗憾、宣泄愤怒或达成和解。
艺术家在影片中致敬了当年反歧视第一案的张先著，并邀请作者吴其华共同完成了短篇小说《土屋 海岛 龙井巷》，将其制作成读本亦展示在展览空间中——通过一位70后女性携带者的成长故事和她生活的地理变迁，来呈现1990年到2003年之间的一段历史切片，同时，小说人物也成为影片中的主人公。艺术家在对乙肝病史的研究中看到太多失落的个体，并将这一段历史中个体病患的生存境遇、职业困境和对家庭关系的影响，用去事件化的演绎方式呈现——一种疾病的历史不仅仅是疾病本身，也是一段社会空间变迁、社交关系演变的历史。艺术家也将这件作品献给她因此病故去多年的父亲。
展览通过上下两个空间中真实和虚构的两种传染病史的景观呈现与现实进行对话。演员与角色身份的流动、故事在真实与虚构之间穿梭、屏幕上的影像与展览空间建立多层关系，“后像之痕”试图开拓人们对日益复杂的现实的感知，在疫情时代远望其他时空中的集体记忆和创伤体验，以期许即使在夜晚的黑暗中，也能体验到烟火闪烁的轨迹。
展览将持续至2022年1月16日。
袁可如，《雾中来的人2037》预告片，2020-2021
Yuan Keru, Guest of the Mist 2037 (trailer), 2020-2021
袁可如，《永恒与片刻》预告片，2021
Yuan Keru, Eternity and Transience (trailer), 2021
吴其华，《土屋 海岛 龙井巷》，袁可如委任作品
Wu Qihua, Cottage, Island, and Dragon Well Lane, commisioned by Yuan Keru
Yuan Keru: Traces of the Afterimage
December 18, 2021 - January 16, 2022
SPURS Gallery | 798 Art District D-06, 2 Jiuxianqiao Rd., Chaoyang District, Beijing
SPURS Gallery is honored to announce the Yuan Keru exhibition “Traces of the Afterimage,” opening December 18, 2021. This is Yuan Keru's first solo exhibition at SPURS Gallery. The exhibition will present two new video installation series, created since the pandemic, in Galleries I and II.
These video installations are connected to illness and trauma, and continue the artist’s cinematic narrative creative method in a further exploration of the individual predicament within different cross sections of history. “Afterimage” is a form of visual illusion. After gazing for a long time at a visual stimulus, a trace remains in the brain for a short time after that visual stimulus has left the field of vision. In this exhibition, the artist expands this term to lingering traces of trauma on the psychological level, describing how illness remains in one’s life like a shadow, a spectral presence, even after recovery, with a lasting impact on oneself and one’s familial and social relations.
The first floor of the exhibition is centered on the video work Guest of the Mist 2037 (2020–2021), and features scenes and images from the film’s mental hospital around the exhibition space. As the viewer enters the space, the neon light gleaming through the fog places them almost in the scene itself. Guest of the Mist 2037 is a fictional video work that sets out from the experience and reflection of the coronavirus pandemic, with the blindness plague from José Saramago's novel Blindness as background and parallel metaphor. The story is set in the year 2037. The artist enlisted ten non-professional actors, all of them blind and hailing from different professions. The story follows a survivor of the blindness plague, played by Li Meng, to present the stacked invisibilities of the world of the disabled, the frailty and predicament of modern civilization, and how so called “weakness” in a state of emergency can become an awakening, driving force.
Eternity and Transience (2021), on the second floor, presents the first stage in a research series that sets out from Yuan Keru's family history of Hepatitis B, in a project launched together with journalist Yu Yaqin. Hepatitis B once had a large population base in China and was subject to a great deal of media coverage, but was long without a voice in the cultural sphere, leading the artist to probe the matter from an aesthetic perspective. The artwork consists of three screens, and uses three people as archetypes representing three groups of people who have been profoundly influenced by Hepatitis B: a mother in a mother-to-child infection, a young woman who lost a parent to the disease, and an unemployed jobseeker. Each of them takes a short walk by the sea, where they describe their regret, anger, or reconciliation.
The artist pays homage to Zhang Xianzhu, who filed the first anti-discrimination case, and invited author Wu Qihua to collaborate on the novella Cottage, Island, and Dragon Well Lane, which is presented for reading in the exhibition space. The story follows a female carrier born in the 1970s, whose geographic shifts outline a slice of history between 1990 and 2003. The novella’s protagonist is also the focus of the film. The artist encountered many lost individuals in her research into the history of Hepatitis B, and presented the state of the infected individual, employment difficulties and the disease's impact on families through methods that deemphasize specific events—a history of an illness is more than just the illness itself; it is also a history of changing social space and evolving social relations. The artist has dedicated this work to her father, whom she lost to disease many years ago.
Through the real and fictional spectacles of disease history on the upper and lower floors, the exhibition engages in a dialogue with reality. The fluidity between actors and roles, the shifting of narrative between truth and fiction, the videos on the screens and the space of the exhibition, establish multilayered relationships. “Traces of the Afterimage” attempts to expand people's perceptions of the increasingly complex reality, looking to the collective memories and traumas of other times and places in this time of pandemic in hopes of seeing a glimmer of flames burning even in the dark of night.
The exhibition will remain on view until January 16, 2022.
袁可如，1990年出生于杭州，2016年毕业于中国美术学院跨媒体艺术系，获艺术硕士学位，现生活和工作于上海。
她的艺术创作聚焦于探索影像的绘画感、空间韵律和叙事性，把现实中当下所经历的事件、情感与历史、神话、梦境等结合到一起，通过研究与编写小说、打破文本结构、搭建服装场景和半即兴的表演和对话，赋予影像电影感和戏剧色彩，用叙述性的影像方式来呈现不同历史切片中的个体困境。
Born in 1990 in Hangzhou, Yuan Keru graduated from School of Inter Media Art, China Academy of Art with an MFA in 2016, and currently lives and works in Shanghai.
Yuan’s practice focuses on exploring the painterly quality, spatial rhythm and narratives of video, combining the on-going events, emotions with history, mythology, dreams and so on. By drafting novels, breaking up the text structure, setting costume scenes and preparing semi-improvised performances and conversations, she endows video with senses of cinema and glamour of drama. She uses narrative films to present the plight of individuals in different sections in the history.
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