【SPURS 新展】穿行其间——亨利·柯桥德、艾森·威尔斯和张移北三人展
穿行其间——亨利·柯桥德、艾森·威尔斯和张移北三人展
2022年12月22日至2023年2月12日
Gallery I｜SPURS Gallery，北京朝阳区酒仙桥路二号院798艺术区D-06
马刺画廊荣幸地宣布将于2022年12月22日呈现艺术家亨利·柯桥德（Henry Curchod）、艾森·威尔斯（Aethan Wills）和张移北的三人展“穿行其间”。作为本年度最后一个展览，“穿行其间”是一个进入艺术家创作的复杂性与丰富度的动作，进而观察与体验日常生活与人生际遇可以如何向外延展。有着不同生活与创作背景的三位艺术家都善于以个人的独特表达唤起更广泛的人类经验和感觉。
亨利·柯桥德是一位有着库尔德血统的英裔美国人，他的绘画和雕塑通过叙事来探索个人和全球层面的历史否定主义，展示跨越他的西方成长背景和伊朗血脉的符号和主题。柯桥德使用干颜料、炭笔和油画笔在画布上绘画的方式让他必须保留画面上所有的绘画痕迹，其呈现的原始感结合古波斯细密画在结构上的美学质量，让强烈的情绪与严谨的叙事同时展现在画面之上。柯桥德探索等级制度、资本主义、文化交融、残暴与仁慈等主题，并深度探讨人类群体在历史上相互联系和互动的复杂性。
艾森·威尔斯的实践从自传的立场出发，与东亚艺术和美学建立联系。他用记忆和感觉去表达中国、韩国的艺术与文化传统，特别是日本的传统之美。威尔斯使用欧洲的图像呈现形式，对记忆、文化和民间传说进行再现，并将此作为一种横纵交错的探索方式。在他近期一系列绘画作品有关于寺庙、可能存在风景和茶园的碎片，它们被描绘在介于具象和抽象的状态中，在东方和西方美学的张力之间。
张移北作品以探讨材料（物质）为主。外部更多关注材料的构成：如硅胶、玻璃、芯片都以硅元素为主要组成，但是分子不同的排列组合却使得它们呈现完全不同的状态。内部关注的是“材料”的延伸，相比较，不仅是艺术家运用材料创造作品，更是材料本身的特性塑造了艺术家，使艺术家成为该材料特性的延伸与反馈。她对人与材料关系的关注也体现在创作时会刻意选取一些有关城市建设的元素，比如说化粪池、电力、水利，还有供热系统的部件，对张移北来说，正正是这些基础设施连接了人与人、人与城市的日常生活。
展览将持续至2023年2月12日。
亨利·柯桥德，《暹罗之梦》，2022，亚麻布面油画及炭笔，136.5 x 136.5 cm｜Henry Cuchord, Siamese dreams, 2022, oil and charcoal on linen, 136.5 x 136.5 cm
In Between, Henry Curchod, Aethan Wills, and Zhang Yibei
22 December 2022 – 12 February 2023
Gallery I | SPURS Gallery, D-06, 798 Art Zone, 2 Jiuxianqiao Rd, Chaoyang District, Beijing
SPURS Gallery is honored to announce the opening of In Between – the group exhibition of three artists: Henry Curchod, Aethan Wills, and Zhang Yibei – on December 22nd, 2022. As the last exhibition marking the closure of this year, “In Between” is a gesture of entering the doorway before the complexity and abundance in the artists’ making, whereabout they observe and experience how the everydayness of all, or the lot of one, may extend outward. Though each came from a different background in terms of no matter their living or art making, the three artists share a mutual talent for using their unique expressions to wake the universal human experiences and feelings.
Henry Curchod, British-American of Kurdish descent. His paintings and sculptures utilize narratives to explore historical negationism on a personal and global level while displaying symbols and themes crossing his Western upbringing and Iranian heritage. Curchod’s unique painting technique, where dry pigments, charcoal, and oil stick conjoin on linen, forces him to preserve every mark from the image, allowing the works to present not only their primitive touches but also an aesthetic quality in the very structure of ancient Persian miniature paintings, and the unity of emotional intensity and narrative preciseness to emerge onto the surface. While exploring themes of hierarchy, capitalism, cultural cross-pollination, brutality, and kindness, Curchod seeks profound discussions on the complexity of how human groups have connected and interacted with each other throughout history.
Aethan Wills’ practice departs from an autobiographical position, re-engaging with East Asian modes of art and aesthetics. He revisits memories and sensations that speak to the beauty of Japanese traditions, also the canon of Chinese and Korean art and culture. Wills playfully instrumentalizes European approaches to image display for his representation of memories, cultures, and folklore as an intersectionally exchanging way of exploration. In his recent series of paintings, fragmented visions of temples, possible landscapes, and tea gardens are depicted within an in-between state of figuration and abstraction, a push-pull between the Eastern and Western aesthetic phenomena.
Zhang Yibei starts with a proposition, that is, a rethinking of the relationship between artist, material and ideation. Externally, the artist concerns the composition of materials: silica gel, glass, chips or things that exist in the world (found or sought objects) composed mainly of silicon. The different combinations of molecules make their forms completely various. Internally, the focus is on the extension of materials. Zhang combines her materials as reference objects to her subconscious. This poses Yibei the question of whether the material belongs to the artist or vice versa. Her concern for the relationship among people, materials and ideation is also reflected in the deliberate selection of ready-made components related to urban construction, such as septic tanks, electric power system, heating system and water conservancy. For Zhang, these connect our daily lives with the city.
The exhibition will be on view until February 12th, 2023.
艾森·威尔斯，《我昨晚看到你了（和锦鲤一起唱歌）》，2022，布面油画，170 x 285 cm｜Aethan Wills, I saw you last night (Singing with the Koi), 2022, oil on canvas, 170 x 285 cm
SPURS 即将展出
穿行其间——亨利·柯桥德、艾森·威尔斯和张移北三人展
2022年12月22日至2023年2月12日
Gallery I｜SPURS Gallery，北京朝阳区酒仙桥路二号院798艺术区D-06
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