【SPURS 新展】罗克萨娜·皮鲁曼德：失去重心前的十七段叙事
罗克萨娜·皮鲁曼德：失去重心前的十七段叙事
2024年5月25日—7月7日
Gallery II｜SPURS Gallery，北京市朝阳区酒仙桥北路二号院798艺术区D-06
马刺画廊将于2024年5月25日于Gallery II推出罗克萨娜·皮鲁曼德（Roksana Pirouzmand，1990年出生于伊朗亚兹德，现生活和工作于美国洛杉矶）的个展“失去重心前的十七段叙事”，以艺术家的十七件绘画、雕塑、装置与行为表演作品呈现她的近期感受与思考，也是其在中国的首秀。皮鲁曼德的创作从个人经历出发，展现了跨地域与跨文化背景下有关个人身份与家庭历史的叙事，同时，通过拓展对不同材料的使用，她更关注的是身体在主体与客体、观者与表演者之间的关系，以及这其中产生的互动与变化。
展览的两件核心装置作品与皮鲁曼德在展期中实施的行为作品共享同一个名字——《在母亲的双膝上》，它们是艺术家对个人生命历程的深刻隐喻，也是其情感的载体。其中，陶塑装置是皮鲁曼德对家庭中女性成员腿部造型进行的重复叠加，垒叠成不稳定的阶梯，如家族血脉的承续与个人在复杂关系中的微妙平衡，以及在历史长河中不断寻找自我定位的普遍人性。
展厅中央的大型装置是一个源于陶塑的负形硅胶“蓄水池”。作品中缺失的人形轮廓，仿佛是被时间遗忘的故事，提醒着观者关于存在与消逝、记忆与忘却的深刻议题。水滴缓缓落入，更是一段关于时间流逝与情感积累的动态叙述，是那些虽不可见却始终存在的生命痕迹。行为艺术的实施，使观众不仅仅是旁观者，而是成为这一情感传递链中不可或缺的一部分，共同体验失衡与和谐的瞬间转换。
环绕展厅墙面的，是皮鲁曼德在红色陶土板上的绘画作品。陶土独特的材质和处理承载的叙事有着岁月的痕迹和情感的重量，一个个孔洞不仅是为画面结构打开的入口，还隐去了人物的面容，仅留下姿态与动作。每一个姿态，无论是安详的躺卧还是虔诚的祈祷，都成了跨越文化和宗教界限的普遍语言。皮鲁曼德通过展览构建了一个既私密又普世的对话空间，让每个人都能在“失去重心前的十七段叙事”中找到属于自己的那一章节。
展览将持续展出至2024年7月7日。
罗克萨娜·皮鲁曼德，《静待火山爆发的水晶灯》，2024，陶瓷，37 × 39 cm｜Roksana Pirouzmand, on a fault line, in a volcano, under a chandelier, 2024, ceramic, 37 × 39 cm
Roksana Pirouzmand: on my mothers’s lap
May 25–July 7, 2024
Gallery II | SPURS Gallery, D-06, 798 Art Zone, No. 2 Jiuxianqiao Road, Chaoyang District, Beijing
SPURS Gallery is delighted to present “on my mother’s lap”, a solo exhibition by Roksana Pirouzmand (b. 1990 in Yazd, Iran; lives and works in Los Angeles, USA), marking the artist’s debut in China, on May 25, 2024. The exhibition presents seventeen works of her recent thoughts and practices at Gallery II, spanning from paintings, sculptures, installations to performances. Pirouzmand works with identity and its politics and narrates a cross-regional and trans-cultural poignancy. By exploring a vast array of work materials, she attunes to the subjectivity and objectivity of bodily rites, the relational aesthetics between performer and spectator, and the arising interactivities and changes.
The title of Pirouzmand’s forthcoming performance comes from the two exhibition highlights under the same titles on my mother’s lap as it is a profound metaphor of the artist’s personal history and irrevocable emotional baggage. The ceramic piece, among all the on my mother’s lap, is a pile of sculptural legs that belongs to her female predecessors, forming an unstable set of steps — an immigrant analogy for searching the intricate balance between the personal and family pursuits, the perennial quest for sufficient identity and protection, and the active seeking of one’s place in history.
The large-scale installation in the center of the gallery space is the negative derivation of a formed sculpture. The indistinct human outline suggests a story forgotten by time; for its whispering, reminds us about those fading memories, the disappearance and the oblivion in life. Water slowly drips into the “reservoir”, the unspeakable tale tells, it is a recital of how time flies and how emotions are bottled up. The audience is no longer a spectator of the staging performance but a crucial part of this sentimental relay. Together we find a transitory balance in an outraged, chaotic and uneven world.
Paintings on the red clay panels are settled on the surrounding walls with their unique texture and textuality. Whereas, temporality is an intrinsic property of this very medium, the red clay. Holes on the panels not only serve as a passage to the heart of the works but also exhaust the faces of figures, only the gestures and movements persist. One may find this omnipresence of surrendering by posing in the Savasana (corpse pose) or in worshiping prayers, perhaps across all cultures and religions. Pirouzmand communicates in an intimate yet universal language, so may you find some peace on her mother’s lap.
The exhibition will remain on view until July 7, 2024.
罗克萨娜·皮鲁曼德，《可见与不可见，口与口，手与手（II）》，2023，陶瓷，41 × 53 cm｜Roksana Pirouzmand, visible, invisible, from one mouth to the other, from one hand to the other (II), 2023, ceramic, 41 × 53 cm
关于艺术家
罗克萨娜·皮鲁曼德，摄影：陶溪川艺术中心｜Roksana Pirouzmand, photo: Taoxichuan Center
罗克萨娜·皮鲁曼德，1990年出生于伊朗亚兹德，2017年毕业于CalArts美国加州艺术学院，获艺术学士学位，2022年毕业于美国加州大学洛杉矶分校，获艺术硕士学位，现生活和工作于美国洛杉矶。
皮鲁曼德的艺术兴趣集中于作为动作的主体/观者的人体和作为动作的对象/表演者的人体之间的相互作用，不同材料的不同特性往往成为沟通两者的手段。皮鲁曼德的艺术实践不拘泥于某一媒介，她灵活地使用雕塑、装置、录像和行为表演等不同形式表达自己的想法。
皮鲁曼德的近期个展包括：“失去重心前的十七段叙事”，马刺画廊，北京（2024）；“The Past Seeps through the Present”，Murmurs，洛杉矶（2022）；“They Last Forever”，Grand Central Art Center，奥兰治县（2021）；“Open Studio”，Margo Leavin Graduate Art Studios，洛杉矶（2020）。近期群展包括：“Made in L.A. 2023: Acts of Living”，哈默美术馆，洛杉矶（2023）；“浴室梦魇”，Del Vaz Projects，洛杉矶（2022）；“Mehmooni”，Guest House Gallery，洛杉矶（2022）；“Those Lazy, Hazy, Crazy Days of Summer”，Make Room Gallery，洛杉矶（2022）；“Machines of Desire”，Simon Lee Gallery，伦敦（2022）。
Born in 1990 in Yazd, Iran, Roksana Pirouzmand is a multidisciplinary artist currently living and working in Los Angeles, USA. She holds a BFA from the California Institute of the Arts (2017) and an MFA from the University of California, Los Angeles (2022).
Pirouzmand’s artistic interest focuses on the interaction between the human body as a receiver/viewer and as an activator/performer, with the materials’ qualities often serving as a method of communication between the two. She expresses her ideas through mediums such as sculpture, installation, video, and performance art.
Pirouzmand’s recent solo exhibitions include “on my mother’a lap,” SPURS Gallery, Beijing (2024); “The Past Seeps through the Present,” Murmurs, Los Angeles (2022); “They Last Forever,” Grand Central Art Center, Orange County (2021); “Open Studio,” Margo Leavin Graduate Art Studios, Los Angeles (2020). Recent group exhibitions include “Made in L.A. 2023: Acts of Living,” The Hammer Museum, Los Angeles (2023); “Nightmare Bathroom,” Del Vaz Projects, Los Angeles (2022); “Mehmooni,” Guest House Gallery, Los Angeles (2022); “Those Lazy, Hazy, Crazy Days of Summer,” Make Room Gallery, Los Angeles (2022); “Machines of Desire,” Simon Lee Gallery, London (2022).