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De Profundis
开幕时间 | 2022.11.06（周日） 19:30Opening ceremony time | 2022.11.06 SUN. 19:30展览时间 | 2022.11.06 — 12.22
Exhibition time 2022.11.06 — 12.22观展预约方式 | COOLING GALLERY 牯岭路画廊 小程序Exhibition booking l COOLING GALLERY Mini Program![]()
影像：晦暗处 De Profundis 牯岭路影像计划 COOLING Film Project © COOLING GALLERY
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脸的悖论 ，郑恺伽Zheng Kaijia，2022，布面油画oil on canvas，150*180 in© COOLING GALLERY
尝试找到一种口吻，与郑恺伽的绘画相贴合。放宽观看的时间，当意识逐渐游走到图像之外，我们对彼此敞开。
Try to find a tone that fits with Zheng Kaijia's paintings. Relax the viewing time, and as consciousness gradually wanders beyond the image, we open up to each other.晦暗处，起初是对郑恺伽绘画作品整体基调的本能感知和形容。当开始思索着找寻这一词汇与画面的深刻联结时，它逐渐显现为一个神秘的启示，远在启用它之前，它就已在那里等候多时。
The obscurity, at first, is the instinctive perception and description of the overall tone of Zheng Kaijia's paintings. When one begins to contemplate the profound connection between the word and the image, it gradually emerges as a mystical revelation that has been waiting there long before it has been activated.选用拉丁语的“De Profundis”作为“晦暗处”的转译，也是奥斯卡·王尔德《自深深处》这本书的原名，取用词汇本身，与书中的意涵无关。De Profundis将晦暗处递进到更多地指向个体自身的晦暗空间。即便我们的表达试图触及时空的远处，实质上同时也是向自我深处的拓宽和抵达。
The choice of the Latin "De Profundis" as a translation of "obscurity" is also the original name of a book which collects Oscar Wilde‘s prison letters and poetry, and the use of the word here has nothing to do with the content of the book. De Profundis increments the obscurity into obscurity spaces that point more towards the individual. Even if our expression tries to reach the distance of time and space, it is essentially broadening and reaching into the depths of the self.![]()
月出皎兮 ，郑恺伽Zheng Kaijia，2015，纸本水彩、色粉paper watercolor，toner
54*48 in© COOLING GALLERY
起初她着迷于镜子这一投射媒介。《迟至之镜》是郑恺伽2019-2021年的系列作品，画面中人物与镜子相互审视与甄别，这也是她对面孔与镜像关系的哲学思考的体现，画面是思考过程的其中一张切片。作品融入了她对中国古典美学——主要在于对魏晋时期、宋代美学的倾向与体悟，体现在画面人物形象、衣着风格等细节，作品的整体气息也渗透着浑然、朴直、松弛的美感。回溯她早几年的作品，几乎都呈现这样一个审美倾向。这里要并齐提及日本的侘寂美学，也一以贯之的渗透在她创作的每个阶段。回到画面中镜子的内外，面孔与镜像的关系：镜像是神秘的，面孔也持有神秘的权杖。两者久久凝视，哪一端才是真相？At first she was fascinated by mirrors as a medium of projection. "Delayed Mirror" is a series of works by Zheng Kaijia between 2019 and 2021. In the paintings, the characters and mirrors examine and distinguish each other, which is also the embodiment of her philosophical thinking on the relationship between faciality and mirror. The picture is one of the slices of the thinking process. The work integrates her understanding of classical Chinese aesthetics, mainly in the Wei-Jin Period and the Song Dynasty, which is reflected in the details of the image of the characters and the style of clothing. The overall atmosphere of the work is also permeated with a natural, simple and relaxed beauty. Looking back at her early years, almost all of her works show such an aesthetic tendency. Here, I would like to mention the Japanese aesthetics of wabi-sabi, which permeates every stage of her creation. Return to the inside and outside of the mirror in the picture, the relationship between the face and the mirror: the mirror is mysterious, and the face also holds a mysterious sceptre. When you look at both sides, which side is the truth?![]()
迟至之镜（之二） ，郑恺伽Zheng Kaijia，2021，布面油画oil on canvas，150*120 in© COOLING GALLERY调节知觉的焦距，感受画面与观者之间共生的磁力。郑恺伽整体的创作面貌以人物肖像为主。当《脸的悖论》脱离她的画笔呈现出来，阶段性的新命题也随之产生，她决意刻画的是面孔本身，深入到对面孔的特写、局部的刻画，呈现对象的内在景观。“脸的悖论”体现了二元性，存在与虚无、面孔与非面孔、人与非人。观看这张脸，同时也在观看自我。两张面孔间有一面无形的镜子，回到上面的提问，如何分辨孰是面孔本身、孰是镜像呢？当开始有了这样的疑惑，我们已然抵达了晦暗处：这里的答案是模糊的，现象是奇异的，意念是变幻的。在对视的两者间，面孔与镜像的概念随信念而转换。Adjust the focal length of perception, feel the magnetic force between the picture and the viewer. Zheng Kaijia's overall creation features mainly portraits. When "The Paradox of the Face" is presented without her brush, a new phase proposition is also produced. She is determined to depict the face itself, and to show the internal landscape of the object by going deep into the close-up and partial depiction of the opposite hole. The paradox of face embodies duality, existence and nothingness, face and non-face, human and non-human. Look at this face, at the same time is look at the self. There is an invisible mirror between the two faces, back to the above question, how to distinguish which is the face itself, which is a mirror image? When we begin to have such doubts, we have arrived at the twilight zone: where the answers are vague, the phenomena are strange, the ideas are changeable. Between the two, the concept of face and mirror image changes with belief.![]()
迟至之镜，郑恺伽Zheng Kaijia，2019，布面油画oil on canvas，135*105 in© COOLING GALLERY 2022年的自画像系列，几件同尺寸作品的创作素材源自同一张照片。在对同一对象的重复表现中，形与神在无意识中游离，自我的深化与自我的抽离并行。但更多的体验在于自我的陌生化，面孔逐渐脱离自身的范畴，独立成可以不被命名的客观存在。The 2022 work includes a series of self-portraits of the same size. The creative material of the work comes from the same photo. In the repeated performance of the same object, form and spirit are dissociated in the unconscious, and the deepening of the self and the withdrawal of self are parallel. However, more experience lies in the defamiliarization of the self, and the face gradually breaks away from its own category and becomes an objective existence that can not be named.![]()
自画像 l ，郑恺伽Zheng Kaijia，2022，布面油画oil on canvas，50*60 in© COOLING GALLERY 她的绘画呈现出高度的敏感和无意识的内倾。对于自身的困惑与找寻，收集或清扫自我的碎片，对找寻的结果不抱期待，甚至找寻的动机都无从得知。也仍有不安，隐含在笔触的情绪里。似乎正是那个未知的浑然之物调动着她的趋向。对外部世界，她都反应着近乎颓然的游离状态。自我持续滋生，却也有一种瘾。Her paintings show a high degree of sensitivity and unconscious introversion. She collects or cleans up fragments of herself in her own confusion and search, without expecting the result of the search, and even without knowing the motive of the quest. There is still unease, implicit in the mood of the brush strokes. It seemed to be the unknown, the unknowable, that moved her. As for the external world,she reflected an almost dejected state of dissociation. The self continues to grow, but there is also an addiction.
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空对着 ，郑恺伽Zheng Kaijia，2018，布面油画oil on canvas，105*135 in© COOLING GALLERY 晦暗处可以是时空概念，囊括了晦涩、深秘等语义。这里的时空呈现着敞开——敞开的黑暗与敞开的光亮的混合地带，分布着宽广、无序、透气、糅合的美感。它也是一块奇幻的安放处所，恰是那幽微的特质具有着庇护属性的包裹感：当意识滑入这个区域，会产生极限体验。Obscurity can be the concept of time and space, including obscure, deep secret and other semantics. The space and time here are open - a mixture of open darkness and open light, with a wide, disordered, breathable and blended beauty. It is also a fantastic place to place, it is the subtle nature of the protective properties of the wrapped sense: when the consciousness slides into this area, will produce the ultimate experience.那里是矿藏，蕴含巨大的能量。也是先于存在的混沌状态，朝向抵达也是回归。可被描述的部分必然是有限的，将意识带离至所有范畴以外的，那不可见、不可描述的部分。郑恺伽的作品正是向往着一个描述之外的去处。在铺展晦暗处这一概念的同时，也是在描述郑恺伽绘画作品本身的神秘与张力。牯岭路画廊为本次展览创作的影像部分的结尾：人物起身，影子逐渐笼罩直至吞没视线，她走向自身晦暗的深处，也同样地走向了光的源头。There is a mineral deposit, a tremendous amount of energy, a state of chaos that precedes existence, arrival and return. The part that can be described must be limited, bringing consciousness out of all categories, the invisible, the indescribable. Zheng Kaijia's works are longing for a place beyond description. While unfolding the concept of obscurity, it is also describing the mystery and tension of Zheng Kaijia's paintings. At the end of the video part created by Guling Road Gallery for this exhibition, the figure rises, the shadow gradually shrouds the vision, and she goes to the dark depths of herself, as well as to the source of light.
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子记忆II ，郑恺伽Zheng Kaijia，2017，布面油画oil on canvas，105*135 in© COOLING GALLERY 在酒意的牵引下写到这里。就像绘画创作在某一时段会进入未知场域，书写也一样。生命体验都是相似的，我们都试图趋近那个深秘的、不可描述的存在。再松弛些吧，每当意识游荡到晦暗处，如果有什么无意显现，那就用双手托住它消隐前的星斑。 Write here under the influence of alcohol. Just as painting will enter the unknown field at a certain time, so will writing. The experience of life is similar, and we are all trying to approach that mysterious, indescribable existence. Relax a little more, and whenever your consciousness wanders into the gloom, if something unintentionally appears, hold the star spot before it disappears with your hands.
衡楚楚
Heng Chuchu
艺术家郑恺伽介绍/
郑恺伽，1994年生于南京，现任教于南京师范大学美术学院西画专业。2017年毕业于意大利米兰布雷拉艺术学院绘画系，获得荣誉学士学位（HonoursDegree)；2019年，取得英国皇家艺术学院绘画专业硕士学位(Distinction)。
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个展
2022年 “晦暗处” 个展，南京，COOLING GALLERY牯岭路画廊；
双个展
2019年 “坠落时刻” 双人画展，伦敦，Crypt Gallery;
2019年 “一朝春尽” 双个展，北京，悦美术馆;
群展
2015年 Ancora Nuovi Segni，莱尼亚诺，安托内罗达梅西耶协会;
2017年 Accademia Aperta 2017，米兰，VS ARTE画廊;
2017年 Accademia Aperta 2017，蒙扎，Casa Novecento画廊;
2017年 Accademia Aperta 2018，罗马，PAVART画廊;
2017年 BRISER LES FRONTIERES，巴黎，Joseph Galerie ;
2018年 英国皇家艺术学院WIP，伦敦，Sackler Building;
2018年 Thumbnails，伦敦，Hockney Gallery;
2019年 十喻，伦敦，Safehouse Gallery;
2019年 北京城市艺术博览会，北京，王府半岛酒店，窄门空间;
2019年 拟像，伦敦，无空间；
2019年 英国皇家艺术学院2019年毕业展，伦敦，Sackler Building;
2019年 ARCHE OF REALM空景造境，北京，无空间；
2020年 非常，非不常群展，南京，陶谷公园画廊；
2020年 可见与可诉：存在，北京，无空间；
2020年 白盒子之家·小作品，北京，白盒子艺术馆；
2021年 炼金法则：贤者石与四元素，北京，三影堂摄影艺术中心 3.0 space；
2021年 餐桌礼仪 Table Manners，南京，牯岭路画廊；
2021年 白盒子之家小作品系列展，北京，白盒子艺术馆；
2021年 广州当代艺术博览会，广州，保利世贸博览馆1号馆；
2022年 “The Spring to Come!”, 北京，白盒子艺术馆；
2022年 玄牝之门｜第六章·「混沌与秩序」，北京，无空间
文章仅展示展览的部分作品
画廊因门前的牯岭路而得名，COOLING是牯岭的音译。2019年成立于南京民国公馆区。我们与国内外最具潜力的艺术家保持长期深度的合作关系，持续呈现高品质的艺术展览与项目，拥有全新的艺术藏家系统。COOLING时刻带有试探和突围边界的洞察力 ，是南京最具前瞻性、未来感、实验精神、锐利属性的当代艺术画廊。展览工作 |
汪思怡 池凌子 唐诗赟 沈冬 周子钦 孙瑞蔓
影视制作｜
COOLING 影业（牯岭路影像计划 COOLING Film Project）
公众开放时间｜
每周六,周日15:00-17:00（须小程序预约）
COOLING GALLERY
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