杜婕个展：十六回 即将开幕 | 今格空间 GINKGO SPACE
“杜婕：十六回”
艺术家：杜婕
开 幕：2018年7月12日（周四）16:00
展 期：2018年7月12日-8月18日
今格空间荣幸地宣布，艺术家杜婕的个展“十六回”将于2018年7月12日正式开幕。此次展览标志着杜婕与画廊的首次合作，将呈现她最新创作的十六件纸上作品。
作为中国最早在上世纪九十年代末投身抽象绘画的女性画家之一，杜婕的创作实践以绘制在画布和纸面上的优美线条为核心，探索和视觉化呈现出个人的、心理的和潜意识的世界，由此勾勒出内在的意识流动。杜婕最为人所熟知的是她的小尺寸布面丙烯绘画（25 x 25 厘米）。她的早期作品以涂于画布上的单色调基底作为起点，这为艺术家提示一件作品的起笔之处。杜婕不会在脑海中预先构思出任何画面，而是任由画笔牵引着自己的手，在画布上自由而随性地移动。对杜婕而言，这些迂回的线条把她拉向童年时的信手涂抹，使她一次次回到那最为记忆犹新、自由自在的作画状态。艺术家把一天中的大部分时间都用来作画，借由她精雕细琢、细致入微的笔法，呈现出由密集的线条、不规则的曲线和延展所构成的迷宫般的世界。
在本次展览中，杜婕告别了布面丙烯绘画，从而转向了更为自然的媒介，即墨和宣纸——这不但对大部分中国观众来说是再熟悉不过，且材料本身的质感也延续了艺术家在整体创作中的固有特点、其女性化气质和中国的身份认知。此外，宣纸本身的特点也隐喻了某种脆弱和转瞬即逝。在把墨汁施于纸上的过程中，艺术家放弃了任何修正“不想要”的错误的机会，这进一步巩固了她在实践里对潜意识的处理，其抽象化的视觉表达更突出了一种真实性和现实感。这十六件作品由红蓝两个色系组成，穿插着艺术家对颜色张力的理解。
与河原温或谢德庆等亚洲观念艺术家不同的是，他们的艺术实践中所探讨的时间性往往引发出就当时的政治议题，或是在非本土的语境中探讨个人的身份问题，而杜婕却以更为自省、私密和美学化的方式，透过抽象的视觉表现来展露出艺术家的内心世界。本次展览展出的十六件作品完成于2017年10月到2018年6月之间，并且在此作为一件独立的装置来呈现，进而强调其内在的连续性。这些作品延续了杜婕先前的创作实践，每件作品都以艺术家开始和完成作品时的日期来命名。杜婕没有选择用绘画来宣泄个体在面对杂乱无序的日常生活时所不得不经历的焦虑、困惑和不适，而是借由视觉创造的方式，以时间抚慰着自己的内心。正如她作品中弯折缠绕的线条那样，杜婕的创作过程记录了艺术家曲折和迂回的心境。而倘若我们细致观察，也必将从中照见自己的心象。此外，为了更进一步强调艺术家的观念，这十六件作品会以曲线的形态进行排列和展示，直观地勾勒出艺术家整体创作的意识。而作品之间的高低错落则取决于每件作品完成的时间长短。
正如法国汉学家弗朗索瓦•朱利安在其文集《伟大的形象没有形式》中所述的那样：“绘画致力于用线条来展示那深不可测，或是用形式来描绘那灵光乍现……它依赖于存在本身的连续性概念，以及它在进出真实时的固有‘方式’。”杜婕的抽象绘画便是描绘着存在的综合体。在这里，盈满与空虚、在场与缺席、意识与潜意识、具体与模糊纷纷登场，正如那伟大的存在过程本身。
杜婕1968年出生于湖北襄樊市。她最早曾攻读物理专业，之后将兴趣和精力投入到绘画实践上。杜婕的个展包括：“后会有期”，麦勒画廊，北京（2008）；“感恩的旅途”，麦勒画廊，卢森，瑞士 （2004）等。她的作品曾在中国和海外的诸多重要群展上展出，其中包括：“我偏爱生活——雷顿•韦斯收藏展”，维塞尔伯格现代艺术博物馆，柏林，德国（2016）；“走出牡丹亭:中国当代女性艺术展”，俄罗斯民族博物馆，圣彼得堡，俄罗斯（2016）；“慢艺术:中国抽象”，莱克林豪申美术馆，雷克林豪森，德国（2012）；“慢艺术:中国抽象”，辛格博物馆，拉伦，荷兰（2011）；“白兔十年”，白兔美术馆，悉尼，澳大利亚（2011）；“麻将——希客中国当代艺术收藏展”，伯尔尼美术馆，伯尔尼，瑞士（2005）；“念珠与笔触”，北京东京艺术工程，北京（2003）等。杜婕的作品收录于诸多重量级私人和公共收藏系列中，包括：德国奥尔柏莱希基金会；德国雷顿•韦斯收藏；瑞银集团收藏；澳大利亚白兔美术馆；德国慕尼黑戈兹收藏；瑞士乌里希克收藏；荷兰福瑞德收藏。
Du Jie: Sixteen Cycles
Artist: Du Jie
Opening: 4pm, July 12th, 2018 (Thursday)
Exhibition Period: July 12th - August 18th, 2018
Gingko Space is delighted to announce Du Jie’s first solo exhibition, “Sixteen Cycles” opening on July 12, 2018. This exhibition marks the artist’s first collaboration with the gallery, featuring 16 of her most recent works on paper.
As one of the first Chinese female painters focusing on abstraction since the late 1990s, Du Jie’s practice explores and visualizes the personal, the psychological and the subliminal through painting curvy lines on canvas and on paper as a way of recording one’s stream of consciousness. Often known for her acrylic paintings on canvas in small dimension (25 x 25 cm), Du Jie’s former works begin by priming the canvas with a singular and uniform color, which to the artist serve as a cue for the first drawings on that particular work. Without any preconceived image on her mind, Du Jie allows the brush to lead her hand, moving freely and willfully on canvas. For Du Jie, these curved lines transport her back to doodling during her childhood, revisiting her most memorable and liberating experiences where she felt most free. Done in a seemingly meticulous and painstaking fashion, the artist devotes a large part of her day painting, and the end results are renderings of labyrinths of densely packed lines, irregular curves and extensions.
For this exhibition, Du Jie departs from her acrylic paintings on canvas in order to shift to a native medium– ink on rice paper. Not only is it more familiar to most of the Chinese viewers, but its materiality is more in tune with the inherent characteristics of the artist, her femininity and her Chinese identity. In addition, the materiality of rice paper infers a sense of fragility and ephemerality. To apply ink on paper, the artist relinquishes any opportunity to make corrections to the “unwanted” mistakes, which further fortifies her practice of accessing the subconscious. These abstract visualizations address a sense of truth and reality. Moreover, the contrast between the two colors, red and blue, offer a certain tension and alternation.
Unlike Asian conceptual artists, On Kawara or Tehching Hsieh among others, who addressed the notions of temporality as a conduit for current political issues and personal identities in a foreign context in their everyday practices, Du Jie’s works are introspective, personal, and ascetic, by which one visualizes the artist’s inner world in abstract forms. The 16 works on view were completed from October 2017 to June 2018, and are presented as a single installation to emphasize on their durational nature. Extending from her previous practice, each artwork is entitled with the beginning and end dates. As we are all confronted by the chaos of everyday life, rather than taking on the approach of releasing her anxieties, frustrations and discontent through her practice of painting, Du Jie chooses a mean of visualization that demands time to calm one’s mind. Like the curvy lines on her works, this process not only documents the twists and turns of the artist’s own psychological pathways, but upon their close examination, the viewers can also visualize their own. Moreover, in order to further visualize the artist’s notion, the 16 works in this exhibition are placed within the exhibition to map the curves of the artist’s consciousness, and the height they are raised above ground differentiates the times each took to complete.
As the French sinologist Francois Julien states in his volume The Great Image has No Form, “The painting was dedicated to figuring the unfathomable within the line, or the Fount through form… they relied on the notion of a continuum of existence and its immanent ‘way’ of coming into actuality and receding.” Du Jie’s abstract paintings are a synthesis of being, where fullness and emptiness, presence and absence, the conscious and the subconscious and the specific and the arbitrary, all occur in tandem, like the great process of existence.
Du Jie, born in Xiangfan, Hubei, in 1968, had studied physics before shifting her interests and dedication to the practice of painting. Du Jie has been the subject of solo exhibitions including, “Until We Meet Again” (2008), Galerie Urs Meile, Beijing; “Thanksgiving Journey” (2004), Galerie Urs Meile, Lucern, Switzerland and etc. Her works have been the subjects of major group exhibitions in China and overseas, including, “I Prefer Life” (2016), Reydan Weiss Collection, Weserburg Museum für Moderne Kunst, Bremen, Germany; “Out of the Peony Pavilion – Chinese Contemporary Women Art Exhibition” (2016), The Russia Museum of Ethnology, St Petersburg, Russia; “Chinese Abstract Slow Art” (2012), Kunsthalle Recklinghausen, Recklinghausen, Germany; “Chinese Abstract Slow Art” (2011), Singer Laren Museum, Netherlands; “Ten Years of The White Rabbit” (2011), The White Rabbit Museum, Sydney, Australia; “Mahjong: Contemporary Chinese Art From the Sigg Collection”, Kunstmuseum, Bern, Switzerland; “Prayer Beads and Brush Strokes” (2003), Beijing Tokyo Art Project, Beijing, China. Du Jie’s works have been acquired by renowned private and public collections including, Foundation Olbricht Berlin, Collection Reydan Weiss, The UBS Collection, White Rabbit Collection, Sammlung Goetz Collection, The Uli Sigg Collection and The Fu Ruide Collection.
今格空间2014年在北京创立，作为一家将视野聚焦亚洲艺术生态的画廊，今格空间积极支持艺术家进入更为成熟和前瞻性的创作实践，帮助艺术家走向国际并建立其声望。我们的展览项目植根于对自身文化身份的探索与创新，亦关注艺术家在此领域与评论、策展和观者的深层对话。
Founded in 2014 Beijing, as an art gallery whose vision focuses on the ecosystem of Asia contemporary art, Ginkgo Space's mission is to provide active support to artists’ processes of developing and gaining greater perspectives on their artistic practices. With our collaboration, we hope to build the artist’s reputation and widen their international recognition. Our exhibition program is aimed at exploring and discovering the artistic practices that define our cultural identity, through which we are committed to setting up platforms for profound dialogues between the artists, critics, curators, and audiences of contemporary art.
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开放时间 10:30-17:30 周二至周六（Tues-Sat）
北京市朝阳区酒仙桥路4号院 798艺术区65幢
Address ＃65, 798 Art District, No.4 Jiuxianqiao Rd., Chaoyang Dst., 100015, Beijing, China