弥金 GENE | 冯至炫：旋转太阳宫

展期 / Duration: 2019.11.03 - 12.31

开幕 / Opening: 2019.11.03, 15:30 - 18:30

地址 / Address: 中国上海市愚园路1088弄愚园公共市集202室

Room 202, Yuyuan Public Market, Lane 1088, Yuyuan Rd, Shanghai, China

弥金画廊荣幸的宣布，将于11月3号展出艺术家冯至炫的个展《旋转太阳宫》，策展人为林思圻。

gene gallery is pleased to present Conjure a Compo Site, a solo show by Feng Zhixuan, curated by Lin Siqi.

写在展览前

策展人：林思圻

  或许我们即将生活的世界正是鲍德里亚口中没有边际的、真实的荒漠，它引发个体和群体的担忧，并伴随着鲜活的幽灵、游荡和拟像的动物。冯至炫的雕塑并非具体生活的颠倒而是现实中符号的异化，亦像是杂糅当下所生长出来的奇特之物，极其自信的与我们进行长久的对视。如果说鲍德里亚所预言的未来世界正携同资本及资本的死亡逐步吞噬我们，直至我们也变成这样的动物，那么冯至炫的作品呈现的则是以虚拟消费与真实恐慌为养分来实现自我喂养的王国——它透明且坚硬，与我们平行，似乎不需要属于也不特定产生于任何所谓的文化，也不必要刻意背负任何历史背景，它坦然接受着景观的异化本质并成为新的景观。

  因此，我们试图将手里的一切碾压成无比碎小的石子，再将它们重新堆砌，铺开。“旋转太阳宫” 描述了一个复合的动态场域，它存在于几何意义之外，作为一个符号，一簇现实的赘生物，与混杂的图像处于共谋的关系之中，并一同指向一个神秘的世界。整个展览在形式上可被视为一座被溶解了的公共雕塑，如同一个微缩的社会机器，或者一个持续运行的游乐场，其潜在的运行机制与内部呈现的大型集合装置，以及各个雕塑的建筑方式环环相扣，都遵循着外部接纳与内部消化层层交叠的螺旋规律。在展览“旋转太阳宫”中，它们相互教导、相互消耗、相互依靠。

▲ 沐浴在幸福之中，冯至炫，聚氨酯泡沫，IPA啤酒，铜，碳，不锈钢，PVC，硅胶，MDF，2019

  冯至炫的雕塑常以廉价的材料作为基础，采用翻模的方式实现负形到实体雕塑的转化，最终通过不断附加外来的材质（碳，石英，金粉等）以达到稳固的混合状态。艺术家在过往参与公共雕塑实践的经历中常常思考，雕塑的内部结构为何不被雕塑本身包括在内？工艺所需要采用的聚氨酯泡沫是否具有除去功能以外的现实意义？雕塑形成后剩余的负形又是否有机会成为主角？在逐步进入个人创作的过程中，艺术家尝试将雕塑的内外空间进行颠倒，将内部结构向外显现而使其成为不得不被重视的一部分。冯至炫将聚氨酯泡沫从建筑材料中剥离的过程也正是他对当下加速运转社会的窥探。对外来图像的截取和混合材料的注入也同样促使着雕塑本身愈发贴近焦虑的社会本质，变得复杂且摇摆不定。本不属于欧洲文化却在欧洲市场上常常作为家具元素出现的狮爪足，被Kuna Yala原住民视为一种特殊语言的贝壳，这些外来的文化符号在内部结构的延展 与扩张之上再次成为新的符号，并逐步演变成具有神秘力量的综合体。它无疑引发人们的幻想，所产生的诱惑有如家中的壁炉，闪烁的微光比它散发出的温度更迷人。

  雕塑内外空间的颠倒不可避免地要求观看方式的转变。人们无论是在迂回中靠近，还是在逗留处俯身，任何形式的观看都被迫地成就一种反向的引诱。我盼望展览现场时刻孕育压迫感，恰好在这个纵深不大的画廊空间内，任何简单的部署都使得眼前的事物被逼迫放大。于是，观看这一行为也就本能的滑向了危险的那一方，它使空间在雕塑面前退缩。在这样的情境下，压迫感的降临将再次引发诱惑，它使得空间内的一切不再只是摇摇欲坠的景观装饰品，而是乐园中游戏的零部件。一切外来的图像也将伴随着人们的欲望，一起坠入美好幻象的漩涡中。

▲ 抢夺撒平妇女，冯至炫，聚氨酯泡沫，等，2019

  如今，资本流动天下，我们生来所接触的一切必然向我们示以多重的，杂交的面貌。之前的艺术家们也从未能够像今天的艺术家们这样，可以如此自然且顺理成章地将这些外来之物作为他们的灵感来源，并在脱离自身与回归自身的过程中进行有效且平衡的反馈。冯至炫于2018年分别在澳洲和巴拿马的两个原始部落中进行驻地项目，这两段经历使他开始思考，本土文化在新贸易时代下，是如何受全球化外来信息的影响，形成它所特有的商品经济与消费文化。当地的原始部族用可乐或啤酒来交换等价的劳动力，或使用廉价的外来材料制作带有当地文化特色的商品，甚至将其作为具有神秘力量的拜物教对象来加以崇拜。这些外来图像正以不易觉察的方式渗透并占据他们的生活，它使日常被腐蚀，历史被遗忘。

  加速的资本主义导致原始文化的瓦解，本土性和全球化却在坍塌的缝隙中相互滋养。如同展览中啤酒表面的泡沫，以物易物地将现实中异化了的符号往复嵌入无穷的循环之中。令人惊叹的是，这些泡沫在自身破裂的瞬间换取的并非是自身价值的幻灭，而是筑就未知神话的现实动力，随即构建起一个环形的、自我迷恋的封闭景观。对于二十世纪五六十年代的情境主义者们来说，对日常生活的批判或许终究只是一场幻想式的革命。然而，“旋转太阳宫”所构建的景观虽在真实之中微不足道，却远远超越于他们当时漫无目的的反抗。当下的一切快速且丰盛，对我们的吞噬无序且暴力。那么，与其在摧毁景观中抵抗空虚，不如让我们积极的沉浸于充满无限想象的幸福时光里，通过凝视绝对异化了的景观以实现个体与景观真正的剥离和自我于景观的彻底解放。

▲ 非凡燃烧，冯至炫，聚氨酯泡沫，金和石英，2019

  如果想象这样的综合景观所形成的是一个节日的共同体，从而诞生一种接纳一切外来之物的狂欢，那么它不像基里尼亚加那样充满担忧，身处其中的我们不是痴迷于坚守传统文化的巫医柯里巴，也不是决心赴死的卡玛丽。因为我们的反抗将基于我们与眼前新奇事物之间的足够平等与足够诚实。它足以成就一个颠倒的现实乐园。这样的“第二自然”默许了人与人的不同，阶级与阶级间的差异，我们共同拥有着超乎现实的和平和对美好生活的愿景。当没有任何现实能够对它进行考量时，我们认可一切发生都理应发生、一切幻想都不再是幻想。或许在若干年后，我们面向的正是“旋转太阳宫”指向的神秘世界，除却它与我们所愿意一同分享的画面之外，我们的视野里将不留有任何剩余。在这个乐园里，我们再也不需要卡珊德拉们的声音。

  Perhaps, the world we are about to be living in is indeed Baudrillard’s boundless desert of the real, evoking individual and collective concerns, accompanied by the virtual phantom of truth and wandering animals of simulacrum. Feng Zhixuan’s sculptures are not subversion of specific lives, but alienated signs of the real instead, or strange things born out of the hybrid of contemporary age, most confidently and, for long, returning our gaze. If the world along with capital and its death in Baudrillard’s prediction is indeed gradually devouring us, until we finally become animals as such, then one may say that Feng’s work portrays a kingdom which feeds itself with virtual consumptions and real fears - it is transparent and solid, parallel to us, seemingly not necessarily requiring or belonging specifically to any so-called culture, nor responsible for any historical background, calmly accepting the alienating nature of the spectacle, becoming a new spectacle.

▲The rape of the Sabine woman,Feng Zhixuan,Polyurethane foam,etc.,2019

  Therefore we try to grind and crush everything we have in hand into minuscule particles, re-accumulate them, and then spread them out. Conjure a Compo Site describes a composite dynamic field, external to geometrical meanings, as itself a sign or a bunch of neoplasm existing in a conspiring relationship with hybridized images, pertaining together to a mysterious world. Formally, the whole of the exhibition could be considered as a melted public sculpture, a micro social machine, or an ever-open circus; links between the hidden mechanism, internally manifested large-scale assemblage, and the architectural forms of the sculptures are tightly fastened, all faithfully seeing to the layering, spiral rules of external reception and internal consumption. In the exhibition Conjure a Compo Site, they are pedagogic, consuming and dependent upon each other.

  Feng Zhixuan’s sculptures often use inexpensive materials, and are often transformed from a negative structure to a physical entity through casting means; then the artist adds extra materials (charcoal, quartz, powered gold, etc.) to maintain a stable hybrid state. As he is often involved in public sculpture projects, the artist actively questions: why is the internal structure of a sculpture excluded from the sculpture itself ? Is it possible that the poly-urethane foam used in the process is more than functional, and is meaningful in a real sense? Once the sculpture is finished, is it possible for the leftover negative space to be an artwork? As Feng develops his practice, he tries to turn the sculptural space inside out, reveals the internal structure and makes it a component that has to be accounted for. Stripping polyurethane foam from construction materials, Feng also eagerly and discreetly examines the accelerated contemporary society. Additionally, shots of foreign images and insertions of hybrid materials bring the sculptural works closer to the nature of the anxious society, and closer to greater complexity and instability. From the lion claw foot element that is foreign to European culture but is ever popular as furniture foot element, to a certain shell that is considered a special form of language by Kuna Yala people, these foreign culture symbols become new signs upon the extensions and expansions of the internal structure, and gradually evolve into a complex of mysterious powers. It indubitably triggers fantasies, as seductive as a hearth, the glimmer of which more mesmerising than the warmth. 

▲Bathing in happiness,Feng Zhixuan,Polyurethane foam,IPA beer,copper,coal,stainless steel,PVC,silicon,MDF,2019

  The inside out space of sculpture inevitably demands a different way of seeing. Either approaching in detour or bowing down as one stands still, any form of seeing has to carry out a certain reverse seduction. I expect the exhibition to be constantly breeding pressures, in a humble gallery space where any simple arrangement could amplify the object on view. And therefore the act of seeing intuitively slides in a dangerous direction and pushes the space back from the sculpture. As such, the arrival of the pressure once again triggers seduction, and renders the dangling spectacular decorations circus machine components. All foreign images, along with human desires, fall into a vortex of beautiful fantasies. 

  As capital overflows today, all we are in touch with since our birth are generated from multiple and hybrid cultures. Unlike artists practicing today, artists from another time never had the chance to casually and naturally take foreign objects as their inspirations, and to give meaningful and balanced feedbacks in the process of leaving and returning to one’s self. The experiences from two residencies in aboriginal communities in Australia and Panama in 2018, Feng Zhixuan ponders the ways in which local cultures at a time of new trades receive foreign information and form their own specific consumer economies and cultures. The local communities trade labor with coke cola or beer, or create culturally specific products from cheap foreign materials, and even worship these as fetish of mysterious powers. The foreign images permeate in imperceptible ways, corrode daily lives and forsake histories. 

  Accelerated capitalism crumbles aboriginal cultures; yet locality and the globalized condition feeds into each other in the ruins. It is just like the beer foam in the exhibition, inserting in ancient trade manners the alienated sign of the real into an infinite cycle. To one’s amazement, as it busts, the foam does not erase its own value, but trades a real, physical will to unknown myths, and immediately constructs a ring of enclosed, narcissistic spectacle. For the situationists from the 1950s and 60s, the critique of the everyday life was after all merely a revolutionary that was fantastic in nature. Although the spectacle constructed in the Conjure a Compo Site might seem trivial in reality, it goes much further than the historical yet aimless situationist resistance. All is fast and rich, devouring us in a chaotic and violent fashion. Therefore, instead of resisting the void in the process of destroying the spectacle, we should instead immerse actively in a blissful time of infinite imagination, actualize the true detachment of the individual from the spectacle, and thoroughly liberate the self from the spectacle, through staring at a spectacle that is absolutely alienated.

▲Bathing in happiness,Feng Zhixuan,Polyurethane foam,IPA beer,copper,coal,stainless steel,PVC,silicon,MDF,2019

  If one is to imagine that the composite spectacle forms a festive community, and by extension the ecstasy that accepts all foreign things, then it is not as worried as Kirinyaga, and us within are not the shaman Koriba, obsessed with defending traditional culture, nor Kamiri, determined to end her own life. Our resistance will be based upon sufficient equality and sufficient sincerity between us and the novel matters on view. It is able to bring about a circus of the real, upside down. A “second nature” as such admits individual and class differences, the shared meta-real peace, andthe shared ideal of a beautiful life. When no reality could come forth and examine it, we acknowledge that all realities should be possible, all fantasies are no longer fantasies. Perhaps, many years later, we are to face the mysterious world indicated by the Conjure a Compo Site, and there will be nothing left in our sight but the scene it is willing to share with us. In this circus we no longer need any Cassandra’s voice.

冯至炫 Feng ZhiXuan

冯至炫是一位出生于温州的雕塑家。他致力于以最低的预算创造丰盛的神话，他称自己的创作方式是“在全球本土化的时代，以异域情调为题材的纪念碑设计。”

Feng Zhixuan is a sculptor born in Wenzhou. He works on creating rich myths on a minimal budget, and he calls his approach “an exotic monument in an era of glocalization.”

教育 Education

2018  MA Sculpture, Royal College of Art, UK    

2015  BA Public Art, China Academy of Art, China

奖项 Awards

2015  Model received ZengZhushao Sculpture Art Scholarship

2018  Young Talent Scholarship, International Summer Academy of Fina Arts

2018  Silly child and weird cactus, short list, KENNETH ARMITAGE FOUNDATION 

2018  Silly child and weird cactus, Day Day Sanatorium, short list, Aesthetica Art Prize

展览 Exhibitions

2015  Model, Taiyuan International Sculpture Biennial 2015, Taiyuan, China

2016  Temple of Sea God, 2016 The First International Sculpture Exhibition, Haining, China

2017  Cycle , WIP SHOW, Royal College of Art, London, UK

2017  Ten-Hour in My Life, RCA Edinburgh Exhibition, Edinburgh, UK

2017  Only Simulacrum Is True, THE COMING COMMUNITY, The Crypt Gallery, London, UK

2017  Line, Beyond The Borders, Galerie Joseph Saint Martin, Paris, France

2018  Trace of Walking, Between E2 to N1 Critical Cartographies, Filet, London, UK

2018  DDS, The\Rehab\Lab , Hackney Gallery, London, UK

2018  Where is the lion from, Too Much Information, Seventeen Gallery, London, UK

2018  A1-, Now Showing, Chelsea College of Art, London, UK

2018  Patting my head he replied, PLANE OF IMMANENCE, Safehouse Gallery, London, UK

2018  没头脑的仙人掌, Violence in Silence, SPrctrum Art SPace, Beijing, China

2018  Curmpled, Fine Art unit in New Horizons 2018, Coast Gallery, Zhuhai, China

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