展期 / Duration: 2020.04.11 - 05.11
开幕 / Opening: 2020.04.11, 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4月11号展出艺术家商思敏的个展《一日之计在于晨》。
Gene gallery is pleased to present Get Up Early in the Mourning, a solo show by Shang Simin,
商思敏的作品，就其审美图式而言，乍一眼看去容易使人联想“超扁平（Superflat）”的特征：颜色鲜亮，空间二维，轮廓平坦。虚构的卡通形象和似是而非的拟人化动物，使作品本身显得不那么严肃。因而如果单从形制上看，这些画作所构建的颇具漫画色彩的诙谐世界，是任何人都可以欣赏，并能从中获得趣味性体验的。
▲ 强者对弱者的关怀，商思敏，布面丙烯，160x115cm
除去显而易见的审美图式，在对绘画的叙事性构建中，艺术家却矛盾性的暗示了作品主旨的悲观性基调。“我试图用可爱的形象和吸引人的颜色讲述最悲伤的故事”，商思敏作品的大部分主题，都是从艺术家身边的人事中提取出来的口头叙事。于此同时，画面中扁平的拟人化动植物是对现实世界隐喻式的视觉化翻译。尽管商的作品在取材上倾向于以悲伤作为底色，然而从一开始，艺术家便不打算深入探讨悲伤背后过分严肃的社会母题，其对叙事的把握，更倾向于见微知著的寓言体——隐射故事的存在，暗示情感的倾向，然后点到为止。
在绘画里融入文学性的寓言和双关隐喻在15-16世纪尼德兰画派的艺术实践中非常常见。代表性的作品有Pieter Brueghel the Elder在1559年创作的《100个尼德兰箴言Nederlandse Spreekwoorden》。在这幅画中，Brueghel通过对不同人物形象和事件的滑稽塑造隐喻了112个当时在尼德兰地区流行的谚语,藉此讽刺人类的愚蠢。商思敏的绘画具有类似的实践。在他的一些作品中，比如《Get Up early in the Mourning》和《An Apple》，可以看到一些古典绘画的构图方式——画面被分割成前景、中景（有时候中景被舍弃），和远景。最接近观者的前景往往是室内，借由一个窗户来联结外部世界的中景和远景。
▲ An Apple，商思敏，布面丙烯，150x190cm
在古典绘画中，景前与景后的并置往往揭露出画面主体不同的内心世界。在《An Apple》这幅作品中，画面主角侧身背对着观者，手持一面圆镜。透过这面镜子我们得以看到主角的正脸。而主角的视线既像是落在观者身上，又像是在顾影自怜。"临池照影"是人类自识的起点,镜子作为一种"神秘元素"渗透于西方绘画之中,对镜像的"描述"也成为画家探讨"本我"的一种途径。在《An Apple》中，主角在镜中的神情显得颇为哀怨，梳妆台上不存在的烛火和盘中的葡萄籽暗示了主角对青春永驻的渴望。当观者的视线望向更远的窗外，空旷的广场上，雄鸡借助某种神力正在摧毁一座摇摇欲坠的黑天鹅纪念碑。在这场激烈的斗争中，雄鸡代表着主流价值观中的男性视角，而黑天鹅则是动物世界公认的同性恋意象——窗外的集体批斗和屋内的顾影自怜暗示了画面主角作为同性恋内心所承受的双重压力：即对外的不被认可和对内的外貌焦虑。在《Get Up Early in the Mourning》中，隐喻设置的更为繁杂，意象的矛盾性所导致的讽刺意味也更突出。这幅作品的原型首先来自于一组印度教育宣传画：通过画作来教导什么是正确的行为。与拉丁裔、黑人文化粗放式养育不同的是，东亚文化圈中，对子女的精养式教育渗透在孩子日常生活衣食住行的方方面面。而严苛的教条会促使对反叛的渴望：“Get up Earlyin the Morning”中的“Morning”被艺术家篡改成了“Mourning”；Nike的胜利商标被小孩吃掉；象征早起的公鸡却在假扮猫头鹰……画面的组成元素与现实的认知乍看相似，实则不然。
▲ Get Up Early in the Mourning，商思敏，3版，灯箱，92x80cm
对讽刺和隐喻的理解同人类的大脑机能有着很大的关系，这意味着对于脑部发育未完成或思维习惯不同的人来说，理解带有特殊感情色彩的词语或带有讽刺意味的场景是有偏差的，这意味着阐述的介入。就商思敏的作品而言，扁平化的视觉形式拥有精巧的审美和诙谐的风格，观赏在这一步是否就可以戛然而止？在这里，理解的深入成为了观者的主动诉求：探求的过程使得“超扁平”不再“扁平”。从这一点上看，艺术家对于完全表面化的、肤浅的叙事具有某种最终解释权利，这种权利使作品的在观赏的两极中反复偏移：既不是完全的纪实，也不是完全的荒诞。从某种程度上来说，这种模棱两可的态度是某种处事的哲学：对于个体来说，不是每个人都能成为对抗歧视偏见、教条教义和刻板影响的英雄，普通人或许有着更为折衷主义的方式——讽刺是温和的抗议：我们并不需要一场实实在在的腥风血雨，但也并非能够容忍绝对的沉默。
▲ Bubble Bike S，商思敏，布面丙烯，84x120cm
Metaphorical HeroismAuthor/Chen Wenyi
Shang Simin’artworks, in terms of its aesthetic schema, will make people think of "Superflat" features at first glance: color bright, two-dimensional space and flat outline. Fictional cartoon characters and specious anthropomorphic animals make the work less serious. Therefore, from the perspective of shape and structure alone, the comic world constructed by these paintings is something anyone can appreciate and get an interesting experience from.
Contrary to the obvious aesthetic schema, the artist paradoxically implies the pessimistic tone of the main idea of the work in the narrative construction of the painting. "I try to tell the saddest stories with lovely images and attractive colors," says Shang. Most of the themes in his work are oral narratives drawn from friends of the artist. At the same time, the flat anthropomorphic plants and animals in the picture are a metaphorical visual translation of the real world. Although Shang's works tend to take sadness as the background color in terms of materials, the artist does not intend to delve into the excessively serious social motif behind sadness from the very beginning. Instead, his grasp of the narrative is more inclined to the allegorical body that can be seen in a subtle way -- alluding to the existence of the story, implying the tendency of emotion, and then to stop.
▲左：Ey eye-Left，商思敏，布面丙烯，90x128cm
▲右：Ey eye-Right，商思敏，布面丙烯，90x128cm
The incorporation of literary allegory and puns in painting was common in the art practice of the Netherland school in the 15th and 16th centuries. Representative works include the one hundred Nederlandse Spreekwoorden by Pieter Brueghel the Elder in 1559. In this painting, Brueghel satirizes the stupidity of human beings by using 112 proverbs popular in the Netherlands at that time through the funny portrayal of different characters and events. Shang Simin's painting has a similar practice. In some of his works, such as "Get Up Early in the Mourning" and "An Apple," you can see the composition of some classical paintings, in which the picture is divided into the foreground, middle scene (sometimes the middle scene is abandoned), and perspective. The foreground closest to the viewer is often the interior, with a window connecting the middle and distant views of the outside world. In classical painting, the juxtaposition of the scene before and after often reveals the different inner world of the subject. In "An Apple", the protagonist turns his back to the viewer and holds a round mirror. Through the mirror, we can see the main character's straight face. The main character's gaze is both on the viewer and himself. As the starting point of human self-knowledge, the mirror, as a "mysterious element", penetrates into western paintings. The "description" of the mirror becomes a way for painters to discuss the self-identity. In "An Apple," the protagonist's expression in the mirror is rather plaintive, and the absent candle fire on the dressing table and grape seeds on the plate suggests the protagonist's longing for eternal youth. As the viewer looks out of the window further into the open square, the rooster, by some divine power, is destroying a crumbling monument to the black swan. In the fierce battle, the cock represents the mainstream values of the male perspective, while black swan is an animal world-recognized gay image - the collective criticism out of the window and the room self-pity hints at the picture of the protagonist as a gay heart on the double pressures: the non-acceptance of foreign and internal anxiety of appearance.
▲KAN KAN，商思敏，布面丙烯，165x110cm
In “Get Up Early in the Mourning”, the setting of metaphor is more complicated, and the irony caused by the contradiction of image is more prominent. The work was first modeled on a group of Indian educational posters: paintings that teach correct behavior. In contrast to the extensive upbringing of Latinos and blacks, the intensive upbringing of children in east Asian cultures permeates every aspect of children's daily life. And rigid dogma can fuel the desire for rebellion: "Morning" in "Get up Earlyin the Morning" is altered by the artist to "Mourning"; Nike's winning logo is eaten by children; The rooster, the symbol of early rising, was pretending to be an owl... The elements of the picture are similar to the cognition of reality, but they are not.Understanding allegory and metaphor has a lot to do with the functioning of the human brain, which means that for people with incomplete brain development or different thinking habits, understanding words or ironic scenes with special emotions is biased, which means that elaboration is involved. In terms of Shang Simin's works, the flat visual form has a delicate aesthetic and humorous style. Can the appreciation stop abruptly at this step? Here, the depth of understanding becomes the active appeal of the viewer: the process of searching makes "super-flat" no longer "flat". From this point of view, the artist has a certain right of final interpretation to the completely superficial and superficial narrative, which diverges the work repeatedly between the two poles of viewing: it is neither completely documentary nor completely absurd. To some extent, this kind of ambiguous attitude is a way of philosophy: For individuals, not everyone can be a hero in the fight against prejudice, dogma, and stereotypes. Ordinary people may have a more eclectic approach -- allegory is a milder form of protest: we don't need a real fight, but we don't tolerate absolute silence either.
▲Bubble Bike H，商思敏，布面丙烯，143x81cm
商思敏 Shang Simin
1983出生于杭州，毕业于中国美术学院及英国伦敦艺术大学。在英国期间深受观念艺术及当代艺术影响。归国后，尝试不同领域的创作及探索，如绘画、动画等。通过多维度对社会及当下事件的研究，继续进行观念的视觉语言解读和探索。作品语言极简、严谨，不乏风趣幽默的调侃色调。
Born in Hangzhou in 1983, Shang graduated from China Academy of fine arts and university of the Arts London. During his stay in Britain, he was deeply influenced by conceptual art and contemporary art. After returning to China, he tried different fields of creation and exploration, such as painting and animation. Through the multi-dimensional study of society and current events, he continues to interpret and explore the visual language of ideas. The art language of his works is minimalist, rigorous and humorous.
个展 Solo Exhibitions
2020 《一日之计在于晨》，弥金画廊，上海，中国2019 《扮成猫头鹰的鸡的人是谁？》，拉姆美术馆，杭州，中国2020 Get up early in the Mourning, Gene Gallery, Shanghai, China
2019 Who is pretending a chicken to be an owl ?,Musée l’Amour, Hangzhou China
群展 Group Exhibitions
《Grow in Art》,时代美术馆，北京，中国2018 《天真的派对》，无锡程及美术馆，无锡，中国 《菠萝霸王龙鳄鱼小猫》，Tong Gallery+Project，北京，中国 《Better than Nothing》，梦办Dream Co，北京，中国2017 《藏身之所》，马丁戈雅生意空间，杭州，中国 《WAKOYI》，TASTEROOM，杭州，中国
2016 《I shop therefor I am》，盐花空间，杭州，中国
2015 《粉红双年展-休闲之城》，LBX 大画廊，杭州，中国
《DRAMA LOVERS》, The THEATRE,杭州，中国
2013 《四色-日常》，清影艺术空间，杭州，中国
2019 Evolution of monsters, Wuhan K11, Wuhan, China On Air 5,Inna Art Space,Hangzhou,China Grow in Art,Times Art Museum,Beijing,China Light,Rongyi Art Museum, Shanghai, China Pure PLUS,Ziin Lab,Shanghai,China Ocean,Sline-Engine,online exhibition 3 cm Museum, Shenyang K11, Shenyang,China2018 Party of Innocence,Wuxi Chengji Art Museum, Wuxi,China Summer Apocalypse, ART 170, Hangzhou, China Table Art Fair, WOODS,Beijing,China Pineapple Tyrannosaurus Crocodile Kitten,Tong Gallery + Project,Beijing,China Better than Nothing, Dream Co, Beijing, China2017 Hiding Place , Martin Goya Business Space, Hangzhou, China WAKOYI, TASTEROOM, Hangzhou, China2016 I shop therefor I am, Yanhua Space, Hangzhou, China2015 Pink Biennale - Leisure City, LBX gallery, Hangzhou, China DRAMA LOVERS, The THEATRE, Hangzhou, China2013 Four colors - Daily, Inna Art Space, Hangzhou, China
· 清明闭馆通知 ·
· Qingming Holidays Closure Notice ·
弥金画廊将于4月4日至4月6日闭馆3天, 4月11日起对外预约开放，因此带来的不便我们深感歉意。预约方式: shanghai@gene-gallery.com（邮件请注明：观展日期时间+姓名+联系方式+人数）Gene Gallery is closed from Saturday 4 April to Monday 6 April due to the Qingming Holidays. The gallery will re-open by appointment from Saturday 11 April onwards.Appointment timings are available from 11:00 - 18:30, Tuesdays to Saturdays. To make an appointment, kindly send an email to
shanghai@gene-gallery.com
indicating the appointment time, name, contact details and the number of accompanying visitors.
往期回顾 LOOKING BACK：
| 翟翌：造神，及匣中窥灵| 艺术汇 展评
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弥金对谈 | 本期嘉宾：翟翌、王智一
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