展览 Exhibition | 平面飘移 MAGNET: Fleeting Forces in Forms

平面飘移

MAGNET: Fleeting Forces in Forms

凯尔蒂·费瑞思 Keltie Ferris

高露迪 Gao Ludi

薇薇安·格蕾文 Vivian Greven

托马斯·舍比茨 Thomas Scheibitz

沈翰 Shen Han

横山裕一 Yuichi Yokoyama

展览时间：2020年11月6日至2020年12月26日

开幕时间：2020年11月6日，星期五，下午6至8时

Duration:  November 6–December 26, 2020

Opening:  Friday, November 6, 6–8 PM

上海市黄浦区四川中路660号5楼

5 F, No. 660, M. Sichuan Rd., Shanghai 

关于展览

为庆祝画廊成立三周年，Gallery Vacancy很荣幸地宣布将于全新空间呈现群展“平面飘移”，展览将于2020年11月6日至12月26日向公众开放，展出艺术家：凯尔蒂·费瑞思，高露迪，薇薇安·格蕾文，托马斯·舍比茨，沈翰，及横山裕一。

六位参展艺术家在艺术史的语境中延续、探索绘画之路，在意象与物质之间转换、穿越，在当下数字时代阴影中寻找新的方向。随着颜料到画布之间传统的转换步骤被当代的种种技术革新不断延长叠加，“平面飘移”出发于马歇尔·麦克卢汉的 "媒介即讯息 “理论。长期以来蕴含在绘画媒介中的表象物质性，在科技的操纵下，从物理平面扩散到更广泛的结构，包括但不限于电子屏幕，迫使我们从数据分类的习惯走向图像识别的模式。在探索新的可能性的过程中，每一位艺术家都采用了不同的方法来转换形式和形状，将平面的几何元素在画布上进行碰撞、融合和对抗，创造出与动态图像、物理学研究、神话传说和数字世界等相关的更广泛的维度和面相。

图片致谢艺术家与Kadel Willborn

Courtesy of the Artist and Kadel Willborn

凯尔蒂·费瑞思

含水层，2019

布面油画，丙烯，艺术家外框

189 x 158.5 x 7.5 公分 (74 3/8 x 62 3/8 x 2 英寸)

Keltie Ferris

Aquifer, 2019

Oil and acrylic on canvas, in the artit's frame

189 x 158.5 x 7.5 cm (74 3/8 x 62 3/8 x 2 in)

凯尔蒂·费瑞思（1977，美国）以丙烯、油彩、及喷绘等媒材创作了一系列大尺寸的图案绘画，以检视她对于自我身份的认知与她所输出的图像在艺术史中的意义之间相互作用的关系。为了探索绘画元素在艺术史上的边界和可能性，费瑞思采用了一种不同寻常的方法，通过对工业美学的应用的和精心计算的颜料层在她的作品中创造出一种自我重复而循环发展的形式。在《含水层》（2019）中，实验性的像素化背景与模糊暧昧的前景彼此拉扯，在视觉上发起肉眼对深度感知的挑战。基于对绘画这一传统媒介的拓展和延伸，她的创作构建了一个多平面的图像场所，光影与空间的概念在其中变换、游移。

图片致谢艺术家与空白空间

Courtesy of the Artist and WHITE SPACE BEIJING

高露迪

粉色郁金香，2020

布面丙烯，水彩，油彩，蜡笔，油漆

200 x 150 公分 (78 3/4 x 59 英寸)

Gao Ludi

Pink Tuilp, 2020

Acrylic, watercolor, oil, crayon and paint on canvas

200 x 150 cm (78 3/4 x 59 in)

高露迪（1990，中国）从社交媒体中汲取大量日常、不具传统美术包袱的图像素材，以理性的方式去解读、解构其中的构图逻辑，并在绘画中加以整合式的运用。在当代电子屏幕的转译逻辑下，高露迪在《粉色郁金香》（2020）中描绘了一株绚丽多彩的花卉植物，其图像呈现仿佛经历了数位放大、裁剪的操纵。而其中色彩的表达，荧屏闪耀的冷色调、荧光饱和颜色与作品中的形式结构相辅相成，构建出了图像化日常的另一种可能性。

图片致谢艺术家与Kadel Willborn

Courtesy of the Artist and Kadel Willborn

薇薇安·格蕾文

ex IV，2020

布面油画

50 x 40 公分 (19 3/4 x 15 3/4 英寸)

Vivan Greven

ex IV, 2020

Oil on canvas

50 x 40 cm (19 3/4 x 15 3/4 in)

薇薇安·格蕾文（1985，德国）的绘画方式借鉴贯通了古典艺术与数位媒介的形式与主题，轻盈地摆荡在真实的再现与抽离之间，以捕捉图像感知中空灵却又凝实的存在状态。在《ex IV》（2020）中，格蕾文呈现了两个相互凝视的古典主义人物形象，其中隐含的历史时间意义在艺术家诱人的色彩和节制的构图下，以一种积极互补的方式与信息时代的当代参考相并存，暗示了互联网语境中信息获取的无差别式可及性。

图片致谢艺术家与Sprüth Magers

Courtesy of the Artist and Sprüth Magers

托马斯·舍比茨

巴黎的判决，2013

布面油画，塑料贴胶，马克笔

140 x 190 公分 (55 1/8 x 74 7/8 英寸)

Thomas Scheibitz

Das Urteil des Paris, 2013

Oil, vinyl, pigment marker on canvas

140 x 190 cm (55 1/8 x 74 7/8 in)

托马斯·舍比茨（1968，德国）严谨的创作方法来源于常年对于日常生活中具有启发性的视觉元素的归档和记录。从广博有序的视觉文档库中汲取养分，舍比茨把这些素材观念化，解构又重塑。这些看似简单直接的平面或立体的形式构建，常常具有扎根现实的内在结构，如艺术史、流行文化和城市景观等。舍比茨对方法论的执着使得他的作品具有很强的双重性，从风格概念上来说，是对抽象与具象之间阈值的试探；从历史意义上来说，是在传统与当代之间的转换和延续。

沈翰

转瞬黄昏，2020

布面油画

60 x 50 公分 (23 5/8 x 19 3/4 英寸)

Shen Han

Ephemeral Gloaming, 2020

Oil on canvas

60 x 50 cm (23 5/8 x 19 3/4 in)

沈翰（1988，中国）试图寻找绘画和身体的关系，凭借油彩构建的色块，多变的线条与隐匿的空间描绘促成潜意识与绘画语言的融合。视觉对于图像阅读的惯性与经验，在沈翰纠缠转折的透视关系中，被诱导，被干预，被闲置，徒劳于将眼前的景观收编成一帧静止的画面；意识对于图像的判断反复地确认后随即舍去，近似于蒙太奇般的叙事得以在意识与想象中毗连。相互交融的图像元素，包裹着不确定的叙事与造形，将内在的情绪外现，勾勒出某个时空下正在成形，亦或正在消散的事物。

图片致谢艺术家与Anomaly

Courtesy of the Artist and Anomaly

横山裕一

NIWA258，2010

布面丙烯，塑料贴胶，马克笔

130 x 162 公分 (51 1/8 x 63 3/4 英寸)

Yuichi Yokoyama

NIWA258, 2010

Acrylic, vinyl tape, maker on canvas

130 x 162 cm (51 1/8 x 63 3/4 in)

横山裕一（1967，日本）从油画出发，将漫画作为他的表现媒介。他在《NIWA258》（2010）中制造出一种不可思议却富有吸引力的神秘氛围，其中时髦而充满活力的人物形象以一种韵律感十足的节奏自由地在画面中游动。这种被横山形容为 "新漫画 “的独特表现形式，超越了二维媒介的限制，从一个新的角度描绘了“时间”和“空间”的概念。

About the Exhibition

To celebrate the 3rd anniversary and the expansion of our gallery space, Gallery Vacancy is pleased to announce MAGNET: Fleeting Forces in Forms from November 6 to December 26, 2020, featuring six artists: Keltie Ferris, Gao Ludi, Vivian Greven, Thomas Scheibitz, Shen Han and Yuichi Yokoyama.

Continuing and re-discovering the path of painting in the context of art history, the six exhibiting artists traverse through the translation between imagery and materiality, seeking for inventive directions that are wrapped under the shadow of the current digital age. Fleeting Forces in Forms, departures from Marshall McLuhan’s theory of “the Medium is the Message”, as the traditional 2-steps distance between the pigments and the canvas has been hijacked by layers of  contemporary filters. Representational materiality that has been long embedded in the medium of painting is being gradually sent into exile under the manipulation of technological mediation, from physical flat surface to more extensive structures, including but not limiting to electronic screens, forcing us to move from the habit of data classification to the mode of pattern recognition. Exploring for new possibilities, each of the artists adopts varied methodologies in translating forms and shapes and galvanizing the flat geometrical elements onto the surface of canvas to create a broader sense of motions in relation to moving images, physics studies, mythology and the digital world. 

Keltie Ferris (b. 1977, United States) uses acrylic, oil, spray gun and brushes to create large scale patterned paintings which examine the relationship of the artist’s identity to her output of imagery relating to the history of the genre. To explore the boundary and possibility of pictorial elements in the art history, Ferris adopts a rather different approach by both mechanical and spontaneous layers of pigments to create repetitive but evolving forms in her picture. In Acquifer (2019), Ferris experiments with pixelated backgrounds and blurred foregrounds to tease at depth perception with her pop art and industrial references. Characterized by a continuously expanding investigation into painting, her practice considers a multi planar site for constructed light and shifting space.

Drawing from the overflowing streams of social media, Gao Ludi (b. 1990, China) scavenges a large amount of everyday image materials that do not carry the burden of traditional aesthetics, which he analytically deconstructs and translates their compositional logics and then collectively applies in his paintings. In Pink Tulip (2020), Gao unveils a lavishing floral in a composition as if it has been zoomed in and cropped out under the logics of digital screens. The expression of color, screen significant cool-toned and fluorescent saturated, complements with his manipulation of forms, eliciting another possibility of visualizing mundane daily experience. 

Vivian Greven (b. 1985, Germany) borrows visually and thematically from classical arts and the digital media world, sliding in fluidity between representation and abstraction to capture the ethereal and synthetic state of perception of imagery. In ex IV (2020), Greven depicts two Neo-classical figures looking deep into each other. The chronological tendency that has been implied in the classical stock characters co-exists with her contemporary references in a state of active interplay through alluring colors and restrained arrangement, indicating the non-discriminational accessibility of information consumption through the platform of internet.

The rigorous approach of Thomas Scheibitz (b. 1968, Germany) in analyzing images stems from years of archiving and documenting the inspirational visual elements of everyday life, which Scheibitz conceptualizes, deconstructs and reshapes upon an extensive and organized library of visual documents. These seemingly straightforward, flat or three-dimensional formal constructions are often embedded with inner structures rooted in reality, including art history, popular culture and urban landscapes. Scheibitz's obsession with methodology establishes a sense of duality in his works, which could be interpreted as an exploration of the threshold between abstraction and figuration, as well as the transition and continuity between tradition and contemporary in terms of historical significance.  

Shen Han (b. 1988, China) attempts to find the relationship between painting and the body by constructing pigment patches, gestural lines and allusive spaces. The tendency and experience of vision for image reading are tempted, intervened, and idled in the tangled perspective of Shen, thus, the exposed landscape is weaved into a frame of stillness; Consciousness is repeatedly confirmed and then discarded, connecting the montage-like narrative through sensibility and imagination. The intertwined visual elements wrapped in ambiguous narratives and configurations uncover the inner emotions, outlining a contradictory matter that can be perceived both as forming and as descending in the void of uncertainty.

Yuichi Yokoyama (b. 1967, Japan) departs from oil painting and uses manga as a medium that suits his form of expression. In NIWA258 (2010), Yokohama creates an atmosphere that is uncanny but attractive with his dashing characters freely move around with a sense of speed. This unique expression that Yokoyama himself describes as “neo-manga” has easily overcome the limits of a two dimensional media to superbly draw “time” and “space”.

V  A  C  A  N  C  Y

周二–周六

Tuesday to Saturday | 10:00–18:00

200002 上海市黄浦区四川中路660号5楼

5 F, No. 660, M. Sichuan Rd., Shanghai 200002
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www.galleryvacancy.com