展览 Exhibition | 薇薇安·格蕾文：荧变 Vivian Greven: The Negatives
薇薇安·格蕾文
荧变
Vivian Greven
The Negatives
展览时间：2021年3月20日至5月1日
开幕时间：2021年3月20日，星期六，下午6至8时
Duration: March 20–May 1, 2021
Opening: Saturday, March 20, 6–8 PM
上海市黄浦区四川中路660号5楼
5F, No. 660, M. Sichuan Rd., Huangpu Dist., Shanghai
)o( II，2021
布面油画、丙烯
80 x 56 公分 (31 1/2 x 22 英寸)
)o( II, 2021
oil and acrylic on canvas
80 x 56 cm (31 1/2 x 22 in)
关于展览
About the Exhibition
Gallery Vacancy荣幸地宣布将于2021年3月20日至5月1日呈现薇薇安·格蕾文在上海的首次个展“荧变”。在她全新系列的空灵绘画作品中，格蕾文延续了她对人体这一绘画主题的长期探索，从古典艺术对身体的描绘到当代语境中对肉体及其虚拟形象的再解读，摆荡在无垠而虚幻的图像平面上，游离于具象、概念、以及抽象之间。
架构于古典艺术的雕塑构图，格蕾文的作品传达了数码时代现代图像消费的感知。感官性美学在电子屏幕中的过度饱和与当代身体政治完整性的缺失共生共存。作为艺术史中被反复钻研的主题，美的概念及与之紧密相连的人体，从其本源的肉体性中解放出来，以一种幽灵般的方式再现其原有的物性本质。大理石，这一曾被广泛使用的雕塑媒材，其与肉身密切关联的材料光泽，如今化身于LCD电子屏幕干预下的荧光反射。在当今的数码时代中，尽管信息的普及性看似拉近了人与人之间的社会关联，但是这种临界于虚拟与现实的关系，隐秘地介入图像与物体之间，指向的是一种永远无法接壤的状态，由此引发了当下背景中的新疑问：我们该如何连结？我们又该如何透过屏幕彼此触摸？
在)o( II（2021）中，两张看不出性别的侧脸相互倚近、唇鼻相碰。一对天蓝色的抽象色块介入于侧脸鼻颌曲线在亲吻相依的空隙之中 ，与血红色的背景对比冲撞，暗示了即便在绝对的亲密接近中，也存在着不可逾越的距离。在艺术家的创作本意中，这两具耳鬓厮磨的人像实际上是交错、分离的。观者对图像中呈现爱欲解读的错觉，根本影射出了个体内心中对亲密关系的渴求。
作品Quella（2021）则映射出一片冷峻的蓝色渐层。画布上圆形的颜料堆积和凹陷，被分别细心地排列在人物的身体之上，彷彿是伤口，抑或是一种隐喻般地印记；指涉了一支不存在的箭头，刺穿了原本无瑕的身体表面，置换了肉体肌肤的概念而使其成一失去血肉的表层性外壳。于此，虚与实的相织呼应、进退消长，将更深存于图像表层之后未能言说的部分提示出来。肉身的消散则更进一步地在一系列近距离描绘身体私密部位的抽象作品中X I，X II，X III（2021）被揭示。刻意地褪去身体躯干的形象，格蕾文透过字母“V”作为身体的拟像，挪用了艺术史中的经典主题——维纳斯，其形象早已超越肉身的概念而存在，传达身体在现今数码时代中已然成为了终极虚空而无法被触及。
薇薇安·格蕾文的作品常常从某个特定的主题展开，以系列的形式连贯出现，在平滑而又通透的画布表层，展开对古典与当代艺术史的探究。“荧变”包含了艺术家近期八个系列中的作品，从一个更为全面的角度揭示格蕾文的创作概念体系：人类作为个体矛盾地存在——渴望连结，却又终究无法完成相联。这一种不可企及的相对关系并不止步于物理意义上的距离空间，而进一步指向人内在对于灵与肉、知与欲之间的拉锯、纠缠，是自我与他者之间脆弱且又排异的心理和社会层面的连结。
Quella V，2021
布面油画、丙烯
80 x 63 公分 (31 1/2 x 24 3/4 英寸)
Quella V, 2021
oil and acrylic on canvas
80 x 63 cm (31 1/2 x 24 3/4 in)
Gallery Vacancy is delighted to announce The Negatives, Vivian Greven’s first solo exhibition in Shanghai from March 20 to May 1, 2021. In her new series of ethereal paintings, Greven delves into her longstanding exploration in the representation of human forms, scrutinizing through the antiquity depiction of the body to the contemporary interpretation of its virtual image, fluctuating on the infinite pictorial plane across figuration, conception, and abstraction.
Derived from sculptural compositions in Classical art, Greven’s painting delivers a digital perception of the ultramodern image consumption, in which the over-saturation of sensory aesthetics through the mediated screen symbioses with the loss of integrity in contemporary body politics. As a perennial subject in art history, the notion of beauty and its close associate, human body, are ironed out of their corporeality and transcend into a ghost replica of the originality. The luminosity of the translucent marble that is historically employed in sculpturality is now incarnated as the fluorescent reflection that is electronically modulated from LCD screens. Despite the escalating accessibility in digital age, this unreality at the threshold of the real clandestinely intervenes between the object and the image, indicating a state of everlasting untouchability, raising questions on how we get in contact and how it feels to touch through a digital interface.
In )o( II (2021), two genderless profiles are staged in proximity, with their lips gently pressed against each other’s tip of nose and chin as if they are suckling the affection out of this physical interaction. A diaphanous set of celeste forms interject in between, contrasting with the poinsettia background that implies an unavoidable distance even in the play of absolute closeness. Nevertheless depicted as distant, the illusion of intimacy is only projected through the viewer’s internal longing for the caress.
On the contrary, in Quella V (2021), the surface of the female figure glows into a cool blue gradient. Referring to an invisible arrow that cuts through the flawless exterior, a rounded acrylic build-up and a pale white color dot are carefully placed onto her body as wounds or metaphorical stigmas, transforming the fleshly skin into an ethereal tegument. The pileup constrains; the falloff prolongs, activating the underneath rather than concentrating solely on its appearance. The decease of corporeality is further manifested through the abstraction in X I (2021), X II (2021), and X III (2021), presenting the close-up of an intimate body part. Minimalizing the somatic structure into a literal shape of “V”, Greven is indexing a virtual Venus, the goddess stripped off from flesh and blood, an ultimate untouchable void culminated in our digital world.
Vivian Greven’s works often contain a consistent seriality, expanding from certain pivotal motifs that investigate art history and the contemporary through the luminance and smoothness of her treated surface. The Negatives presents eight different series from her most recent practice, providing a comprehensive approach that reveals her conceptual system—the contradiction between human being’s intuitive desire to connect and the inevitable downfall of unveiling attempts. It strikes beyond the physical notion of negative space, to the frailty (faiblesse) of inner-human issues, a fragile connection constituted from the standing of Self to the position of the Other.
X I，2021
布面油画
40 x 30 公分 (15 3/4 x 11 3/4 英寸)
X I, 2021
oil on canvas
40 x 30 cm (15 3/4 x 11 3/4 in)
关于艺术家
About the Artist
薇薇安·格蕾文 1985年出生于波恩，现生活工作于杜塞尔多夫。她的绘画方法借鉴贯通了古典艺术、波普艺术，以及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。娇娆的色彩，节制的构图，形象与形态的互换与共谋，格蕾文在静谧明澈的画面中，游弋探索于身体结构、生命经验、人性与神性之间，不断演绎却自若明晰的各种样貌。对世俗经验之外的向往，在不朽与转瞬的复始之间，格蕾文希冀在她的作品中捕捉一种更为恒定的和谐。
近期个展包括：Apple，Kunstpalasis Erlangen，埃朗根，2020；Elefant，ak Raum，科隆，2019；0 V，Kadel Willborn，杜塞尔多夫，2019；air，Galerie Thomas Fuchs，斯图加特，2019；a m o r e，Aurel Scheibler，柏林，2018；GRAZIA，Aurel Scheibler，柏林，2017；Eyes Wide Shut，STRABAG Kunstforum，维也纳，2017，及BUDUMN，Setareh Gallery，杜塞尔多夫，2017。部分群展于Ludwig Forum Aachen，亚琛；Tick Tack，安特卫普；Kunstmuseum Wolfsburg，沃尔夫斯堡；Paula Modersohn-Becker Museum，不莱梅；Anthena Foundation，杜塞尔多夫；Deichtorhallen Hamburg，汉堡；Philipp Pflug Contemporary，法兰克福；斯图加特艺术博物馆，斯图加特；Galerie Georges-Philippe & Nathalie Vallois，巴黎；及Salzburger Kunstverein，奥地利。
Vivian Greven, born in Bonn in 1985, now lives and works in Düsseldorf. She creates ethereal paintings that borrow visually and thematically from classical arts, pop arts and digital media world, sliding in fluidity between representation and abstraction. Working in alluring colors and restrained arrangements, her paintings display the interplay between surface and form with a glowing luminosity, dramatically flirting with body structure, dualism, and human existence depicted in serenity and clarity. Beauty is rooted within holiness, which is in connection with the universal balance between the immortal and the ephemeral.
Recent solo exhibitions include: Apple at Kunstpalais Erlangen, Erlangen, 2020; Elefant at ak Raum, Cologne, 2019; 0 V at Kadel Willborn, Düsseldorf, 2019; air at Galerie Thomas Fuchs, Stuttgart, 2019; a m o r e at Aurel Scheibler, Berlin, 2018; GRAZIA at Aurel Scheibler, Berlin, 2017; Eyes Wide Shut at STRABAG Kunstforum, Vienna, 2017; BUDUMN at Setareh Gallery, Düsseldorf, 2017 and selected group exhibitions at Ludwig Forum Aachen, Aachen; Tick Tack, Antwerp; Kunstmuseum Wolfsburg, Wolfsburg; Paula Modersohn-Becker Museum, Bremen; Anthena Foundation, Düsseldorf; Deichtorhallen Hamburg, Hamburg; Philipp Pflug Contemporary, Frankfurt; Kunstmuseum Stuttgart, Stuttgart; Galerie Georges-Philippe & Nathalie Vallois, Paris and Salzburger Kunstverein, Austria.
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
5F, No. 660, M. Sichuan Rd., Shanghai 200002
+86-(0)21-62411239
info@galleryvacancy.com
www.galleryvacancy.com