展览 Exhibition | [权限禁止] [Permission Denied]：巴塞尔艺术展网上展厅「OVR：随意门」

[权限禁止] 

[Permission Denied]

巴塞尔艺术展网上展厅「OVR：随意门」

 Art Basel 'OVR: Portals' 

丁世伟 Ding Shiwei

茹特·莫尔克 Rute Merk

沈心怡 Sydney Shen

展览时间：2021年6月16日至6月22日

开幕时间：2021年6月16日，星期三，下午6至8时

Duration: June 16–June 22, 2021

Opening: Wednesday, June 16, 6–8 PM

上海市静安区陕西北路549号2楼副楼

2F, Annex, 549 N. Shaanxi Rd., Shanghai

关于展览

About the Exhibition

Gallery Vacancy很荣幸地宣布于陕西北路549号花园住宅二楼副楼呈现展览“[权限禁止]”（[Permission Denied]），作为巴塞尔艺术展网上展厅‘OVR：随意门’的线下项目，展期为2021年6月16日至6月22日。展览将展出艺术家丁世伟（b. 1989，中国）、茹特·莫尔克（b. 1991，立陶宛）及沈心怡（b. 1989，美国）的作品；进一步探究如今生活常态为各种不确定性所填充、狭持下，在个体与社会的阻隔分离后，如何再次校准及建立联系的可能。“权限禁止”这一编程术语在本次展览的语境下，被延伸理解为一种朦胧虚空的孤立状态，由生命的脆弱与现实的无常交互生成，重新定义了个体意识以及自我认知。通过对生命的局限与现实的无常加以不断的改造，个体意识在感知的闪烁之间摇摆，完成了对个体和自我的重新定义，成为寄居于想象现实中的蜉蝣。在艺术家们所营造的真假虚实错综交融的世界中，个体意识企图在物质俗世、数码世界甚或更为杜撰的情境中，攫取信息以完善仅存于个人主观意识中的现实注脚。

茹特·莫尔克

Imma I，2021

布面油画

110 x 160 公分（43 1/4 x 63 英寸）

Rute Merk

Imma I, 2021

oil on linen

110 x 160 cm (43 1/4 x 63 in)

茹特·莫尔克的绘画作品在风格上回应了后90年代电子游戏的视觉美学：在数位运算生成的空间透视与造形关系中，集结了写实科幻和虚拟实境的特点，以此来模糊社会性别与匿名身份的界限。在《Imma I》（2021）中，在愈益模糊与看似失焦的刻画之下，莫尔克将她描绘的人物置入看似电脑生成的场景，存在于数码编织的无垠世界。画中描绘的人物被激活、重启，成为没有血肉的完美身躯，其个体与身份逐渐消逝在叙事未明与情境褪去的构图之中。现实与肉体的缺席却在生命的彼端完成了重生，转世为无处不有的存在，栖居于无可触及并存有悖论的永恒之中。

丁世伟

临渊凝视No.1，2019

影像装置（录像、2.39寸双显屏、显示屏驱动模块、迷你主机、亚克力、定制电源）

13 x 12 x 10 公分（5 1/8 x 4 3/4 x 4 英寸）

Ding Shiwei

The Abyss Watchers No.1, 2019

video, 2.39-inch dual screen, screen drive module, mini computer, acrylic, customized power

13 x 12 x 10 cm (5 1/8 x 4 3/4 x 4 in)

丁世伟通过影像和装置构建饶富趣味与诗意的屏幕奇观，提示了数字媒体对物质世界的再现与干预。他的作品企图用诙谐的方式对悖论进行援疑和拆解，丰富新媒体视觉文化中的集体经历，并以数据碎片填充个体经验的方式重新界定身体与用户界面在真实与虚拟世界中的主从关系。《临渊凝视No. 1》（2019）呈现了一个以神经机械学与有机物为切入点的实际机体，召唤观者来到一个电子异世界的入口，同时又拒绝了他们的身体性。丁世伟试图在屏幕中捕捉一种超越时间和空间的永恒状态，他将个体经验解码成片段式的数据，绞碎揉和进他构建的编码系统中，进而在《标本重置》系列（2020）作品中展现出该系统通过技术所构成的不朽。

沈心怡

带着_渡鸦_的_女人_在_深渊，2019

木材，黄铜，塑料，玻璃，玉米

132 x 41 x 38 公分（52 x 16 1/8 x 15 英寸）

Sydney Shen

Die_Frau_mit_dem_Raben_am_Abgrund, 2019

wood, brass, plastic, glass, corn

132 x 41 x 38 cm (52 x 16 1/8 x 15 in)

沈心怡的装置和雕塑通常流露出不同寻常的诡谲与疏离，在物品体现的极端样貌中，探索、检视人类精神状态的各种倾向与感受。她从一系列的历史和当代文化素材中汲取灵感，包括对中世纪刑罚、科幻文学、和互联网亚文化的考究，旨在冲破传统美学的教条，在不断变化的阶级系统中，为社群及自我身份赋予新的定义。在《带着_渡鸦_的_女人_在_深渊》（2019）中，现成物的应用与其背后的历史典故平行交织，隐秘地构建了一场被篡改的现实，真实性的缺失与缺席阴郁地笼罩在作品之上。《[数据删除]》（2018）进一步地加强了这一现实与虚幻对立的矛盾，艺术家呈现了一个金属的医用外科屏风，并将原本的隔断帘替换成模拟中世纪盔甲上的手工编织锁链。作品试图以确凿的史料来诱导观者接纳其中虚构部分的合法性，将观者一步步地拉入沈心怡自编自导自演的光怪陆离、多重虚构的「真实」之中，但与此同时，被遮掩藏匿的是通往终极真相的途径以及人类最原始的欲望与恐惧。

Gallery Vacancy is pleased to present [Permission Denied] on the second floor, annex in the historical building of No.549 N. Shaanxi Road in Shanghai, an off-site presentation paralleling Art Basel’s ‘OVR: Portals,’ running from June 16 to June 22, 2021, with selections of works by Ding Shiwei (b. 1989, China), Rute Merk (b. 1991, Lithuania), and Sydney Shen (b. 1989, United States). [Permission Denied] delves into the disjunction and recalibration situated within the uncertainty that supersedes the normality of our current lives. Appropriated from its original technological background, the term “Permission Denied” portends a nebulous void of isolation as the construction of individuality and the definition of the self have been digressively renovated through the transitoriness of existence and the impermanence of actuality. Dangling between the flicker of perception, individual consciousness becomes the parasite of conceived reality, an ephemera attempting to grasp any state of realness, fluctuating from the material world to the digital or even fictional sphere to portray the personal reality in the works by each artist.

Rute Merk draws fuzzy lines among genders, anonymous identities, and also the integration of realistic fiction and virtual realities in her painting, which reverberates in its aesthetics of late 1990s RPG video games. In Imma I (2021), Merk dazzles her figures in the vignettes of ambiguous clarity and translucence as they fuse into a bed of digitally mediated nihility by staging her subject matter into the seemingly computer-generated imagery and scenes. The character is animated, fluidized into a fleshless body in perfection as her individuality and identity dissolve in the carefully manipulated composition in which the narratives are unidentified and the scenarios are erased. The absence of reality accomplishes the rebirth of humanness through the loss of corporeality, reincarnating as ubiquitous beings that inhabit the untouchable and unreachable territory of a paradoxical existence.

Ding Shiwei constructs an enticing and poetic spectacle through video installations to foreground the digital representation and intervention of the physical world. His works undertake a witty manner to examine and dissect multitudinal analogy, enriching the collective experience under cultures of mass-media, redefining the principal-subordinate positions between body and user interface in the midst of virtuality and reality. The Abyss Watchers No. 1 (2019) carves out a concrete apparatus where Cybernetics and organisms collide, summoning viewers to experience a portal that invites while simultaneously rejecting their physicality. Capturing an eternal state beyond time and space through digital screens, Ding decodes individual experience into fragments of data that are triturated within his encoding system; and thus institute the naissance of technological immortality as showcased in The Vanishing Prophecy series (2020).

Sydney Shen employs sculptures and installations to create an atmosphere of wretched apprehension, examining the limitation of mentality through the extremity of the physical body. Exploring various sources from the mundane and art history, including but not limited to medieval excruciation, supernatural horror fiction, and Internet subcultures, Shen aims to repel the canons of aesthetics, yielding new meanings of individuality for social and self-appraisal under the changing landscape of hierarchical systems. Infused with a certain melancholy of the loss and the absence, Die_Frau_mit_dem_Raben_am_Abgrund (2019) discreetly forges a state of tampered reality intertwined with the idea of realness in the use of found objects parallel to her historical references. [Data Expunged] (2018) further reinforces the ambivalence by composing a surgical screen whose curtains are substituted by the artist’s hand-braided chainmaille simulating medieval armors. The faith in their veracity endures; a tangible relic seems ipso facto real. Yet the access to the ultimate truth is permanently denied, alongside with the translation of the primordial emotions of desire and fear that are veiled beneath the bizarre and motley world that she creates, directs, and performs in.

关于展览空间

About the exhibition space 

陕西北路549号花园住宅建于1924 年，其新古典主义与装饰艺术派相结合的建筑风格及独特的海派气息散发着历史沉淀的魅力。2021年秋季，HAO MARKET将在此开幕，首次将这栋承载着时代故事的建筑融汇潮流、艺术、时尚、文化，以全新的设计理念对公众开放。

No.549 Shaanxi Road was built in 1924. With its Neoclassical and Art Deco architectural style, the building exudes a unique Shanghai-style charm. 2021 autumn, the venue will inaugurate HAO MARKET, a brand-new experience integrating fashion, art, and culture, presenting the story of the place with contemporary designs and concepts of lifestyle.

更多关于巴塞尔艺术展网上展厅「OVR：随意门」

More about Art Basel 'OVR: Portals'

网上展厅将于下列时间启动：

贵宾预展：香港时间2021年6月16日（星期三）晚上8时 至6月17日（星期五）晚上8时

公众时段：香港时间2021年6月17日（星期五）晚上8时 至6月20日（星期一）上午6时

请透过巴塞尔艺术展网上展厅 https://bit.ly/OVR-Portals 登入我们的专属展厅，在虚拟的展位上欣赏我们为你创造目不暇给的视觉体验。

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
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www.galleryvacancy.com