展览 Exhibition | 闲人出差 Vacation
闲人出差
Vacation
黄可维 Huang Ko Wei
荷达·卡什哈 Hoda Kashiha
茹特·莫尔克 Rute Merk
长井朋子 Tomoko Nagai
横山裕一 Yuichi Yokoyama
张珂 Zhang Ke
展览时间：2021年7月24日至8月28日
开幕时间：2021年7月24日，星期六，下午6至8时
Duration: July 24–August 28, 2021
Opening: Saturday, July 24, 6–8 PM
关于展览
About the Exhibition
Galley Vacancy很荣幸地宣布将于2021年7月24日至8月28日呈现群展“闲人出差”，展出艺术家黄可维（b. 1988）、荷达·卡什哈（b. 1986）、茹特·莫尔克（b. 1991）、长井朋子（b. 1982）、横山裕一（b. 1967）和张珂（b. 1996）的作品。“闲人出差”（Vacation）缘起于对假期这项社会活动的思考，其定义为人们暂时从常规活动中抽离，并获得空闲和自由。展览以休闲体验的存在主义理论化为依托，延伸了理论中将假期作为对抗存在的困境和企及真实性（authenticity）的方法，来探究艺术所蕴含的超越（transcendence）潜能。将画廊转化为一个规范与秩序都暂时悬置的阈限空间（liminal zone），“闲人出差”试图通过探讨时间、空间及活动变化等基本元素来呈现一种别样的体验。
横山裕一
旅行，2010
纸上丝网印刷
84.2 x 59.6 公分（33 1/8 x 23 1/2 英寸）
图片致谢艺术家及ANOMALY
Yuichi Yokoyama
Travel, 2010
silkscreen on paper
84.2 x 59.6 cm (33 1/8 x 23 1/2 in)
Courtesy of the Artist and ANOMALY
“闲人出差”的旅途以横山裕一和卡什哈设定的虚构场景为起点，并由他们画中的漫画式人物为向导。在《旅行》（2010）中，横山裕一以典型的漫画叙事方式，加之与他在油画经验中获得的几何形式语言来革新漫画，通过曲直的线条来传递不同强度的动态和能量，自如地将观者带入到他的故事的时间线和空间当中。与横山裕一的几何语言相呼应的是卡什哈在《如何召唤蓬松的云朵》（2020-2021）中进行的诙谐尝试：她将立体派绘画风格与卡通形式进行融合，并赋予一层意想不到的涂鸦特质。画中，一块四边形的天空色块与灰调的人物肢体局部形成鲜明对比；这片天空又化身为一片伫立在展厅地面上的独立画幅，进而引导着观者视线的流动。这种移动特质进一步地在黄可维的《倒带》（2021）里得到诠释。其中，蝴蝶运动的旋转轨迹被勾勒显现出来，环抱在人物的臂弯之中。这些作品中捕捉到的动态引介了一种速度与时间的交替体验，挑战了因遁入常态而静止的结构的掌控。
荷达·卡什哈
如何召唤蓬松的云朵，2020-2021
布面丙烯，塑料泡沫，树脂
180 x 150 cm 公分（70 7/8 x 59 英寸）和 67 x 99 x 85 x 82 公分（26 3/8 x 39 x 33 1/2 x 32 1/4 英寸）
图片致谢艺术家及Dastan's Basement
Hoda Kashiha
How to Make Puffy Clouds, 2020-2021
acrylic, foam, and resin on canvas
180 x 150 cm (70 7/8 x 59 in) and 67 x 99 x 85 x 82 cm (26 3/8 x 39 x 33 1/2 x 32 1/4 in)
Courtesy of the Artist and Dastan's Basement
黄可维
倒带，2021
布面丙烯
116 x 91 公分（45 5/8 x 35 7/8 英寸）
Huang Ko Wei
Rewind, 2021
acrylic on canvas
116 x 91 cm (45 5/8 x 35 7/8 in)
与此同时，莫尔克、长井朋子和张珂则将都市人从他们熟悉的环境中转送到她们画中各自设定的出游目的地里。张珂的《警戒线 I》（2021）糅合了多个异乎寻常的物体、透视及表面。画面中，一组相对的台式镜和墙面镜将观者引入一片脱离现实的灌木景中。这种超现实的意味也体现在长井朋子的《绿光》（2021）之中；她的绘画实践往往聚焦在建立自然、动物与梦境的多重和谐关系之上：画中的人物正被包围、覆盖在象征着这些关系的繁茂绿植当中。《马蹄莲 II》（2021）则透过相同的植物主题来邀请观者进入一片虚实交织的领地之中：鲜切花悬停在无法辨别的背景上，同时，莫尔克在形式表达延续了她九十年代末RPG电子游戏的美学，进而利用锐利的边界线与线内模糊色块形成的对比来增俱画面的戏剧性。画布上所纷呈的奇异终点转化成具备有可能性的地点，在它们扰乱秩序的时刻创造了使信仰得以飞跃的契机。
张珂
警戒线 I，2021
布面油画
100 x 80 公分（39 3/8 x 31 1/2 英寸）
Zhang Ke
Cordon I, 2021
oil on canvas
100 x 80 cm (39 3/8 x 31 1/2 in)
长井朋子
绿光，2021
布面油画
145.8 x 112.1 公分（57 3/8 x 44 1/8 英寸）
图片致谢艺术家及小山登美夫画廊
摄影：Kenji Takahashi
Tomoko Nagai
Green Light, 2021
oil on canvas
145.8 x 112.1 cm (57 3/8 x 44 1/8 in)
Courtesy of the Artist and Tomio Koyama Gallery
Photo by Kenji Takahashi
受横山裕一、卡什哈和黄可维的画面所驱动，踏入张珂、长井朋子及莫尔克构建的异想世界里，观看的体验在画廊空间内由艺术与假期碰撞合一的超越体验所构成。从日常生活中暂时的离开与游移释放了创造性，同时，也给予了人们去反思日常结构、重新审视工作与休闲的空间和时间。
茹特·莫尔克
马蹄莲 II，2021
布面油画
115 x 95 公分（45 1/4 x 37 3/8 英寸）
Rute Merk
Calla Lily II, 2021
oil on linen
115 x 95 cm (45 1/4 x 37 3/8 in)
Gallery Vacancy is delighted to announce the group exhibition Vacation, on view from July 24 to August 28, 2021, featuring the works of Huang Ko Wei (b. 1988), Hoda Kashiha (b. 1986), Rute Merk (b. 1991), Tomoko Nagai (b. 1982), Yuichi Yokoyama (b. 1967), and Zhang Ke (b. 1996). The namesake of the exhibition references the social behavior of vacation, during which people can take a respite from the regular routine of work to be free and unoccupied. Informed by the existential theorization of vacation, which purports it as a means to resist the existential predicament of modern society and a possibility to reach the state of authenticity, Vacation adopts the conceptualization of existential psychology to examine the transcending potentials of art. Transforming the gallery space into a liminal zone where norms and orders are temporarily suspended, the exhibition seeks to provide distinctive experiences by accentuating the essential components of change in space and time.
The journey embarks on the fictional grounding preset in the works of Yokoyama and Kashiha, enacted by the animated figures from their paintings. Travel (2010) adapts the typical storytelling format of manga whereas sees innovation from Yokoyama’s geometrical formal language; the diagonal and curvilinear lines emanate various levels of intensity of motion and energy, smoothly absorbing viewers into the alternative timeline and space the stories reside. Resonating with Yokoyama’s geometrical language, Kashiha treats How to Make Puffy Clouds (2020-2021) in a quirky manner that combines both the Cubist and comic style while lending it a graffiti twist. In the painting, the small polychromatic piece of sky contrasts ostensibly with the grisaille depiction of fragmented limbs and bodies, which further compels the viewer’s line of sight to its free-standing emergence on the gallery floor. The mobility extends in Huang Ko Wei’s Rewind (2021), where the swirling forces of butterflies are made visible and caressed within the arms of a human figure. The dynamism captured in the pictorial frames of the works introduces an alternate experience of speed and time, defying any static structural dominance.
Concomitantly, Merk, Nagai, and Zhang transport the urbanites from their familiar settings and reinstate them into the proposed destination of the wanderlust. Zhang’s Cordon I (2021) contains an eccentric multiplicity of objects, perspectives, and surfaces; the double play between table mirror and wall mirror leads viewers to a surrealist scene of barred shrubs. The surreality is further epitomized in Nagai’s Green Light (2021) by engaging the artist’s frequently visited subject matters: the congenial nexus among nature, animals, and dreams, where the central figure is superimposed by her exuberant depiction of flickering foliage. Calla Lily II (2021), nonetheless, invites viewers to a land of a virtual-natural hybrid: while the cut flowers suspend in an illegible background, the formal execution carries on Merk’s late ‘90s RPG video game aesthetics prevalent in her practice, farther dramatizing the canvas through her interplay of sharp contours and fuzzy color fields. The eclectic terrains articulated on the canvases transform into sites of possibilities, where a rupture in the mundane location could potentially leaven a leap of faith.
Mobilizing with Yokoyama, Kashiha, and Huang, and delving into the surreal scenery pivoted by Merk, Nagai, and Zhang, the transcending capacity of art and vacation collides in the physical space of the gallery, activating its role as a liminal zone. The temporal respite from normality unleashes creativity as revealed in the works of art, meanwhile allowing people to step aside and reflect on the governing routines around work and leisure.
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