BANK 新展 | 孙一钿个展《在黄昏时起飞》11月10日 SUN YITIAN Solo Opening on Nov 10
海报由刘治治设计
Poster Design by Zhizhi Liu
在黄昏时起飞
Fly only when the shades of night gather
双联 diptych
布面丙烯 Acrylic on canvas 2021
200x150cm
Courtesy of Sun Yitian and BANK MABSOCIETY
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在黄昏时起飞
Fly only when the shades of night gather
开幕式/Opening: 11月10日 Nov 10
展览时间/Show Duration：10.11.2021-30.01, 2022
地点/Address: 上海市徐汇区安福路298弄2号楼底楼
Basement, No,2, Lane 298, An Fu Rd, Shanghai
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“当哲学用灰色的颜料绘成灰色的图画的时候，这一生活的形态就变老了。用灰色绘成灰色，不能使生活形态变得年青，而只能作为认识的对象。密涅瓦的猫头鹰要等黄昏到来才会起飞。”
——黑格尔
孙一钿以黑格尔对哲学的美丽比喻为灵感，展开此次备受期待在BANK的展览。「猫头鹰」在西方神话中是一只睿智的生物，与希腊神话中智慧女神密涅瓦有着密切联系。在黑格尔看来，哲学就像密涅瓦的猫头鹰一样，在薄暮降临时悄然起飞，哲学是带着既往思想的反思，自甘寂寞，悄然逼近智慧深处。孙一钿的展览一方面是猫头鹰的形象，另一方面是象征着智慧女神的密涅瓦，抑或是与艺术、贸易和战争的种种关系。通过这两个智慧的代表物，孙一钿制造了一场看似奇幻冒险的臆想之旅（充气娃娃，神秘海滩，闪光珠宝等等），也试图提出，在这些当代丰富的物质文化背后象征着什么？这些光泽无暇的表面的闪光和尘埃会暴露自我意识的反光吗？孙一钿将目光聚焦于物质的表面，尤其是充气塑料玩具。她是拿着义乌生产的芭比娃娃，看着迪士尼动画片里的白雪公主，喝着珍珠奶茶长大的一代，这些周遭自然而然落在了一钿的画布之上。她穿透人心和高度严谨的绘画技巧使观者萌生一种“舔的冲动”，也许正是艺术家设计的美丽圈套。这些玩味、空洞又闪耀发光的物体在一钿的笔触下也蒙上她标志性的强烈的暗影作为背景，恰如我们愈发不安的社会情境。在即将出版的孙一钿画册中，艺术史学家凯伦·史密斯写到“有人说孙一钿的绘画是对周遭环境的一种回应：它们在一个醉心表象、沉迷光滑的麻木社会中被创造出来——这样的社会实则唯恐表象之下流露出任何黑暗。”然而恰恰是这种恐惧与光滑引力的相互矛盾才是有趣之处，黄昏时分，猫头鹰起飞时总有光亦有光的暗面。
「深邃的目光流盼，刺透现实的迷障，眼见纷繁的表象，无从知晓的隐匿被心宣。猫头鹰在黄昏时起飞，洞见白日发生过的一切，所有鸟儿飞过的印痕，掠过山川的尾迹，盘旋岛屿的掠影，水面映射的翱翔。一切的物象都在光中被可见，在暗中被观察，静态的、动态的、多层的、虚构的、人造的，来过之处皆有停驻，去过之处都是风景。」
孙一钿 2021.10.25
孙一钿 Yitian Sun
肯 Ken 2021
布面油画 Oil on canvas
65x55cm
Courtesy of Sun Yitian and BANK MABSOCIETY
"When philosophy paints its grey in grey, one form of life has become old, and by means of grey it cannot be rejuvenated, but only known. The owl of Minerva takes its flight only when the shades of night are gathering.”
—— Hegel
Sun Yitian takes Hegel’s beautiful metaphor of philosophy as inspiration for her much-anticipated second solo exhibition at BANK. The owl has always been a sagacious creature in Western mythology due to its close association with Minerva, the Roman goddess of wisdom. Hegel claims that (the owl) wisdom takes wing with dusk, or that the meaning and purpose of an era can come only in hindsight, at the close of that epoch. Sun frames her exhibition with images of an owl on one side and a depiction of Minerva- not only the goddess of wisdom but of the arts, trade, and war - on the other. By bookending a seemingly fantastical adventure in imagery (inflatable toys, an enigmatic beach scene, shiny jewels, etc.) with these two symbols of wisdom, Sun poses the question - what in hindsight might these lustrous signifiers of our contemporary material culture add up to? What wisdom can we procure from the trajectory of our material feats? What will self-conscious reflection bare from the sparkles and dust on these immaculate surfaces? Sun has always been focused on the surface of objects, most notably inflatable plastic toys. Growing up around the market stalls of Yiwu, watching Disney, and drinking bubble tea, it is only natural that these objects of tactile compulsion have landed on Sun’s austere canvas. But her penetrating technique and exacting surfaces- surfaces that “fosters the urge to lick them” lead the viewer into her trap. These objects, at once playful, hollow and ostentatious also possess an ominous side, one that her signature, intense drop shadow exaggerates and that our society’s increasing unsustainability corroborates. Karen Smith writing in Sun’s forthcoming catalog essay states “It has been said that Sun Yitian’s art is a reflection of its context, created within a numb society fascinated with façade, obsessed with smooth, nervous of anything dark lurking behind a simple façade”. Yet it is the reciprocal paradox of aversion and attraction that is of interest here- there is always dark where there is light and it is the shades of night in which the owl flies.
Deep eyes wandering, piercing the reality of the maze’s barrier, seeing numerous appearances, no way to know the hidden heart. Owls take off at dusk and see the trace of everything that has happened during the day, all the tracks of birds flying over, the trails of mountains and rivers, the glimpses of islands circling, the soaring reflections of water. All objects are visible in the light and observed in the dark. They are static, dynamic, multi-layered, fictitious and artificial. Wherever they go they stop; wherever they go they are scenery.
Sun Yitian 2021.10.25
孙一钿，1991年出生于中国浙江，2015年毕业于中央美术学院油画系，同年保送中央美术学院油画系研究生，2018年毕业，现生活、工作于北京。她的作品涉及绘画，装置，行为，时装跨界。她的作品以“物”为切口暗喻背后的劳动与生产，揭示超消费主义和男权社会的内在机制。孙一钿曾入选2019年亚洲福布斯30岁以下杰出青年。作品曾在BANK 画廊，香港 Mine Projects, 阿尔敏·莱希（上海），伦敦弗里兹艺博会和巴黎国际当代艺术博览会，及纽约大都会馆，柏林狮子行宫，澳门艺术博物馆等国内外各大机构展出。作品还被收藏于上海 Longlati 基金会，北京X 美术馆，木木美术馆，以及上海余德耀美术馆和四方当代美术馆等国内各大机构展示收藏。
Sun Yitian (b. 1991 in Zhejiang, China) graduated from the painting department of China Central Academy of Fine Arts, Beijing (CAFA) in 2015 and earned her Masters at the same academy in 2018. She now lives and works in Beijing. Her practice spans painting, installation, performance, and fashion. Her practice employs material objects as metaphors of labor and production to reveal the inner mechanisms of our hyper-consumerist, patriarchal society. Sun was selected in the Forbes 30 Under 30 Asia Class of 2019. Her works have been exhibited at BANK Gallery, Mine Projects Shanghai, Almine Rech, as well as Frieze London and FIAC, Paris and major organizations such as the Metropolitan Museum of Art, New York; Lion Palace, Berlin; Macao Museum of Art, etc. Her works are also in the prestigious collections of Longlati Foundation, Shanghai; X Museum, Beijing; MWOODS, Beijing, YUZ Museum, Shanghai, SiFang Museum, Nanjing, etc.
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