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ARCH REVIEW | Guo Yujian :Dangerous Complicitiy

ARCH REVIEW | Guo Yujian :Dangerous Complicitiy

Artist: Guo Yujian

Text by Zhang Tingzhi

Not a complete plot is wrapped in random single images, they carry a moment. When looking at Guo Yujian’s works, what have been depicted is always in a state of flow, and the secret words that are related to each other become images that avoid us and approach us. The work that takes shape on the canvas in our sight is yet to come, in transition, about to embrace change, and it will not push us away until the feeling is fulfil.

“What a painting gives vision is a reality that not an eye can be satisfy” (Benjamin, 1992). Guo Yujian does not rely on a certain way to construct a series of images, and the feelings that come to us are not tied to a certain storyline. On the one hand, the artist seldom gives specific descriptions of the scenes he depicts, and the paintings he presented are not accompanied by information; more importantly, the scenes and memories that pre-exist in other images, texts, and memories, they flow and dissipation in his works. We do not need to watch in a step-by-step sequence or reading order, but use our own consciousness to find our place in the work. “The past is dialectical in the advance of the future, and out of this dialectic and conflict emerges an unfolding, time-displaced present” (Didi-Huberman, 1992). We don’t even have to relate it to our own reality, but let it disrupt, push the visible in front of us, or tamper with it, waiting to be part of the story in farther places yet to come.

Looking in the process of painting is not a mechanical act that only grabs the real objects, and giving visible objects is not providing some visual facts. In the game with experience, skills, and mechanisation, the artist’s choices — based on his motif, history, knowledge and ego. Colours are not just condensed on a surface, they are diffused around the object, “There is, then, a depth which does not yet operate between objects, which, a fortiori, does not yet assess the distance between them, and which is simply the opening of perception upon some ghost thing as yet scarcely qualified. ” (Merleau-Ponty, 1962)

If you get as close to the paintings as possible, allow yourself to be absorbed in these consciousnesses, or even say, when you allow yourself to penetrate deeply enough into the material in front of you — this requires a long gaze — to sink, float, and dissolve in the painting. Moving with the lines. Even if you enter an unfathomable and mysterious place, certain shared feelings will flourish and inhabit by your side. Feelings that have escaped, been excluded, or forgotten will come back in another form, the gaping of the inner world will contain the truth.

 

Tingzhi Zhang


Exhibitions

过往展览

2022.10.22-2023.01.07

The Task of Alchemy

Artist:Zhao Yu
2022.10.22-2023.01.07

Amber

Artist:Duan Yifan
2022.10.22-2023.01.07

A N G E L U S

Artist:Hannah Benassi
2022.08.06-10.09

Dangerous Complicity

Artist:Guo Yujian
2022.10.22-2023.01.07

炼金的任务

艺术家:赵玉
2022.10.22-2023.01.07

琥珀

艺术家:段一凡
2022.10.22-2023.01.07

A N G E L U S

艺术家:汉娜·贝纳西
2022.08.06-10.09

危险同谋

艺术家:郭宇剑

Art Channel

艺术频道

ARCH INTERVIEW | Guo Yujian

Since then, I have tried to let daydream-like imagination seep into the picture, and those earlier, more symbolic images have also been naturally diluted. Perhaps, it is precisely because of the temperament that seems to be infiltrated by the picture and some image contents that are contrary to reality that cause the association like a dream.

ARCH REVIEW | Gaze in the Dim Glow

“The Task of Alchemy”, Pocono Zhao Yu’s solo exhibition at Arch Gallery, presents a subtle sense of time traveling. As the title of the exhibition alludes to, it is as if the smelting and mysterious deeds of some spiritual objects. Within the whisper that fluttering outside of time, this enormous task is under the invisible dome of time.

ARCH REVIEW | Making Complicity

When the painting is really close to us, the first thing that appears to our eyes is this Le cimetière marin[1] written by Valéry in 1922. The curators Hu Yihang and Zhang Tingzhi, together with artist Guo Yujian, divided the exhibition “Dangerous Complicity” in the gallery into three chapters with words and symbols: imagination, a plateau, and a theatre.

ARCH 采访 | 郑江

“边界惊险但精彩,像绘制一个形象生动的轮廓线时一样充满诱惑力。我觉得创作过程本身就包含对艺术形式的思考,两者应该是一体、贴切的。”

ARCH 采访 | 朱湘闽

朱湘闽的作品在愉悦的状态中,凸显了轻盈、弥散的线条与形态,层叠的不同色块和材料之间强调了艺术家自身的意识与感知。画面中直观的力量感,是艺术家对“矛盾和悖论在身体里形成完整的统一“的思考,形象间释放的情绪在思想的过滤与分解后,营造了更有流动性的感官体验。

ARCH REVIEW | 制造共犯

当画作真切地逼近我们双眼,首先出现的是这首瓦雷里1922年所写的《海滨墓园》。机构策展人胡奕航、张汀芷与艺术家郭宇剑一起,将这次拱形画廊名为《危险同谋》的展览,用文字或符号分成了几大篇章:臆想、一座高原、剧场。许是有意为之,又或是无心之举,开篇选取的这段文字,饱含着诗人瓦雷里对家乡赛特港的深沉眷念。

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