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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

Arched wave: Throwing the hidden string in the discontinuity

Artists: Qiushi Chen, Yujian Guo, Mingjun Luo, Lijun Wang, Li Zhou, Wei Zhou
Producer: Wenjing

Flower For Algernon

Artists: Jing Wang/ Yiwen Zhao
Curator: Xinyu Wong

Perceptual Track

Artists: Haiqiang Guo、Hang Su、Sibo Wu、Wei Zhou
Curator: Yu Xie
2023/07/22-10/09

Please,Do Mind The Gap

June Fischer, Xie Yu, Arch Gallery, 1L, 1123 Cultural and Creative Park, Tianxin District, Changsha City.

Art Channel

艺术频道

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 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 采访 | 谢燚

他的作品长期以来从“劳动”这个常用的词汇出发,不断向现实世界里以“语言”为基础的权利追问。“我只希望我认为重要的东西能被大家知道,那就是”具体的劳动“在现实世界中是如何”做功“的。”

豆豆也是拳拳

1985年在北京中国美术馆举办的《劳申伯格艺术展》让中国人近距离地看到了“后现代艺术”的形态,这些展品让中国观众目瞪口呆:山羊的标本,汽车的轮胎,废弃的地毯组成了前所未见的图腾。在展览期间,保洁员差一点把作品误作是垃圾清理。

ARCH 采访 | 郭宇剑

从那时起我尝试让白日梦式的想象力渗到画面中去,那些较早之前象征意味较浓的图示也被自然地冲淡了。或许正是因为这种像是被什么浸润过的画面所流淌出的气质和一些与现实相违和的图像内容才造成了类似梦境似的联想。

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Yinjiachong Rd, Tianxin District
410000 Changsha

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