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A N G E L U S

A N G E L U S

Artist:Hannah Benassi

Curator:Hu Yihang

2022.10.22 – 2023.01.07

Mein Flügel ist zum Schwung bereit,

ich kehrte gern zurück,

denn blieb ich auch lebendige Zeit,

ich hätte wenig Glück.

– Gerherd Scholem, “Gruss vom Angelus”

Ruins, an eternal place swallowed by nature. “Their outline remained unchanged even through centuries”. Standing on top of the ruins, “the destruction reaffirms the eternity of the fallen stones” and “shones lividly down, dense clusters of stars, upon the earth”. (Travel Souvenirs, Benjamin)

The image (Bild) of ruins is fragmentary. “As allegory is the distillation of ideas, so ruins are the distillation of matter”. (Under the sign of Saturn, Sontag) In the struggle between man and nature over the right to the ownership of matter, images are assembled in a montage to build the foundations of civilisation. Yet a distillation in the spirit of the “achiever”, which ignores the record of true culture in its savage selection of the gestures of great geniuses, is paradoxically called “history”.

In contrast to the Neanderthals, the image of the black-skulled, red-bodied cow created by the Lascaux is the promise of the God who exists in the “future”. This promise is not of the present and therefore does not have the power of redemption. What is truly redemptive is that the dense herds of reindeer that regularly cross the Auvergne pastures each year no longer choose the same route and that the nearby rivers dry up in more ways than one. The real “history” should be filled by the “present”.

Looking back at ruins – even as the artworks become ruins – “a unique and irreplaceable image of the past disappears with each present that fails to realise that it is being targeted.” (Sur le concept d’histoire, Benjamin) It is only when the plural patination and singular spectacle block the whole spectacle and the detailed patination through Chokerlebnis that the organic character of the past can resist strong winds that blow it away.

The intercourse of daylight and stone walls, despite their apparent harmony, allude to a material patchwork of history. The Romans at the Battle of Mons Graupius gave the Scots a sense of the density of the historical moment; the “forgotten past of suffering” is objectively present in artwork. But more radically, this “past” exists only in artworks today.

Thus, when we look at Benassi’s work and the buildings and human-made landscapes she depicts in a future time, the difference between our perspective and that of viewing her work in the present and “ruins” of the past that exist in the images is not so much a comparison of the two perspectives, but rather when future is not just a promise of good things to come, how we record the present, which will eventually become the past.

– Hu Yihang

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 | Guo Yujian :Dangerous Complicitiy

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.

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 | 梁浩

「IT’S A JOKE别太当回事,儿」是ARCH GALLERY拱形画廊策划的首个群展。展览从时间和空间两个维度探寻了艺术家在各自创作过程中所使用的不同方法观念。为了让大家更进一步地了解艺术家的创作理念,ARCH CHANNEL此番专访梁浩。

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。

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。

Tuesday – Sunday
10.00am – 6.00pm

ARCH Gallery
Yinjiachong Rd, Tianxin District
410000 Changsha

星期二 – 星期日
上午10.00 – 下午6.00

湖南省长沙市天心区殷家冲路
1123文创园一楼
ARCH GALLERY

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