Slide

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 | 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 | 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 | 周轶伦

周轶伦的作品本质上只指向物本身,观众如何去理解其作品取决于一个时代所赋予大众的经验与记忆。“我喜欢试验失败,每次失败的剩余痕迹都是完美的新作品局部。”

ARCH REVIEW | 在倦意来临时服药

恍惚是我们长时间被某种思维或事物压制后常常落入的状态。在这个状态中,时间如流体般被我们任意搬运、搅动,又或是尽兴逐流。而林舒的作品常常通过对空间的加工让我们对影像中的实体逐渐疏远,以至于被送入一个被剥去嘈杂的心理状态,意识取代了被记忆包裹的身体,从而任意涌动。

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。

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

© 2021  Arch Gallery all rights reserved. Email: info@archgallery.net
Site by XYCO