Slide

Dangerous Complicity

Dangerous Complicity

Artist:Guo Yujian

2022.08.06 – 10.09

Ce toit tranquille, où marchent des colombes,

Entre les pins palpite, entre les tombes;

Midi le juste y compose de feux

La mer, la mer, toujours recommence

 

 Le Cimetière marin Paul Valéry

Time is passing, and the feeling of the present echoes. Guo Yujian’s paintings are retrospective scenes, and when we look at them, the stories are always so similar, telling themselves over and over again. That’s our nostalgic life. The inescapable, thin comfort becomes a revelation. When we thought we’d found a safe house and quarantined all our anxiety, panic was like air we had to inhale. The danger of contemporaneity, which is deeply embedded in a certain part of our consciousness. A real danger that makes us feel safe—to make everyone fall into a vision of the future. Jouissance in ambiguity, acting as Dionysus. Entertainment without fear of results is obtained in the balance of the seesaw. Neither side will fall absolutely. And the jouissance is in that limited process of going up and down. There is no possibility of an infinite fall. It is only in this balance of far-off balance that the meaning of ambiguity emerges. Hijacking others—seesaw entertainment belongs to the artist and the painting objects—both sides wait for feedback from the other to make their next move. Guo Yujian’s painting is a long pull. Beauty nurtured by inner turmoil. Pigments flow lightly on quietly sloping canvases. The close contact between the fingers and the paint, they carefully probe the perceived nature of the other party.

What Guo Yujian wanted to tell was painted on the canvas naturally. We can also feel it intuitively, preferably with our private memories. We can carefully observe the original work from a distance of tens of centimetres, and the cobalt blue at the top shrouds the clear subject below. The technique he uses requires a moderate amount of patience, using extremely narrow brushes to decorate the junction of the paint, so that the entire picture blends. The brush marks are much clearer after a virtuoso blend of light-toned tinting oils and cold-pressed walnut oils mixed with organics squeezed out of a lead tube. As the paint leaves the bristles, the image that emerges soaks the cloth. There is no obvious edge. It’s still that kind of ambiguous seesaw. The appearance of the subject is certain, it is only a difference of timing. In order to shape the freedom of the identity of the subject, the limbs drive the correction, change, disturbance and creation of sensibility. The initial desire for the painting is hidden into the flow of memory.

And the figures are fictitious. They are memories within memories. The definite faces around them, no matter how vague, could not match. “I’ve never had a plaid tablecloth, but, indirectly, it makes me feel nostalgic. Maybe it’s not a tablecloth, but the rhythm of Italian poetry that cannot be translated exactly into English or Russian; they convince me that the nostalgia is real, even if there is really nothing there.” In any case, these figures are always portrayed. It condenses a kind of memory of hand and memory of canvas. This is a skill that belongs only to an painting artist. The body changes in creation are the medium of communication—the exchange of memories. “The purpose is not to repeat, but to reproduce.” We declare: danger and beauty should be paralleled and they plan together to become entertainment with geschmack.

Exhibitions

过往展览

2022.08.06-10.09

Eclipse

Artist:Lin Shu
2022.05.27-07.20

Somewhere, Somewhere

Artist:Hannah Benassi
2022.05.27-07.20

Emo-Geography

Artist:Shi Yiran
2022.04.09-2022.05.17

IN FRONT OF THE EYES

Artist:Chen Qiushi,Fan Shilei
2022.08.06-10.09

Eclipse

艺术家:林舒
2022.08.06-10.09

危险同谋

艺术家:郭宇剑
2022.05.27-07.20

Somewhere, Somewhere

艺术家:Hannah Benassi
2022.05.27-07.20

情绪地理学

艺术家:史怡然

Art Channel

艺术频道

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 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 | 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 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。”

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