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

2024.3.10

Arched Wave: Beyond the Boundaries of Geography

Artists: Mutian Chen, Longing Hu, Xiaoliang Huang, Ying Li, Mingjun Luo, Bing Ma, Jianping Zou
Curator: Xinyu Wong

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

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 | 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 REVIEW | 眼前

当我们把“看见”这一行为比作打开一个空房间的房门,看着这件物体的视线和它存留下的痕迹像是打开门后产生的余音,我们无法准确的追寻余音回荡的轨迹。不断地“看见”,新的东西累积产生同时,不可避免的产生了遗忘与消亡。一张照片保存了一个时间的瞬间,通过回忆,某些时刻得以持续存活,不相关瞬间的外观孤立了出来成为“科学家的信息、摄影师的引用”

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 | 郭宇剑:危险同谋

在看向郭宇剑的作品时,被描绘的总是在流动的状态中,相互间有着联系的密语成为图像回避我们、又逼近我们扑面而来。我们视线内成形在画布上的作品是尚未到来、在过渡中、即将迎接变化,直到感受盈满,它才会把我们推远。

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10.00am – 6.00pm

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Yinjiachong Rd, Tianxin District
410000 Changsha

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