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Please,Do Mind The Gap

[Please, Do Mind The Gap] Exhibition posters.

 

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Please, Do Mind The Gap

Artist:June Fischer

Curator:Xie Yu

2023.07.22-2023.10.09

 

“Please, Do Mind The Gap.” is the first solo exhibition in China by Swiss artist June Fischer. This exhibition encompasses multidimensional creations in photography, sculpture, installation, and literature. Fischer’s artworks are interdisciplinary, using multiple materials and mediums. While materiality has boundaries, the ways in which things connect have no limitations. Symbols that hover above the surface are awakened as separate entities. The recombination of different materials and elements generates entirely new contexts, allowing us to find fresh interpretations beyond conventional understanding.

In the first part of the exhibition, June uses automatic writing to create the script “Stuzzicadenti”  combining words written unconsciously. Stripped of its context or anticipated possibilities, this manuscript reflects the complex fusion of June’s memories, emotions, and associations. Her artworks extract words from it, attempting to present them in a tangible form.

“How do you preserve a video or performance? What forms of expression can represent a video? How can you present it in a non-traditional way? And how can you integrate it into your work? Where do the boundaries between sculpture, painting, and video art lie?” These are questions June constantly asks herself, inspiring her to experiment and transcend these boundaries.

The modular presentation of ceramic pieces in the exhibition stems from June’s fictional narrative, where patterns from screen printing and sculptures intertwine. Chaotic imagery blends with the interaction and diffusion among different materials and textures. Frames typically used to restrict and contain images are deconstructed, breaking the space between two surfaces and extending the boundaries.

In the second part of the exhibition, the artist reconnects with her childhood dream of becoming a marine biologist and explores detailed studies of bare branches. Based on her selection of different species, June showcases the captivating optical features of caterpillars, which often emit toxic signals to deter predators. She imparts lifelike characteristics onto lifeless, rigid ceramic organisms.

Caterpillars serve as the theme in the new works, symbolizing transient embodiments and emphasizing the process of transformation, reminding us of unchangeable destinies. The artist reflects on human desires, the perception of individual beauty, and the futile attempts to preserve moments that are fleeting.

Everything we are trained to comprehend can be explained. However, at this very moment, all interpretations seem futile and foolish. The meanings, boundaries, spaces, and time of chaotic materials, images, and videos are being shattered and recombined. Perhaps we do not need everything to have attached meanings or a complete plan, nor do we require things to be in their correct positions. Right now, we have our own rules, our own grammar, and our own spirit.

——Written by Xie Yu and Sean Tien

 

 

EXHIBITION VIEWS

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Exhibitions

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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 | 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 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 REVIEW | 制造共犯

当画作真切地逼近我们双眼,首先出现的是这首瓦雷里1922年所写的《海滨墓园》。机构策展人胡奕航、张汀芷与艺术家郭宇剑一起,将这次拱形画廊名为《危险同谋》的展览,用文字或符号分成了几大篇章:臆想、一座高原、剧场。许是有意为之,又或是无心之举,开篇选取的这段文字,饱含着诗人瓦雷里对家乡赛特港的深沉眷念。

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”

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