Slide

Power

Exhibition

Power

艺术家:葛雅静

2020.11.7 - 2020.12.6

当代政治社会构建在例外领域这个隐秘且“神圣”的地基上,在这个游离在俗世之外的特权空间里,至高权力规定着一切,却又不受其所制定的规则制约。

权的双重形式,在疫情/后疫情时代被格外清晰地展现出来。在权的压迫性和否定性向民众示弱之时,其生产性和肯定性“鼓舞”了大众。而在艺术家葛雅静的作品中,这种双重性被隐喻在画作中的“拳头”里。“听说大拇指向外或内收的区别就像狗在冲你呲牙或摇尾巴一样。” 她通过此种独特的艺术语言,感受着在当下不安的环境中,人们面对生命之脆弱的无力感。

突发的疫情所带来的危机感与焦虑感,任何人都无法逃避。对于至高权力而言,当代人作为潜在的,结构性上的“神圣人”,其神圣性在“生命对于一个掌控死亡的权力的臣服”中得到体现。 因而在葛雅静此次展出的作品中,一种原始的、慢性的且难以挣脱开的刺痛感隐藏在那些反复出现的被解构的拳、脚、牙齿、肉体等元素里。尤其是在「初见」和「2020」中,关于此次疫情的感官记忆通过对扭曲的身体与被解剖的肉体之描绘,以极具压迫感和包裹感的方式呈现出来。骨头(尤其是拳头)与肉在每件作品中不断地重现堆砌,人作为有机体被一一分解,这也正是阿甘本所说的“赤裸生命”在视觉上的当代诠释。

面对权/拳,艺术家的抗争不再“私密”,而是通过美学的播散进入大众视野。葛雅静的创作长期保持着质朴的气息,不论这个真实世界如何变化,艺术家选择保持原初。

“2020是灰黑色的一年,世界的荒诞恐怖片持续上演,人们也都被迫紧缩内收,全世界不同时间都按下暂停键以保卫生命,拳头有人理解为示威,反抗……而我只是想在工作中留住时间,留住生命的痕迹。”

已经无所谓反抗还是顺从,沉浸在葛雅静的作品中,随着生命体的被解构与再凝固,“权”也逐渐被消解。

Exhibitions

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2024.3.10

Arched Wave: Beyond the Boundaries of Geography

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Producer: Wenjing

Flower For Algernon

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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 | 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 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.

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。

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 采访 | 谢燚

他的作品长期以来从“劳动”这个常用的词汇出发,不断向现实世界里以“语言”为基础的权利追问。“我只希望我认为重要的东西能被大家知道,那就是”具体的劳动“在现实世界中是如何”做功“的。”

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

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ARCH GALLERY

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