Slide

The Giant in the Attic

Exhibition

The Giant in the Attic

Artist: CHEN Zifeng

2021.01.17 - 2021.02.27

Chen Zifeng’s works have a temperament that makes people feel nervous. It is as if we were glancing at a giant hiding in the attic, facing away from us, doing things we could not know or understand. We will have a hint of curiosity and fear, but then turn around and leave.

The attic is such an existence. It is dark, crowded, always ignored and forgotten, and people see it as if it is not related to their own world. Thus, the thin partition on the top floor of the house becomes a big box for storing secret traces.

Chen Zifeng, who has acquired traditional Chinese painting theory and technical training, lives in a house and its attic at the same time. When the giants living in the attic were constantly condensed in the images created by the artist, the accumulated weight of multiple emotions and desires made the attic squeaky, and the suppressed dialogue agitated. Man is neither born free nor has absolute freedom. On the artistic level, what Chen Zifeng wants to fight against and break through is not only the constraints of Chinese painting techniques and forms, but also the unresolved contradictions of traditional art in the contemporary era. Due to the rapid transformation and development of economic models in China, there is abyss between traditional Chinese culture  and contemporary society. Traditional art is stuck in fundamentalism and is out of step with contemporary civilisation. Its core has long been compressed by the so-called “advanced civilisation” into a mocked schema. When history is unable to help advance, contemporary people selectively forget the “remains”, as if we no longer have traceable roots. Faced with these houses built on an unstable, easily collapsed, and hollow foundation, Chen Zifeng has been making silent protests, naively insisting on the creation of a culture in his own attic.

The giants’ images created by the artist do not exist to please, they are twisted and perverted organic structures born with suppressed desires. Behind the vague and plump body, the sluggish eyes and the cyber colour is the uneasiness that swells in the dark. This uneasiness is not only in the picture, but it is just like a mirror, reflecting the contradictory minds of contemporary people living in the traditional concept and the current society.

Giants will not huddle in the attic eternally, and because of their hidden threat to the entire house, it will tempt us to enter the attic; when we are facing the giants, our bodies gradually unfolded.

Exhibitions

过往展览

2022.08.06-10.09

Eclipse

Artist:Lin Shu
2022.08.06-10.09

Dangerous Complicity

Artist:Guo Yujian
2022.05.27-07.20

Somewhere, Somewhere

Artist:Hannah Benassi
2022.05.27-07.20

Emo-Geography

Artist:Shi Yiran
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 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。”

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 | 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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10.00am – 6.00pm

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Yinjiachong Rd, Tianxin District
410000 Changsha

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