参展艺术家 ： 胡子 ，李超 ， 翟倞
开幕式: 2014.07.12, 15:00—18:00
展览时间：2014.07.12 — 08.30
观看李超的作品，如同推开一扇门，进入李超的私人梦境。灰色暗调的虚构场景，荒诞无逻辑的情节，非叙事性的片段，不仅仅是对现实与镜像双重世界简单的叠加与重组，更像是在真实处境的身后，建构的一个私密空间 。 胡子的作品具有明显的个人印迹： 下意识的女性主义色彩，对青春与荷尔蒙时期致幻剂的迷恋。放大的肖像与剪切的身体局部如同被拉近焦距的摄影作品，让我想起Georgia O’Keeffe年轻时代在纽约，有意识的引导观众的视线落在自己设定的画面焦点。比较翟倞的油画，我更喜欢他的纸上小品。一如呼吸与饮食，它是艺术家的自言自语，是艺术家的生活日常。《写给未知朋友的信》 是翟倞为这次展览特别创作。远在纽约的艺术家与一位未知的不曾谋面甚至臆想的朋友以手写书信和绘画的传统方式沟通。艺术家说：那种未知感，可能喜欢，可能厌恶，这让我着迷。
Is this a significant era? If it is, we seem doomed to have no relationship with significance. Life is constantly fragmented, twisted and squeezed by hormones, social value and identity politics. We learn delusion from reality and simulate reality within delusion. We become increasingly mature and sophisticated. We keep progressing and eventually draw ourselves further apart from our original dream. We cannot be significant. But can we then be insignificant?
Young artists Li Chao, Hu Zi and Zhai Liang chose painting as a way of living, of self-construction dichotomizing the “ego” and “object”, and of self-improvement and spiritual self-exile when confronting the “real” world.
Looking at Li Chao’s work is like opening up a gate to enter his private dreamland. Greyish dark shades, virtual scenes, absurd scenarios and non-narrative fragments transmit the impression that this is far more than just a simple overlapping of the real world and a mirrored image. It seems he’s managed to build a private space behind the reality. Hu Zi’s work features distinct personal traces: a subconscious revelation of feminism and an obsession with the prime of youth and hallucinations caused by hormones. Enlarged portraits and amputated body parts make viewers feel as if they are examining close-ups, reminiscent of Georgia O’Keeffe’s early works, which intentionally guided the viewer’s eyesight to fall upon her preset focal points. Compared to Zhai Liang’s oil painting, his small-sized paintings on paper convey a more intimate feeling, as if the artist was talking to himself through those works. They become an integral part of his life, as ordinary and indispensable as breathing and eating. Letters to An Unknown Friend are created specially for this exhibition by Zhai Liang. Based in New York, the artist chose to communicate with a friend whom he never met and was probably made up through traditional ways such as correspondence and painting. According to the artist: “The sense of being “unknown” may lead to affection or disgust. Either way it’s intriguing.”
Personal as they are, works by these artists of same generation, Li Chao, Hu Zi and Zhai Liang, also show something in common in terms of inner appeal. Their work has nothing to do with significance, social background, political struggles and globalized aesthetics. Instead, they are fully invested in subtle emotions and feelings, as well as the anxiety and self-improvement experienced by our mind and body.