博览会|魔金石空间参加弗里兹伦敦2023|展位G26

弗里兹伦敦2023

Frieze London 2023

展位 Booth：G26

参展艺术家 Artists:

任莉莉 Li Li Ren

秦一峰 Qin Yifeng

唐永祥 Tang Yongxiang

展会日期 Dates：

2023.10.11-10.15

地点 Venue：

伦敦摄政公园

Regent's Park, London

任莉莉以柔软或坚硬的触觉材料创造空间中的亲密叙述。在她近期的创作中，她以水生生物为灵感，尝试探索人类以外的知觉形式，寻回遗落的记忆与感受。她希望让感觉越过已被构建的语言边界，将雕塑化为等待信息的感觉受器，想象语言还原为水生生物之间彼此沟通的流动讯号。她的作品不是已成形的世界和语言，而是更古老的、植根于不可名状的感觉。

Li Li Ren is a sculptor who uses tactile materials ranging from soft and ethereal to hard and heavy to create intimate narratives in space. In her recent creations, she uses aquatic life as inspiration to explore non-human forms of perception and retrieve lost memories and feelings. She wants to make feelings transcend the boundaries of constructed language, turning the sculpture into a sensory organ waiting for information, and imagining language as a flowing signal for aquatic creatures to communicate with each other. Her works are not established worlds and languages, but something much older, rooted in the indescribable.

多年以来，秦一峰试图利用大画幅座机，以自然曝光的条件在8×10胶片上拍出一种彻底的平面。他的創作是将多种矛盾引入摄影的结果，用相机抵制景深，用负片颠倒黑白，希望能在最清晰的影像中看见事物的消失。秦一峰以违反标准摄影的方式建立着自己的语言和审美体系，并借由拍摄明式素工家具的残件及干枯玫瑰，表达自然秩序和文明秩序在时间中的同步衰败。这些被拍下的物件，是人与自然的对话，指向未知的终局。

For many years, Qin Yifeng has attempted to use a large-format camera to create a kind of radical flatness on 8×10 film with natural light exposure. Qin Yifeng's creation is to bring multiple contradictions into photography. He focuses on using the camera to resist the depth of field, using negative film to invert black and white or to see things disappear in the clearest image. Qin builds up his own language and aesthetic system by violating standardized photography and expresses the simultaneous decay of natural and civilized order in time by photographing the remnants of Ming-style plain furniture and dried roses. These photographed objects are a dialog between man and nature, pointing to the unknown.

在唐永祥的绘画中，图像来源于日常随手拍摄的照片：它们不具有特定指向性，目的是为了从未经刻意设计的图像慢慢走入到绘画里。在将图像如实描绘到画布上之后，唐永祥便开始漫长的覆盖过程。“覆盖”是唐永祥工作的重要一环，整个过程如同记忆一般，在反覆的遗忘与回忆下，诱发出新的细节。当颜料不断覆盖，色块与线条逐渐取代图像信息，场景消解的同时新的正负形空间也生成其中。

在往返于图像和绘画的过程里，艺术家的目光随着画笔，重新认识所绘之物，并在等待新的可能性发生的同时留下踌躇的痕迹。这个时间的积累调和了画面里碎片般的图形空间，让唐永祥的绘画成为包裹时间的一层皮肤，所有事物都在其下隐隐可见。

In Tang Yongxiang's paintings, the images are sourced from photos of everyday life that are not elaborate, to move slowly from the undesigned image to the painting. After painting a realistic depiction of the scene, Tang Yongxiang then began the enduring coverage process - a key aspect of his work. This mechanism, which resembles memory, involves repeated forgetting and remembering, leading to the emergence of new details. As layers of paint are applied, the object information gradually gives way to abstract blocks of color and lines, generating new positive and negative spaces that break the existing image structure. 

As Tang Yongxiang goes back and forth between the image and the painting, his gaze re-recognizes what is being painted, leaving traces of hesitation while waiting for new possibilities to emerge. The result is a layer of skin that wraps around time, with everything visible faintly underneath.