GUAN YINFU: GRAVITY OF EYES

关音夫：肉眼重力

 

策展人｜Curator

鲍栋 Bao Dong

展览时间｜Time

2022.4.23 - 5.21

展览地点｜Venue

艺·凯旋画廊 Triumph Gallery

 

 

艺·凯旋画廊荣幸宣布将于2022年4月23日至5月21日，推出艺术家关音夫最新个展「肉眼重力」。作为关音夫与艺·凯旋画廊的首次合作，本次展览展出了艺术家作品近20幅，集中呈现其在颜料和画面上的探索。

 

Triumph Gallery is pleased to announce that from April 23 to May 21, 2022, it will present Guan Yinfu's latest solo exhibition "Gravity of Eyes". As the first collaboration between Guan Yinfu and Triumph Gallery, this exhibition showcases nearly 20 works by the artist, focusing on his exploration in pigments and paintings.

 

策展人鲍栋认为，关音夫的颜料调和得很均匀，介于固体与液体之间的密度，缓缓落到画面上，再被自身的重力摊开，形成一块平滑但凸起的色块，在逐渐凝固定型时，另一块颜料也挤压了过来，两块或者更多的颜料在互相的接触线上博弈，覆盖、阻挡、牵引……整个过程中充满着一种“惰性美学”，舒缓、滞重、黏滞，正如关音夫对展览中的一件作品的命名“慢以至于更慢”。

 

Curator Bao Dong believes that Guan Yinfu's pigments are evenly blended, coalescing into a density between solid and liquid, and slowly slide down onto the canvas. Spreading out by its surrounding gravity, the mixture morphs into a smooth but protruding color block. While it is gradually solidifying, another block of pigment squeezes over. With two or more pigment blocks titillating, covering, blocking, and pulling one another on their contact lines… the whole process is permeated with a sense of “inert aesthetic”—soothing, stagnant, gooey—just like how Guan Yinfu christened one of his works Slow and Even Slower.

 

 

惰的堕 Inert Fall, 220×160×9cm, 2022, 木板丙烯 Acrylic on Board

 

关音夫的艺术是一种尊从、把握并引导物性的艺术，他让颜料这种对于画家来说最常见的物质用自己的方式说话，他强化了颜料的物质体量与来自工业的均质性，并在这基本事实上去生成对应于今天物质世界的感性形式。丙烯、聚氨酯、不锈钢、五合板、物流木箱，以及各种媒介剂，这些经常出现于关音夫的作品里的基础加工物在今天的中国城市生活中显得熟悉而多余，大量却单一，相较于越来越数字与虚拟的社会，它们又有一丝陈旧与过时，但却因此获得了一种普通的真实感，并作为一种经验的惯性涌现在了他的作品中——这一切使得关音夫的作品具有一种装置感，虽然艺术家本人从未刻意把他的作品与社会存在联系起来。

 

The art of Guan Yinfu is the kind of art that submits to, grasps, and utilizes materiality, allowing paint, the most commonplace material for painters, to vocalize in its own way. He emphasized the material volume and industrial homogeneity of paint, and based on this, he has engendered a sensual form that’s correspondent to today’s material world. Acrylic, polyurethane, stainless steel, plywood, wooden crates, and various mediums—these processed materials that often appear in Guan Yinfu’s works are familiar but redundant, abundant but homogenous, in contemporary Chinese urban life. In comparison to the increasingly digital and virtual society, they seem a bit outmoded and obsolete, which bestow them a sense of authenticity. This kind of experience emerges in his works as a sense of inertia—all of this creates a sense of installation in Guan Yinfu’s works, although the artist has never intentionally elucidated any social issue in his works.

 

他有意把控的是感性形式，他总是在让作品生成出一种缓慢的运动性，或者一种运动中的缓慢感，整个运动的节奏被故意放慢，冗长的大面积色块，缓缓扩张的趋势，长频的画面结构，以及慢干的颜料物质，关音夫在用一种低密度的语言去讲述一个关于“惰性”的故事。甚至色彩也是如此慢吞吞，他总是用同色或者临近色，让色彩依附于颜料，让色彩从信息退回为物，然后让物的序列来推动色调的形成，于是色彩获得了一种隐隐的钝力。

 

What he is trying to control is the sensuality of his forms. He often attempts to generate in his works a sense of sluggish movement, or some sort of moving postponement. With the delayed rhythm, large areas of dull, expansive color blocks, repetitive compositional structure, and slow-drying paint, Guan Yinfu seems to be telling a story about “inertia” with a restricted language. In his works, even colors appear to be slowed down, as he would always incorporate colors of the same tone, allowing color to be a subordinate to the paint and stripping away the information that was attached to its physicality. It then utilizes the sequences of the paint to formulate a spectrum that grants the compositional palette subtle, blunt energy.

 

 

蓝色的傲慢 Pride Blue, 220×160×10cm, 2022, 木板丙烯 Acrylic on Board

 

这些作品所蕴含的力量需要在特定的场域中去体验，它们无法被“翻译”成概念与知识，也很难由照片来传达，它们需要的是亲身肉眼的观看，甚至可以说，这些作品能够反过来确证肉眼的意义，唤醒一种带着触觉体知的观看。重量、厚度、面积，皱褶、裂纹、痕迹，互相胶着的缓慢运动趋势，以及其暗示的空间微量延伸，这一切调动着我们带有身体的目光，让我们向内觉知那些被忽视的存量。就像舞台剧中突然的静场，让观众把注意力转向时间、空间，以及注意力本身，关音夫的作品亦是在让我们把目光投入感觉自身巨大的惯性与重力。

 

The energies encapsulated in his works are to be experienced in certain specific settings. They cannot be “translated” into concept or knowledge, or be conveyed by photography. They require to be appreciated by the naked eye, or even, they reaffirm the importance of the naked eye, evoking an almost tactile, bodily sense of looking. The weight, thickness, vastness, folds, cracks, marks, gradual movements, and the spatial extension of the paint, all of these mobilize our gaze and force us to inwardly acknowledge the neglected existence surrounding us. Much like the interludes in stage plays, it allows the audiences to turn their attention towards time, space, and even attention itself. Guan Yinfu’s art sheds light on the enormous inertia and gravity within us.

 

关于艺术家

关音夫，1975年生于中国黑龙江省，2002毕业于中央戏剧学院舞台美术系舞台设计专业，现工作生活于北京。近期个展包括：“彩色·ROLOC”(指纹画廊，北京，2018)、“大于等于物”(静画廊，北京，2013)。主要群展包括：“封面”(飞地画廊，深圳，2021)、“形式巴洛克”(设计中国，北京，2020)、“灰寂”(Tong Gallery，北京，2019)、“绘画地图”(北京当代，北京，2018)、“美狮美高梅艺术收藏展”(澳门，2018)、“绘画的孤儿”(ETHAN COHEN FINE ARTS，纽约，2017)、“生生生Vivivid” (指纹画廊，北京，2017)、“不是之是”(林大画廊，北京2014)、“象与像”(大象画廊，台湾，2013)等。