蜂巢（北京）当代艺术中心将在2018北京画廊周期间，于C、D、E展厅荣幸呈现“蜂巢•生成 第二十九回 于霏霏：色目”。于霏霏的艺术实践根植于社会学和人类学，试图对个人的文化身份进行探索，分析其形成及其演化。她工作的主要内容围绕着以生成视觉语言为结果的自我追问及对世俗庸常场景的重新发现展开，从欲望及权力的对照及制衡关系的角度提出一些新的视觉可能性。

于霏霏1988年出生于广州，2012年毕业于中央美术学院， 2016年毕业于英国皇家艺术学院，获硕士学位，其间访学于英国牛津大学拉斯金美术学院。在长期的工作中，于霏霏持续对凝视（Gaze）进行了大量的视觉及理论梳理和研究。她起初的创作只是对男性的凝视解读的一个泄洪口，但纵观其系统性的创作，随着之后实践中使用的人工制品逐渐增多，带有历史指向的图像亦越来越多，关于历史及当下的对照及追问便随之变得迫切。在此，“凝视”既是一种描述也夹带了一种暗示，同时它还不可避免的包含了一种多意性的悬置状态。它可以是一种观看的全神贯注的状态，以至于豁免了一种日常的状态，随之变成一种悬置的实践，一种出离的状态；它还可能是一种带有惊奇的静观其变，以此试图去固定或者抓着某物的状态，在这种状态之中的主体既无法动弹，也像没有着落，一种无法扎根的瞬间性。更多被达成共识的是“凝视”为一种带有阶级性的审判态度，一种打扰与否定。凝视所具有的这些不确定性与多意性，是于霏霏试图在作品中讨论的，她通过探究“凝视”所存在的历史性和时间性去探究其出现的可能性。

于霏霏的作品给人最为显著的视觉印象是大量使用古典雕塑作为其创作的素材，究其原因，或因古典雕塑为最精致的例子，它们是一个民族和一个文化的切实可触的标志，是民族和文化能够从严酷无形的材料中提取一个最终可为感官所通达的人的抽象理想。而古典雕塑中的赤裸身体早在公元前五世纪就被古希腊人证明为一种艺术形式——“裸像”，也使得“裸像”变为一个在艺术创作中可被严肃使用，被知识化的形式。于霏霏的艺术实践通过多种表现手段将不同时代的雕塑进行视觉上的打断、措置、并列、节选，让观看者自动将其视为人类遗产，而不再纠结其出处，使之具有极大的开放性与宽广的指向性，这些被图像化的石质雕塑与其裸露的姿势便丧失了

一切原有创作者所赋予或叙述的、解剖的、分类的、语义的、象征的或圣化的意图。更像是一个真实的纯粹之物出现，是其最为具象的一面：一个赤裸的身体。在此基础上生成了艺术家进行创作的可乘之机，艺术家结合对于文化历史和正典的构建机制进行研究学习，并对自身进行内观与洞察之后，逐步清楚了自己该如何下手对这些视觉素材进行干预。

Hive Center for Contemporary Art (Beijing)is honored to present “HBP XXIX – Yu Feifei: Gaze” in Halls C, D and E during Gallery Weekend Beijing 2018. Rooted in sociology and anthropology, Yu Feifei’s art practice tries to explore the individual cultural identity and to analyze its formation and evolution. Her work revolves around both the self-questioning that aims at developing visual language and the re-discovery of secular and mundane scenes, putting forward new visual possibilities from the perspective of the contrast and counterbalance between desire and power.

Hive Center for Contemporary Art (Beijing)is honored to present “HBP XXIX – Yu Feifei: Gaze” in Halls C, D and E during Gallery Weekend Beijing 2018. Rooted in sociology and anthropology, Yu Feifei’s art practice tries to explore the individual cultural identity and to analyze its formation and evolution. Her work revolves around both the self-questioning that aims at developing visual language and the re-discovery of secular and mundane scenes, putting forward new visual possibilities from the perspective of the contrast and counterbalance between desire and power.During her long-term work, Yu Feifei has continuously conducted a great number of visual and theoretical examinations and studies on Gaze. Her early artistic creation serves only as a spillway that carries away surplus interpretations of man’s gazes . But as her subsequent practice increasingly adopts artifacts that bring in more and more images referring to history, it becomes urgent for her to compare between the past and the present and to question them. The “Gaze” here is not only a description that implies something inexplicit but also unavoidably encompasses a suspended ambiguity. It can be an intent state of looking, a transcendence of the looking in daily life, turning into a suspended practice, a state of detachment; it can also be a state of amazingly indifferent observing so as to fixate or capture something, and the subject in the state can neither move nor settle, like an instant that cannot take root. And what’s more commonly agreed is that “Gaze” is an attitude of class-based judgment, a kind of bothering and denying. What Yu Feifei tries to discuss in her work is the uncertainty the and ambiguity of the gaze, and, by looking into the chronical and temporal features accompanied by “Gaze”, she explores the possibility of their emergence.

Visually, Yu Feifei’s works have stunningly impressed us with their use of classical statues. The reason may be that classical statues are the most exquisite examples as they are the tangible marks of a people and a culture and the tangible and abstract ideals of man—the ideals that the people and the culture can draw out of callous and formless materials. And as early as in the 5^th century BC, the naked body in classical

sculpture was proved by ancient Greeks as an art form –“nude”, so “nudes” were also classified as a form that can be seriously adopted and intellectualized in art-making. Various expressive approaches allow Yu Feifei to visually break, arrange, juxtapose and extract from sculptures of different times in her art practice. In this way, viewers will automatically see them as human heritage without wondering about their origins since now they have been endowed with greater openness and wider directionality. And now these picturized stone statues and their naked postures have been stripped of every intention of their original makers, be it narrative, anatomical, classifying, semantic, symbolic or sanctifying. They end up more like a real pure thing or in their most figurative form: a naked body. With the opportunity generated on this basis for creation, the artist has learnt gradually about how she should work on these visual materials since she started her studying through the construction mechanism of cultural history and canons along with her introspection and self-understanding.