蜂巢·生成 第二十七回

Hive-Becoming XXVII

管玉：房间里的大象

Guan Yu: To be Hungry for Wind

新闻稿

Press Release

艺术家| Artist：管玉|Guan Yu

策展人| Curator：杨鉴| Yang Jian

开幕时间 | Opening：2017.7.15 16：00

展览时间 | Exhibition Dates：7.15 - 8.20.2017

地点|Venue：

蜂巢（北京）当代艺术中心| Hive Center for Contemporary Art (Beijing)

地址|Add.

北京市酒仙桥路4号798艺术区E06 |

E06, 798 Art Distrct, Chaoyang Distrct, Beijing, China

蜂巢（北京）当代艺术中心即将于2017年7月15日至8月20日以C、D、E三个展厅呈现“蜂巢·生成 第二十七回 管玉：房间里的大象”。本次展览由蜂巢年轻策展人杨鉴策划。在英语谚语中，“房间里的大象”指对显而易见的事物视若无睹，在社会学上被解释为一种合谋性的沉默，从而回避某些恐惧、尴尬、离经叛道。展览的英文题目为：”To be Hungry for Wind”。风来了，大象也就现身了。这种转译或许正应和了管玉所尝试的节制、轻盈、真切，却具有触摸感、浸透性的表达。

管玉1989年出生于青岛，2011年毕业于中国美术学院，2013年于伦敦大学学院斯莱德美术学院获得硕士学位。现生活工作于青岛、伦敦多地。管玉的母语是中文，艺术上的母语是绘画，或许是艺术家内心当中对这二者的反复定位，塑造了艺术家现在的创作形态。

无论何种语言，都会在对话中激活出漫无边际的意义的可能性，然而在说出口的瞬间，过多的信息就挥发在空气当中，被风吹散。绘画艺术相对于语言，在表达呈现上更像是一个意义团，没有声带共振就没有了语序，也就打破了线性时间局限，保留下情感与意识中被语言剔除掉的不确定性。在这个基础上，绘画的情感损耗极低，作为物的表征的方式，绘画实现了一种结果不甚明确的游移，作用于材质并使材质本身堆砌成为一个内部自持的感性共同体，又或者只是一个松散却迷人的未知，一个艺术家对世界的看法。或许正是由于绘画的这种特质，才将管玉从影像、声音、装置创作当中召回，在这些媒介当中，情感往往更容易在技术与协作当中产生折损变异。

有着异国居住经历的人回到故土之后，对回归后的生活有着更加明确的向往和要求，同时又必须用母语之外的语言去弥补一些具有多意性的表达，成为必须由艺术家自己撕开的表达缝隙。在管玉画面当中或多或少出现的英文，就成为两种语言主体思维互相定位撕扯出来的某种思想结果。画面中的英文词句本身像是艺术家心理能量结构的一种转换，这些文字饱有一种纪念感，一种可铭记的质地。于观者而言，在观看当中所增加的转译，则引导了多意的空间。这种多意思考同时作用了管玉对于绘画内部问题的看法。

管玉的画面具有寓言与童话色彩，感情压缩在画面中的具体物上，在最初，这些具体物确有具体的喻指和图像自身的主体观念，随着与之相配的其他物像在绘画的时空中或相聚偶遇、移动转化，这些具体物的所指变得混沌，作用于某种不受控的意图。管玉在画面构图当中果敢地加入了大面积笔触轻薄、颜色鲜亮的平面色块，提升了画面的“纯度”，视觉上则显得更加轻盈，同时截流了落入简单思维定式和浅层共享经验的可能性。出现在画面中醒目的只言片语看起来先知先觉，似乎是寓言与童话的真实性的证明。艺术家希望把自己的绘画表达安放在不可追回的艺术创造与发展的必然进程中，使得一切似乎由寓言展开又带有童话般的质感和诗性。

管玉想要同风一样沉浸式地描绘出“大象”，但她并不急于做出评价与价值判断。真正被渴望的是风，是触碰本身，这本就是一种具有诗意与调和的言说方式。管玉的表达方式是中性的，她期望作品如同风一样轻盈利落，成为柔软的钩子一般的存在，对狩猎对象充满饥饿感。管玉深谙作为语言时绘画的多意性，并通过对绘画内部与外部问题的控制拿捏着这种隐秘的多意表达。

Hive Beijing will present the young artist Guan Yu for the new exhibition of “Hive-Becoming” Program. Curated by Yang Jian, the exhibition will be on show from 15th Jul. to 20th Aug.,2017. Born in 1989 in Qingdao, Guan Yu was graduated in Experimental Art from China Academy of Art, in 2013, she was graduated with MFA from Slade School of Fine Art, University College London, currently she works both in Beijing and London. Chinese is Guan Yu’s mother tongue, while painting is her mother tongue in art. The artist’s repeated positioning of these two within has shaped her artistic creation into what it appears like now.

The title of this exhibition “房间里的大象” (which means “Elephant in the Room” in English), is free translated into “To be Hungry for Wind” in English. With the wind coming, the elephant appears. The wind is invisible, while the elephant is not to be seen. The honest wind, never avoiding the obstacles voluntarily and disappearing after intimate touch against them, features embodiment that is not to be seen visually.

As the returnees with experience of living abroad have more specific aspirations and requirements for the lives back in their mother lands, she has to utilize another language except her mother tongue to enrich the expression of multiple meanings, filling in the seam of expression torn by herself. English appearing somewhere in her paintings will definitely cause doubts since she mainly grew up in China. In fact, its appearance is precisely due to the artist’s respect for and understanding of Chinese characters.  Though English is written in the painting eventually, the artist’s thinking logic in Chinese is inevitably mixed in it. These words seem to have been resulted from the positioning and conflict between the subjective thinking of the two languages. The translation made when the audience viewing them gives them easier access to spaces of multiple meanings brings in personal engagement.

Guan Yu’s painting reveals an atmosphere of fables and fairy tales with exuberant emotions condensed in the concrete objects. Guan Yu boldly adds a large area of blocks with light brushwork and bright colors to the composition, improving the “purity” of the painting and easing the canvas’ burden of carrying pictorial information. Also the painting-scale has been enlarged and emotions rendered, visually the painting appears lighter and avoids possibility of falling into simple stereotyped-thinking and shallow experience-sharing. The artist hopes to place her painting expression in the irreversible and inevitable process of art creation and history, rather than in the time when her accidental experience and private past have been reviewed. All this seems to unfold from fables but with the tinge of fairy tales, and ultimately the essence of poetry prevails.

Guan Yu’s works, with a neutral way of expression, are expected to be as light and swift as the wind and to be a soft hook that hungers for preys. She knows very well the multiple meanings of painting as language and masters this expression of multiple meanings through controlling the issues inside and outside painting.