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海上丹迪 Shanghai Dandy | 自我演绎者——胡子

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胡子，《弗朗切斯科·克莱门特》，2016年，纸上水粉， 56 × 76 厘米 | HU Zi, Francesco Clemente, 2016, gouache on paper, 56 × 76 cm

胡子与意大利超前卫艺术3C之一弗朗切斯科·克莱门特（生于1952年）相识于三年前的上海，当时东画廊正在举办胡子个展“Kids”（2014年3月21日—5月4日），而科恩画廊正在引介克莱门特的中国影子和水彩画精选（2014年3月14日—4月13日）。二人在各自回望当代艺术史图景的过程中找到了共同的归属——回归架上艺术尤其是纸本绘画的创作，将肖像这一传统类型作为重建感性肉身的最佳场所，以此对抗在消费主义时代遭受异化的躯体。他们先后为自己描绘彼此。

克莱门特所画《胡子》（2016年）与胡子所画《弗朗切斯科·克莱门特》（2016年）互为对方的影子。潜藏于所有交流与无交流之下的知觉与想象达成交织，从而超越了意识并最终进入到自我的身体。胡子善于采用“修复”的策略，通过再制肉身表皮结构，把自己在面对不同文化时所反应出的离散状态表达为记忆现象。克莱门特曾经的反叛与颠覆作为外来文本，已经完全被艺术家内化为个人历史。因此，自我演绎者胡子在“海上丹迪”的叙事话语中即是一个“以异性作为自我投射”的典型。超越性别体制的跨文化实践是浪荡子丹迪孜孜不倦的追求。

弗朗切斯科·克莱门特为胡子创作肖像（2016年）| Francesco Clemente portr

弗朗切斯科·克莱门特为胡子创作肖像（2016年）| Francesco Clemente portraying HU Zi (2016)

HU Zi met the Italian Transavantgarde artist Francesco Clemente (b. 1952) three years ago in Shanghai, when Don Gallery was presenting her solo exhibition “Kids” (21 March – 4 May 2014) and James Cohen Gallery was introducing the Chinese shadows and selected watercolors by Clemente (21 March – 4 May 2014). By looking back on today’s art-historical prospect, they have found the place where they both belong, respectively—return to easel art especially by painting on paper in the traditional genre of portrait, take it as the best perceptual field for reconstructing the flesh, and make it compete with the body being alienated in the age of consumerism.They portrayed each other as their own.

Francesco Clemente (2016) by HU Zi and HU Zi (2016) by Clemente are the alternative selves shadowed by each other. The conscious and the imaginary concealed behind all the change and non-change just come to be intertwined, thus achieving the sense of surpassing and finally entering the body of the ego. HU Zi is good at “restoration”—the strategy adopted for remolding the skin structure of the flesh. Her reaction to different cultures assumes a discrete state to be expressed as the memory phenomenon. The revolt and subversion signified by young Clemente as a foreign text has already been internalized as personal history by the artist. Therefore, the self-entertainer HU Zi in the narrative discourse of “Shanghai Dandy” is exactly the case of “projecting oneself on opposite sex.” The transcultural practice beyond the social system of sex is Dandy’s continuous pursuit.

弗朗切斯科·克莱门特，《胡子》，2016年，纸上水彩，41 × 31 厘米 | Francesco

弗朗切斯科·克莱门特，《胡子》，2016年，纸上水彩，41 × 31 厘米 | Francesco Clemente, HU Zi, 2016, watercolor on paper, 41 × 31 cm

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关于艺术家

About the Artist

胡子（生于1981年）毕业于中国美术学院综合绘画专业并获艺术硕士学位（2007年），现生活并工作于上海。她在长期的肖像创作中，通过制造身体轮廓的独特触感整理个体经验并建立自我表象。胡子的个展包括“莫扎特”（Studio D’Arte Raffaelli，特伦托，2017年）、“Lover”（Fab-Union Space，上海，2016年）、“肉”（东画廊，上海，2014年）、“Kids”（东画廊，上海，2014年）等。

HU Zi (b. 1981) graduated from The Department of Comprehensive Painting at China Academy of Art with M.F.A. (2007), currently living and working in Shanghai. In her long-term practice of making portraits, HU Zi collates individual experiences for the construction of a self-image by fabricating the very unique touch of body boundaries. Her solo exhibitions include “Mozart” (Studio D’Arte Raffaelli, Trento, 2017), “Lover” (Fab-Union Space, Shanghai, 2016), “Flesh” (Don Gallery, Shanghai, 2014), “Kids” (Don Gallery, Shanghai, 2014), etc.

当前展览 Current Exhibition

海上丹迪 | 东画廊十周年展览

2017年11月10日—2018年1月7日

a.f.art theatre芳翎、胡为一、胡子、李珊、刘窗、刘任、吕松、娜布其、曲丰国、许以、张如怡、张云垚

Shanghai Dandy | 10th Anniversary Exhibition of Don Gallery

10 November 2017 – 7 January 2018

a.f.art theatreFangling, HU Weiyi, HU Zi, LI Shan, LIU Chuang, LIU Ren, LU Song, Nabuqi, QU Fengguo, XU Yi, ZHANG Ruyi, ZHANG Yunyao

“海上丹迪”展览现场，东画廊，上海 | View of “Shanghai Dandy,” Don