正在展出｜葛宇路个展“一幅是画，另一幅也是画”正在北京公社展出

正在展出 Currently

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葛宇路：一幅是画，另一幅也是画

Ge Yulu: This One is A Painting, So Is That One

2021.08.14 – 2021.09.25

北京公社正在展出葛宇路的个展“一幅是画，另一幅也是画”，展览将从8月14日持续至9月25日。在该展览中，葛宇路似乎摒弃了占据其艺术实践的一贯方式——以自身介入社会公共空间来剥开秩序的外壳; 相反，他选择沉浸在某种初始的，看似无需观念转译，只需葛宇路自身的躯体肉身存在，只需其肌肉记忆就可驱动的绘画行为中。

具体而言，此类绘画对葛宇路来说，是只需要他调动此前被集体规训过的经验就可以开始，并全情投入的。这种被长久封存在体内的，近乎本能般的行为，让葛宇路不假思索地沉浸，并将他逐渐指引至这一幅幅被日常静物元素堆砌的产物。这些尺寸不一的画作被葛宇路自己挂在展厅中的白盒子内外，它们似各叙其事，又实则在建构一种更具规模的排列。在画布外，不仅是在画框侧面的小块金属铜板上，还是展厅白墙上的A4纸上，葛宇路在绘画进程中写下的日记体式文字也作为与画作平行的另一条空洞线被缓缓铺开。

如葛宇路本人所说，“画是五色，文字是五音，都是让人目盲的东西，展览被这二者填充，皆在试图呈现空无，一个被放空了的主体。”它们在本次展览中既传达出一种视觉层面充满侵占性的“丰富”，又将意义层面的“空洞”倾泻而出。一方面，葛宇路通过不加思考的静物写生为其已被高度关注的，充满社会性质的创作另辟蹊径；而另一方面，本次展览的观念——即用出于躯体本能的创作去抵抗高频的功绩社会本身，则将某种看似投入却实则不加修饰的劳作如实呈现。

在生产之时抵抗生产，在瓦解观念以外衍生新的观念，被模糊的不仅是媒介之间的既定阶级，也是葛宇路对其选择的创作方式的重新访问。这次尝试可被解读为是他对唤醒过往经验，介入社会生活的另类延续，也可被视为是在观念艺术范畴内的新一次探寻，更可以被直接归入直抒胸臆和自我曝露的纯粹路径里。

关于艺术家 葛宇路 1990 年出生于湖北武汉，2013 年毕业于湖北美术学院影像媒体专业，2018 年于中央美术学院获得实验艺术硕士学位，现工作、生活于环京地带。葛宇路的兴趣多集中于城市公共空间中的趣味表达，试图通过作品调侃生活中隐藏的矛盾。他用自身对公共空间进入介入和协商，企图从中制造新的动态关系。他的个展曾在北京公社和广州扉美术馆举办。他近期参与的部分展览包括 “From Luther to Twitter. Media and the Public Sphere”, 德国历史博物馆，柏林，德国(2020); “情的时代”爱知三年展，日本名古屋(2019); “无界艺术季”，扉美术馆，中国广州(2018); “家的变迁”，金泽 21 世纪美术馆，日本金泽(2018);中国当代艺术年鉴展，民生美术馆，中国北京(2018);“应力场” 第四届美术文献展，湖北美术馆，中国武汉(2017); “抗体—新视觉艺术节 2017”，华美术馆，中国深圳(2017);CAFAM 双年展—空间协商，中央美术学院美术馆，中国北京(2016)等。他曾入围 2019 艺术8青年奖以及第十三届 AAC 艺术中国年度青年艺术家(2019)。2020年，他在北京公社的同名个展“葛宇路”荣获画廊周北京“最佳展览奖 - 创新奖”。

Beijing Commune is now presenting Ge Yulu’s second solo exhibition “This One is A Painting, So Is That One”. The exhibition will last from August 14th till September 25th.

For this exhibition, Ge Yulu disregards the main trajectory that has occupied his previous artistic practice, that is, to challenge the public and collective awareness through intervening in the social space with the carnal body. Instead, Ge Yulu returns to and further embraces painting as the medium that does not necessarily need conceptual understandings but only his physical and embodied involvement.

To be more precise, to mass-produce this series of still-life paintings acquires nothing creative but only Ge Yulu’s ability to retrieve his memory with it, that which has long been inscribed within his body. Such an almost immediate yet passive way of practice has led to what is now shown on the walls, on which the paintings seem to tell individual narratives as much as they disregard them. Ge Yulu’s autobiographical writings, not only printed on the engraved brass plates next to the canvas but the papers hung on the white wall, slowly unfold another means of “nothingness” in addition to the painted objects themselves.

As Ge Yulu said himself, “Both my paintings and my text refer to something complex yet are also blind by itself. It is this complicated nothingness that fulfills the exhibition where my emptied subjectivity lies in.” The graphics fill in the sight as much as they deprive the content of it. On the one hand, Ge Yulu seems to take a new approach distinguishably parted from his previous well-known works and, on the other hand, the attempt of using the fully concentrated bodily involvement to resist the highly demanding creativity is, in fact, the core of this exhibition.

In all, with the means to against mass production via producing works, to formulate new concepts in addition to deconstructing the existed ones, it is not simply the hierarchies among artistic mediums that Ge Yulu seeks to rediscuss via this exhibition but is rather the primary approach, the symbol of “Ge Yulu” conceptualized by himself. This exhibition can either be seen as another means of evoking collective and shared public experience, or that of encountering a new way of making conceptual art. Yet, none of them is precise enough comparing to reading this simply as a bold self-exposure.

Ge Yulu (b. 1990, Wuhan) graduated from the Media Art Department of Hubei Institute of Fine Arts in 2013 and received an M.F.A. from the Experimental Art Department at Central Academy of Fine Arts in 2018. He now lives and works on the outskirts of Beijing. Ge Yulu’s interests lie in the witty expressions in public urban space. Through his art, Ge Yulu strives to mock the hidden paradox in life. By intervening and investigating the public space using his body, Ge Yulu aims to create new dynamic relationships. He held solo exhibitions at Beijing Commune, Beijing, and Fei Art Museum, Guangzhou. His recent group exhibitions include “From Luther to Twitter. Media and the Public Sphere”, Deutsches Historisches Museum，Berlin，German（2020）； “Aichi Triennale 2019 - Taming Y/Our Passion”, Nagoya, Japan (2019); the 1st Borderless Art Season, Fei Art Museum, Guangzhou, China (2018); “Altering Home”, 21st Century Museum of Contemporary Art, Kanazawa, Japan (2018); “the Exhibition of Annual of Contemporary Art of China”, Beijing Minsheng Art Museum, Beijing, China (2018); “Stress Field: the 4th Documentary Exhibition of Fine Arts”, Hubei Art Museum, Wuhan, China (2017); “Antibody Fresh Vision 2017”, OCT Loft, Shenzhen, China (2017); “CAFAM Biennial: Negotiating Space”, CAFA Museum, Beijing, China (2016), and etc. He was nominated for the “Art 8 Prize Youth Finalist Award” and the “13th AAC Art China Young Artist Finalist Award” in 2019. His eponymous solo exhibition “Ge Yulu” won Gallery Weekend Beijing 2020’s “Best Exhibition Award-Innovation Prize”.

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