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清影｜商思敏：坏水 · 正在展出

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清影艺术空间已于2022年6月25日推出艺术家商思敏个展《坏水》，展出了他近年创作的近20件布面丙烯绘画。这些作品具有精致而扁平的视觉效果，画面富有趣味性。情节往往超越现实，奇特的形象给人以陌生化美感，引人追索内中隐喻的意义。

商思敏 Shang Simin ，Peee, 2021

布面丙烯 Acrylic on canvas，210×193 cm

商思敏在绘画中创造了一个被命名为Pandan岛的概念世界。随着创作推进，这个世界也在不断拓展。它可被视为诸多观念的集合，呈现了艺术家对于现实生活的理解和反应。而Pandan，一个留着双马尾辫的女孩，是这个世界中的主角。她的发色变化无常，发梢处时常冒出两只可爱小手，颇具魔幻气质。同时，许多人格化的动物成为了围绕在她周围的奇异角色。借助这些形象，商思敏的创作探讨个体与环境的关系，述说情感和生长的故事。

他对网络社区中的视觉材料有着浓厚兴趣。不少作品反映出他对表情符号的创作性使用。在商思敏看来，那些野生的未经设计的网络表情，是一种自发生长的形式。它们没有过多修饰，却包含强烈情绪，具有直指人心的表现力，这无疑来自于底层文化的生命力。他试图提取这种生命力，将其注入到自己的画面中。

清影｜商思敏：坏水 · 正在展出崇真艺客

商思敏 Shang Simin，stay live die, 2016

布面丙烯 Acrylic on canvas，113×160 cm

展题“坏水”，取自于俗语“一肚子坏水”——其中的坏，常被指认为某种负面情绪。很多时候，当人们的内心充斥嫉妒、愤怒与仇恨，自我的道德认知，他人的道德评判，便抑制了这些情绪的释放。但是，这种情绪仍是不可忽视的能量，它不会无故消失，而会通过不同方式进行转化，包括转化为积极且充满魅力的事物。商思敏认为，对坏的转化，是有趣的体验，艺术创作无疑是将这种情绪转化为物／图像的美妙方式，新的意义也就此诞生。

Inna Art Space has launched a solo exhibition themed Bad Water for artist Shang Simin on June 25, 2022, when nearly 20 acrylic paintings on canvas created by him over recent years have been showcased. These works, containing interesting images, present exquisite and flat visual effects. The stories outlined often go beyond the reality, and the peculiar characters render a defamiliarization aesthetic orientation, provoking the search for the metaphorical meanings.

清影｜商思敏：坏水 · 正在展出崇真艺客

商思敏 Shang Simin，DWC, 2018

布面丙烯 Acrylic on canvas，50×100 cm

Shang Simin has created a conceptual world named Isle of Pandan in his paintings. As his works unfold, the world keeps expanding. The world can be regarded as a collection of various concepts, reflecting the artist’s understanding of and reaction to the real world. Pandan, a girl with two ponytails, is the main character in this conceptual world. Constantly-changing hair color and two cute little hands popping out of the hair ends deliver an atmosphere of fantasy. In addition, around this girl are a group of strange characters evolved from anthropomorphic animals. Through the depiction of these characters, Shang Simin probes into the relationship between an individual and the environment, and narrates stories related to emotions and growth in his paintings.

With a keen interest in the visual materials in online communities, Shang Simin has creatively used emoticons in a lot of his works. In his eyes, those wild, undesigned online emoticons represent a form of spontaneous growth. They contain strong emotions and cause enlightening effect, though without intensive decorations. Such quality undoubtedly comes from the vitality of grass-roots culture. He tries to extract this vitality and integrates it into his paintings.

清影｜商思敏：坏水 · 正在展出崇真艺客

商思敏 Shang Simin，horse girl，2017

布面丙烯 Acrylic on canvas，150x155cm

The exhibition theme “Bad Water” is derived from a common saying “a bellyful of bad water”. The “bad” here is often referred to as a kind of negative emotions. Most often, people are filled with jealousy, anger and hatred, but their awareness of moralities and moral evaluation by others will inhibit the release of these emotions. However, the energy of these emotions cannot be ignored. It will not disappear for no reason; instead, it will be transformed in a variety of ways, including turning into something positive and charming. In Shang Simin’s opinion, the transformation of “bad” is an interesting experience; artistic creation is certainly a wonderful way to transform such emotions into objects/images, and thus a new meaning appears.

展览现场

商思敏：坏水

Shang Simin: Bad Water

时间 duration:

2022/06/25 - 2022/08/22

地址 location:

清影艺术空间，杭州市留和路139号12幢

Inna Art Space, Liuhe Road No.139, Building 12

相关讯息(点击标题获取)

清影 | 商思敏《坏水》将于6月25日开幕

海报设计：非白工作室

清影艺术空间

INNA ART SPACE

清影艺术空间于2008年由徐益英女士在杭州创立，并于2019年在纽约下东区开设了新空间。十多年来，基于杭州在中国当代艺术版图中的重要意义，清影从地缘格局出发，广泛且深入地推介了诸多极具才华和潜力的艺术家。与此同时，清影将全球视野作为机构文化中的价值标准，极力构建国内与国际艺术家的互动平台。通过持续地策展、研究、出版与市场推广，清影逐渐完善了具有自身特质的运营机制，矢志于未来向广域的艺术世界展现更强的能量与活力。

Inna Art Space was founded in 2008 by Yiying (Inna) Xu in Hangzhou, China, and established their Lower East Side premises in New York in 2019. After over a decade, with a basis in the formational influence of Hangzhou in the Chinese contemporary arts, the space has consistently worked to promote the talents of innumerable upcoming practitioners. The space has ceaselessly assumed a global perspective, doing all within their means to erect a platform for interaction between both Chinese and international practitioners. By way of their interactions with the public through their ongoing curatorial projects, research, and publishing, the space has gradually refined its own means of operation, setting their sights on manifesting greater strength and vitality towards a broader creative spectrum for the future.