Upcoming Exhibition 新展预告｜记忆之眼 The Eye of Memory

记忆之眼 The Eye of Menory

每个人的记忆都是独一无二的，不论甜蜜或是苦涩，都带有自己的温度和气息。然而过去三年的经历让我们的记忆有了重叠与交集，彼此的欢笑和眼泪都似曾相识。特殊时期的失语状态并没有阻止艺术家创作的脚步，现实之外、记忆之中获取的经验都在作品中显露出端倪。

周围艺术画廊在春暖花开之际隆重推出2023年首个群展《记忆之眼》，呈现11位艺术家——陈筱薇、迟群、董文胜、窦荣军（1971-2020）、韩嘎日迪、廖健行、陆元敏、任倢、史新骥、塔可、张克纯的作品，试图用缤纷的图像唤醒我们的集体记忆和情感共鸣。

迟群作品  Chi Qun work

斜线-灰橘   

布面油画  Oil on canvas

150cm × 100cm   2021

陈筱薇的两幅最新创作《永存的花》，以如同铜板雕刻一般的笔触和复古的设色，提取了观众对于经典的视觉记忆，同时又用抽象的曲线打破画面的静谧，赋予构图足够的能量和动感。迟群新作中跳跃的形式让人耳目一新，同样是抽象作品，却从过去严谨的几何秩序感过渡到了现今于秩序之中带有丰富的笔触，探索新的可能。

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史新骥作品  Shi Xinji work

东山雪霁No.4   After Snow in East Mountain IV 

布面油画  Oil on canvas

168cm × 130cm   2018

史新骥是一位身在北方，心系江南的艺术家，他作品中对比强烈的色彩和带有书写感的造型是记忆中的江南。来自内蒙的韩嘎日迪，用他对于现实风景的记忆为我们带来了遥远的北方草原景色。已故艺术家窦荣军的《潮》是同一系列中唯一一张沐浴在霞光里的海面潮水，朦胧的光线和暧昧的笔触，仿佛艺术家的记忆犹新。

窦荣军作品 Dou Rongjun work

潮 The Tide

布面综合材料  Pastel and oil on canvas

170cm × 130cm   2017

如果说塔可的新作《洞天》系列以几近唯美的画面为上古神话中“遇仙”的记忆做出了形象的注脚，董文胜就在作品中引导观众思索个体与社会、自然的关系，以及历史、现在和未来的脉络联系——《我们从未现代过》取自法国哲学家拉图尔的书名，是以摄影为基础的观念作品。

塔可作品 TACA work

洞天新录  Grotto

铂钯印相  Platinum print

40cm × 40cm   2022

廖健行的《中央公园》和陆元敏的《苏州河》曾经是纽约和上海两个城市最经典的空间记忆，此刻看来，记忆和现实之间似乎产生了偏差和距离，带出别样的情绪。任倢用普通的毛毡创作出介于二维和三维之中的体积和空间，修改了人们对于寻常之物的记忆。张克纯的新作《悬园》系列，则用一种近乎残酷和直接的方式再现了许多悬而未决的现实。

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陆元敏作品  Lu Yuanmin works

银盐，手工冲印  Gelatin sIlver handprint

1990年代

记录并非记忆，因为后者带有强烈的个人印记。有些时候，我们选择遗忘，有些经历，我们刻骨铭心。古罗马曾有将罪人从历史记录中抹去的刑罚，魔法世界亦有“一忘皆空”的咒语，都是对记忆和历史进行重新编码的过程。而艺术作品有如吉光片羽，雪泥鸿爪，打开了我们共同的记忆之眼，让历史与社会的碎片凝固在方寸之间。

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任倢作品  Ren Jie work

毛毡、毡毯、胶管

30cm × 17cm × 7.5cm    2023‍

Everyone’s memory is unique. Whether sweet or bitter, it comes with our own breath and smell. However, the last three years’ experience of the pandemic created overlapping individual memories, where we are familiar with each other’s joy and sorrow. The difficult times and conditions did not stop artists from making artworks in which our collective memory and experience can be traced.

AroundSpace Gallery is thrilled to present The Eye of Memory, the first group exhibition in 2023 that showcases works by 11 artists, Chen Xiaowei, Chi Qun, Dong Wensheng, Dou Rongjun (1971 – 2020), Han Garidi, Jeff Liao, Lu Yuanmin, Ren Jie, Shi Xinji, Taca, and Zhang Kechun and evokes our collective memory and resonates with our emotions.

陈筱薇作品  Chen Xiaowei work 

永存的花 II   Everlasting FloraII （局部）

0.3毫米墨笔，金箔，银箔和彩色铅笔在纸上

Ink and color on paper

13cm × 122cm    2022

In her most recent two drawings, The Eternal Flowers, Chen Xiaowei used etching-like lines and vintage palettes, and called on the view’s memory of classic artworks. Meanwhile, she used abstract curving lines to intervene in the balanced composition bringing energy and dynamics to the work. Similarly, in Chi Qun’s new abstract paintings, she adopted a vibrant rhythm, which evolved from a previously rigorous geometric structure and offers new potentials. 

史新骥作品  Shi Xinji work

库尔北山之一

布面油画  Oil on canvas

40cm × 50cm   2022

Shi Xinji is an artist who resides in the North but always admires Southern China. The strongly contrasted colors and calligraphy-like shapes in his works derive from his own memory of life in the South. Inner Mongolia-based Han Garidi brings us the distant landscapes of northern grasslands from his daily observation. The late Dou Rongjun’s painting, Tides, is the only piece in the series that depicts an ocean tide bathed in the sunlight. Its ambient tones and soft brushwork refreshes our memory of the artist. 

韩嘎日迪作品  Han Garidi works

金秋  Golden Autumn

布面油画 Oil on canvas

30cm × 40cm    2022

Taca’s new photography series, Grotto, illustrates the experience of encountering gods in ancient legends with nearly flawless images. Dong Wensheng’s conceptual photograph, We Have Never Been Modern, got its title from French philosopher Bruno Latour’s book. It encourages the viewer to contemplate the relationships between individuals, society, and the nature, as well as the coherence between the past, present, and the future. 

董文胜作品 Dong Wensheng work

我们从未现代过  We Have Never Been Modern

收藏级打印哈内姆勒硫化钡纯棉艺术纸

Printing on Hahnemühle FineArt paper

101cm × 136cm    2016

Jeff Chien-Hsing Liao’s Central Park and Lu Yuanmin’s Suzhou River used to be iconic spaces in New York and Shanghai, however, they seem to convey an alternative mood generated by the gap between memory and reality. Ren Jie created volumes and spaces in between two-dimensional and three-dimensional spaces with ordinary felt materials, challenging the viewers’ memory of ordinary objects. In his recent Suspended Garden series, Zhang Kechun used a nearly cruel, bold approach to indicate the uncertainty of life. 

廖健行作品  Jeff Chien-Hsing Liao work

夏至 Summer Solstic

收藏级德国哈内姆勒纸输出  

Printing on Hahnemühle FineArt paper

102cm × 61cm    2016

A documentary is not a memory which is stamped with distinctive personal marks. We chose not to remember certain moments, but will never forget other experiences. Damnatio memoriae is an ancient Roman condemnation that erased tyrants, traitors, or enemies of the state from official historical records; Obliviate is a spell that wipes or modifies memory in the magic world of Harry Potter. Both are processes that edit or even reconstruct history and memory, while artworks derived from precious memories are like birds’ footprints left on snow. They open our collective eye of memory, and frame the fragments of history and society in a limited space.

张克纯作品 Zhang Kechun work

北流活活-小浪底水坝，河南

The Yellow River-Xiao Langdi Dam，Henan

收藏级德国哈内姆勒纸输出  

Printing on Hahnemühle FineArt paper

110cm × 90cm    2011