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胶囊上海｜冯晨：假作游戏

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冯晨：假作游戏 Feng Chen: Pretend It's a Game

展期 Dates: 2023.03.17 - 05.13

地址 Address: 胶囊上海，上海徐汇区安福路275弄16号1层

Capsule Shanghai, 1st Floor, Building 16, Anfu Lu 275 Nong, Xuhui District, Shanghai, China

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胶囊上海荣幸呈现艺术家冯晨在画廊的第三次个展“假作游戏”，呈现他最新创作的碳纤维“立体绘画”和互动装置。这些新作延续了冯晨长期以来对于感知与现实之间的微妙关系的探索。展期为2023年3月17日至5月13日。

碳纤维雕塑起初因艺术家对这一极度坚固、可塑且轻盈的新型材料的兴趣而开启，现已发展成冯晨近年来创作中的一个核心部分。这些雕塑伪装成墙面上用笔画就的线条，巧妙地隐匿自身的立体感，只有在观者围绕其走动、改变视角时才显露出空间感。其中有些形似人像和四肢，直白地模拟人的形态，而另一些则仅在特定角度才看似表情各异的脸庞，或蠕动前进的陆地生物，一旦观者在作品前移动并改变观看角度，这种相似便烟消云散，作品随即呈现出它们如现代主义雕塑般抽象的切面。如同万花筒随着每次转动，同样的彩色玻璃片构成变幻的绚丽图案，每件雕塑也随着观者围绕其“移步换景”而呈现出不同的视觉效果。这是一个观者与作品、眼睛与思想之间的游戏。

胶囊上海｜冯晨：假作游戏崇真艺客 Feng Chen 冯晨 | Odo | 2023 | carbon fiber drawing 碳纤维绘画 | 145 x 110 x 100 cm

人类对于外部世界的理解常常是通过为无生命的物体赋予类人的形象和品质。如果碳纤维雕塑中的种种表情诞生于观者在空想性错视[1]作用下的想象力，那么《小眼睛》（2023）这一系列互动装置则是对于脸庞直接的具象化重构。当作品感知到观者的靠近，它便转动闪烁的眼睛。它镜面的脸上有着鼻子和刘海等面部特征的浮雕肌理。当观者凝视它的脸时，也必须直面自己在镜中的身影。如果我们在面对一个电子造物时感到一种精神联结，我们究竟是在和谁共鸣？

当观者追随眼睛的柔光走进一间陈列着墙面和地面碳纤维雕塑的昏暗展厅，声音和光线突然出现——他的进入似乎触发了房中的某些元素。天花板上多盏射灯之间闪动的光线伴随着与之同步的游戏音效，照射在线条蜿蜒交缠的雕塑上，投下变幻的阴影。当观者随着一米栏的指引走到落地窗边，看到窗外花园中喷泉迸发的水柱，是否会想到这些看似随机的机械活动皆是由其自身的行动轨迹而控制？又是否会察觉到触发一切活动的感应器之所在，从而获得与这些机械互动的密钥？

答案不重要。当观者离开运动感应的装置所在的房间，他将进入到展览的最后一间房间。墙上挂着一面镜子，镜子前方是一组一米栏作为保护。一旦观者靠近作品，镜子便开始弯折，镜中反射的影像随之扭曲。此刻他或许会回想起在上一个房间中的视觉和听觉体验，并记起那件作品的名字叫做《假作游戏》。这个展览场域不仅是迷宫，也是游戏厅。镜中扭曲的身影缄默回望，默示着这是一场人与感知之间的游戏。艺术家凭借巧妙运用的技术和对感官体验的调度对二者之间既定的关联造成短路，使人得以重新审视感知和现实之间的错位。

[1] 空想性错视是一种心理现象，指的是大脑对外界的刺激（一副画面或一段声音）赋予一个实际的意义，但只是巧合，实际上“意义”并不存在。——维基百科

Capsule Shanghai is pleased to present “Pretend It’s a Game”, Feng Chen’s (b. 1986, Wuhan, China) third solo exhibition with the gallery, which showcases his new carbon fiber three-dimensional drawings and interactive installations that expand his on-going investigation into the intricate relation between perception and reality. The show will be on view at Capsule Shanghai from March 17 to May 13, 2023.

Carbon fiber sculptures are a focal point of Feng Chen’s practice over the past several years, instigated by his interest in this material with an unprecedented combination of plasticity, lightness and solidity. The sculptures conceal their three-dimensionality and disguise themselves as lines drawn on the wall, only revealing their sculptural quality when the viewer moves around them and shifts perspective. While some are straightforwardly anthropomorphic in their forms that resemble human figures, others come to life when seen from certain angles, sketching various facial expressions or terrestrial creatures squirming forward, yet instantly resume their facets of modernist abstraction when the viewer changes position. In the same way that each twist of a kaleidoscope results in a different pattern consisting of the same pieces of colored glass, each step around the sculpture taken by the viewer conjures a unique optical effect – a game between the viewer and the work, the eye and the mind.

Humans often attempt to interpret and connect with the outside world through assigning our own images and qualities to inanimate objects. If the facial expressions in the sculptures emerge out of the viewer’s imagination as a result of pareidolia [1], the series of interactive installations titled Twinkles (2023) is a directly figurative representation of the face. Twinkling eyes open and move when a viewer’s presence is sensed in proximity to the work. When the viewer looks at its mirror-finished face embossed with noses, bangs and other facial features, they are inevitably confronted with their own reflection. When we look into the eyes of an electronical being and feel a connection, with whom are we empathizing?

胶囊上海｜冯晨：假作游戏崇真艺客 Feng Chen 冯晨 | Twinkle 2 小眼睛 2 | 2023 | aluminium mirror, circuit board, LED 铝镜，电路板，LED | 60 x 40 x 3 cm

Following the soft light in the eyes to the dim gallery room that features the wall and floor carbon fiber sculptures, the viewer is surprised by sound and light as their entrance awakens certain elements in the room: gaming sound effects synchronize with dancing flash from the spotlights on the ceiling, shining on the sinuous sculptures to cast flickering shadows. As one walks along the stanchions towards the French window and lay eyes upon the water sprouting from the fountain in the garden outside, the viewer might start to wonder whether these seemingly random activities follow the pattern of their own movement in the space. Will they detect the sensor that triggers the activities and find the key to interact with the machines?

The answer is secondary. When the viewer leaves the movement-activated installation, they enter the last room in the exhibition with a mirror on the wall, protected with another stanchion. As they approach the work, the mirror begins to bend, distorting their reflection. Here they may recollect the experience of visual and auditory senses in the previous room, and recall the title of the work – Pretend It’s a Game. The exhibition is as much an arcade as a labyrinth. The distorted figure in the mirror gazes back in taciturnity, suggesting that it is a game between one and one’s perception; the habitual link between the two is short-circuited by the artist’s deft orchestration of technologies and sensory experiences, allowing one to reexamine the misalignment between perception and reality.

[1] Pareidolia is the tendency for perception to impose a meaningful interpretation on a nebulous stimulus, usually visual, so that one sees an object, pattern, or meaning where there is none. - Wikipedia

关于艺术家 ABOUT THE ARTIST

冯晨的录像，雕塑和装置作品将视觉和听觉同步，试图在不同的信号之间插入线索，引导我们重新审视对于感官的信任。在他的作品中，感知和现实以迷宫般的方式相互作用，他重申经验是存在中最重要和真实的部分，是现实的最终本质。

冯晨于1986年出生于中国武汉，于2009年毕业于中国美术学院新媒体艺术系，并于2014年在荷兰阿姆斯特丹的Rijksakademie参加了为期两年的艺术项目。他目前生活工作于中国杭州。

他分别于2017年、2019年和2023年在胶囊上海（中国上海）举办其同名个展以及个展“瞬间的瞬间”和“假装游戏”。 2018年，他在香港巴塞尔艺术博览会呈现个人项目"光的背面—色彩"（中国香港）。在此项目基础上，"光的背面—影"于2018年在复星艺术基金会（中国上海）的Annex空间展出。冯晨近期群展包括："请注意——"，UCCA沙丘美术馆（中国北戴河阿那亚黄金海岸），"第六届广州三年展—诚如所思：加速的未来"（中国广州），"城市无界—静安国际雕塑展"（中国上海），上海OCAT群展项目"8102—与现实有关"（中国上海）。他的作品也曾在荷兰皇家视觉艺术学院Rijksakademie OPEN 2015（荷兰阿姆斯特丹）和Video Art | June Edition，孟买城市博物馆（印度孟买，2015）展出。

冯晨的作品被澳大利亚白兔美术馆、中华艺术宫以及荷兰皇家视觉艺术学院收藏，并受到《艺术论坛》《燃点》《艺术当代》和《Flash Art》等媒体的报道。

Feng Chen creates videos, sculptures and hypnotic installations that investigate the synchronization between visuals and audio, inserting a wedge between different signals and leading us to question which of our senses we should ultimately trust. In his work, perception and reality interact with each other in labyrinthine ways reclaiming that experience is the most essential and authentic part of existence and the ultimate nature of reality.

Feng Chen was born in 1986 in Wuhan, China. He graduated from the Department of New Media Art of the China Academy of Art in 2009, and in 2014 he joined a two-year program at the Rijksakademie in Amsterdam (Netherlands). He currently works and lives in Hangzhou, China.

His solo exhibitions Feng Chen Solo Show, Moment by Moment and Pretend It’s a Game have been presented in 2017 and in 2019 and in 2023 at Capsule Shanghai (Shanghai, China). In 2018 he participated at Art Basel Hong Kong Discoveries with the solo project The Darker Side of Light - Color (Hong Kong, China). A new iteration of this work, titled The Darker Side of Light - Shadow, was exhibited in 2018 at the Annex Project Space of the Fosun Art Foundation (Shanghai, China). Recent group shows include A Call to Attention, UCCA Dune (Aranya, Beidaihe, China), The 6th Guangzhou Triennial - As We May Think: Feedforward (Guangzhou, China), City Unbounded - Shanghai Jing'an International Sculpture Project (Shanghai, China), and 8102 - On Reality at the OCAT Shanghai (Shanghai, China) in 2018. His work was presented in 2015 at the Rijksakademie van beeldende kunsten OPEN 2015, (Amsterdam, Netherlands), and Video Art | June Edition, at the Dr. Bhau Daji Lad Museum (Mumbai, India).

Feng's institutional collections include the White Rabbit Contemporary Art Collection in Australia, the China Art Museum and the Rijksakademie van beeldende kunsten. His work has been written about on Artforum, Randian, Art China, Flash Art among others.

胶囊上海将于巴塞尔艺术展香港展会呈现王凝慧的个人项目 Capsule Shanghai will participate in Art Basel Hong Kong 2023 with Alice Wang’s solo project

重要通知：

画廊为预约制开放，请在观展前提前至少一天通过下方的胶囊上海小程序预约👇。画廊内禁止摄影和录像。感谢您的理解和配合。

IMPORTANT NOTICE:

The gallery is open by appointment only. Please make a reservation at least one day prior to your visit via the mini-program below👇. Please note that no photography or videography is allowed in the gallery. Thank you for your understanding.