松隐艺术与文化基金会，韩国首尔，2023，展览现场 SongEun Art and Cultural Foundation, Seoul, South Korea, 2023, Installation view
继2021年沙特阿拉伯首届迪里耶当代艺术双年展(Diriyah Biennale)首展之后，艺术家韩梦云的作品《三镜亭》(The Pavilion of Three Mirrors)于韩国首尔松隐艺术与文化基金会(SongEun Art and Cultural Foundation)的新场馆迎来了它的第二次展出。此次展览“SIGG：中国当代艺术希克收藏展(SIGG: Chinese Contemporary Art from the Sigg Collection)” 由伯纳德·菲比谐(Bernard Fibicher)策展，汇集了享誉世界的著名收藏家乌里·希克(Uli Sigg)所收藏的来自不同年代的35位艺术家的各类创作，是乌里·希克丰富且极具代表性的中国当代艺术收藏面向韩国观众的首次亮相。展期为2023年3月10日- 5月20日。First shown at the inaugural Diriyah Biennale in Riyadh, Saudi Arabia in late 2021, artist Han Mengyun's work The Pavilion of Three Mirrors is now on view at the exhibition SIGG: Chinese Contemporary Art from the Sigg Collection atSongEun Art and Cultural Foundation in Seoul, Korea. The exhibition is the first-ever introduction of Sigg’s personal collection to the Korean audience and encompasses 35 internationally recognized Chinese artists across generations. The exhibition is curated by Bernard Fibicher and is open to the public from March 10th to May 20th, 2023.来自内扎米《五部诗》中的绘画“亚历山大大帝评希腊与中国画师”
约1455-60年，土库曼
伊斯坦布尔托普卡帕皇宫博物馆藏
“Alexander judges between the Greek and Chinese painters” Painting from a Khamsa of Niẓāmī
ca.1455-60, Turkmen
Topkapi Palace Museum, Istanbu
装置作品《三镜亭》的主题源自中国与伊斯兰之间的历史对话，呈现出韩梦云对于跨文化交汇的持续性探索。这件综合媒介作品的创作灵感来源于12世纪波斯诗人内扎米·甘哲维(Nizāmī Ganjavi)在《五部诗》(Khamsa)中所讲述的 “二画师竞技”的故事。故事中，在亚历山大大帝的诏⻅下，一名罗⻢画师和一名中国画师同堂竞技，试图证明谁的画技更胜一筹。罗⻢画师创作出了一幅惟妙惟肖的写实佳作，而中国画师始终未动一笔，只是将墙面打磨成透亮的镜子，顷刻间映射出了包括罗⻢画师的画作在内的世间万物。
The Pavilion of Three Mirrors originates from the historical dialogue between China and Islam, which reflects Han Mengyun’s persistent exploration of transcultural dialogues in art. This installation is inspired by the famous story of the "Competition Between Two Painters" told in Khamsa by the 12th-century Persian poet Niẓāmī Ganjavi. The story goes that Alexander the Great, hearing that both the Romans and the Chinese were famous for their painting, wanted to see who was the best in the world. To this end, he summoned a Roman painter and a Chinese painter, and let them paint on two opposing walls in the king's hall. Before they started, he set a curtain in the middle of the room so that the two painters would not see each other while working. The Roman painter’s work was splendid in its incredible realism, vividness, and deceptively lifelike quality. However, the Chinese painter had still not put a single brush stroke on the wall. Alexander announced the end of the competition and lowered the curtain separating the two. In an instant, the Chinese painter's wall reflected the image opposite in its own - the Chinese painter had polished the entire wall into a mirror within which anything in the world could be reflected.
迪里耶当代艺术双年展，2021，沙特阿拉伯，展览现场
Diriyah Biennale, 2021, Saudi Arabia, Installation view韩梦云的创作关注着这个寓意深远的历史故事反映出的不同绘画理念，以及孕育着它们的前现代历史中的绵⻓的文化脉络。《三镜亭》的中央竖立着三面伊斯兰拱顶形制的双面抛光金属镜面装置，它既呼应着故事里中国画师打磨出的镜子，同时也结合着伊斯兰式经典的建筑元素。在镜面构建出的场域中，观者游走在文化线索的共生交缠里，沉浸于移步换景的动态体验中感受着装置所映射出的多重景象。围绕着中央装置的，是周围的巨幅绘画作品；通过融合与编织不同的地域和文化，尤其是波斯和伊斯兰文学传统的文学意象和绘画语言，艺术家尝试构建出一种跨文化的、普世的符号系统。它如同波斯手抄本一般，通过一处处章节、一幅幅画面，艺术家对历史与神话、现实与再现、想象与表达的个人解读徐徐展开。
The Pavilion of Three Mirrors aims to render an abstract and poetic representation of this ancient story, which provides many insights into the epistemological difference in conceiving painting and representation between cultures, while shedding light on the premodern history of cultural exchange. In the center of the exhibition space is an installation composed of three metal sheets polished on both sides to a reflective finish and made in an Islamic arched shape. This installation not only refers to the mirror that is polished by the Chinese painter in the above story, but also the vault structure of Islamic architecture. The mirror pavilion thus becomes a field of cultural memory: the viewer walks through, and the scene reflected changes accordingly. The artist uses the landscaping techniques of traditional Chinese gardens to create dynamically evolving sceneries shaped by every visitor’s route across the installation. Reflected in the mirror are also large scale paintings on the walls surrounding the mirror pavilion. By integrating and interweaving different yet interconnected contexts and cultures, especially the literary imagery of the Persian and Islamic literary traditions, the artist attempts to construct a cross-cultural and universal symbolic system. Like a Persian manuscript, the artist's interpretation of history and myth, reality and representation, imagination and expression gradually unfolds, chapter after chapter, image by image.
迪里耶当代艺术双年展，2021，沙特阿拉伯，展览现场
Diriyah Biennale, 2021, Saudi Arabia, Installation view
《三镜亭》(The Pavilion of Three Mirrors)背后故事主题所具备的不可分割的多元文化性质，根据现存多个版本关于亚历山大大帝与中国艺术家相遇的神话故事， 这件装置作品重新实现了故事中的传说之于当代的关联性。她确切地关注着在 那场相遇中源自于看似坚实的身份的二元性与二分性，以及在解读中被假定的互为他者。这件作品展现出逃离“东方化”或“⻄方化”范式、东-⻄对立的笼统修辞的必要性，并需要将对话重新转向到非暴力及有机的混融与嬗变中去。在差异中寻求互补（希腊人擅⻓绘画，而中国人擅⻓打磨），避免关于必然存在的竞争性矛盾的话语，这是从尼扎米将亚历山大的故事在中国进行的重述中可以收获的经验之一，而这个故事也就是韩梦云这件装置作品的背景理念。
The indivisibly multicultural nature of the subject matter of the story behind The Pavilion of Three Mirrors provides a perfect example of the artist's conceptual framing of the subject before she turns to the materialization of an idea. Informed by the existing multiple renditions myth about Alexander (the Great) encounter with Chinese artists, the installation re-actualizes the story's lore towards its contemporary relevance. She is concerned explicitly by the duality and dichotomy of seemingly solid identities in that encounter and the presumed mutual othering in interpretations. This work demonstrates the necessity to escape the paradigm of either 'orientalization' or 'occidentalization' and the general trope of East-West confrontation and redirect the conversation towards non-violent and organic hybridization and transmutation. Finding complementarity (where Greeks are great in painting, the Chinese are outstanding in polishing) in difference and avoiding the discourse of inevitable competitive contradiction is one of the lessons that can be taken from Nizami's retelling of Alexander's story in China, which the artist used as a background idea for the installation.
迪里耶当代艺术双年展，2021，沙特阿拉伯，展览现场
Diriyah Biennale, 2021, Saudi Arabia, Installation view
在此次展出中，为结合着展馆的场地需求，选取了原作品中的部分代表画作。它们共同体现着韩梦云对于伊斯兰手抄本、制书技艺、文字语汇等等多种文化元素的敏感把握，以及在视觉呈现上的醇熟融合。
The reenactment at SongEun selects a few paintings from the original presentation, adapting to the space at the museum. The work as a whole showcases Han Mengyun’s broad focus of her research that covers interdisciplinary manifestations of cultural dialogue and polyvocal aesthetic conversation — from religion, philosophy, and mythologies to trade, vernacular craftsmanship, and bookmaking. The resulting visualization of such exploration is sensitively and masterfully composed.
迪里耶当代艺术双年展，2021，沙特阿拉伯，展览现场
Diriyah Biennale, 2021, Saudi Arabia, Installation view多地域、多语言的研究和个体经历在韩梦云的艺术创作中显现为一种内在且有机的综合性，作品《三镜亭》即是这种综合性的鲜明体现。通过丰富的媒介技法与视觉语言，《三镜亭》将历史故事的闪光投射在今日的艺术性思辨之中，于层层映像间为观者打开了脱离二元对立而构建起非冲突性交流的可能路径。在本次展览中，这件装置作品陈设于“纯粹绘画 - 走向抽象”展览单元，将这场跨越历史的对话首次呈现在韩国观众的眼前。
The Pavilion of Three Mirrors is one vivid and compelling manifestation of Han Mengyun’s multicultural and multilingual research and personal experiences amalgamated into organic, personal and poetic expressions. Through a diversity of medium and visual languages across cultures, the work reenacts history and its brilliance in today’s critical dialogue of art, pointing out new possibilities for non- binary communication. The work can be found in the section “Pure Painting – Towards Abstraction”, bringing this transhistorical dialogue to the Korean audience for the first time.
松隐艺术与文化基金会，韩国首尔，2023，展览现场 SongEun Art and Cultural Foundation, Seoul, South Korea, 2023, Installation view蔡震宇（英国剑桥大学宗教学系博士, 现北京大学哲学系宗教学系、基督教与宗教学原理教研室，助理教授）
Cai Zhenyu (PhD in Religious Studies, Cambridge University, currently associate professor of the Department of Philosophy and Religious Studies, Peking University)
向上滑动阅览
Please scroll down for English version
韩梦云（1989年生于武汉）是一位目前常驻于伦敦的视觉艺术家、比较文化学者、多语写作者以及一位母亲。她的实践回应着欧亚跨文化混融现象的去殖民化问题，这种混杂交融发生于广阔的时空地景之上，脱离了源自西方观念凝视的主导性调介。她在艺术生涯初期接受的是西方传统下的油画训练，但随后则从艺术创作的单一视角转向了欧亚大陆今时往昔深远的跨文化语境下历史连结的复杂性。她的研究涉猎广泛，涵盖了文化对话与多元美学交流的跨学科表现形式——从宗教、哲学、神话到贸易、民间工艺和制书。近期，印度与波斯的手抄本传统以及中国与日本的木版印刷是她正在投入研究的领域。
交叉性以及帝国主义的历史遗留是她实践中另一种反复出现的重要修辞。通过她身为女性下庶群体一员的自身体验，以及在争取可见性、争取塑造行星文化话语的平等机会中关于他异性“团结”高原效应的新兴概念，她调介着个体与集体的关系。新自由主义全球化、文化霸权和跨语境冲突所引发的断裂映射出她作品的多媒介特质，其范围跨越绘画、概念装置、再到影像创作与写作。作为一位跨学科的探询者，韩梦云挑战着亚里士多德式的知识、仪式与美学的等级制度，强调着在后-西方主导的新兴世界中，重思已知、待学和不可知之间存在的概念界限的重要意义。她的作品提出了关于跨信仰、跨种族以及多语言泛亚细亚主义所具潜能的历时性问题。
韩梦云于巴德学院(Bard College)获得艺术学士学位，并于京都大学(Kyoto University)等多所机构从事梵文研究，后于牛津大学取得艺术硕士学位(MFA)，主要研究方向为古典印度学和印度美学理论。未来个展将于2023年11月于香格纳画廊西岸空间举行；近期个展包括“夜”（ISA画廊，上海，中国，2022）；“玻璃珠游戏”（香格纳画廊，巴塞尔艺术博览会，巴塞尔，瑞士，2022）；“玉屑集”（千高原艺术空间，成都，中国，2019）；“无定”（今日美术馆，北京，中国，2013）等。近期群展包括“不安的绘画”（UCCA Edge, 上海, 2023）“乌利·希克收藏展”（松隐艺术空间，首尔，韩国，2023）;“贮藏”（麦勒画廊，北京，中国，2022）；“未有名目的言说”（青策计划2021，上海当代艺术博物馆，上海，中国，2021）；“三镜亭”（沙特阿拉伯迪里耶双年展：摸着石头过河，利雅得，沙特阿拉伯，2021）等。
Han Mengyun (b. 1989, Wuhan) is a visual artist, comparatist, multilingual writer and a mother. She is currently based in London. Her practice addresses the decolonisation of the phenomena of Eurasian transcultural hybridisations that occurred across vast landscapes of time and space from the dominative mediation of the Western conceptual gaze. She was initially trained in the Western tradition of oil painting but diverted from the singular viewpoint of art production towards the complexity of historical ties in the profoundly intercultural context of the continent’s history and present. The broad focus of her research covers interdisciplinary manifestations of cultural dialogue and polyvocal aesthetic conversation — from religion, philosophy, and mythologies to trade, vernacular craftsmanship, and bookmaking. Recently, she has been working on Indian and Persian manuscript traditions and woodblock printing in China and Japan.
The subjects of intersectionality and legacies of imperialism are another significant recurring trope in her practice. She mediates the relationship between personal and collective from her experience as a female subaltern and emerging notions of alternative plateaus of solidarity in the struggle for visibility and just access to shaping the planetary cultural discourse. The ruptures of neoliberal globalisation, cultural hegemony and inter-contextual conflicts reflect the multimedia character of her work, ranging from painting and conceptual installation to filmmaking and writing. As a transdisciplinary inquirer, Han Mengyun challenges the Aristotelian hierarchisation of knowledge, ritual and aesthetics, highlighting the importance of rethinking the conceptual boundaries between known, to be learned and unknowable in the emerging post-Western dominated world. Her work raises the diachronic question of the potentiality of inter-faith, inter-racial and multi-lingual pan-Asianiasm.
Han Mengyun received BA in Studio Art from Bard College and has pursued the study of Sanskrit at various institutions such as Kyoto University before she completed her MFA at the University of Oxford with a research focus on Classical Indology and Indian aesthetic theories. Her upcoming solo exhibition will be held at ShanghART Westbund in Novermber, 2023; her recent exhibitions include “Night” (ISA Gallery, Shanghai, 2022); “The Glass Bead Game”(ShanghART Gallery booth, Art Basel, 2022); “Splinters of Jade” (A Thousand Plateaus Art Space, Chengdu, China, 2019); “In Between Islands” (Today Art Museum, Beijing, 2013). Recent group exhibitions include Painting Unsettled (UCCA Edge, Shanghai, 2023); Chinese Contemporary Art from the Uli Sigg Collection (SONGEUN, Seoul, Korea, 2023); “A Place for Concealment” (Galerie Urs Meile, Beijing, 2022); “The Dwelling Place of the Other in Me” (Power Station of Art, Shanghai, 2021); and the Diriyah Biennale (Saudi Arabia, 2021) etc.
{{newsData.good_count}}
{{newsData.transfer_count}}
分享