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新展介绍 | 红薯《镜》

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新展介绍 | 红薯《镜》崇真艺客

| 镜· Reflections |

艺术家 Artist
红薯 Simon Song

策展人 Curator

Daniel Cohen

展览时间 Exhibition Duration

2023.04.08 - 2023.05.28

开幕时间 Opening Reception

2023.04.08 (周六 Sat)

15:00-18:00

地址 Address
上海市静安区长乐路888号
No.888ChangleRd, 1F, Jing'an Dist, Shanghai

- 关于展览 About the Exhibition -

在《摄影与液体智能》一文中，杰夫·沃尔（Jeff Wall）提出了另一种摄影谱系，基于他所认定的媒介“液体亲和力”。沃尔的液体智能概念似乎与“光学”（即技术上可计算的、理性的，或保罗·维里利奥（Paul Virilio）在其他地方所描述的摄影图像的“逻辑”特征）相对立，但它超越了简单的二元概念，包含了一系列统筹概述的术语解释，和它们怎样随着历史和语境不断变化。其中包括了：“干”摄影装置和“湿”化学后期制作；科技和自然；规整网格和变化的曲线;公式化与偶然；瞬变与蜕变；冷和热。

红薯的新展览《镜》从 Jeff Wall 的文中汲取灵感，他通过拍摄自然的景物，来展示在胶片摄影中材料、主题和具象体现流动性的个人探索。我们能看到艺术家对影像制作过程重要性的敏锐感知，以及在丰富经验与创新创作之间寻找平衡，他的作品让相对“干”的摄影技术与“湿”的自然界中造型和表象相融合。正如他标志性的暗房操作痕迹以及用环氧树脂作为最后一道工序，使之转化为广义上“水”的美学实验。液体是所有暗房中光学作用的基础，图像需要显影剂和定影剂来化学“固定”，这为红薯提供了一种富有创造力的材料和媒介，由此来映射和反思胶片摄影的手工物理过程，仿佛变成了大自然的移动奇观。因此，“水”在图像制作过程的不同阶段所留下的痕迹，被作为图像上移动的表面元素而保留，成为了图像中有机生命的视觉细节，它们互相呼应融合。同样地，“树脂”是一种用于“密封”照片影像免受外界侵蚀破坏的透明物质，被艺术家不完美地应用于照片表面，产生了类似流动的“水”的效果，它的波纹和反光让图像表面和“水”之间产生共鸣。另一方面，光学放大，尤其是微距摄影，在传统上推崇清晰和强调自然的细节，却被艺术家当做溶解和模糊自然界固有形状的利器。我们反而无法在视觉上看到影像中自然景物的客观样貌，却可以通过颜色和质感来触及对这个景物的感知。

从广义上讲，《镜》在形式与内容，过程与结果，透明与不透明，静止与运动之间相互影响，这便是艺术家想表达的生活、自然与摄影媒介之间那种密切的联系。这种联系不能被相机直接描绘或主宰，自然的另一面以类似清代经典奇幻小说《镜花缘》中描绘的方式来处理，它们成为了进入自我与世界之间的反射空间的入口。本次展览的影像作品其实是视觉化的自然镜像，它们更像一扇可以跨入的门，而不是只能在外张望的窗户，它们是流入观众内心世界的一条温润的河流。

/ Daniel Cohen 策展人

红薯 Simon Song

别处 3-2 Looking Away 3-2

124 x 186 x 5 cm

手工冲印 C-Prints，铝塑板，树脂 Darkroom C-Prints, mount on aluminum Dibond board, resin
独版 Unique，2023

In “Photography and Liquid Intelligence,” Jeff Wall proposes an alternative genealogy of photography based on what he decerns to be the medium's liquid affinities. While seemingly opposed to the “optical,” that is, the technically calculable, rational, or what Paul Viriliohas elsewhere described as the “logistical” character of the photographic image, Wall’s notion of liquid intelligence flows past easy binaries encompassing a range of terms that are hard to think together and whose historical and discursive locus of intelligibility continues shifting. These include: the “dry” apparatus and “wet” chemical postproduction; the technological and organic nature; the grid and curve; the formalizable and contingent; the instantaneous and metamorphosis; the cool and hot.

红薯 Simon Song

别处 3-4-1 Looking Away 3-4-1

125 x 189 x 5 cm

手工冲印 C-Prints，铝塑板，树脂 Darkroom C-Prints, mount on aluminum Dibond board, resin

独版 Unique，2023

Drawing inspiration from Wall’s provocative thesis, Reflections, a new exhibition by Shanghai-based photographer Simon Song, presents a personal exploration of the material, thematic, and representational fluidity of analogue photography through the optic of nature. Reflecting the artist’s keen sensitivity to the materiality of the photographic process as a space of creative and experiential negotiation, the work on display aims to allow the relatively rarified “dry” domain of photographic technique to converge with the formal and phenomenological qualities of the natural world. For example, traces of the artist’s signature work in the darkroom and resin finishing technique are translated into a wide-ranging aesthetic engagement with water. If liquid stands as the basis of all photochemical action in the darkroom, with developers and washes being required to chemically “fix” the photographic image, it provides Song with a productive material and representational substance with which to reflect and reflect upon the physical process of analogue photography as akin to the moving spectacle of nature. Thus, marks left by water at different stages of the image “development” process remain as mobile surface elements that are likened to visual details of organic life in the image with which they rhyme and merge. Similarly, resin, a clear substance used to “seal” the photographic print off from elemental damage, has been applied by the artist imperfectly to produce an uneven surface whose rippling disturbances and reflective qualities produce an echo between the responsive planer surface of the image and that of a living body of water. Elsewhere, optical enlargement, a technique conventionally used to isolate and clarify hidden details in nature, such as with the microscope, is used by Song to dissolve and obscure the solidity of natural forms, transforming them into haptic fields of color and texture prized for what they reveal about the sensory as opposed to purely epistemic aspects of our visual experience of the world.

红薯 Simon Song

别处 3-4-2 Looking Away 3-4-2

125 x 189 x 5 cm

手工冲印 C-Prints，铝塑板，树脂 Darkroom C-Prints, mount on aluminum Dibond board, resin

独版 Unique，2023

Broadly speaking, then, Reflection’s interplay between form and content, process and product, clarity and opacity, stillness and movement, recapitulates what the artist considers to be an intimate connection between living nature and the photographic medium. Rather than something to be described or dominated by the camera, the alterity of nature is treated in the manner portrayed in the classic Qing dynasty fantasy novel Flowers in the Mirror as the entrance into a space situated in the reflection between self and the world. Reflected in the mirror of nature’s visual forms the photographic image becomes a portal rather than a window, a gently flowing conduit into the inner landscape of the viewer.

/ Daniel Cohen, Curator

- 关于艺术家 About the Artist -

红薯

Simon Song

红薯，本名宋晖，1985年出生于洛阳，获英国伦敦大学金史密斯学院摄影与城市文化硕士学位。现工作与生活于上海。

艺术家红薯的创作，像是把二维的雕塑“折叠”在相纸的空间里，这让它引发了无尽的观看可能。每一种摄影工业的瑕疵：纸张的物理痕迹、药水的反应温度，和胶卷拍摄产生的画面颗粒感，都让创作有无限的变化。对红薯来说，与所谓的“完美影像”相反，影像生产中的每一处“不完美”，都是创作者的“印记”。也正是这一处处的“印记”，组成了他影像作品的“厚度”。

Simon Song, b.1985, birth name Song Hui, born in Luoyang. Graduated from Goldsmith MA Photography and Urban Culture (University of London). Currently works and lives in Shanghai, China.

The artworks by Simon Song seems to "fold" a two-dimensional sculpture into the space of photo paper, which triggers endless viewing possibilities. Every flaws in the process of making a photo: the physical marks on paper, the reaction temperature of chemicals, and the film graininess in the picture, all those make infinite changes in the work. For Simon Song, contrary to the so-called "perfect image", every "imperfection" in image production is the "imprint" of the artist. And all these "imprints" build up the "thickness" of his photography works.

更多经历向下滑动阅览
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精选个展
《镜》，工作室画廊，上海（2023）
《也许只是瞥见，就组成了你我的记忆长河》，工作室画廊，上海(2021)
《重建》，工作室画廊，上海(2020)

精选群展
《质感》，工作室画廊，上海 (2022)
《植之境》，可见光艺术空间，上海 (2021)
Habitus，伦敦 (2014)
Art in Mind: On the Frontier，伦敦 (2014)
Process in Exile，伦敦 (2013)
Islington contemporary art and design fair，伦敦 ( 2013 )
London College of Exhibitionist，伦敦 (2013)

媒体报道
“SE1 through observation” 系列被FloatArt选为“每周新晋艺术家” (2013);
入选WallPaper杂志Graduate Directory 2014(2013)
接受Radii杂志专访 “Painting with Light” (2018)
受邀为香港电笠杂志撰稿“under the monochrome rainbow”(2021)
影集“WithIntrospection” 于2012年出版。

2015/3-2018/12 担任组合鸟头助理
2019起在上海戏剧学院教授艺术摄影课

Selected Solo Exhibitions
“Reflections”，Studio Gallery，Shanghai（2023）
“Maybe a glimpse, you and I flow into a river of memory”, Studio Gallery, Shanghai, China (2021)
“Re-vision”, Studio Gallery, Shanghai, China (2020)

Selected Group Exhibitions
"Tactile Sensations",Studio Gallery, Shanghai, China (2021)
"Botany Bay", Landblink, Shanghai, China (2021)
Habitus，London (2014)
Art in Mind: On the Frontier，London (2014)
Process in Exile，London (2013)
Islington contemporary art and design fair，London ( 2013 )
London College of Exhibitionist，London (2013)

Media Reprot
The series "SE1 through observation" has been awarded as"new artist of the week"(2013)
His works was selected for WallPaper Magazine: Graduate Directory2014(2013)
He was interviewed by Radii Magazine: “Painting with Light”(2018)
He was invited to write the article “under the monochrome rainbow” for Hong Kong DL.thevoc magazine(2021)
Album“ WithIntrospection” was published in 2012

He has been teaching Photography Art in Shanghai Theatre Academy since 2019

- 关于策展人 About the Curator -

Daniel Cohen，1984年出生于美国佛吉尼亚州。毕业于纽约大学。媒体、文化与传播学硕士。现就读于斯坦福大学的电影学博士。目前在上海工作和生活。

Daniel Cohen. B 1984. born in Virginia, USA. He holds an MA in Media, Culture, and Communications from NYU and is currently completing his Phd in film studies from Stanford University. He lives and works in Shanghai, China.

- 相关阅读 Read More -

工作室画廊2016初成立于上海。作为上海最早支持国际艺术家驻留项目的商业画廊。目前经营着两处实体空间，画廊空间专注于艺术家的工作呈现与推广；工作室空间作为画廊空间的学术引擎，聚焦于非营利性的艺术项目与研究记录。工作室画廊不是简单意义上的画廊空间+工作室空间；而是一种对艺术生产和消费机制的重构。通过对艺术家工作状态的深入观察，探究其艺术创作的真实动机；努力协助艺术家把工作中产生的价值转化成共识。

自成立以来，工作室画廊除了举办专业性的展览，还发起了多个话题性的艺术项目：基于艺术家工作过程记录的《艺术家讨论》；基于艺术家驻留工作汇报的《OpenStudio》；基于艺术家创作交流以及评论的《艺术现场》和《Critique Room》。

As the first gallery in Shanghai to provide international artist residency, Studio Gallery was established in early 2016. Since then, we have continued to support the wide-ranging potential of emerging and new talents, complemented by innovative activities to nourish and enrich the local artistic environment.

The gallery operates two physical spaces. The gallery space locates in the heart of downtown Shanghai, continuously organizing topical exhibitions. While the studio space serves as the academic engine of the gallery space to explore and transform the value generated from artists’ practice into consensus.

With a bold and cutting-edge designed gallery space, we aim to create an inspirational dialogue with the audience through diverse public programs, including topical exhibitions, Artist Talk, Critique Room, etc.

新展介绍 | 红薯《镜》崇真艺客