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【动态】艺术家曹雨、鞠婷参加“中国当代艺术希克收藏展” @韩国松隐艺术与文化基金会

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【动态】艺术家曹雨、鞠婷参加“中国当代艺术希克收藏展” @韩国松隐艺术与文化基金会崇真艺客

曹雨作品展览现场，2023
Exhibition of Cao Yu's works, 2023

鞠婷作品展览现场，2023
Exhibition of Ju Ting's works, 2023

麦勒画廊荣幸地宣布艺术家曹雨、鞠婷参加于韩国松隐艺术与文化基金会举办的群展“中国当代艺术希克收藏展（SIGG: Chinese Contemporary Art from the Sigg Collection）”，此次展览由伯纳德·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。
Galerie Urs Meile is pleased to announce Cao Yu and Ju Ting's presentation at the group show titled "SIGG: Chinese Contemporary Art from the Sigg Collection" at SongEun Art and Cultural Foundation in Seoul, Korea. The show was curated by Bernard Fibicher. 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 open to the public from March 10th to May 20th, 2023.

曹雨
Cao Yu

【动态】艺术家曹雨、鞠婷参加“中国当代艺术希克收藏展” @韩国松隐艺术与文化基金会崇真艺客

参展作品

从左至右分别为：
曹雨，《维纳斯 No. 3》, 2017，木质雕塑展台，100 x 100 x 30 cm
曹雨，《富士山 No.1》, 2017，电动自慰器，丝绸床单，尺寸可变
曹雨，《胸中之物》, 2020，收藏级艺术微喷（公牛心脏，纹身虎头，艺术家本人），160 x 179 cm，3 版 + 2 AP
曹雨，《泉》, 2015，单频高清录像，彩色/无声，11'11"，10 版 + 2 AP
From left to right:
Cao Yu, Venus No. 3, 2017, wooden plinth, 100 x 100 x 30 cm
Cao Yu, Mount Fuji No.1, 2017, electric sex toy, silk sheet, 14 x 150 x 90 cm
Cao Yu, The Thing in the Chest, 2020, ultra giclee (bull's heart, tiger head tattoo, the artist herself), 160 x 179 cm, edition of 3 + 2 AP
Cao Yu, Fountain, 2015, single channel HD video (colour, silent), 11'11", edition of 10 + 2 AP

【动态】艺术家曹雨、鞠婷参加“中国当代艺术希克收藏展” @韩国松隐艺术与文化基金会崇真艺客

《胸中之物》

“纹身”又名“刺青”，这个听上去不那么美好的词语，作为一种亚文化，一度沦为带有暴力色彩的坏文化的标杆。它伴随着不同时代的有色眼镜跨越了2000多年，延续至今一直被多数人视为坏人，暴力、黑社会的专属标签。我出生在中国东北，记得小时候每当看见赤身裸臂纹身图腾的人，尤其纹着左青龙右白虎图腾的人，我都会害怕躲得远远的，身边老人们常会鄙夷地说：“一看就不是什么好东西”。刨除真正热爱刺青视其为艺术的人来说，的确在八九十年代的中国，多数纹身的人更希望用这样的方式增强自己外在的威慑力，人性往往是越缺什么越表现什么。直至长大之后渐渐发现，表面上的凶悍往往犹如纸老虎般不堪一击，反而有时外表看似斯文的人往往下手真正致命狠毒。有人把强悍纹在身上，有人却将野心铭刻于心里。

在这件作品中，我赤裸上身，手捧一颗新鲜的，纹着百兽之王——老虎头的8 斤公牛心脏。干净的身体上没有饱满的乳房，没有红艳的嘴唇，只有些许肌肉，甚至一度不易辨别其性别，男性，女性，亦或者跨性别者都能从中看到他们自己的影子。

32 岁，我将野心与强悍刻进心里，寄心有猛虎，可无畏前路。

"Tattoo", a not-so-sounding word, as a subculture, was once reduced to the benchmark of a violent bad culture. It has been accompanied by discrimination of different erasfor more than 2,000 years, and has always been regarded by most people as the exclusive label of bad guys, violence, and gangland. I was born in Northeast China. I remember that when I was a kid, whenever I saw people with tattoos on their naked arms, I was afraid and went far away, especially those with green dragon tattoos on the left arm and tiger on the right side. Most of them look evil and fierce. The old people would say contemptuously that: “ they are not good people at all." Except for those who really love tattoos and regard them as art, it is true that in China of 1980s and 1990s, most people with tattoos hoped to increase their external deterrence with such superficial fierceness. People always like to show off the things that they really lack. After growing up, I gradually realized that the ambition and fierceness of external looks were as vulnerable as a paper tiger; on the contrary, someone who look gentle tend to act real deadly and viciously privately. Some people tattoo strength onto their skin, some inscribe ambitions into their hearts.

In this work, I'm holding a fresh heart of a bull weighing 4 kilos which with a tattoo of—king of animals—tiger's head, the clean body in this work does not have full breasts, nor red lips, just some muscle, so it was even difficult to distinguish its gender. Men, women, or transgender people can see their own shadows in it.

At the age of 32, I engraved the toughnessin my heart, looking forward to great ambition and braveness for the days ahead.

《泉》

“我用力向上空挤捏双乳房，纯白色的乳汁向天空喷射而出，多似泉涌，饱满的乳房慢慢变得干瘪，直至我将乳房挤空为止。卡拉瓦乔式的强烈曝光下模糊了颗粒，洁白的乳汁清晰可见。一对光滑饱满的乳房成为画面中的重心，犹如两座高耸的，正在喷发的活火山。我将自己的乳汁变成雕塑的材料，而身体则成为孕育和喷射乳汁的容器。肆意喷向高空的乳汁以极快的速度拍溅入我的双眼，白茫茫一片如云雾，我的泪水夺眶而出。

在与这痛苦的对抗中我意识到自己此刻的身体正充满无穷能量，第一次感受到作为女性，我的身体甚至可以拥有比男性更加猛烈的释放张力，乳汁铭刻爱与恨的记忆。此刻，“泉”依靠我的身体自然而然的发生了。我意识到这种人类身体的壮观景象，比任何欧洲广场见到的泉都要真实，那是来自女性体内本有的阳刚。随历史不断延续的“泉”，也就是“泉”到“泉”的演变，从法国新古典主义安格尔的《泉》在人们心中种下正统的种子，到达达主义杜尚反叛的小便池《泉》，布鲁斯·瑙曼的喷泉自画像，尚未有一件当今的，女性的泉出现。直至我用自己的身体制造了一座向天空喷射的，雄性色彩的喷泉纪念碑，它与艺术史上一连串关于泉的经典作品和艺术家们进行了一次精彩有力的对话与延展。11分钟后渐入尾声，饱满的乳房逐渐干涸，在美丽而疼痛的画面之外，随之而来生命的伤感。”

I lay flat and forcefully squeezed both of my breasts towards the sky, pure white milk shot out like a Fountain. Full breasts slowly became saggy until they were empty, I was too exhausted to squeeze out the last drops of milk. A Caravaggesque intense chiaroscuro blurred the skin particles, the white milk was clearly visible. The originally bouncy bosom captured the iris of the image, resembling a couple of peaked and active volcanoes. The milk that sprayed recklessly into the sky by the great tension and then splashed into my eyes at the speed of free fall, just as a white cloud which blurring my vision and my tears burst into my eyes.

In this bitter struggle, I knew it was a combination of being moved by this great power and the pain from the substance in my eyes. I realized that my body at this moment was filled with infinite vital energy and explosive force. For the first time although as a woman, my body could even have more fierce release of tension than men, and my milk engraved memories of love and hate.

Here, My body has naturally become a “Fountain” , I realized this magnificent scene of the human body is more real than any Fountain seen on European square. It comes from the inherent masculinity of women. With the continuation of history, the "fountain" that is "fountain" to "fountain" evolves, from the classic French neoclassical Ingres's "Fountain" that planted the seed of tradition in people's hearts, to marcel Duchamp, then comes to Bruce Naumann's-self portrait of Fountain. I used my body to create a Fountain monument that shot into the sky, through which I made a conversation and extension with the classical artworks about fountain in art history. It came to an end in 11 minutes, the full breasts gradually dried up, outside of the beautiful and painful image, followed by a sorrow for life.

【动态】艺术家曹雨、鞠婷参加“中国当代艺术希克收藏展” @韩国松隐艺术与文化基金会崇真艺客曹雨，《维纳斯 No. 3》, 2017，木质雕塑展台，100 x 100 x 30 cm
Cao Yu, Venus No. 3, 2017, wooden plinth, 100 x 100 x 30 cm

《维纳斯》

“这座雕塑《维纳斯》没有古典女人体优美婀娜的身段，也没有光滑细腻的肌肤，它看起来就是一个呆板的方盒子。我在雕塑展台顶部打洞，它的内外贯通起来，孔洞周围也被打磨光滑，露出原本的木头质地。孔洞与周围白色涂料所形成的边际，构成女性身体特征的模样。曾经的万年配角在艺术家手中翻过身来，成为一尊有着极简造型的雕塑，一尊女人体。我送给她一个女神的名字——维纳斯。”
“This Sculpture Venus does not have the graceful and beautiful body of a classical female. It does not have smooth skin and looks just like a boring wooden box. I put the hole at the top of a sculpture plinth. It links the inside with the outside. The area around the hole has also been polished, revealing the original wooden texture. The margin formed between the hole and the white paint around it takes on the characteristics and appearance of the female body. Once used to display sculptures, the platform has now become a sculpture itself. It has become a minimalist-style female body. I gave her the name of a goddess: Venus.”

曹雨，《富士山 No.1》, 2017，电动自慰器，丝绸床单，尺寸可变
Cao Yu, Mount Fuji No.1, 2017, electric sex toy, silk sheet, 14 x 150 x 90 cm

《富士山》

在这个动态作品中，一席纸醉金迷，光滑如皮肤般的的丝质床单被一只旋转摇摆的电动自慰棒悄然顶起，它像是肆虐地扭动腰枝的女人体，更像一座拥有巨大的潜能，随时会喷发的活火山——富士山。
In this dynamic installation work, a dimly lit and raunchy-looking dark pink silk sheet is thrown over a mattress, the middle of which is pushed up by a rotating electric vibrator. A quivering vibrator erects the skin-like silk bed sheet slowly. What this looks like is the raging twisting spine of a woman’s body. Even more, it looks like a volcano that could erupt at any moment—Mount Fuji.

【动态】艺术家曹雨、鞠婷参加“中国当代艺术希克收藏展” @韩国松隐艺术与文化基金会崇真艺客

曹雨（1988 年生于辽宁，毕业于中央美术学院雕塑系，获本科及硕士学位）的创作横跨影像、装置、表演、摄影、雕塑及绘画等诸多媒介，凭借其独特的跨学科实践和尖锐而大胆的艺术语言，成为中国新一代女性艺术家中的领军人物、国内最具影响力的年轻艺术家之一。

她是AAC艺术中国·青年艺术家大奖得主(2018), 并入选中国艺术权力榜(2018)、CCAA 艺术家奖提名、获得法国Opline Prize 艺术奖提名奖(2019)、获得艺术8·中国青年艺术家奖提名奖(2017)、入选Gen.T亚洲明日先锋榜(2020)。入围The 2023 Sovereign Asian Art Prize杰出亚洲艺术奖（2023）。

其作品在：法国巴黎东京宫艺术博物馆；德国沃尔夫斯堡美术馆；奥地利维也纳MAK博物馆；挪威利勒哈默尔美术馆；奥地利萨尔茨堡现代博物馆；丹麦加姆勒斯特兰德国际艺术中心；澳大利亚悉尼Artspace；韩国蔚山美术馆；北京民生美术馆; 德国慕尼黑 Martina Tauber Fine Art；德国柏林Diskurs ; 美国纽约 Camera Club；北京今日美术馆等海内外重要艺术机构展出。作品被包括香港 M+ Collection、瑞士巴塞尔 Erlenmeyer 基金会，北京寺上美术馆以及中央美术学院美术馆在内的机构收藏。

曹雨用自己的身体推翻边界，清晰而有力地为她自身以及新一代艺术家大胆发声。她的作品挑战了社会规范，用既是本色的、又带有表演性质的行为向当下中国社会的价值与身份问题发问，对当下的相关性别问题作出了新的阐释。在这一过程中，这位拥有自由灵魂与专注精神的艺术家为我们开启了新的可能性。

鞠婷
Ju Ting

【动态】艺术家曹雨、鞠婷参加“中国当代艺术希克收藏展” @韩国松隐艺术与文化基金会崇真艺客

参展作品

【动态】艺术家曹雨、鞠婷参加“中国当代艺术希克收藏展” @韩国松隐艺术与文化基金会崇真艺客

【动态】艺术家曹雨、鞠婷参加“中国当代艺术希克收藏展” @韩国松隐艺术与文化基金会崇真艺客
鞠婷，《无题 062119》, 2019，木板丙烯，220 x 241 x 13 cm
Ju Ting, untitled 062119, 2019, acrylic on board, 220 x 241 x 13 cm

《无题》

艺术家把一层又一层的丙烯颜料涂抹在一块木板上，当颜料基于二维空间积累到一定厚度时，鞠婷选择以不同的方式处理层层叠加的色彩。在“无题”系列中，整片颜料的覆盖、撕扯、折叠演示着破碎的暴力与垂坠的重力。鞠婷的创作方法让外力作用于每个“图层”，被切割、撕裂的画面呈现出可塑性，似乎形式从图像的内部有机生发。
The artist applies many layers of acrylic paint on top of each others onto a wooden panel until obtaining a certain thickness. She then uses various methods to manipulate and model the stacked layers of color. With the covering, peeling and stacking of entire layers of color demonstrating destructive violence and sagging weight. Ju Ting’s creative approach applies external forces on each “image layer.” The cut, folded and torn picture presents plasticity, as if form is organically generating from within the image.

鞠婷，《珍珠 071020》, 2020，木板丙烯，181 x 183 x 7 cm
Ju Ting, Pearl 071020, 2020, acrylic on board, 181 x 183 x 7 cm

《珍珠》

在“珍珠”系列中，艺术家使用木刻刀切开逐层覆盖的颜料，剖析画面之下产生的色彩层次。刻刀扮演了画笔的角色，形成立体的笔触。与此同时，作品表面嵌入若隐若现的层次。观众如果在水平方向移动，将感受到画面上连续排列的竖刻线条所构建的隐约的色彩变化。光学节奏激活绘画表面并创造运动，而肌理为观看带来的互动关系试图打开具有延展性的空间。
In the Pearl series, the artist uses a carving knife to cut open the paint and reveal the stacked layers of color within. Here the knife plays the role of the paintbrush, forming three-dimensional brushstrokes. At the same time, the artwork’s surface is embedded with many faintly visible layers. If the viewers move through the exhibition space, they will perceive the subtly shifting colors produced by the rows of vertical lines. Optical rhythm catalyzes a once plain two-dimensional space, creating motion within the picture.