索卡北京 | “德克萨斯的巴黎”艺术家 | 程也、王晶琦、魏子翔

索卡艺术荣幸宣布群展“德克萨斯的巴黎”于2023年4月29日正式开幕，展览将延续至2023年5月28日。本次展览展览由吴若琪策划，邀请了八位曾有海外学习经历和生活背景的年轻艺术家，包括程也，冯吴超，郭淑玲，刘欣然，孙悦，王晶琦，魏子翔，和杨乃臻，呈现他们近年来的艺术实践。并以他们的作品为线索，串联艺术家们关于自我、归属、和身份认同的内心独白。作为“德克萨斯的巴黎”首篇参展艺术家介绍，本文将介绍艺术家程也、王晶琦、以及魏子翔的创作理念与背景。

程也通过绘画、装置和数字拼贴来解决文化迁移和对家的观念。作为第一代移民生活，程也以自身的经历为出发点反应全球化，都市危机，以及虚拟社交网下的新时代游牧的内在体验。通过艺术寻求重估、重构和重新部署文化实践。

程也的作品《记忆地图》是一件跨媒介的艺术作品，其中包括绘画、手工制本和视频等元素。她借助东西方文化差异、都市危机和虚拟社交网等元素，将个人记忆重新构建成真实和想象的混合体，创造出独特的“差异空间”。

在她的绘画作品中，常使用几何图形来抽象出钢筋混凝土的格子间，用深邃的黑色代表着她与外界的焦虑和抗争。而明亮的色彩则将视角停留在一个个记忆的“庇护所”中，这些“庇护所”承载着艺术家在人生旅途中的各种经历和情感。程也用平面与立体的绘画手法营造一种进入与逃逸的迷宫体验，反映多元文化的感受。

Bright bold colors on deep black backgrounds, Ye’s surreal architectural paintings show abstracted and distorted places from memory - a garden, an apartment, and my imagination; inviting viewers to lose themselves in their maze-like quality. In this series titled Memory Map (2022), Ye addresses the experience of cultural displacement, mobility, and disjunction, she draws on sensations of distance and detachment to conjure new worlds. Through Escher-like spaces, Ye explores her relationship with lost memories and forgotten specifics. Home represents safety, comfort, and longing; yet she questions whether these feelings are attached to a real location or an imaginary space. The works combine mediated representations of existing places with architectural forms and cultural motifs, recalling Song dynasty Chinese mountain paintings as disappearing heritage, a home, and a shelter. The renderings of hybrid spaces exist in the zone between reality and invention, present and past, physical, and digital.

离开，融入，适应，离开，返回——循环往复。时空不断的迁徙和改变令人不安和焦虑，因为无论走到哪里，即使是回到自己的家，王晶琦仿佛都是“外来者”。摇摆在变幻的时空，沉浸于模糊的记忆，她在吸纳并融汇了多元文化的同时，始终“摆脱”不了仿佛与生俱来的荒诞和游离之感，这些早已深入她潜意识的个体经历和体验令她能够独立高效地应对周遭的“新世界”，并能诙谐地将这种介于“多重身份”之间的尴尬状态转化为创作灵感。

王晶琦意欲创造一个无序，无逻辑，不合理，且在运动中不断变化的“缺席”的时空，就像是她多年来学习和工作的生活环境状态，以画笔摸索和思虑周遭的日常，并在不断变化的新环境中适应和改变。画面中的物体、动物及其环境关系因她的缘故不同平常，平常与无常碰撞在一起给观众带去思考的同时，也将他们引领入一个需要思索和探究的世界。

Jingqi Wang's paintings prioritize Asian immigrants who have trouble identifying their communities and belongings. Her research project seeks to go beyond the painting surface, building on her current practice to discover new existences. Jingqi’s goal is to disrupt cultural boundaries and embody the liminal spaces between Asian and American identities, and to ultimately imagine a new kind of inclusivity that embodies the transnational, the multiracial, the non-binary, and ultimately, the undefinable.

Depicting the mythical and chaotic, her work revisits traditional and pop-cultural icons. She borrows her framing of absurdity and detachment from Camus’s The Myth of Sisyphus, “In a universe suddenly divested of illusions and lights, man feels an alien, a stranger. [...]This divorce between man and his life, the actor and his setting, is properly the feeling of absurdity.”

魏子翔在绘画当中搭建基于微观的流动器质配置而成的宏观结构。受到法国新浪潮运动中科幻体裁的影像启发，他对于画面的构成实施内省式的推理，发明了以“平铺-微分-擦除”作为循环的特殊工作逻辑。艺术家认知绘画作为不可传递的动作体验，时间或地点的维度可以在过程中被任意玩弄。而他画面的主体通常是一种介于速度与加速度之间的东西；不存在叙事，更像乱流交错之后形成的繁复叠加态，在动与静之外。

Zixiang Wei builds macro-structures in his paintings based on microscopic configurations of fluid device. Inspired by the images of the science fiction genre of the French New Wave movement, he applies introspective deduction to the composition of the picture, inventing a particular working logic based on the cycle of 'tiling - differential - erasure'. The artist perceives painting as a non-transmissible experience of movement, where the dimensions of time or place can be played within the process. The subject of his pictures is usually something between speed and acceleration; there is no narrative but more like a complex superposition of states formed by the interplay of turbulent currents beyond movement and stillness.

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