胶囊上海｜克里斯·吴：流逝 - CapsuleShanghai

克里斯·吴：流逝 Chris Oh: Passage‍

展期 Dates: 2023.11.04 - 2024.01.13

开幕 Opening: 2023.11.04 15:00 - 18:00‍‍‍‍‍

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

scroll down for English

人类从过去汲取知识，以理解现在，最终创造未来。通过对考古遗址、博物馆、文献、古物和自然界的学习和发现，我们意识到了存在的无常，也认识到了自己与自然界中各种时间模式之间的关系。这些知识令人不禁发问：当我们消失之后，我们留下的会是什么；一个人在其生命中积累的知识体系，连同祖辈们所积累下的知识与智慧，将被如何传递给后代？基于以上这两个问题，克里斯·吴将在胶囊上海的首次个展“流逝” [1]中，如展览标题的双关语所暗示的那样，向我们呈现作为未来遗物的绘画物件。

Chris Oh 克里斯·吴 | Roost 栖息 | 2023 | acrylic on on wood panel with antique burl frame 带有古董树节画框的木板上丙烯设色 | 27.94 x 29.21 x 5.72 cm

克里斯·吴在年少时期就展露出了非凡的绘画天赋，可以将任何图像都精确转化为令人震撼的摹本。自古以来，有关艺术挪用和作者身份的概念在视觉艺术领域一直备受争议，而临摹作为一种学习方法，则普遍存在于波提切利(Botticelli)、达芬奇 (Leonardo Da Vinci)、米开朗基罗 (Michelangelo) 等文艺复兴时期艺术巨匠的工作室日常中；而这一时期蓬勃发展的艺术与文化本身，也根植于对古希腊和古罗马文化的重新发现、学习当中。

然而，克里斯·吴并未折服于意大利文艺复兴时期对美的崇高追求，而是选择以北方文艺复兴作为临摹对象。这一时期的绘画艺术涵盖了从风景、肖像、静物、圣经故事到乡村劳作等广泛主题，其中的代表艺术家保留了一种哥特式的敏感度，装饰手抄本中充满隐喻的情绪与幽暗的心理暗示，与吴模仿这一时期艺术作品的意图和效果产生共鸣。另外，这些绘画作品对于细节的注重也让他深受感染，它们往往形成于透镜和摄影技术被广泛使用之前，在吴看来格外新鲜，而其中流露出的一种怪诞的美感，也正是他试图摆脱先前的摄影写实主义手法时所希望实现的改变。

胶囊上海｜克里斯·吴：流逝崇真艺客 Chris Oh 克里斯·吴 | Glimpse 一眼 | 2023 | acrylic enamel on antique mirrored brass candle holder with beeswax candles 带有镜子的古董黄铜烛台上丙烯酸磁漆设色，蜂蜡蜡烛 | 29.21 x 20.32 x 13.97 cm

出于对自然界和知识系统的迷恋，吴将北方文艺复兴时期的图像细节绘制在人造物和自然物上，这种执着让我们看到艺术家所坚信的：人类总是与拥有不同时间性的物体相互共存。纵观整场展览，每个物件——从海扇、蝉、鸸鹋蛋、贝壳、玛瑙切片到树瘤板等——都代表着一个独特的生命周期，时间跨度从几天到亿万年不等。“在胶囊上海的这次展览中，我想使用的是在时间中生长的材料。”与此同时，北方文艺复兴时期的图像总是以一条中心轴为构图特征，这亦与吴找到的现代物品的几何形态不谋而合，艺术家试图表明，数百年前的构图传统正渗透在我们的当代文化当中。

克里斯·吴的创作过程类似于一个拼图游戏。他通常是从研究表现对象的词源出发，以发掘它们的象征性潜能，进而展开自由联想，再让这些联想成为线索，最终将表现对象与艺术家所通晓的北方文艺复兴时期艺术史的丰富语汇联系起来。在展出的作品中，我们将一瞥列奥纳多·达·芬奇(Leonardo Da Vinci)、扬·凡·艾克 (Jan van Eyck)、希罗尼穆斯·博斯 (Hieronymus Bosch) 等艺术家的杰作再现，也将发现迪里克·布茨 (Dieric Bouts)、杰拉德·大卫 (Gerard David) 和罗吉尔·凡·德尔·维登 (Rogier van der Weyden) 所创作的鲜为人知的作品。

胶囊上海｜克里斯·吴：流逝崇真艺客 Chris Oh 克里斯·吴 | Bud 花蕾 | 2023 | acrylic on emu egg with copper sphere, crystal selenite sphere, antique brass stand 鸸鹋蛋上丙烯设色，铜球，透石膏球，古董黄铜底座 | 50.8 x 18.73 x 13.97 cm

和展览中每件作品的创作过程一致，在展览的整体构思上，艺术家亦邀请观众在穿梭于不同展厅空间的过程中展开自由联想。每个展厅都被设定成一个特定主题，将观众引入到哀悼、知识和智慧、整体蜕变、忧伤和深层意识的旅途——这是一个扩展人生宽度的过程；吴将各种时间感知与体验并置，恰恰契合了图像的虚幻本质。

穿梭在展厅之中，观众将看到吉内佛拉·班其(Ginevra de' Benci) 的肖像中那理想之美被绘制在穿孔的海扇上；绘制在雕像背面的树，让人想到老彼得·勃鲁盖尔 (Peter Bruegel) 的名作《收割者》；出自迪里克·鲍茨(Dieric Bouts) 画室的《圣母和孩子》（1454年后）中的细节，被绘制在一只蝉上，从巢中产下的蛋中浮现，由一个装饰着花朵的金属支架所支撑。在最后一间展厅中，环绕着画在树瘤板上的老彼得·勃鲁盖尔的月份画中的细节；位于展厅中央的作品《花蕾》（2023），呈现希罗尼穆斯·博斯的《人间乐园》中绘制在一个透明球体（其实是植物的果实）中的裸体细节，使人们能够将这些点状物的象征意义串联起来——正如，地球上所有的生命存在都与天国及冥界的概念有关，并在两者之间抵达永恒之美。

撰文：贺潇

[1] 展览标题英文原文Passage一词有流逝和旅程双重含义。

Chris Oh 克里斯·吴 | Xylem 木质部 | 2023 | acrylic on wood panel with antique burl frame 带有古董树节画框的木板上丙烯设色 | 66.04 x 45.72 x 10.16 cm

Humans look into the past for knowledge to understand the present, which will ultimately inspire ideas for the future. Discovering and learning from archaeological sites, museums, publications, artifacts, and the natural world have allowed humans to realize the transience of being and their relationships to the various modalities of time found in nature. As much as such revelations compel some to wonder what will remain once they cease to exist, others beg the question, how would systems of knowledge accumulated in a person’s lifetime, along with what their ancestors have accrued, be relayed to future generations? Driven by both questions, Chris Oh’s first solo exhibition, Passage, at Capsule Shanghai, as suggested in the double-entendre of its title, showcases painted objects as relics of the future.

Recognized for his exceptional painterly ability honed at a young age, Chris Oh could replicate any image into an astounding facsimile. Notions of appropriation and authorship may have contented in the visual realm from antiquity to the present day, copying as a form of learning has not only been common practice among artists’ studios of the Renaissance Masters such as Botticelli, Leonardo Da Vinci, Michelangelo, but the burgeoning art and culture of this period itself, was rooted in rediscovering and learning from the classical cultures of Ancient Greece and Rome.

胶囊上海｜克里斯·吴：流逝崇真艺客 Chris Oh 克里斯·吴 | Ripe 成熟 | 2023 | acrylic on wood panel with antique frame 带有古董树节画框的木板上丙烯设色 | 22.86 x 18.42 x 3.18 cm

Instead of marveling at the lofty idealizations of the beauty of the Italian Renaissance, Oh, however, opted for the Northern Renaissance period. With subjects ranging from landscape, portraiture, still life, and biblical narrative to rural labor from this period, Northern Renaissance artists retained a Gothic sensibility carried over from illuminated manuscripts, where somber moods and darker psychological undertones resonate with the intent and effects Oh envisioned for this body of work. What also appealed to Oh isthe attention to detail shown in paintings from this period, before the wide use of lens and photography, which looked exceptionally fresh to Oh with an uncanny beauty, a change he hoped to pursue while departing from his previous photo-realist approach.

Oh’s covetous act of painting details of Northern Renaissance images onto artificial and natural objects, driven by a fascination with the natural world and knowledge systems, asserts the artist’s revelation that humans have always co-existed with objects of varied temporalities. Viewers of this exhibition will come across a sea fan, a cicada, emu eggs, shells, agate slices, and burl slabs, among others; each matter represents a unique life cycle, spanning from days to eons. “For this exhibition at Capsule Shanghai, I want to use materials that grew over time.” Moreover, the compositions of Northern Renaissance paintings, which often relied on a central axis, fit into the geometry of modern objects Oh found, showing the artist that conventions of composition from hundreds of years ago bleed into our contemporary sphere of culture now.

胶囊上海｜克里斯·吴：流逝崇真艺客 Chris Oh 克里斯·吴 | Shimmer 微光 | 2023 | acrylic on seashell 贝壳上丙烯设色 | 19.67 x 13.02 x 6.35 cm

Oh’s work process is similar to putting together a jigsaw puzzle. He often begins by studying the etymology of his subjects and their symbolic potentials in making free imaginative associations, which became cues that connected these subjects with his abundantly versed art historical lexicons in Northern Renaissance paintings. Among the works on view, one will find glimpses of masterpieces by artists such as Leonardo Da Vinci, Jan van Eyck, Hieronymus Bosch, and the lesser-known works of Dieric Bouts, Gerard David, and Rogier van der Weyden.

Much like the work process Oh has adopted for rendering each piece in this show, the overall conception for this exhibition would also allow viewers to make free association presented from one gallery space to the other. Although the specific theme designed for each gallery space takes the viewer on a journey through mourning, knowledge and wisdom, unifying transformation, melancholy, and depth of consciousness – a course that spans a person's life, Oh’s juxtaposition of the various perceptions and experiences of time tempers with the illusory nature of the imagery.

胶囊上海｜克里斯·吴：流逝崇真艺客 Chris Oh 克里斯·吴 | Burl 树节 | 2021 | acrylic on antique wooden burl slab 古董树节厚板上丙烯设色 | 53.34 x 76.2 x 5.08 cm

As one peruses through the gallery spaces, grasping glimpses from the ideal beauty in the portrait of Ginevra de' Benci on a perforated sea fan to the tree on the back of a statue that recalls Peter Bruegel's The Elder’s The Harvesters to detail from Dieric Bouts’ workshop Virgin and Child (after 1454) painted on a cicada, emerges from a clutch of eggs that lie in a nest, held by a metal holder adorned with flowers, and finally reaches the last gallery of the exhibition. There, surrounded by details of Peter Bruegel the Elder Months of the Year cycle painted on burl slabs, the central piece Bud (2023), where the detail of Hieronymus Bosch’s Garden of Earthly Delights depicting Nudes within a transparent sphere, which is the fruit of a plant, would allow one to connect the dots through their symbolic registers, that all the sentient beings exist on earth can relate to notions of the celestial realm and the underworld, finding the lasting beauty that exists in between.

Text by Fiona He

关于艺术家 ABOUT THE ARTIST

克里斯·吴1982年出生于美国俄勒冈州波特兰市，现生活并工作于纽约。

长期以来，挪用被理解为现代艺术中的一种典型的创作方式。而这种复制的艺术并不仅出现于再生产时代之后。在安迪·沃霍尔的作品中，对现存艺术品的有意复制与古罗马诗人奥维德对维吉尔作品的重新解构交相呼应。致敬与原作权之间的纠葛常为艺术家在塑造自己语言时的主要博弈——就如鲁本斯对提香画作的复制与曲解那般，克里斯·吴从西方经典的杰作中取精用宏，以构建出属于他自己的作品观。整体上看，他的作品是对艺术史的复活。透过欣赏这些精细的画作，能洞悉到艺术家对15、16世纪生活最崇高的映照，它们同时也如镜子般反射着我们当下的瞬息。

Chris Oh was born in 1982 in Portland, Oregon, and currently lives and works in Queens, New York.

Appropriation has long been understood as one of the defining practices of modern art. This art of the copy, however, is not limited to that which came after the age of reproduction. The conscious duplication of preexisting artworks is as present in Warhol as it is in Ovid’s reconfigurations of Virgil. The push and pull between homage and authorship is central to an artist forming their own language; and just as Rubens copied and contorted the work of Titian, Chris Oh co-opts masterpieces from the Western canon in order to forge his own singular oeuvre. Altogether, Oh’s work is a resurrection of art history. To view these delicate paintings is to see the artist recall some of the most sublime reflections on 15th and 16th - century life and use them as mirrors through which to observe our own moment in time.

艺术家肖像由Mario Gallucci拍摄

Artist portrait photographed by Mario Gallucci.‍‍‍‍‍‍‍‍‍‍‍‍‍‍‍

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.

胶囊上海｜克里斯·吴：流逝崇真艺客

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