艺博会｜BROWNIE Projcet 参展 2023西岸艺术与设计博览会丨展位B315

郭盈光的艺术实践围绕公共性议题，将个人经验向公共性敞开，再将外部的反馈与冲击收束至个体反思和作品延展，渗透着公共性与私密性的互博状态。她擅于用跨媒介艺术实践，结合装置、摄影、雕塑、绘画、影像、行为等，与外部结构进行相互构建，并传达出细腻而丰富的现场情绪，常以细腻利落的视觉语言与具有争议性的创作主题于艺术世界和社会视野中引发思辨与讨论。

郭盈光，1983年生于中国辽宁，伦敦艺术大学传媒学院摄影硕士，中国传媒大学艺术摄影专业学士，现居住工作于北京与华欣。

郭盈光在艺术家生涯伊始即凭借《顺从的幸福》系列作品获得2017年集美·阿尔勒Madame Figaro女性摄影师奖，受到法国阿尔勒国际摄影节官方展览邀请及Sophie Calle（苏菲·卡尔）、Paul Graham（保罗·格雷厄姆）等国际艺术家的推荐。2019年，应Simon Baker（西蒙·贝克，原泰特首席摄影策展人；现巴黎欧洲摄影馆总监及策展人）之邀，郭盈光首个个展”郭盈光：顺从的幸福”于巴黎欧洲摄影馆（Maison Européenne de la Photographie）开幕，郭盈光也是首位在该艺术机构举办个展的中国女性艺术家。

经过持续数年的自反与创作推翻，以应对外部舆论冲击，2022年郭盈光带来第二个同名个展，以更为抽象、立体与机敏的创作形式，延续她与外部公共/社会结构进行双向批判性接纳与嵌合的艺术实践，个体身份与个人经验开始以新的立场出现。

Guo Yingguang’s artistic practice revolves around public issues, opening up personal experiences to the public, then incorporating external feedbacks and impacts into individual reflection and extension on works, suffused a tug between publicity and privacy. She is adept at multi-media practice, combing installation, videography, sculpture, painting, photography, happening as well as external composition to convey abundant yet delicate emotions. She often adopts intricate and concise visual language, controversial themes, to lead reflection and spark discussion in both the art world as well as in society. 

Guo Yingguang, born in 1983 in Liaoning, China, holds a Master’s degree in Photography from London College of Communication (UAL), a Bachelor’s degree in Photography Communication University of China. She currently lives and works in Beijing and Huaxin. 

Guo Yingguang has won Jimei ARLES  2017 Madame Figaro Women Photography Festival with the series “The Bliss of Conformity” at the start of her career and was invited to exhibit at Rencontres d’Arles International Photography Festival in France. She was recommended by international artists such as Sophie Calle and Paul Graham. In 2019, at the invitation of Simon Baker (former chief photography curator at Tate), Guo Yingguang’s first solo exhibition “Guo Yingguang: The Bliss of Happiness” opened at Maison Européenne de la Photographie, making her the first Chinese female artist to hold a solo exhibition at MEP.

After years of reflexivity and creative overthrow to cope with public voices, Guo Yingguang’s second solo exhibition realized in 2022 with a more abstract, integrate and agile method to experiment her practice, continuing her path of two-way critical acceptance on external public/social structure and chimeric art, illustrating individual identity and personal experiences in new perspectives.

金赞颂拥有韩国首尔国民大学美术学院绘画学士学位。作为韩国新生代绘画代表之一，金赞颂感兴趣于“边界“的概念，在她以身体风景为主题的绘画中，主体被消解为形变的不可辨认的客体，与其他有生命的陌生的自然介入物一起，形成了通过某种干预而建立的变化过程，并让观者思考我们的身体——每个本体作为边界的立场和情绪。

她的作品曾受邀展出于全球各大艺术机构，近期重要展览包括个展 “皮肤的边界”，米梅西斯艺术博物馆，首尔，韩国（2023）；“发现：12位韩国当代艺术家”，洛克菲勒中心，纽约，美国（2023）；“塞纳河畔沃的夏天”，李应鲁美术馆，大田，韩国（2023）；“Casatopia”，德拉波特别墅，卡萨布兰卡，摩洛哥(2023)；金赞颂曾获得张旭镇美术馆绘画奖、郑敾美术馆“明日之星艺术家奖”、GAMMA“年度青年艺术家奖“。她的作品被全球重要美术馆及公共机构收藏，包括首尔市政府、清州美术馆、朴栖甫基金会、米梅西斯艺术博物馆、张旭镇美术馆、韩国百庆出版集团、南大出版集团等。

Chansong Kim graduated from Kookmin University with a Bachelor of Fine Arts in Painting. A featured artist of Korean new generational painting, she is keen on exploring the concept of “boundary”. In her paintings of themes centered on corporal landscape, subject is dissolved into an unrecognizable object, forming a process of transformation established through certain intervention along with other living and unfamiliar natural intruder, invites the viewers to ponder on body - the position and emotion of each entity as a boundary. 

Her works have been invited to exhibit in various art organizations, recent selected exhibitions include solo exhibition “Border of Skin”, MIMESIS Museum, Seoul, Korea (2023); “Discovery: 12 Contemporary Artists from Korea”, Rockefeller Center, New York, USA (2023); “Summer at Vaux-sur Seine”, Lee Ungno Museum, Daejeon, Korea (2023); “Casatopia”, Villa Delaporte, Casablanca, Morocco (2023); She has won the Drawing Award, Chang Ucchin Museum of Art; “Tomorrow’s Artist Prize”,  Kyumjae-Jeongseon Art Museum; “2020 Young Artist of the Year'', GAMMA Young Artist Competition. Her works have been collected by Seoul City, Cheongju Museum of Art, Park Seobo Foundation, MIMESIS Art Museum, Chang Urchin Museum of Art, Pakyoung Publishing Company, Nanda Publishing Company, and etc..

珍妮·盖格尔拥有斯泰伦博斯大学绘画学士学位。盖格尔的作品将人类身体看作世代影响的作用场，身体被架构为一个持续变化的环境。躯体是一个钝角的外壳，是一个有生命、会呼吸的外壳。盖格尔通过错综复杂的层叠和构图，大量使用织物和各种媒介模糊并拉开了观众与作品的距离，将身体建档变成复杂的、有时可怖的、富有地域特色的挂毯作品。她的构图绽放出一种梦幻逻辑，在那里，绘画的手法痕迹消解，具象被流动性替代，戴着面纱的人物诘问着关于亲密和疏离、脆弱和雄伟的回忆。

作为近年快速崛起的南非当代青年艺术家，她的作品多次受邀于南非和欧州的艺术机构展出。近期重要个人项目包括: “热浸”。埃马努埃莱·卡特拉尼当代艺术，都灵，意大利（2023）；“解剖课程”，Wschòd, 华沙，波兰（2022）；“唱进我嘴里”，Osart画廊，米兰，意大利（2021）；“探戈”，Smac，开普敦，南非（2020） 。近期重要群展包括：“秘密之筛”，Paulina Caspari和Beacon, 慕尼黑，德国 （2023）；“一个陌生人的故事”，Mauruani Mercier, 布鲁塞尔，比利时 (2023）；“迷宫”，Kristin Hjellegjerde画廊，伦敦，英国 （2022）。她的作品被世界各地的美术馆和机构，收藏包括Smac画廊、母校斯特伦博斯大学, Yellowwoods Collection等。

Jeanne Gaigher completed a Bachelor of Fine Arts degree at the Stellenbosch University. Gaigher’s works consider the human vessel as a playground of generational consequence, the body is framed as a setting for continued change and occurrence. Flesh is an obtuse casing, a living and breathing hull. Through intricate layering and composition, and using reams of fabric and various mediums to obscure and create distance between the viewer and the work, Gaigher conjures a complex, and sometimes macabre, topographical tapestry of the body as archive. Her compositions bloom to a dreamlike logic, where painterly gestures dissolve and resolution is substituted with fluidity, and those veiled figures interrogate recollections of proximity and alienation, of fragility and edifice. 

An rising contemporary artist from a geographically global south, her works are featured in numerous South African and European art institutions. Her recent solo projects are: “Hot Dipping”, Emanuele Catellani Contemporary, Turin, Italy (2023) ; “Anatomy Lesson”, Wschòd, Warsaw, Poland (2022); “Sing into my mouth”, Osart Gallery, Milan, Italy (2021); “Tango”, Smac Gallery, Cape Town, South Africa (2020). Recent group exhibitions are: “The Sieve of Secrecy”, Paulina Caspari and Beacon, Munich, Germany (2023), “A Stranger’s Tale”, Mauruani Mercier, Brussels, Belgium (2023); “Labyrinth”, Kristin Hjellegjerde Gallery, London, UK(2022).  Her works resides in the collections of art museums and institutions around the globe, includes Smac Gallery, her alma mater Stellenbosh University, Yellowwoods Collection and etc..

周心语的创作围绕着个人经验以及公共性的事件，但她并不将这些直接转译为画面，而是从其中衍生的情绪生发出创作。她从失真的影像、光影碎片中汲取灵感，并且关注现实生活的脆弱感以及转瞬即逝的诸多事物。她笔下的人物常浓郁地体现出与现实世界的疏离感，停滞的情绪与冷静的凝视相交织，她将绘画作为一种向现实世界提问的手段。

周心语的创作技法受她少年时期数码绘画的直接影响，作为“95后”一代，她在少年时期更多地使用数位板在Photoshop中绘画，以及后来动画及版画的教育经历，使得“图层”（layer）对她影响颇深，因此她专注于利用多种绘画媒介层层叠加，以复现日常生活中的具体时刻。这些具体的记忆被聚焦、定格，层层附着于平面之上，让原意变得更加难以捉摸的同时，使画面中的材料纹理呈现出一种新的表述，将这转瞬即逝的回忆重新带回令人失神的时刻。

女性人物肖像常是周心语的表现主题，这些肖像形象往往取自她身边最亲密的挚友（尤指2021-2022年的肖像作品），但她往往刻意地去除肖像本身形象特征，而去强调一种氛围与情绪，她希望所呈现的肖像作品不是对某一个体的摹写，而是更具共性的“肖像”本身。

她的主要展览项目包括:”激悦和隐蔽的私密地带"，BROWNIE Project，上海（2023）; "单独时间”Union Pacific, 伦敦（2023）; “三面镜子”，ARR画廊，杭州（2022）; “亚洲艺术文献库2022年度筹款”，香港佳士得，香港（2022）; “花园哑剧”，弥金画廊，上海（2022）; “一间自己的房间”，当代唐人艺术中心，香港（2022）等。

Zhou Xinyu's creations revolve around personal experiences and public events. However, she doesn't directly translate these experiences into imagery but instead draws from the emotions that arise from them. She draws inspiration from distorted images and fragments of light and shadow, focusing on the vulnerability of real life and the fleetingness of many things. The characters in her artwork often embody a sense of detachment from the real world, where stagnant emotions intertwine with a calm gaze. She sees painting as a way to pose questions to the real world.

Zhou Xinyu's creative technique is directly influenced by her digital painting experiences during her teenage years. As a member of the "post-95" generation, she frequently used digital tablets to paint in Photoshop during her youth. Her later experiences in animation and printmaking left a deep impression of the concept of "layers" on her. As a result, she focuses on layering various painting media to recreate specific moments from everyday life. These vivid memories are magnified, frozen, and layered upon the surface, making the original intent more elusive, while the material texture in the artwork presents a new narrative, bringing these fleeting memories back to a mesmerizing moment. 

Female portraits are a common theme in Zhou Xinyu's work. These portraits are often derived from her closest friends (especially in the portraits from 2021-2022). However, she often intentionally removes distinctive features from the portraits, emphasizing atmosphere and emotion instead. She hopes that the portrayed images are not depictions of specific individuals but rather represent a more universal "portrait" itself.

Her recent major projects include: "The Secret Realm of Thrills and Concealment", BROWNIE Project, Shanghai (2023); "Alone Time", Union Pacific, London (2023); "Three Mirrors", ARR Gallery, Hangzhou(2022); "Asian Art Archive Annual Fundraising Auction Preview", Christie's Hong Kong, Hong Kong (2022); "Pantomine In The Garden", Gene Gallery, Shanghai (2022); "A Room of One's Own", Tang Contemporar Art, Hong Kong (2022), etc..

赵玉本科（DNAP）及硕士（DNSAP）毕业于法国巴黎国立高等美术学院。她的创作主要致力于将“自文化”转化为“他文化”视角，并置进时空深层框架进行思考，她通过图像、视频、写作及装置等诸多媒介进行转译。她基于行走、基于个人经验，借用符号学、文学以及相关社会学科中的元素对场景进行重构，籍此呈现世界范围内的文明流动，文化流变，一个“新”的叙述者从中产生，以“闯入者”的形象迫问历史之真，探讨和回应原本与副本的复杂勾连。

她的主要展览项目包括：皮钦光谱：一种文化的非线编可能”, 上海当代艺术博物馆,上海 （2023）; “激悦和隐蔽的私密地带”，BROWNIE Project，上海（2023）; “石榴”，MOU PROJECTS，香港（2023）; “潮汐复朝夕”，七木空间，北京（2023）；“楼上的城市”，ASE基金会，上海（2023）；“北京艺术双年展｜大地热流：回到太阳时间的访客”，北京友谊艺术社区，北京（2022）；“多少次呵，我离开了我日常的生活 ”，69 ART CAMPUS，北京（2022）；《熔炼的暗礁》，We Space，上海（2022）；《感性对话》，碧云美术馆，上海（2022）；“炼金的任务”，Arch Gallery，长沙（2022）；“流动的身份”，广东美术馆，广州（2022）；““辣条”时代：年轻力观察”，年代美术馆，温州（2022）；“隐喻与凝视”，LA VIE物质生活艺术中心，深圳（2022）；“靡菲斯特的舞步”，沪申画廊，上海（2021）；“未来祭中祭2”，喜马拉雅美术馆，上海（2021）；“O，Cat在欢乐谷”，OCAT研究中心，北京（2021）；“语言外世界II”，梵融美术馆，苏州（2021）；“四重奏”，阿里巴巴西溪园区，杭州（2021）；“你走不出它的边际，无论你远行到何方”，斯沃琪和平饭店艺术中心，上海（2020）；“风暴山谷”，無同空间，长沙（2020）；“苏格兰高原的狮子——写作的平行展览”，OCAT 研究中心，北京（2019）；“L’Entre- Deux, Zetoart”, 却道艺术，巴黎（2019）；“我们在何处相遇”，全国农业展览馆，北京 (2019)；“观看的剩余”，第七届济南国际摄影双年展，济南（2018）；“另一种设计”，华 · 美术馆，深圳（2018）；第十届三影堂摄影奖作品展“起承”，三影堂艺术中心，北京（2018）；“Waiting For”，Galerie du Crous，巴黎（2018）；“Dear mom, What Do People Cross When Crossing The Boundary?”，Kunstraum Potsdamerstraße, 柏林（2018）。

参与的艺术驻留项目包括：“燃冉”UCCAx新天地艺术家驻留（2023）；天目里美术馆之驻艺术家驻留（2022）；斯沃琪和平饭店艺术中心驻地（2019-2020）；“Paris X Berlin”巴黎、柏林驻地（2018）及方志小说（2017）等。

赵玉的写作见于假杂志、《艺术世界》、 CEF实验影像中心、泼先生、招隐等媒体。2018 年联合策划编辑了 2018 年 11 月《艺术世界》的长读项目《苏格兰高原的狮子》；2019年入围OCAT研究中心“研究型策展计划”终选名单，同年出版短篇小说《美丽城地铁站》。

Pocono received her DNSAP (MFA) from École nationale supérieure des beaux-arts de Paris. 

A "newcomer", a "future long-dweller". Pocono Zhao Yu’s works focus on transforming the perspective from "self-culture" to "other-culture" and reflecting in the deep spatio-temporal framework. She translates the world through various media such as image, video, writing and installation. Based on personal experience, she reconstructs the scene by borrowing elements from semiotics, literature and related social disciplines, thus presenting a "new" narrator to question the authenticity of history as an "intruder" and explore and respond to the complex connection between the original and the copy. She also focouses on issues of identity and territorial anxiety arising from globalization.

Her main exhibitions include: “Pidgin Spectrum: Nonlinear Narratives of Multiculture”, Power Station of Art, Shanghai (2023); "The Secret Realm of Thrills and Concealment", BROWNIE Project, Shanghai (2023); “Pomegranate”, MOU PROJECTS, Hongkong (2023); “At sunrise and sunset, tides rise and fall”, Qimu Space, Beijing (2023); “Upstairs Cities”, ASE Foundation, Shanghai (2023); “2022 BEIJING Biennale | Earth Heat Flow: The Visitor Who Returns to Solar Time”, BEIJING Friendship Art Community, Beijing (2022); “How Many Times, I Have Left my Everyday Life”, 69 ART CAMPUS, Beijing (2022); “The Molten Reef”, We Space, Shanghai (2022); “Un Dialogue Avec La Sensibilité- Ecriture, Désir, Amour”, BeingArt Museum, Shanghai (2022); “La Mission d’alchimie", Arch Gallery, Changsha (2022); “Floating”, Guangdong Museum of Art, Guangzhou (2022); “Metaphor and Gaze”, La Vie material life art center, Shenzhen (2022); "Tangle of revolution and political soul”, SAG Gallery, Shanghai (2021); “Rituals in Rituals of the future”, Himalayasmuseum, Shanghai  (2021); “O, Cat in Happyvalley!”, OCAT Institute, Beijing (2021); "Extro-Language World II”, Fanrong Museum, Suzhou (2021); “Quaretet”, Alibaba, Hangzhou (2021); “Don't Forget Spring”, Long Museum, Shanghai (2021); "A Room of One's Own | Saint Valentine's Day", Fu Kan space, Shanghai (2020); “The Storm Valley”, Wooton Gallery, Changsha (2020); “You Will Never Cross Its Boundaries, No Matter How Far You Go”, Swatch Art Peace Hotel, Shanghai (2020); “Lions of the Scottish Highlands—Parallel Exhibition of Writing”, OCAT, Beijing (2019); “Where We Met? - Nomination Exhibition Of Contemporary Image From Post 90s Generation”, Beijing National Agricultural Exhibition Centre, Beijing (2019); “Residual Of Watch”, The 7th Jinan International Photography Biennale, Jinan (2018); “Another Way to Design”, OCT Art&Design Gallery, Shenzhen (2018); “Interlink: 2018 the 10th Three Shadows Photography Award”, Three Shadows Photography Art Centre, Beijing (2018); “Waiting For”, Galerie du Crous, Paris (2018); “Dear Mom, What Do People Cross When Crossing The Boundary?”, Kunstraum Potsdamerstraße, Berlin (2018); “Power of the Image” China (Datong) International Photography Culture Exhibition, China Sculpture Museum, Datong (2018).

Her mainly participating art resident projects include: Ranran, Xintiandi X UCCA Art Residency(2023); By Art Matters Residency(2022); the residence of swatch Art Peace Hotel(2019-2022); "Paris x Berlin" Paris, Berlin(2018) and FANGZHI Novel(2017), etc.

Pocono has contributed art reviews to various publications such as Jiazazhi, ArtWorld Magazine, CEF, PULSASIR, ZHAOYIN Echo. In 2018, Pocono Zhao Yu worked with Rie Kung as guest editors for a special Long Reading project titled Lions of the Scottish Highlands for the Chinese art magazine Art World. In 2019, she was shortlisted for the "research-based curatorial project" of OCAT Institute, and published the short story "La station de Métro Belleville" in the same year. 

Major writings of Pocono’ s include “Toward Which of These Futures the Favoring Winds Are Driving MacGuffin?” (2018), “We Thought We Will Never Forget Uqbar” (2018), and a short novel The Metro Station of Belleville (2019).