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- 展览介绍 | 顾忠升个展“茧室Cocoon”
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原创 2022-07-26
茧室 Cocoon
展期：2022年7月23日至10月11日
Date：2022.7.23 - 10.11
地点：浙江省湖州市德清县莫干山镇黄郛西路48号 白云美术馆
Address: Bai & Yun Art Museum, No. 48, Huangzhu West Road, Moganshan Town, Deqing County, Huzhou City, Zhejiang Province
由Shiny Art 善怡艺术主理人徐怡琛策展的艺术家顾忠升个展“茧室”，于2022年7月23日-10月11日在莫干山白云美术馆展出。展览呈现了艺术家自2019年开始创作的蓝晒系列作品，以及他近期在上海艺术驻留期间，创作的关于“后疫情”思考的艺术装置。
Gu Zhongsheng's solo exhibition "Cocoon", curated by Rebecca Xu from Shiny Art, exhibits from July 23rd to October 11th 2022 at the Moganshan Bai & Yun Art Museum. The exhibition presents the artist's "Deeper Bleu" series which created since 2019, and the installation of his reflections on the "post-epidemic" created during his recent residency in Shanghai.
“茧室”展览现场
"Cocoon" exbition view
“茧室”展览现场
"Cocoon" exbition view
“茧室”展览现场
"Cocoon" exbition view
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茧 室
Cocoon
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文 Text｜徐怡琛 Rebecca Xu
本次展览呈现了艺术家顾忠升在疫情期间的部分创作，从蓝晒到装置，再到展览中的在地创作。顾忠升的作品尝试探索与拓展摄影和观看作为一种语言交流的新可能性。自2019年起，顾忠升开始使用摄影媒介中传统的蓝晒工艺进行创作。通过蓝晒摄影的成像原理与自然合作，以蓝色作为介质，描绘出时间的痕迹。
疫情期间，顾忠升将上海艺术驻留的工作室化作他的“茧室”，在其中思考与创作，就如同蚕在茧中孕育和新生，层叠交错，日复一日。而此地白云美术馆的前身，曾名“茧舍”，故邀请艺术家顾忠升在此再创作他在隔离期以蚕丝为灵感和素材创作的空间装置。希望观者在这一片温软的蚕丝迷雾和普鲁士蓝的色彩点缀中，感受治愈，获得更多看待事物和认知的视角，在混沌中获取“破茧新生”的能量。
This exhibition presents artworks of the artist Gu Zhongsheng during the epidemic, from cyanotypes to installations and also the site-specific artworks. In Gu’s artwork, he tries to explore and expand the new possibilities of photography and viewing as a kind of language exchange. From the year of 2019, Gu has started to use the traditional cyanotype process in photographic media for creation. By cooperating with nature through the imaging principle of cyanotype photography, blue is used as the medium to depict the impression of time.
During the epidemic, Gu made his artist residency studio in Shanghai as his "cocoon", in which he thought and created, just like a silkworm breeding and rebirth in a cocoon, overlapping day after day. Since the predecessor of Bai&Yun Art Museum here was once called "cocoon house", I invited the artist Gu Zhongsheng to re-create a new site-specific installation, which one he created with silk as inspiration and material during the lockdown period. I hope that the viewers can feel healing in this soft silk fog and Prussian blue color embellishment, gain a way of seeing and perceiving things from multiple perspectives, and obtain the energy from "cocoon breaking and rebirth" in chaos.
展览现场：左：丝 #1；右：无题 #1
Exbition view: Left: Silk #1; Right: Untitiled #1
展览开幕现场策展人与艺术家导览
Guided tour by artist and curator at the exhibition opening
现场嘉宾及美术馆工作人员合影
Group photo with guests and museum staffs
更 深 的 蓝
Deeper Blue
“更深的蓝”的作品想法开始于2016年，艺术家一次潜水的经历。他好奇更深处的世界，人类难以探索的空间，既然肉身不能企及，只有想象它了。蓝色于他代表了未知并蕴含巨大的能量，颜色本身已经表达出了他想说的一切。人生瞬间又永恒，有人见大海，有人见星辰。
The idea of "Deeper Blue" started in 2016, when the artist had a diving experience and was curious about the deeper world, a space that is difficult for humans to explore. Since it is beyond the reach of the physical body, he can only imagine it. Blue represents the unknown and immense energy for him, and the color itself already expresses everything he wants to say. Life is instant and eternal, some people see the sea, while others see the stars.
雪山 1K01，蓝晒艺术纸，110 x 76 cm，2021
Snow Mountain 1K01, Cyanotype on Art Paper
太阳风暴 01，蓝晒艺术纸，75 x 55 cm，2022
Solar Storm 01, Cyanotype on Art Paper
丝 #1，蓝晒艺术纸，120x 80cm，2022
Silk #1, Cyanotype on Art Paper
开端 1K01, 蓝晒艺术纸, 110 x 76cm, 2021
Strat 1K01, Cyanotype on Art Paper
陷 阱
Trap
陷阱，蚕丝、鱼饵，尺寸可变，2022
Trap, Silk and Fishing Bait, Dimension Variable
一切都可以看作是陷阱，而大自然最擅长制造一个个陷阱。设计、艺术、美、丑、怪甚至正义和邪恶都可以看作是一个个陷阱，吸引你进入其中。艺术家用蚕丝制作了一张网，而支撑和展开它的工具是诱鱼的鱼饵。观者在作品中首先感受到蚕丝的纤细轻薄，甚至呼吸都可以影响到它的形状，但其中却包裹着锋利的鱼钩。在一片温软的迷雾中危机四伏，彷佛丛林中的猎人，即是狩猎者也是猎物本身。在这样的一个链条中，艺术家希望传递一种多视角看待事物和认知的方式，思考真实和虚构。
Everything can be seen as a trap, and nature is best at creating one. Design, art, beauty, ugliness, monstrosity, and even justice and evil can all be seen as traps that draw you into them. Artist has made a web by using silk, while the tools to support and unfold it are fishing bait. Viewers can firstly feel the thinness and lightness of the silk, and even breathing can affect the shape of it, while the sharp fish hook is wrapped in it. In a warm and soft mist, there are crises, like both the hunter and the prey itself in the jungle. In such a chain, the artist wishes to convey a way of seeing and perceiving things from multiple perspectives, and thinking about reality and fiction.
陷阱 作品细节
Trap installation details
陷阱 作品细节
Trap installation details
Plate #1
培养皿 #1，蓝晒、盐、菌群、树脂，25x25cm，2022
Plate #1, Cyanotype, salt, bacteria and resin
这件作品艺术家用盐和蓝晒液体中的重金属培养了细菌，在水分蒸发的过程中，它逐渐结晶，颜色变得鲜艳，形成了如山脉和河谷的痕迹。在这些细菌生长至最绚烂的时候，艺术家用人工树脂定格了它的生命，使得它瞬间死亡并变得暗淡和模糊。这个行为让艺术家感到愧疚又兴奋，他仿佛扼杀了一颗初生的星球，但也体验到成为神的快感。
In this work, the artist cultivated the bacteria with salt and heavy metals in blue tanning liquid. As the water evaporated, it gradually crystallized and became brightly colored, and then formed traces like mountains and river valleys. While the bacteria were growing to their fullest splendor, the artist used artificial resin to freeze its life and made it die instantly and become dark and blurred. This act made artist feel guilty and excited, as if he had killed a newborn planet, but also experienced the thrill of becoming a god.
培养皿 #1 作品细节
Plate #1 installation details
复制 粘贴突变
Copy Paste Mutate
复制 粘贴 突变，拼贴装置（蓝晒艺术纸），尺寸可变，2022
Copy Paste Mutate, Collage Installation (Cyanotype on Art paper), Dimension Variable
生命的本质就是复制、粘贴偶尔突变。我们身体的全部细胞或者大自然都在重复这一个简单的程序。我们竭尽所能做好复制和粘贴，但还是避免不了突变。突变是错误或者说是偶然，突变也是进化的可能性。艺术创作也追寻这样一个程序，艺术家年复一年的创作相似逻辑概念的作品，偶尔会有突破。有惊喜也有沮丧，白天他把 “做坏的作品”撕碎，夜晚他将这些“突变”再重新复制粘贴成新的作品。
The essence of life is copy, paste and occasionally mutation. All the cells of our body and the nature repeat this one simple procedure. We do our best to copy and paste well, but we still cannot avoid mutations. While mutation is an error or coincidence, it is also the possibility of evolution. Art creation also pursues such a procedure, and the artist creates artworks with similar logical concepts year after year with occasional breakthroughs. There are surprises and frustrations. During the day artist tears up the "bad works", and at night he copies and pastes the "mutations" into a new work.
艺术家&策展人采访
Interview with Artist & Curator
Q：善怡艺术 Shiny Art
G：顾忠升 Gu Zhongsheng
R：徐怡琛 Rebecca Xu
展览开幕现场策展人与艺术家导览
Guided tour by artist and curator at the exhibition opening
艺术家顾忠升布展
Artist Gu Zhongsheng sets up the installation
Q：谈谈您的作品“陷阱”关于“后疫情时代”的一些思考？
Q: Can you talk about how you think your work "Trap" on the "post-epidemic era" ?
G：陷阱是一个常态，生物链或者说整个宇宙都是一个陷阱。我们通过一系列精心设计或者演化来的陷阱，捕获生存所需的能量，大的陷阱如星系、人类，小的如昆虫和病毒。所以我觉得后疫情时代没什么改变，唯一要做的就是要接受跟病毒共存或者说跟自然维持平衡关系吧。
G: Trap is a constant, the biological chain or the entire universe is a trap. We capture the energy we need to survive through a series of traps that have been carefully designed or evolved. Big traps like galaxies and humans, and small ones like insects and viruses. So I don't think the post-epidemic era has changed many things, the only thing we have to do is to accept coexistence with viruses or maintain a balanced relationship with nature.
陷阱，蚕丝、鱼饵，尺寸可变，2022
Trap, Silk and Fishing Bait, Dimension Variable
陷阱 作品细节
Trap installation details
像这个装置一样，它通过多点平衡悬置在空中，任何一个点的拉力变化都会影响它的形状，甚至毁灭整个作品。随着时间和重力的影响，它会逐渐下沉，最后坍塌，这是一个关于时间的漫长变化过程。我希望作品表达出了这种逻辑关系，它存在本身就是完美的，毁灭也是完美的。作品从几个小小的蚕茧不断展开，变成现在这个体量，里面像陷阱一样，布满了真真假假的蚊虫诱饵、鱼钩。可以想象它就是一个微缩版本的宇宙。
Like this installation, it is suspended in the air by a multi-point balance. Any change in tension at any one point can affect its shape and even destroy the whole piece. As time and gravity take their toll, it will gradually sink and eventually collapse, which is a long process of change over time. I hope that "Trap" expresses this logical relationship, that its existence is perfect in itself and that its destruction is also perfect. The work unfolds from a few tiny cocoons to its current volume, which is like a trap, covered with real and fake mosquito bait and fish baits. One can also imagine this as a miniature version of the universe.
陷阱，蚕丝、鱼饵，尺寸可变，2022
Trap, Silk and Fishing Bait, Dimension Variable
展览现场：左：地心引力 #1；中间：半天#1；右：陷阱
Exbition view: Left: Gravity #1; Middle: Half Day #1; Right: Trap
Q：在上海驻留四个月期间的经历以及体会？
Q: What were your experiences during your four-month residency in Shanghai and how did you feel about it?
G：这次在上海斯沃琪艺术中心的四个月，我想最特殊的应该是经历了两个月的封城。当整个城市停摆，自由没有了。艺术变得可有可无、甚至一切都变得没有意义，每天胆战心惊的祈祷人性发光。再剩下的就是琐碎的时间等待你去填满。那么艺术作为一种填满时间和培养人性的工具再次发挥作用，让我一分一秒的熬过来了。
G: I think the most special thing about this four-month residency at Shanghai Swatch Art Peace Hotel would be the two-month lockdown. When the whole city stopped, there was no freedom. Art became dispensable, even meaningless, and every day I prayed in fear that humanity would be illuminated. All remains is a trivial amount of time waiting to be filled. Then the art functions again as a tool to fill time and nurture humanity, allowing me to get through one minute at a time.
策展人徐怡琛在作品"雪山 1K01"前
Curator Rebecca Xu before artwork "Snow Moutain 1K01"
Q：作为策展人，您能聊聊“茧室”展览的由来吗？
Q: As the curator, can you talk about the origin of the "Cocoon" exhibition?
R：我从2016年至今，一直根植于在地性公共艺术的策划与研究。我关注艺术家顾忠升与他的蓝晒系列“更深的蓝”有很长的时间，也希望可以有合作的机会。正巧今年上半年他在斯沃琪艺术中心驻留，看到了他在上海隔离期间创作的短期空间装置作品“陷阱”。这件装置作品以蚕丝和鱼饵为材料，巧妙形成了一个犹如蚕茧的空间状态，生动地表达了他对于“后疫情”的思考和反馈。在同一时间，我收到了“白云美术馆”的展览策划邀请，经过我的了解和研究，发现美术馆的前身是养蚕的房子——“茧舍”，这让我联想到艺术家在创作蓝晒作品的过程与蚕吐丝有很多类似的地方，都是通过劳作与时间形成的结果，所以我邀请他在美术馆中以蚕丝为材料创作全新公共艺术装置，并且同时展览艺术家在疫情隔离期间创作的蓝晒作品。
R: Since 2016, I have been rooted in the planning and research on site-specific public art. I have been following artist Gu Zhongsheng and his cyanotype series "Deep Blue" for a long time, and I hope there will be opportunities for cooperation. It happened that he stayed at the Swatch Art Center’s Artist Residence in the first half of this year. I saw the temporary space installation "Trap" he created, during the quarantine period in Shanghai. Using silk and fishing bait as materials, this installation ingeniously forms a cocoon-like space, vividly expressing his thoughts and feedback on the "post-epidemic". At the same time, I received an exhibition curating invitation from "Bai & Yun Art Museum". After my researching, I found that the predecessor of the art museum was a house for raising silkworms - A "Cocoon House". It reminded me of the artist's creation of cyanotype process is similar to silkworm spinning, which is the result of labor and time, so I invited him to create a new public art installation using silk as material in the art museum, meanwhile exhibiting the artist’s cyanotype artworks which created during the quarantine period.
展览现场：左：培养皿#1；中：丝#1；右：无题#1
Exbition view: Left: Plate #1; Middle: Silk #1; Right: Untitiled #1
无题#1，纸上油画，75 x 55cm，2022
Untitleled #1, Oil Painting on Art Paper
Q：这个展览您会定义为在地性公共艺术项目吗？
Q: Would you define this exhibition as a site-specific public art project?
R：与其说是在地性公共艺术项目，我更想说这是一个具有“治愈性”的展览。展览中我们可以看到艺术家对于“后疫情时代”和“例外状态”的真实反馈、表达与思考，这是与每一位观众一起经历着的“时代的阵痛”。我在疫情期间阅读完霍布斯的著作《利维坦》之后也有一些新的个人思考。人们面对突然到来的社会变化时，有的恐惧与反对，有的喜悦与赞成，也有的无动于衷，但人类始终是一种群居生物，面对全球性的灾难，都会让人感觉到不安与恐慌，这也是我策划此次展览的原因，希望观众们可以在展览中得到更深入的思考和心灵的疗愈。
R: Rather than a site-specific public art project, I would like to say this is a "healing" exhibition. In the exhibition, we can see the artist's real feedback, expression and thinking on the "post-epidemic era" and "stato d’eccezione", which is the same "pain of the times" experience as every audience. I also had some new personal reflections after reading Hobbes’ “Leviathan”during the pandemic. When people face sudden social changes, some fear and oppose, some joy and agree, and some are indifferent. However, human beings are always a gregarious creature. In the face of global disasters, people will feel uneasy and panic. This is also the reason why I plan this exhibition, I hope the audience can get more in-depth thinking and spiritual healing in this exhibition.
陷阱 作品细节
Trap installation details
陷阱 作品细节
Trap installation details
艺术家介绍
Artist
顾忠升
Gu Zhongsheng
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策展人介绍
Curator
徐怡琛
Rebecca Xu
▲
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