以下文章来源于重美术馆GravityArtMuseum，作者重美术馆
![]()
展览日期：2023/09/17 - 2023/12/17“目光：薛若哲2011-2023作品研究”是艺术家薛若哲在北京的首次机构个展，亦可谓薛若哲早期生涯的阶段性回顾展。展览并不因为回顾的性质，而以求全为目的；相反，展览仅精选了艺术家以绘画为主、兼具影像的部分创作，试图挖掘薛若哲在古典与写实的宏大背景下，具有个人特质的钻研与实践。展览的回顾方法具有主题线索性，而“目光”，正是我们切近艺术家薛若哲创作的题旨。
Gaze: Xue Ruozhe Early Career Survey 2011-2023 is the first institutional solo exhibition of the artist Xue Ruozhe in Beijing, as well as a survey retrospective of the artist’s early career. The exhibition is not solely intended for the purpose of retrospection, but rather selectively features a portion of the artist's oeurvre, primarily paintings, also with some video works. It aims to uncover Xue Ruozhe's idiosyncraticexperiments and practices within the grand contexts of classicism and realism. The survey is thematic, and it is gaze that precisely captures the essence of Xue Ruozhe's artistic endeavors.![]()
▲薛若哲，湾区导览，亚麻布丙烯，225 × 400 cm，2020薛若哲是一个以绘画为志业的艺术家，他认为，绘画之于他远远逾越于工作的范畴，而是一种瘾乃至信念——用他自己的话说，“绘画是我的本能，是内在的需求”。回顾薛若哲毕业前后至今的十余年绘画创作，他往往以描摹刻画人物、风景以及静物的细节之专精而为人所知。表象之下，如若向内更深地探究，我们或能意识到，大体量的作品实则集中构造的是内面之人的精神空间，即对内心世界的探求和对于内在自我的心理审视。换言之，在个人创作的序列内部，薛若哲的绘画，从对外在物象的描摹引向画中人的内在世界，并反向映射着画家的内面探求，进而波及所有观者、从眼到心的内维审视。这正是薛若哲通过大量作品完成的一个“视觉——精神”循环逻辑，或者说内面之观看的视觉心理过程。这是一种独特的观看，一种充满悖论的“目光”。以“目光”为题，薛若哲本次生涯初期的阶段性个展，便试图以此线索，复现并强调他创作中的视觉与心理，发掘艺术家对于内面之精神性的挖掘以及图像观看的多维视野。Xue Ruozhe is an artist dedicated to painting. He believes that painting means much more than a profession for him; it is an addiction and even a belief. In his own words, "Painting is my instinct, an internal necessity." Looking back over more than a decade of Xue Ruozhe's paintings before and after his graduation, he is mostly known for his exceptional skill in depicting the details of figures, landscapes, and still life. Beneath the surface, however, a deeper exploration reveals that the majority of his works are centered around the spiritual realm of individuals, delving into the quest of the inner world and the psychological self-examination. In other words, within the sequence of his creations, Xue Ruozhe's paintings transition from depicting external objects to delving into the inner world of the subjects, reflecting the artist's introspection, and further extending to the internal gaze of all viewers, bridging the gap from sight to spirit. This is the "visual-spiritual" cyclic logic that Xue Ruozhe achieves through his extensive body of work, representing a process of inner visual contemplation. This unique perspective constitutes a kind of viewing, a paradoxical "gaze." Taking "gaze" as the exhibition theme, Xue Ruozhe's early career survey aims to reconstruct and emphasize the visual and psychological aspects of his works, and to explore the multi-dimensional perspective of the artist's exploration of the spiritual and his approach to image perception.![]()
▲薛若哲，1-0，亚麻布丙烯，230 × 220 cm，2019在薛若哲以人像为主的创作中，目光的交错、偏置与往返，总是居于作品的前端，而这亦是艺术家构建的视觉与心理逻辑的起点。在薛若哲的画中，画中人鲜有与观众正面对视的契机，他们沉浸在个人的晦涩时空中，彼此之间互相无视，默默无言。但是，他们的凝神与专注，某种普遍性的状态，又是有目共睹的。只不过，当我们凝视他们，想到自身，意图与他们连接之时，他们却总是无意回望。在这样的交错目光中，画中人变成了多重乃至多义的：既是画家描绘的对象，又是具有主体的绘画存在；既是画家自反的镜像，又是观者可透视、可内观的自我。他们具有坚实的存在，却也具有透明的效果，因而创造了无限的潜能，借由众多画外之眼，抵达无从捉摸的画内之心。“它召唤我们向着它或者走近它，它把我们带向它那里：就在那儿，直接就是供我们凝视的绘画，我们进入内部，如同它在外部显现自身”。由此，薛若哲的绘画，实现着视觉的互视，探索着精神的内面空间。In Xue Ruozhe's primarily portrait works, the intersections, deviations, and reciprocations of gazes take a prominent role, serving as the starting point for the artist's constructed visual and psychological logic. In Xue Ruozhe's paintings, direct eye contact with the viewer is seldom encountered. The subjects are immersed in their own obscure dimensions, ignoring one another in silence. Yet, their focus and concentration remain palpable, especially explicit through their stares that present a universal state. However, when we gaze upon them, reflect on ourselves and attempt to connect with them, they always avoid returning the gaze. In this interplay of divergent gazes, the figures become multi-layered and multivalent: they are both objects depicted by the painter and subjects within the painting; they are reflections of the artist himself, and simultaneously the viewers' self-incarnation, transparent and introspective. They possess a solid existence yet also exhibit a transparent effect, thus creating boundless potential for the viewers who could reach into the enigmatic inner world of the painted, of the painter, and of themselves. "It calls us or summons us to it or toward it, leading us there; through the painting that is offered up to our look, we enter into the manner in which it is presented to the outside." Hence, Xue Ruozhe's paintings achieve visual reciprocity, exploring the inner space of the spirit.![]()
▲薛若哲，20221029-20221118，亚麻布丙烯，230 × 220 cm，2022在构筑内面的心理世界以及内观的视觉逻辑中，薛若哲同时在绘画与影像中创造着别致的图像谜题。这些图像门类并不复杂，人像（全身）、身体（局部）、衣饰，以及潜藏着的、却无不存在的光线与阴影……但是，它们重叠、冲突，时而产生歧义，溢出我们习惯的观看逻辑，从而自造一片自足的场域。在此，图像不再表意，而本身即存有。与这些图像的对话以及对视，因而是分散与多维的，在这片图像构造的迷宫之内，各处目光无从交汇，又好似互相应和地低吟着。While constructing the internal psychological world and the visual logic of introspection, Xue Ruozhe creates unique iconological puzzles in both his paintings and video works. These images encompass portraits (full-body), body parts, clothing, and hidden but ubiquitous light and shadow. Though not intricate in category, these images overlap, conflict, and occasionally generate ambiguity, transcending our habitual viewing logic, thus crafting a self-sufficient realm. Here, images must not mean but be. Engaging in dialogue and mutual observation with these images leads to a dispersed and multi-dimensional experience. Within this labyrinthine image structure, gazes from various directions never converge, yet they seem to echo one another in a whisper.![]()
▲薛若哲，Freed Hands，亚麻布丙烯，70 × 50 cm，2021呼应着图像的目光交杂，展览的空间设计也同出一脉，呈现着交错、透视的多重观看场域。在如此展览空间中呈现薛若哲的绘画，意在提示着观者：画家在创作的同时，也在指认、调度乃至操纵着观者的目光与图像观看的可能性。在展览的观看中，视角的不同，为相似的对象（尤其薛若哲作品中经常出现的身体局部、衣饰局部乃至人像的重影、重叠与重复）带来了多重的观看维度；与此同时，画中的对象在视野中时而浮现、时而隐去，也因此具有了无限的生长潜能。它们不仅是被观看、被凝视的人与物，而且因图像与观看的未尽之处，它们同时成为了具有延伸性的、自生长的主体。在不经意的角落，它们或许潜藏着，有如在森林的暗处，默默瞥向我们这些游走着的闯入者；而我们，这些自以为掌控全局的凝视者，却成为了迷失在这些图像迷宫中的局外人。在目光交错的审视中，画中人与画外人沉浸在各自的时空之中，在无垠的空间，画中人深入内观，画家无限内视，观者亦只得内向自我、不断寻觅。Echoing the intertwined gazes within the images in the artworks, the exhibition design similarly presents multiple perspectives and overlapping viewing fields. By showcasing Xue Ruozhe's paintings within such an exhibition space, it aims to remind viewers that the artist, in his paintings, is also identifying, orchestrating, and manipulating the possibilities of the viewer's gaze and image perception. In viewing the exhibition, various viewpoints bring multiple dimensions of observation to similar subjects (especially the recurrent phenomena of overlapping and repeating body parts, clothing, and full-body figures in Xue Ruozhe's works). Simultaneously, the subjects within the paintings intermittently emerge and disappear within the viewer's gaze, thereby possessing the infinite potential of becoming. They are not only objects looked upon, but due to the inherent incompleteness in viewing, they transform into subjects that could extend and grow. In the overlooked corners, they may linger, like shadows in the forest's depths, casting glances at us, the wanderers; while we, the supposedly all-seeing observers, become outsiders lost within this labyrinth of images. In the intersecting gazes of observation, the figures within the paintings and the observers outside them are both immersed in their respective dimensions of time and space. In the boundless expanse, the figures within the paintings delve into introspection, the artist endlessly contemplates, and the observers are forced to look inward for a ceaseless search.
薛若哲1987年生于江苏，2012年本科毕业于中央美术学院油画系第三工作室，2015年硕士毕业于英国皇家艺术学院绘画系，曾获得纳威·博斯顿奖，高登-卢顿造型艺术奖，和汤姆·本德海姆具象绘画奖等，并于2022年入围了杰出亚洲艺术大奖。目前工作生活于北京和广州。
他的作品以绘画为主要媒介，在图像与绘画、绘画与自身历史的裂痕中，探索具象绘画系统在当下的再情境化。在克制的图像叙事中暗示尚未呈现的、将要发生的。他使用高度限定的工作方法，通过不断减去画中元素——直至画面出现某种悬停、凝滞的状态——将绘画的心理密度推到极限，以此位移绘画中的真实。近年来，他以绘画为基点，不断探索着虚拟与现实的边界。
Xue Ruozhe was born in Jiangsu Province. After graduated from Oil Painting Department of China Central Academy of Fine Arts, he continued his study in Painting Programme of Royal College of Art, and obtained his master's degree in 2015. He is the award winner of the Neville Burston Prize, Gordon Luton Prize for Fine Art and the Tom Bendheim Prize, also the recipient of China National Scholarship. He was shortlisted for Sovereign Asian Art Prize in 2022. Xue currently lives and works in Beijing and Guangzhou.
Using painting as his main artistic approach, Xue's works explore the re-contextualization and re-enchantment of figurative painting in contemporary setting, in the rift between painting and imagery, painting and its own history. Underneath the restrained pictorial narrative are Xue's hints for what has yet to be presented or is about to happen. Working with a highly restricted methodology, Xue pushes the psychological density of his paintings to the limit, the reality is then distorted by constant subtraction until the paintings reach a state of suspension and stagnation.
In recent years, his works focus on exploring the boundary of reality.
策展人、写作者。北丘当代美术馆顾问策展人。他曾于云美术馆、69ARTCAMPUS、北丘当代美术馆、户尔空间、歌德学院、中间美术馆等地策划“兴之所至”“多少次呵，我离开了我日常的生活”“晦暗里，身体循光深潜”“合作，为了污染，不为完善”“佛系青年：冷漠与共”“海面之下是火山”等展览。他是新世纪当代艺术基金会“墨缘：艺术史研究与写作资助计划”中国当代艺术写作方向的首届获奖学者。他长期关注二十世纪中国本土与国际当代艺术，并在近期的研究中聚焦于人文地理视角下的身体、身份认同与民族形式建构问题。
Tiange Yang is a curator and writer based in Beijing, now curator-at-large at the Beiqiu Museum of Contemporary Art in Nanjing. The exhibitions that Yang has curated include Leisure of Auteur and Amateur, How many times, I have left my everyday life, Diving Deep for Light into Darkness, Contamination, Not for Perfection, but for Contamination, Buddhist Youths: United Collective Indifference, and There are volcanoes under the sea at art museums and galleries including Cloud Art Museum, BMCA, IOAM, Goethe-Institut, and Hua International. Yang is the recipient of the inaugural “Mo Yuan: Art History Research and Writing Grant Program" in the field of contemporary Chinese art writing, awarded by the New Century Art Foundation. Yang researches issues of the body and the construction of identity and the nationalist formations in twentieth-century China and the contemporary world.
千高原艺术空间 | A Thousand Plateaus Art Space千高原艺术空间2007年创立于中国成都，是致力于展示并推进中国当代艺术的专业性画廊，设有艺术作品展示厅，影像资料收藏和放映室。主要研究、展示和推动与中国当代艺术文化相关的优秀作品和实验性主体项目，积极开展国内、国际的合作项目。千高原艺术空间主要展示和推出成长中的有突出才能和价值的艺术家的作品和项目，并发现和推动新的有创造力的艺术家，迄今主要代理和合作的老中青三代艺术家超过20位。通过展览、博览会、学术讨论活动、出版等方式，致力于构架艺术家和社会、机构、收藏者之间的沟通渠道，提供包括艺术作品销售、量身定做的艺术项目、收藏品咨询管理、艺术教育项目以及展览策划。除了在超过1000平方米的画廊空间的展览项目，千高原艺术空间亦积极参加国际国内的重要艺术博览会，包括香港巴塞尔艺术展 (Art Basel HK)、香港国际艺术展(ART HK)、艺术登陆新加坡(Art Stage Singapore)、今日亚洲 | 巴黎亚洲艺术博览会 (Asia Now | Paris Asian Art Fair)、上海廿一当代艺术博览会(ART021)、上海西岸艺术与设计博览会（West Bund Art & Design）、艺览北京 JING ART、艺术成都 Art Chengdu、上海艺术影像展(Photo Shanghai)、西班牙路普艺术节（Festival LOOP）、Paris Internationale 、LISTE in Basel等等。A Thousand Plateaus Art Space was founded in 2007 in Chengdu, China. It is a professional gallery committing to presenting and promoting China’s contemporary art. Equipped with exhibition halls for artworks and collections and a screening room for videos and discussions, it focuses on researching, presenting and promoting outstanding works and experimental projects of China’s contemporary art and culture by carrying out domestic and international projects.A Thousand Plateaus Art Space devotes itself to presenting works by emerging artists who have outstanding talent and merit, and to discovering and promoting new creative artists. To date, it has represented and cooperated with over 20 artists of all ages. Using exhibitions, art fairs, academic discussions, publications and so forth, it is dedicated to establishing the communication channels between artists and the society, institutions and collectors. The gallery also organizes artwork sales, tailored art projects, collection management consultings, art education projects and curatings.
In addition to the exhibitions and events in the over 1,000 square meters gallery space, A Thousand Plateaus Art Space also takes an active part in important international art fairs including Art Basel in HK, Art Hong Kong, Art Stage Singapore, Asia Now | Paris Asian Art Fair, ART021, West Bund Art & Design, JING ART, Art Chengdu, Photo Shanghai, Festival LOOP and Paris Internationale, LISTE in Basel etc..
▲向下滑动查看更多
更多讯息请关注
千高原艺术空间 A THOUSAND PLATEAUS ART SPACE开放时间：周二至周日（周一闭馆），11:00-18:30地址：中国. 四川省成都市高新区盛邦街，铁像寺水街南广场
