夏洛特·艾迪 Charlotte EDEY
大卫·弗劳尔 David FLAUGHER
贾斯汀·菲兹帕奇科 Justin FITZPATRICK
保罗·莱瓦克 Paul LEVACK
亚历山德拉·梅特卡夫 Alexandra METCALF
杰克·奥布莱恩 Jack O’BRIEN
塞扎里·波尼亚托夫斯基 Cezary PONIATOWSKI
哈米什·皮尔奇 Hamish PEARCH
盖尔·辛德勒 Gal SCHINDLER
Artists' biographies will be released in the next article. Please stay tuned.
艺术家信息即将推送，敬请关注。
哈米什·皮尔奇 Hamish PEARCH
Rose and Walt(Disappear Here), 2023
冰、冷冻器 Ice, freezer unit
尺寸可变 Dimensions variable
LINSEED即将与Ginny on Frederick（伦敦）共同呈现群展“见山还是山”（Reading Stones），展览将于2023年11月7日在LINSEED画廊空间开幕，并持续至2023年12月28日。参展艺术家包括: 夏洛特·艾迪 Charlotte EDEY（b.1992，英国）、大卫·弗劳尔 David FLAUGHER（b.1986，美国）、贾斯汀·菲兹帕奇科 Justin FITZPATRICK（b.1985，爱尔兰）、保罗·莱瓦克 Paul LEVACK（b.1992，美国）、亚历山德拉·梅特卡夫 Alexandra METCALF（b.1992，英国）、杰克·奥布莱恩 Jack O’BRIEN（b.1993，英国）、塞扎里·波尼亚托夫斯基 Cezary PONIATOWSKI（b.1987，波兰）、哈米什·皮尔奇 Hamish PEARCH（b.1993，英国）、盖尔·辛德勒 Gal SCHINDLER（b.1993）。
大卫·弗劳尔 David FLAUGHER
橙色烟雾 Orange Haze, 2023
亚麻布面油画 Oil on linen
130 × 114 cm
“Reading Stones”意为阅读石, 被认为是第一种用于增强感官体验的器物, 也被称为阅读卵石或阅读宝石。在历史上, 早在放大镜或老花镜发明之前，这些小而被抛光的, 由绿柱石或岩石制成的阅读石通常被放置在文本之上来辅助阅读或者放大文字与图像。
贾斯汀·菲兹帕奇科 Justin FITZPATRICK
纪念日 B monument, 2023
布面油画 Oil on canvas
41.5 × 51.5 × 5 cm
“见山还是山”将9位艺术家的多元媒介作品聚集在此次展览中, 试图希望观众或许可以成为他们自己的阅读石。从塞扎里·波纳托夫斯基（Cezary PONIATOWSKI）的地毯结构装置到亚历山德拉·梅特卡夫（Alexandra METCALF）绘画所呈现的视觉幻象, 当观者在这些静物所共同呈现的扩展视野中，以一个更近距离的视角观察每件作品，每位艺术家都好像在声称自己是更广阔历史的一部分，其渊源甚至可以被追溯到古代。
塞扎里·波尼亚托夫斯基 Cezary PONIATOWSKI
无题 Untitled, 2023
地毯、扎带、流苏 Carpet, zip ties, fringes
105 × 90 × 30 cm
宋代禅师青原惟信曾说过一句名言：“老僧三十年前未参禅时，见山是山，见水是水。及至后来，亲见知识，有个入处，见山不是山，见水不是水。而今得个休歇处，依前见山只是山，见水只是水。”细致入微的观察过程—相信你所看到的，不相信你所看到的，然后相信你所看到的—从来没有像现在这样至关重要。阅读石，作为一种观察工具及对象本身，在科学发明之前为人类提供了放大阅读的能力，与青原惟信所描述的悟道经历和旅程并行不悖。
杰克·奥布莱恩在2023年伦敦弗里兹艺博会
获卡姆登艺术中心（Camden Arts Centre）新锐艺术家奖
Jack O’BRIEN wins the 2023 Camden Art Centre Emerging Artist Prize
at Frieze London with Ginny on Frederick, 2023
杰克·奥布莱恩 Jack O’BRIEN
Swimmer, 2023
软粉彩和喷漆摄影印刷品，热成型PETG塑料，镀铬钢，钢丝，弹簧，银汤勺，环氧腻子
Soft pastel and Spray paint on photographic print mounted on aluminium, Heat-formed PETG plastic, Chrome plated steel, Steel Wire, Springs, Silver soup spoons, Epoxy putty
61cm x 15cm x 102cm
当我们试图越过历史来观察静物时，我们不断重复着青原惟信向我们提出的同一个问题：山真的在吗？这个关于感知的问题，即使不透过阅读石去观看事物，也依然存在。此次展出的作品促使观者重新审视熟悉的事物，解读平凡事物中固有的复杂性，并最终重新协调其与周遭事物、身体和生命之间的关系。
夏洛特·艾迪 Charlotte EDEY
落针 Pindrop, 2023
纸上软色粉，雕花木框 Soft Pastel on paper in found carved wooden frame
34 × 29 cm
LINSEED and Ginny on Frederick are delighted to collaborate and present the group exhibition “Reading Stones” at the gallery space of LINSEED in Shanghai from November 7 to December 28, 2023, featuring artists: Charlotte EDEY (b.1992, UK), David FLAUGHER (b.1986, USA), Justin FITZPATRICK (b.1985, Ireland), Paul LEVACK (b.1992, USA), Alexandra METCALF (b.1992, UK), Jack O’BRIEN (b.1993, UK), Cezary PONIATOWSKI (b.1987, Poland), Hamish PEARCH (b.1993, UK), Gal SCHINDLER (b.1993).
亚历山德拉·梅特卡夫 Alexandra METCALF
噢，寂寞！ O Solitude!, 2023
纸上水彩、拼贴 Watercolour on paper, decoupage
56 × 76cm
盖尔·辛德勒 Gal SCHINDLER
圣女的守护 Shomeret, 2023
板面油画 Oil on Board
42.5 × 30 cm
Considered to be the first instrument used to create an enhanced sensory experience; reading stones, also known as reading pebbles or reading rocks, refer to small polished stones or gems that were historically used as aids in reading or magnifying text. Originally created from ground beryl and rock, these stones were employed before the invention of magnifying or reading glasses, and placed directly on top of written texts to magnify the letters or images for clarity.
保罗·莱瓦克 Paul LEVACK
无题 Untitled, 2023
摄影作品 Photography
225 × 166 cm
Assembling the multidisciplinary works by these nine artists, Reading Stones asks the viewer to perhaps become a reading stone of themselves. Expanding from the carpet structures of Cezary Poinatowski to the hallucinations of Alexandra Metcalf’s drawings; in looking closer at each work within an expanded view of still life, or still lives, each artist starts to claim part of a wider history that too can be traced back to ancient times.
The Chinese Ch’an Buddhist master Qingyuan Weixin of the Song Dynasty famously stated: “Before I had studied Ch’an for thirty years, I saw mountains as mountains, and rivers as rivers. When I arrived at a more intimate knowledge, I came to the point where I saw that mountains are not mountains, and rivers are not rivers. But now that I have got its very substance, I am at rest. For it’s just that I see mountains once again as mountains, and rivers once again as rivers.” Asking for close examination — to believe what you see, believe not what you see, then believe what you see — has never been more crucial. Reading stones, as objects, offered a magnification (before invention) in parallel to the experience and journey Qingyuan Weixin describes of enlightenment.
As we attempt to look at still life beyond the direct influences of history, we are continuously repeating the same question asked of us by Qingyuan Weixin: Is the mountain really there? This question of perception, even if you don’t need to use a reading stone, still stands. Expansion is needed. The works on view prompt us to reassess the familiar, unpack the inherent complexities in the ordinary and ultimately renegotiate our relationships with the objects, bodies and lives around us.
关于Ginny on Frederick
Ginny on Frederick 2021年成立于伦敦法灵顿（Farringdon），最初位于一家老式三明治店，近期画廊新址迁至伦敦 99 Charterhouse。自成立以来，多家媒体曾对画廊进行报道，包括《Frieze》、《艺术论坛》、《艺术新闻》、《Flash Art》、《金融时报》和《纽约时报》等。
Ginny on Frederick is a gallery based in Farringdon, London since 2021. Originally founded in an old sandwich shop, Ginny on Frederick recently moved to its new location at 99 Charterhouse; the gallery has since been featured in Frieze, Art Forum, The Art Newspaper, Flash Art, The FT and The New York Times.
