“胡昀：远山”
"Hu Yun: Mount Analogue"
2024.03.23-08.25
(每周二至周六 Tue-Sun, 10:00-18:00)
胡昀
Hu Yun
上海外滩美术馆
Rockbund Art Museum
中国上海市黄浦区虎丘路20号
No.20 Huqiu Rd, Huangpu District, Shanghai, China
路线二：远征探险
胡昀从2013年开始寻找一些早期从南亚以及东南亚来到中国的非本土人士，和恰巧都与亚洲文会上海博物院有所关联的外来者。他在历史的尘埃中考古，通过挖掘探险队、博物学家和传教士留下的历史物质碎片，牵连出一系列交错于陕甘地区的多重历史叙事和复杂地理: 二十世纪初外来探险队的考察地、二十世纪中红色革命的发源地，以及二十世纪末的卫星观测点与宇宙垃圾的回收地。
Route Two: Expedition Shên-kan
Hu Yun has been studying figures from South and Southeast Asia, who are associated with the Royal Asiatic Society in the early 20th century. Like an archaeologist who explores through dust of history, he delves into the material fragments left behind by expeditions, naturalists and missionaries, revealing the multiple historical narratives and complex geographies intertwined in Shên-kan region, a place known for its multifaceted roles from exploration site for foreign expeditions in early 20th century, the birthplace of red revolution in mid-20th century, and a site for satellite observation and cosmic debris recycling since late 20th century.
《无往之路》，2017，三脚架上古董立体观片器，档案立体照片，4 组，整体尺寸可变，立体照片，每张 102 × 109 cm
Journey without a Destination, 2017, antique stereoscope on tripod, archival stereographs, four pairs, overall dimensions variable, stereographs, 102 × 109 cm each
作品《无往之路》(2017)、《无题》(2016)源于胡昀对1908年由美国艺术收藏家、慈善家、胜家缝纫机产业继承人罗伯特·斯特 林·克拉克(Robert Sterling Clark)组织探险队前往中国西北省份进行考察与研究。当时克拉克雇用了后来成为亚洲文会上海博物院馆长的苏阿德(Arthur de Carle Sowerby，又名苏柯仁)作为随行博物学家，并与他合作出版了《穿越陕甘:1908—1909年克拉克考察队华北行纪》(Through Shên-kan: the account of the Clark expedition in north China, 1908–9)一书。这场雄心勃勃的探险是对中国自然地理风貌和物种人文历史的考察。但随着同行印度测量员黑兹拉特·阿里(Hazrat Ali)中途离奇死亡，考察被迫中止。胡昀在重读《穿越陕甘》时，发现了一张阿里在出发前骑于马上的老照片。他模仿阿里的着装与旧照中的姿势跨上古董马鞍，用早期流行于全球探险的双镜头摄影技术复刻了这一个体命运的转折时刻。这组摄影与对视的测量脚架一起构成了装置作品《无往之路》(2017)。脚架上出现的四组双镜头相片来自胡昀收藏的全球风俗照。而出现在照片中的马鞍被置于一叠瑜伽垫上悬吊在展厅中央，作品《无题》(2016) 暗示着这场探险的终点。
Journey without a Destination (2017) and Untitled (2016) derive from Hu Yun’s research of the expedition organized by Robert Sterling Clark, an American art collector, philanthropist and heir to the Singer Sewing Machine. Clark recruited Arthur de Carle Sowerby, who later became director of Royal Asiatic Society Museum, as naturalist for this expedition; and the two of them co-wrote the book Through Shên-kan: the Account of the Clark Expedition in North China, 1908-9 afterwards. The ambitious expedition was an investigation of China’s natural geographies and species. The sudden death of Hazrat Ali, the accompanying Indian surveyor, led to an abrupt end of the expedition. While reading Through Shên-kan, Hu Yun found an old picture showing Ali riding a horse before setting off. The artist dressed like Ali and imitated his posture in the old picture to straddle the antique saddle, re-creating this significant turning point of an individual’s destiny through twin-lens photography which was popular during global expeditions in the early days. The photos and the tripod on the opposite constitute the installation Journey without a Destination (2017). The four sets of twin-lens photos on the tripod are selected from Hu Yun’s collection of world-genre photos. And in Untitled (2016), the saddle appearing in the photo is placed on top of a stack of yoga mats and suspended in the centre of the gallery space, alluding to the end of the expedition.
《收件人不明》，2018，真丝手工刺绣，235 × 123 cm
Address Unknown, 2018, embroidery on silk, 235 × 123 cm
作品《收件人不明》(2018)在黑色丝绸上用黑色真丝绣下出土于陕甘地区的大秦景教流行中国碑碑文。这块命运多舛的石碑于唐德宗建中二年由波斯传教士伊斯(Yazdhozid)建立于大秦寺院，记述了唐代景教流传的历史。它在唐武宗灭佛政策中遭受殃及被埋于地下，在明朝出土后又历经偷渡波折，最后入藏西安碑林博物馆。胡昀在造访碑林博物馆期间获得了碑首与碑身的拓片，他邀请苏州绣娘合作，绣下碑帖全文，将石碑的坚硬与冰冷转化成丝绸的柔软与温度。绸缎漂浮在展厅中，其文字在光线与观看角度的变换中若隐若现，使人难以阅读这被复写的历史。
Address Unknown (2018) features embroidery with black silk threads and on black silk. Texts embroidered on it are the inscriptions on the “Stele on the Diffusion of the Nestorianism from Da Qin (Rome) into China”, which was unearthed from China’s Shên-kan region. The ill-fated stele was erected by Persian missionary Yazdhozid in the courtyard of a Nestorian church in A.D. 781 of Tang Dynasty. The inscriptions document the history of the Church of the East in China during the Tang Dynasty. Due to the edict to suppress Buddhism issued by Emperor Wuzong of Tang, the stele was buried underground for a long time, and after it was unearthed in the Ming Dynasty it became a subject for smuggling. After so many twists and turns, it is now in the Stele Forest Museum in Xi’an. During his visit to the Stele Forest Museum, Hu Yun acquired rubbings of the headstone and body stone of the stele. He invited a Suzhou-based embroiderer to embroider the full texts on the stele, transforming the hardness and coldness of stele into tenderness and warmth of silk. As the silk floating in the gallery, words embroidered on it seem to be faintly discernible due to the changes of light and viewing angle, making it difficult for people to read this re-written piece of history.
《共生》，2024，铁和炭化木，220 x 160 x 45 cm
Co-existence, 2024, iron and carbonized wood, 220 x 160 x 45 cm
作品《共生》(2024)则关注同一块石碑在碑林博物馆的命运：博物馆出于文物保护目的为石碑定制的加固铁架，由于长期氧化，几乎与石碑融为一体。艺术家等比例复制了将石碑困 住的铁架，铺上木板放于展厅中，制成一张可供观众使用的长凳。
Coexistence (2024) shifts its focus to what happens to this same stele at the Stele Forest Museum: the reinforced iron frame specially-made for the protection of the cultural relic is almost fused with the stele due to oxidation over the long course. The artist makes a full-scale replica of the iron frame that besieges the stele and places it in the galley with wood planks on top of it, making it into a bench for the audience.
《轻拿轻放》，2013，现成品皮箱内收藏级喷墨印刷品、绘画、刺绣、纸上拓印、干花，66 × 75 × 80 cm, 口述者
Lift with Care, 2013, archival inkjet print, drawing, embroidery, rubbing on paper, and dry flower in found leather case, 66 × 75 × 80 cm, narrative interpreter
装置《轻拿轻放》(2013)和幻灯作品《逃离(重访记忆1941— 2013)》(2013)共同开启了陕甘地区的第二重身份——苏维埃红区作为共产主义在中国远征的发生地，包括胡昀祖父在内的一代人曾将此地视为精神的向往。《轻拿轻放》(2013)由一只打开的手提旅行箱展开叙事。胡昀在祖父留下的箱子中放置了一叠大秦景教流行中国碑拓片、一张用机器刺绣在麻布上由苏阿德绘制的穿越陕甘测绘图，以及一支风干的牡丹花等。这些物件见证了由西方传教士、殖民探险者、博物学家参与构成的发生在陕甘的复杂历史。
Installation Lift with Care (2013) and slideshow Escape (Revisit Memory 1914-2013) (2013) open up the second identity of Shên-kan region – the Soviet Union red zones as the origin of the spread of communism in China. The older generation, including Hu Yun’s grandfather, all regarded it as a spiritual “Mekka”. Lift with Care (2013) unfolds the narrative with anopen suitcase that belonged to Hu Yun’s grandfather. The artist places various items inside, including rubbings of the Xi’an Stele, a machine-embroidered survey map of Shên-kan by Arthur de Carle Sowerby, and a dried peony flower, all testimonies to the complex histories of the region involving missionaries, colonial explorers, and naturalists.
《逃离(重访记忆 1941—2013)》，2013，定时幻灯片， 62 件，尺寸可变，旧金山卡蒂斯特，图片由艺术家和旧金山卡蒂斯特提供。
Escape (Revisit Memory 1941–2013), 2013, positive slides with timer, 62 pieces, dimensions variable. KADIST, San Francisco. Image courtesy the artist and KADIST, San Francisco.
作品《逃离 (重访记忆1941—2013)》(2013)则以62张幻灯片记录胡昀重访祖父记忆中的家乡。胡昀的祖父出生于1927年，他的一生经历了中国现当代大部分关键的历史转折期。1941年，祖父怀抱革命理想离开自己的家乡宁波慈城，从此再也没有回去。胡昀沿着祖父留给他的记忆地图，以私人旅行的方式重走了祖父口中描述的昔日场景，沿途留影制成幻灯片在现场逐张放映。胡昀将不同时空中的“出走”重叠在一起，将各色档案并置来创造出丰富的多重叙事。同时他激活了游荡在 展厅中口述者的角色，为观者讲述一则故事。作为延伸，作品《凝视呼吸》(2024)由8节发生在展厅内的瑜伽课组成。艺术家将未记录下的故事通过瑜伽老师给出的指示诠释给参与者，一起在练习的过程中回归自我的内心世界，建立与自我的关系。
Escape (Revisit Memory 1914-2013) (2013) documents Hu Yun’s revisit to his grandfather’s hometown through 62 slides. Born in 1927, his grandfather witnessed pivotal moments in the modern and contemporary histories of China. In 1941, he left his hometown Cicheng City in Ningbo to pursue revolutionary ideals and never returned. Guided by his memory, Hu Yun revisited the past scenes his grandfather had described, capturing the scenes in the photographs constituting the slides. The “escapes” across different temporal phases are superposed together, creating a juxtaposition of archives that gives rise to multiple narratives. In the meantime, he activates an oral narrator who wanders the gallery space, ready to share stories with the viewers. As an extension, the artist presents the work Mind Breaths (2024) featuring eight yoga sessions within the exhibition space. Through yoga instructions, the artist interprets untold stories to the participants. Together, they will reconnect with their inner worlds.
《残片》，2024，中国传统便携式虫罐，喷漆，9件，每件约8 × 8 × 10 cm，碳钢板，黑色氧化工艺，13 件，每件尺寸可变。
Debris, 2024, Chinese traditional portable terrarium with color coating, 9 pieces, approximately 8 × 8 × 10 cm each, carbon steel sheets with black oxide coating, 13 pieces, dimensions variable.
《残片》(2024)由形状各异的鸣虫罐与金属切割片组成。胡昀从不同媒体报道中收集了大量拍摄于二十世纪末中国西北地区的太空坠落物图片，这里在红色革命时期后开启了人类对外太空的探险，成为了中国最早的卫星观测与宇宙垃圾回收中心。胡昀在媒体照片上将人们在旷野中发现的形状各异的航天残骸涂成黑色，并通过金属片切割出每个残骸的轮廓剪影。而虫罐是中国传统中帮助鸣虫过冬的工具，也是人为满足自身对自然的向往以及把虫鸣声随身携带而制造出来的牢笼。胡昀将虫罐联想成返回舱，和金属片一起被喷制成黑色，隐去其原有功能。艺术家选用博物馆墙面展陈物件的方式，通过特殊的支架结构将作品一字排开，仿佛在呈现关于陕甘近代史的考古档案。
Debris (2024) consists of terrariums and metal cut-outs of different shapes. Hu Yun has collected from media coverage a large number of pictures showing cosmic debris falling in Northwest China during the late 20th century. After the red revolution period, a new era characterized by the exploration of outer space opened up here. The region has become China’s earliest satellite observation and space garbage recycling site. Hu Yun paints the variously-shaped space debris on the media photos black and cuts out the contours of each piece of debris with a metal sheet. Traditionally, a terrarium is a device to help chirping insects survive winter; it’s also a cage made to satisfy people’s yearning for nature and the desire to carry the melodious chirping sounds with them all the time. Hu Yun associates terrariums with return capsules and paints them black together with the metal sheets to conceal their original functions. With a specially-made support structure that lines the objects up, the artist presents them in a similar way museums display works, as if the viewers were looking at archaeological archives of the modern history of Shên-kan region.
©️图片与文字由艺术家和上海外滩美术馆惠允
©️Texts and images courtesy of the artist and Rockbund Art Museum
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ABOUT THE ARTIST
胡昀1986年出生于上海，2008年毕业于中国美术学院。现生活工作于上海和贝尔格莱德。
胡昀的作品包括绘画、水彩、行为、录像和装置。通过调动来自不同人和历史的经验，胡昀将各种以往生产过的材料重新纳入自己的日常工作中，因此，无法孤立地去看待他的每一件作品，每一个项目都享有共同的话题，都是有所预设、彼此关联的。
胡昀参加了第十届亚太当代艺术三年展（2021），第六届新加坡双年展（2019），第十一届光州双年展（2016），第四届广州三年展（2012）以及第七届深圳雕塑双年展（2012）；他的作品也曾在广州美术学院大学城美术馆，昊美术馆，上海当代艺术博物馆，巴黎蓬皮杜艺术中心，广东时代美术馆及余德耀美术馆等机构展出。他的个展包括 “胡昀：远山”，上海外滩美术馆，上海，中国，2024；“失语所”，AIKE，上海，中国，2023；“微缩景观”，新加坡国立大学博物馆，新加坡，2019；“我们从未离开过”，西安OCAT，西安，中国，2017；“叙事病”，AIKE，上海，中国，2016；“轻拿轻放”，AIKE，上海，中国，2013；“我们的祖先”，歌德开放空间，上海，中国，2012；“自然的图像”，英国自然历史博物馆，伦敦，英国，2010。
Hu Yun was born in 1986 in Shanghai. He graduated from China Academy of Art in 2008 and currently lives and works in Shanghai and Belgrade.
Hu Yun’s works range from graphite and watercolors to performance, video, and installation. Interested in how an individual positions him or herself within the course of history, he constructs the links that probe the inseparable coexistence of past and present, individual and public. He is adept at mobilizing various personal and historical experiences, incorporating previously produced materials into his artworks; as a consequence, it is impossible to consider any of Hu’s works in isolation since they all share a common theme, an element of foreshadowing, and they are all conceptually interconnected.
Hu Yun has participated in the 6th Singapore Biennale (2019), the 11th Gwangju Biennale (2016), the 4th Guangzhou Triennial (2012) and the 7th Shenzhen Sculpture Biennale (2012). His works have also been exhibited at Art Museum of Guangzhou Academy of Fine Arts; How Art Museum; Power Station of Art, Shanghai; Centre Pompidou, Paris; Times Museum, Guangdong and Yuz Museum, Shanghai. His selected solo exhibitions include “Hu Yun: Mount Analogue”, Rockbund Art Museum, Shanghai, China, 2024; “distantia”, AIKE, Shanghai, China, 2023; “Another Diorama”, NUS Museum, Singapore, 2019; “We’ve been here before”, OCAT, Xi’an, China, 2017; “Narration Sickness”, AIKE, Shanghai, China, 2016; “Lift with Care”, AIKE, Shanghai, China, 2013; “Our Ancestors”, Goethe Institut, Shanghai, China, 2012; “Image of Nature”, Natural History Museum, London, UK, 2010.
