丁至 DING Zhi
冯山 FENG Shan
堀奈奈美 Nanami HORI
刘一妙 LIU Yimiao
栾天明 Valentin RILLIET
王韵尧 Ernie WANG
李美娟 Miyeon YI
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。
LINSEED即将呈现夏季群展Buzz~ Buzz~ Buzz~，展出七位艺术家的作品。艺术家包括：丁至 DING Zhi（b.1992, 中国江西）、冯山 FENG Shan（b. 1985，中国河北）、堀奈奈美 Nanami HORI（b.1995，日本）、刘一妙 LIU Yimiao（b.1993，中国湖南）、栾天明 Valentin RILLIET（b. 1996，瑞士）、王韵尧 Ernie WANG（b.1993，中国台湾）、李美娟 Miyeon YI（b.1995，韩国）。展览将于2024年7月27日持续至9月7日。此次展览将展出艺术家多元媒介的作品，将他们平日呢喃低语、放空的时刻和情感与亲密的记忆留痕，呈现作品幽默表象背后自我意识的休憩场所。
堀奈奈美 Nanami HORI
红线 Red Links, 2022
布面油画 Oil on canvas
100 × 80.3 cm
二次元的图像元素直观地显现于堀奈奈美的作品中。这些动漫的素材被她重新建构、伪装、幻想、拆解、定位转变为新的作品，玩味地拒绝被喂饲成单一的事物。其再次创作同人作品（homoerotic culture）的行为是现在这一代人社交互动、快速建立联系的方式，但也暗示着其关系的不稳定和脆弱性。流行文化中的不同人物和故事在崩解的边缘不断缠绕，使画面中再次虚构的多元关系、结构以及情感递升为人们对现状及内心状态的回应与沉思。
王韵尧 Ernie WANG
闪光 Glory, 2024
釉面陶瓷 Glazed ceramics
49 × 17 × 47 cm
王韵尧的陶瓷雕塑《闪光》，被五颜六色的糖衣伪装起来的生物包裹着，重构出一扇乌托邦世界的门。门微微敞开，将奇思弹射进童话般的迷你空间，其中可能充满着游戏、糖果和潜伏的危险。你或许想近距离看一看，栖身于这个微型世界里爬行；或许在这里你也可以暂时忘记自己，隐藏我们内心埋藏已久的欲望和本性。
冯山 FENG Shan
果皮 2 Peel 2, 2024
花岗岩 Granite
14 × 66 × 45 cm
在冯山的一系列雕塑和装置作品中，日常生活反复出现却又被忽视的工艺品、植物、动物的图案和纹样，被艺术家归纳出简洁的形状和用带有反差感的材料制作打磨出来。地上随意散落的《果皮》，艺术家则是尝试以物质性的方式与所处的地点产生些许时空上的连结，她有意保留材料天然的特质与果皮原本的属性抵牾，致使观者在观看的过程中质疑，形成视觉感官上的错位，让熟悉之物变得若即若离。
李美娟 Miyeon YI
一个忧伤 One for Sorrow, 2024
板面蛋彩画 Egg tempera on tablet frame
50 x 37.3 x 7.5 cm (open)
李美娟的作品呈现出一种剧场感。作品中的角色被分离到故事的不同空间或时刻，用看似无意义的任务填补生活的空虚。画作中的人物常常处于分心、无辜和忧郁的状态，表现出一种对生活空虚的焦虑，渴望填补寂静的冲动，以及期望改变所处状态的推拉与挣扎。画面反复出现的动物则是悬浮于画面主角的主要行为之外，看似曾与主角交流，但不知何时成了深藏于内心难以承受和诉说的情绪和痛苦。丁至的作品捕捉了充满了安静而暗潮思绪的脆弱瞬间。画面中不带有任何表情的小男孩伪装出一种超然的姿态，将悲伤，克制的情绪融合在颜料的昏暗里，莫名的共鸣和亲近感从无尽的黑色中显现。在丁至看似简单的构图里，似乎保护着画中的主体，试图诉说其对于深层次及亲密关系的一种复杂而暧昧的情感。
L:
丁至 DING Zhi
六支香烟 Six Cigarettes, 2024
亚麻布面油画 Oil on linen
20 × 25 cm
R:
丁至 DING Zhi
窥探 I Peep I, 2022
亚麻布面油画 Oil on linen
20 × 25 cm
光线、有机体和自然元素的干扰在刘一妙的作品中起着关键作用。自然在艺术家的创作中被略微扭曲成不可思议的样子，透露着柔和、敏感、怪诞和坚硬的特质。艺术家使用薄而混合的多层颜料呈现出如水墨画的质感与笔触，探索有机生命形式与人类经验之间的联系。
刘一妙 LIU Yimiao
一场夏夜的淋浴 A Summer Night Shower, 2024
亚麻布面油画、石墨 Oil and Graphite on linen
45.7 × 33 cm
栾天明的作品乍看如中国复古的连环画或宣传电影的静态影像。人物和空间稍显得有点杂乱无章，手、肢体的形态和面孔即将消失在水火交融的云层中，用好像有意保持的不确定性来标记他对幻想和现实的体验。在艺术家的创作的过程中，这些叙述以一种不合时宜的方式混合在画布之中，观者以非连贯性处理信息的感知，在观看的过程中注视、发呆、幻想、聚合又离散，超然于作品而沉浸于其中。
LINSEED is delighted to present the summer group exhibition "Buzz~ Buzz~ Buzz~," featuring the works of seven emerging artists: DING Zhi (b. 1992, China), FENG Shan (b. 1985, China), Nanami HORI (b. 1995, Japan), LIU Yimiao (b. 1993, China), Valentin RILLIET (b. 1996, Switzerland), Ernie WANG (b. 1993, Taiwan), and Miyeon YI (b. 1995, Korea). The exhibition runs from July 27, 2024, to September 7, 2024. Through the artists' multimedia works, the exhibition presents a resting place for their self-consciousness behind the humorous appearance of their works, leaving traces of their daily mumbles, moments of relaxation, and their emotional and intimate memories.
Elements of MAG (Manga, Anime, and Games) are visualized in Nanami Hori's works. She reconstructs, disguises, fantasizes, disassembles, and positions these anime materials into new works, playfully refusing to be confined to a single form. Her re-creation of homoerotic works is a way for the current generation to interact socially and make connections quickly, but it also hints at the instability and fragility of these relationships. Different characters and stories from popular culture are constantly entwined at the edge of disintegration, so the multiple relationships, structures, and emotions fictionalized in the images are elevated to become a response to and meditation on the current state of affairs and the inner state of people.
Ernie Wang's ceramic sculpture “Glory” is wrapped in colorful sugar-coated creatures, reconstructing a door to a utopian world. The door opens slightly, catapulting whimsy into a fairytale-like miniature space that may be filled with games, candy, and lurking danger. You may want to take a closer look and inhabit this miniature world and crawl; perhaps here, you can also forget yourself for a while and hide the long-buried desires and nature within us.
In Feng Shan's series of sculptures and installations, artifacts, plants, and animal patterns and motifs, which appear repeatedly in daily life but have been neglected, are summarized into simple shapes and polished by the artist using materials with a sense of contrast. The artist attempts to create some spatial and temporal connection with the location of the randomly scattered “Peel” on the ground in a materialistic way. She intentionally retains the natural qualities of the materials and contradicts the original properties of the fruit peels, causing the viewer to question the process of viewing, creating a dislocation of the visual senses, and making the familiar objects seem as if they are not there at all.
Miyeon Yi's works present a sense of theater. The characters are separated into different spaces or moments of the story, filling the emptiness of life with seemingly meaningless tasks. Often in a state of distraction, innocence, and melancholy, the characters in the paintings display an anxiety about the emptiness of life, an urge to fill the silence, and a push and pull and struggle to change the state in which they find themselves. The recurring animals are suspended outside the main behavior of the protagonist, appearing to have communicated with the protagonist, but at some point, they become emotions and pains that are difficult to bear and talk about.
Ding Zhi's works capture fragile moments filled with quiet and dark thoughts. The little boy in the picture, without any expression, disguises a transcendent posture, blending sadness and restraint into the dimness of the paint. An inexplicable sense of empathy and intimacy emerges from the endless blackness. The seemingly simple composition of her works seems to protect the subject of the painting, trying to tell a complex and ambiguous story about its deep and intimate relationships.
The interference of light, organisms, and natural elements plays a key role in Liu Yimiao's works. Nature is slightly distorted into uncanny forms in the artist's creations, revealing soft, sensitive, grotesque, and hard qualities. The artist uses thin, blended layers of pigment to render textures and brushstrokes like ink drawings, exploring the connection between organic life forms and human experience.
At first glance, Valentin Rilliet’s work appears like nostalgic Chinese comic strips or still images from propaganda movies. Figures and spaces appear slightly disorganized, with hands, limb forms, and faces about to disappear into clouds of water and fire, marking his experience of fantasy and reality with an uncertainty that seems to be intentionally maintained. In the process of the artist's creation, these narratives are mixed in an anachronistic manner within the canvas, and the viewers process the perception of the information in a disjointed manner, gazing, gawking, fantasizing, converging, and dissociating as they watch, transcending and immersing themselves in the works.
