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首尔弗里兹艺术博览会
Frieze Seoul
Booth B22
茹特・莫尔克
Rūtė Merk
Crisp3r
VIP预览 VIP Preview:
2024.9.4 11:00–19:00
公众日 Public Opening:
2024.9.5–9.7 11:00–19:00
地点 Location：
首尔江南区COEX会展中心，Hall C
Hall C, COEX, Gangnam district, Seoul
关于展位
About the Project
Gallery Vacancy荣幸地宣布将于2024年弗里兹首尔艺术博览会呈现艺术家茹特・莫尔克的个人项目“Crisp3r”，展位号为B22。在本次展览中，莫尔克带来了一系列油画作品，以探讨在当代生活中，科技扩充个别主体特质的内涵；以及工作与休闲越趋模糊的界限，个人在日常多样的角色经过普遍的大众媒体科技得以整合。通过严谨的学院绘画技巧叠加递进，细致光滑的绘画平面有意识地拟仿了数字化的美学，从而改变我们观看外在世界的视角。
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茹特・莫尔克
安博和马里恩，2024
布面油画
200 × 140 公分（78 3/4 × 55 1/8 英寸）
Rūtė Merk
Ambera, Marion, 2024
Oil on linen
200 × 140 cm (78 3/4 × 55 1/8 in)
展览题目“Crisp3r”来源于单词CRISPR，由立陶宛生物化学家维尔吉尼尤斯・希克什尼斯（Virginijus Šikšnys）发展研究，是一种精确、高效的DNA序列工程，从而彻底改变了基因技术。受到编码科技的启发，莫尔克重新诠释这个词汇的意涵，整合了网络俚语、在线术语和编码的元素，再次模仿了自然的样貌，及其无处不在的科技干预使现实得以延展的可能。与此同时，“crisp”本身的字面意涵与莫尔克创作的美学风格产生了微妙的共鸣，她描绘的主题在柔和模糊的背景前呈现出明快精准的形态与其俐落的轮廓，如同数字图像带来超越肉眼所能辨别的清晰与真实。![]()
茹特・莫尔克
和牛，2024
布面油画
195 × 115 公分（76 3/4 × 45 1/4 英寸）
Rūtė Merk
Wagyu, 2024
Oil on linen
195 × 115 cm (76 3/4 × 45 1/4 in)
莫尔克的作品试图构建一个既连续又中断的场域，捕捉在超连接异化与隔离感并存的时代中，经验碎片化的人类处境。《安博和马里恩》（2024）中的人物既熟悉又难以辨识，她们将目光投注在无法触及的画面四方，或停留在个别的物件上，栖息在自娱自乐的片刻之中。她们身穿普遍的商务便装或休闲服，在外形和姿态上都体现出某种程度的一致性，反映了千禧一代的同质化特征。回应科技时代中界面的定址指向、协作参与、瞬时即刻的特质，莫尔克重申了与之伴随而来汰陈出新的焦虑，她所塑造的人物在离向的过程中，与现实高度连结又难逃脆弱孤独的宿命。
光滑的人物躯体、交杂培育的和牛肉排、加工食品的糕点，在精心编排的视觉诱惑中，莫尔克揭示了科技形塑的生命体与蔚为风潮的生物工程更鲜少为人关注的一面。作品《和牛》（2024）作为一个高度混杂的概念存在，它指向物质亦同时指向经验，渗透入侵全球化的当代景观之中。如同货币一般，它流通环绕在我们几经调适修正后，处处充斥应许与危噩的生活之中。
茹特・莫尔克
莱林克斯，2024
布面油画
200 × 140 公分（78 3/4 × 55 1/8 英寸）
Rūtė Merk
Linkus, 2024
Oil on canvas
200 × 140 cm (78 3/4 × 55 1/8 in)
Gallery Vacancy is pleased to present a solo project, Crisp3r, by Berlin-based Lithuanian artist Rūtė Merk at Frieze Seoul 2024, booth B22. In this presentation, Merk brings forth a selection of her latest oil paintings to examine the concept of technologized subjectivity in the context of contemporary living, where the boundary between work and leisure is blurred, and personal identity is integrated through the pervasive lens of mass media. Layered through formal techniques rooted in academic painting traditions, the fabricated smoothness of her painting surfaces deliberately simulates the digital aesthetics that shift our perspectives of the physical world. The title Crisp3r, phonetically reminiscent to the word “crisp”, originates from the scientific acronym “CRISPR”, an accurate method and cost-effective method of reprogramming a sequence of DNA within cells, developed by Lithuanian biochemist Virginijus Šikšnys. Inspired by the encoding ability of this technology into the perception of a living being, Merk recontextualizes the term by integrating elements of cyber slang, online jargon, and coding, mimicking the inscribable nature of the physical world and its malleability under the pervasive influence of artificiality in the digital era. At the same time, the word “crisp” subtly resonates with Merk’s stylistic approach, characterized by an acute sharpness and rigid contours of her objects against a softly blurred background, akin to the hyper-clarity of a digital image beyond the naked eye.The booth presentation seeks to construct a continuous yet disrupted sphere, capturing the fragmented human condition in an era characterized by both hyperconnectivity and isolation. The figures in Merk’s paintings are simultaneously familiar yet unidentifiable. As seen in painting Ambera, Marion (2024), the figures gaze intangibly toward the frames across that are nested with unattended objects, dwelling in a space of self-employment and inner experiences of residual privacy. Clad in ubiquitous garb of Business Casual or Leisurewear, they embody a level of conformity in both appearance and gesture, reflecting the homogeneity that typifies the generation zeitgeist of the Millennials. Responding to the constant addressability, engagement, and instantaneity that arises within the technological era, Merk reiterates the concomitant anxieties of planned obsolescence, digressing her protagonists in a state of equal fragility, being simultaneously isolated and hyperconnected.Juxtaposed against the contriving allure of virtual deception, Merk’s depiction of glistening human bodies, processed steaks and artificial pastries further hint at the darker realities of a technologically molded existence and the pervasive processes of industrialization and bio-engineering. These works conceive as a hybrid disembodiment, where technologized materiality and immateriality, permeating the contemporary globalized landscape, embody a form of currency that circulates in our conditioned life fraught with both promise and peril.
Frieze Seoul Online Viewing Room
首尔弗里兹艺术博览会线上展厅将于中国时间2024年8月28日上午11点 KST至9月13日下午6点KST向VIP及公众开放预览。
请复制下方链接至浏览器或点击文章末尾原文链接跳转至线上展厅:
https://www.frieze.com/fairs/frieze-viewing-room
Frieze Seoul Viewing Room will be accessible to the VIPs and the public from Wednesday, August 28 at 11am KST to Friday, September 13 at 6pm KST.
Please copy the link below to your browser or click on Read More for Frieze Viewing Room:
https://www.frieze.com/fairs/frieze-viewing-room
茹特・莫尔克，1991年出生于立陶宛，现生活工作于柏林。莫尔克2013年于维尔纽斯艺术学院获得绘画学士学位，2020年毕业于慕尼黑视觉艺术学院。莫尔克以源自于学院绘画的传统技法，拟彷了物体由物质世界再现于数字景观中所生成的隔阂与误差，意在审视个体身份在网路算法经济系统中被激活的异化与整合。作品中的人物与物件通常以悬停的方式暂歇地被搁置在画布中央，摆荡在背景所描绘的无垠虚空之中。个体的差异性由此被消解，在同质化的共鸣中彼此呼应又相互孤立。平滑诱人的图像表面在艺术家的精心编造下，重建并检视图像在数字世界中广泛流通的审美形式，其中繁复劳作下的笔触痕迹被隐匿在几近无暇、去人格化的完美中。历史文化的传统影响与人为介入的技术变革在她的画布上并存，勾勒了当下日常经验中科技导向的工程化崇高，以及随之而来注定为时代所汰换的焦虑与隐忧。劳动与闲暇的界线逐渐模煳、靠拢与交错，提示了现代生活相互连结却又无法逃逸的孤独，在身体逐渐退位的非物质转向间不断地游移在虚拟与真实的光谱之中。个展包括：“Promises”，National Gallery of Art，维尔纽斯，2024；“Moments”，beacon，慕尼黑，2023；“XP”，Tara Downs，纽约，2023；“f(x)”，Gallery Vacancy，上海，2022；“Стрiлецька”，WT基金会，基辅，2021；“SS20”，Downs & Ross，纽约，2020；“单手接龙”，Gallery Vacancy，上海，2020。部分群展于：Green Family Art Foundation，达拉斯；Kunstverein München，慕尼黑；Margburger Kunstverein，马尔堡；Rupert，维尔纽斯；及当代艺术中心，维尔纽斯。莫尔克的作品于Green Family Art Foundation，达拉斯、迈阿密ICA、香港M Art Foundation、北京木木美术馆、维尔纽斯MO Museum、日内瓦现当代美术馆、南京四方当代美术馆、及北京X Museum收藏。Rūtė Merk, born in 1991 in Lithuania, now lives and works in Berlin. She received her BA in Painting from Vilnius Academy of Arts in 2013 and acquired her painting diploma from Akademie der Bildenden Künste in Munich, 2020. Exploring the essence of human condition, Merk employs academic painting tradition to simulate the glitch generated from physical representations in the mediated world and the integration of identities under the conditions of cognitive capitalism. Figures and objects are usually depicted and suspended in the center of her composition in a homogenized manner, unified and isolated against the backdrop rendered in an alienating vastness and hollowness. The intriguing smoothness of her fabricated surface imitates and re-assesses the prevailing visual aesthetics in the digital sphere, concealing brushworks, the laborious endeavor, into dehumanized perfection. Meeting both the traditional and the artificial on her canvas, Merk contours both engineered sublime and concomitant anxieties of planned obsolescence in our technology conditioned life. The boundary between work and leisure is blurred, merged, and interlaced, illuminating the networked loneliness perpetuated and embodied in the immateriality shifting between the virtual and the realistic spectrum. Her solo exhibitions include: Promises, National Gallery of Art, Vilnius, 2024; Moments, beacon, Munich, 2023; XP, Tara Downs, New York, 2023; f(x), Gallery Vacancy, Shanghai, 2022; Стрiлецька, WT Foundation, Kyiv, 2021; SS20, Downs & Ross, New York, 2020; and Solitaire, Gallery Vacancy, Shanghai, 2020. Her works have been featured in exhibitions at: Green Family Art Foundation, Dallas; National Gallery of Art, Vilnius; Kunstverein München, Munich; Margburger Kunstverein, Margburger; Rupert, Vilnius; Contemporary Art Centre, Vilnius. Merk’s works are in the collections of Green Family Art Foundation, Dallas; Institute of Contemporary Art, Miami; M Art Foundation, Hong Kong; M Woods Museum, Beijing; MO Museum, Vilnius; Musée d’Art Moderne et Contemporain, Geneva; Sifang Art Museum, Nanjing; and X Museum, Beijing.
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V A C A N C Y
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周二–周六
Tuesday to Saturday | 13:00–18:00
200021 上海市黄浦区云南南路261号6楼
6F, No.261 S. Yunnan Rd., Shanghai 200021
+86-(0)21-62411239
info@galleryvacancy.com
www.galleryvacancy.com
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