可以画廊北京空间正在展出孙逸飞个展「池塘」。展览呈现了孙逸飞近两年的八件作品，展览将持续展至10月3日。
华南海盗 / SouthChina Pirates
2023-2024
布面丙烯喷绘
Acrylic spray paint on canvas
“华南海盗”泛指18世纪末到19世纪初，活跃于中国南方沿海的海盗群体。这些海盗大都由一贫如洗的疍民、船民转变而来。“疍家”是对居住于福建闽江直到广东、海南岛和越南的船上居民的一般称呼。其最初起源已难以查考，但学者们推测，他们可能是古越族（即这一地区的原住民）的后代，或是王朝末年流亡海上的大陆居民的后代。“疍家”长期生活在海上，没有固定的居所，缺乏血缘的纽带，形成了喜欢流动，难以对一个固定场所产生留恋的价值系统，这就导致了其在重视定居生活和血缘组织的封建王朝时期，受到了居住在陆地上的族群的排斥与歧视。“疍家”是一个被遗弃的阶层，在清朝长期被归入“贱民”一类，更别提上陆为官执政了。他们四处漂泊，处于王朝的影响之外，逃离了政府当局征缴税款，形成了一个很大程度上超然于政府控制之外的亚文化群，一群逃离统治的人。
明清时期，不断的自然灾害和地方政府的影响力减弱，导致社会动荡人们的生计难以预料，使得那些失去家园、边远地区的人们或是非法职业者转而去投向起到维护团体安全和保证经济正常运行的民间教门或是秘密会党。随着海上贸易的发展以及战争的影响，海盗势力的逐渐强大，海盗团体也成为了许多人投靠的对象，对那些依靠出海捕鱼赚取微薄收入的渔民们来说，将海盗活动作为一种临时生存策略便成了顺理成章的事。海盗势力日益强盛并且更加职业化，逐渐形成了人数在5万-7万人之间的海盗联盟，并逐渐控制了沿海贸易和渔业。海盗们袭击商船，中外船只皆在他们的攻击范围，其战船也与政府的战船打得有来有回。这使得清政府不得不采取许诺官职和钱两的方式来招降，从而导致有些人把成为海盗当做了升官发财的机会。
参考资料《华南海盗1790—1810》穆黛安著
200 × 130 cm
「不朽与幻灭」的图像来自于弗里德里希的《雾海中的流浪者》以及黄少强1928年创作的同名绘画作品。黄少强生于1901年，于1942年在其南海的祖屋去世。他于20世纪20年代起活跃于画坛，也正是在这段时期（20年代），他的祖父、父亲、母亲、四弟、三婶、长女、祖母、二妹、三妹均不幸去世。故而黄少强艺术创作多是表现感时伤逝、哀歌唱挽的艺术主题。他的绘画多数是直接描写民间疾苦的题材，同时也有许多现代时装仕女画。
图片作者——黄少强/Huang Shaoqiang
不朽与幻灭/ Immortality and Disillusionment
精神分析师的骗局 / The Psychoanalyst Scam
150 × 130 cm
在这个电影片段中，我们可以看到来访者与分析师之间的关系是如何被建立起来的。在这里魏如意正处在拉康所说的“假设知道的主体”的位置，他被来访者假设知道关于自己症状的全部知识。不过这种功能本身是想象性的，事实上真实的分析家并不知道任何关于来访者的症状或是无意识的知识。关于这一点拉康说：“分析家必须认识到，关于分析者归于他的那种知识，他一无所知”。同时，这种关系的建立并非一蹴而就，这种转移往往需要花费一些时间，就像电影片段中所展示的那样。事实上，精神分析的运作方式，并非是一种依靠对于症状的知识来解决症状的“心理学”。恰恰相反，分析师所依赖的是转移所带来的“骗局”，使来访者通过语言寻找到他的欲望客体，在这个过程中，来访者需要一个人在那里，将分析师认定为“他者”，并假设这个他者知道，从而使来访者自己道出关于自己的无意识真相。
「热带战鼓」
杀手 / Killer
2024
布面丙烯喷绘 / Acrylic spray paint on canvas
《杀手》曾经被改编成电影桥段和漫画情节比如1946年的《杀人者/绣巾蒙面盗The Killers》、1964年的《财色惊魂》以及《鲁邦三世》第四季第六集，塔可夫斯基早期也曾按照小说的剧情完整地拍过一部短片。
150 × 120 cm
「池塘」
池塘 / The Pond
2024
木板丙烯喷绘、玻璃钢
Acrylic spray paint on wood , Fiberglass
海史密斯（Patricia Highsmith）的小说《池塘》讲述了一个刚刚离异的女人带着年幼的孩子搬进了一所乡下的房子。房子后院有一个幽深的池塘，里面疯长着某种奇异的植物。池塘对她的孩子具有莫名其妙的吸引力。一天早晨，母亲发现儿子因被植物的根茎死死缠住，呛水而死。绝望中，母亲叫来了花园工人，在池塘四周播撒除草剂，根除所有植物。但这似乎毫无用处，植物的根茎比以前长得更强壮了。她越是要清除它们，它们就越是缠着她不放。最后，她放弃抵抗，任其缠绕，在其吸力中她听到了死去儿子的呼唤。
齐泽克将这个故事里的池塘称作既吸引我们又排斥我们的快感之核。当某一个相当普通的日常客体，一旦得到了“提升”，就会开始充当某种屏幕，某种空间，供主体将幻象投射到它上面，驱使我们反复讲述我们与快感的创伤性遭遇。
150 × 120 cm
「SouthChina Pirates」
2023-2024
布面丙烯喷绘
Acrylic spray paint on canvas
"South China Pirates" generally refers to a group of pirates active along the southern coast of China from the late 18th to early 19th century. These pirates were mostly former impoverished boat people and fishermen. The term “Danjia” refers to the boat-dwelling residents who lived from the Min River in Fujian through Guangdong, Hainan Island, and Vietnam. Their exact origins are difficult to trace, but scholars speculate they might be descendants of the ancient Yue people (the indigenous inhabitants of the region) or of mainland residents who fled to the sea at the end of the dynastic era. The “Dan” people lived at sea for extended periods without a fixed home, lacking blood ties, which resulted in a value system favoring mobility and a lack of attachment to any fixed place. This led to their rejection and discrimination by land-dwelling groups during the feudal dynasty era, which valued settled life and blood relationships. The “Dan” people were an abandoned class, long classified as “base people” during the Qing Dynasty, and were even more unlikely to be appointed to official positions. They roamed widely, beyond the reach of the dynasty's control, avoiding tax collection by government authorities, and thus formed a subculture largely outside government control—a group of people evading rule.
During the Ming and Qing dynasties, continuous natural disasters and weakening local government influence led to social upheaval and unpredictable livelihoods. Those who lost their homes or lived in remote areas, including illegal workers, turned to folk religions or secret societies for community security and economic stability. As maritime trade and warfare expanded, pirate forces gradually strengthened, and pirate groups became the focus of many seeking refuge. For fishermen relying on meager incomes from the sea, adopting piracy as a temporary survival strategy became a logical choice. The pirate forces grew stronger and more professional, eventually forming alliances of 50,000 to 70,000 pirates who gradually controlled coastal trade and fisheries. Pirates attacked merchant ships, both Chinese and foreign, and their warships clashed with government vessels. This forced the Qing government to offer official positions and money to lure them into submission, making piracy an opportunity for some to gain official positions and wealth.
Among the most well-known pirate leaders were Zheng Yisao and Zhang Bao. After the death of her pirate leader husband Zheng Yi, Zheng Yisao became the new leader and commanded a large fleet. Zhang Bao, Zheng Yi’s adopted son, was quite different from the typical pirate image; he was a man dressed in striking clothes, usually wearing a purple silk gown and a black headscarf. Later, Zheng Yisao married Zhang Bao to solidify her position in the pirate alliance. After they were granted amnesty by the government, Zhang Bao served in the Qing army as a vice general, responsible for the defense of the Penghu Islands, and died in office at the age of 36. Zheng Yisao, after her husband’s death, moved to Guangzhou with her son and opened a gambling house, dying in 1844 at the age of 69.
In most parts of the world, piracy is a profession dominated by men, and women are generally excluded from leadership roles. A widely circulated Western myth suggests that the presence of a woman on a ship signals doom for that vessel. Under Eastern feudal rule, women were even prohibited from appearing in public. Contrary to this impression, in the maritime world, women not only worked and lived aboard ships with their husbands but their presence on pirate ships was a natural extension of daily life.
不朽与幻灭 / Immortality and Disillusionment
2024
200 × 130 cm
「The Psychoanalyst Scam」
精神分析师的骗局 / The Psychoanalyst Scam
150 × 130 cm
2024
Today, our standard perceptions of the tropics often include images like tropical fruits, leisurely beach vacations, former colonial countries, or as sites of global capitalist production for raw materials. In this sense, the tropics, beyond being a climatic concept, are also a political and economic concept intertwined with colonial empires and global capitalist extraction. In fact, when we look at a world map, we find a high degree of overlap between tropical countries and those that are considered part of the Third World. In the 1950s, especially following the Bandung Conference, China and other socialist countries began a series of aid projects for Third World countries. These aid projects aimed not only to export socialist revolution and ideology but also to provide modern industrial infrastructure to help these regions escape their economic dependence on former colonial powers for raw materials, allowing them to build their own industrial sectors and achieve economic independence.
However, the tropics were a completely unfamiliar area to China and other socialist countries at that time, with knowledge gaps in terms of environment, climate, language, and religion compared to colonial empires. For the Chinese of that era, the tropics or Africa were entirely "exotic."
In addition to building infrastructure and public facilities, there were also aid projects focusing on public amenities in African countries. For example, the "November 22 Monument" in Guinea, designed by Zhang Zhaoxu, features figures whose poses and actions are almost identical to those on the Monument to the People's Heroes, but with African figures instead. As aid projects progressed and exchanges increased, the 1960s in China saw a surge of literary and artistic works reflecting the struggles of Asian, African, and Latin American peoples against colonial powers, such as "Letters from the South" and "Drums of the Equator." These works also exhibit a "tropical version" of the struggle narrative rooted in Chinese experiences.
In the 1960s stage adaptation of "Drums of the Equator," which depicted the African people's struggle against American imperialism, American characters and African characters were portrayed by Chinese actors using brown or white face paint. This practice of using face paint to portray black characters might be seen today as racially insensitive, especially in Europe and the United States where blackface minstrelsy has become a significant cultural taboo. However, at that time in China, it was a primary means of helping the audience immerse themselves in the dramatic context.
「Killer」
杀手 / Killer
2024
布面丙烯喷绘 / Acrylic spray paint on canvas
"The Killers" has been adapted into various film and comic scenarios, including the 1946 film "The Killers", the 1964 film "The Killers" (also known as "The Killers" or "The Killers" in some regions), and an episode from the fourth season, sixth episode, of "Lupin the Third". Tarkovsky also made a short film based on the story's plot in his early career.
「The aged and withered tree」
150 × 120 cm
On An accidental opportunity, I came across a work by Yan Bing depicting a withered tree. This piece reminded me of Ichiro Fukuzawa's 1940 work "The Man Who Lives on the Loess Plateau." This work was inspired by Fukuzawa's deep impression of the poor people living on the Loess Plateau during his visit to China at the end of 1939 and was created in the following year. Later, the piece was donated to his alma mater, Tsuomoka Junior High School (now Tsuomoka High School). However, during the war, the school was requisitioned by the Army's Nakano School. At that time, the painting, which was deemed "an eyesore" due to its depiction of a "beggar-like man," was stored away in a warehouse. Eventually, the painting was displayed in the principal's office and was restored in 1997 to commemorate the 100th anniversary of the school's founding.
池塘 / The Pond
2024
木板丙烯喷绘、玻璃钢
Acrylic spray paint on wood , Fiberglass
立白 / Be white immediately
150 × 120 cm
关于艺术家 / About Artist
孙逸飞，1995 年生于四川省凉山彝族自治州甘洛县 。2014 年毕业于中央美术学院附中，先后于 2018、2022 年在中央美术学院油画系获得学士及硕士学位。孙逸飞的绘画用快速喷绘而成的全景式的光滑平面、几乎消除一切笔触痕迹的图像，创造了既细节又失真的虚拟质感。其画面中的故事具有无法简单地用语言描述和表达的特质——图像在同一时间将故事的结构与剧情、开始与结局同时呈现于观众面前。将一切时间、空间、事件完全压缩在绘画的单层平面，呈现出一个只有图像可以去完善的思维想象。 他的作品曾被 X 美术馆、广东当代艺术中心、星美术馆等机构收藏。
Sun Yifei , born in Gan luo County, Liang shan Yi Autonomous Prefecture, Sichuan Province in 1995. He graduated from the Middle School Attached to the Central Academy of Fine Arts in 2014, and successively obtained his bachelor's and master's degrees in Oil Painting Department of the Central Academy of Fine Arts in 2018 and 2022. Sun yifei 's paintings, created through rapid Airbeush-painting, feature panoramic smooth surfaces that almost eliminate all traces of brushstrokes, creating images that are detailed yet distorted,resembling the virtual texture. The stories from his painting possess a quality that cannot be easily described or expressed in language - the images simultaneously present the structure, plot, beginning, and ending of the story to the audience. All time, all space, and all things are compressed into the single-layer plane of the painting. It is a realm that only images can perfect in the realm of imaginative thought.His works have been collected by X Museum, Guangdong Contemporary Art Center, Start Museum, etc.
关于可以画廊 / About KeYi Gallery
