展位 Booth | C24
艺术家 | 陈萧伊、朱可染
Artists | Chen Xiaoyi, Zhu Keran
贵宾预展（仅限邀请）｜VIP PREVIEW (INVITED ONLY)
2023.10.27 12:00 - 15:00
Vernissage 15:00 - 18:00
2023.10.28 11:00 -12:00
公众开放｜PUBLIC DAYS
2023.10.28 12:00 - 19:00
2023.10.29 11:00 - 19:00
2023.10.30 11:00 - 17:00
展览地点｜Venue
Kyoto International Conference Center Event Hall and New Hall
Takaragaike, Sakyo-ku, Kyoto 606-0001 Japan
千高原艺术空间很荣幸受邀参与2023年京都新型艺博会Art Collaboration Kyoto(ACK)。我们将在10月28日至30日期间在画廊合作（Gallery Collaboration）单元下呈现陈萧伊(b.1992)和朱可染(b.1986)两位年轻中国艺术家的近期作品。
两位艺术家都对宇宙自然有着独特的观察与记录，同时对关于世界尺度的遥远与切近、已知与未知在不同时空下又有着不同的思考。陈萧伊自2018年以来多次深入中国西南部的横断山脉，对于山系进行了一系列的“影像扫描”工作；朱可染自疫情以来开始在自家阳台上持续用高倍数望远镜观察月亮，并对每个月满月时的月球进行了一系列不同的记录与描绘。 展位C24。
A Thousand Plateaus Art Space is thrilled to be invited to participate 2023 Art Collaboration Kyoto (ACK) this October from 28th to 30th. We will present recent works by two young Chinese artists - Chen Xiaoyi (b.1992) and Zhu Keran (b.1986) - in Gallery Collaboration Section.
Both of the artists have unique observations and records of the universe and nature, and at the same time, they have different reflections on the distant/nearby, the known/the unknown about the scale of the world in different time and space. Chen Xiaoyi has traveled to the Hengduan Mountains in southwestern China several times since 2018, conducting a series of "image scanning" work on mountains; Zhu Keran, on the other side, has been observing the moon with a 300x telescope from her own balcony since the outbreak of the epidemic and has recorded and depicted a series of the moon at each month's full moon.Booth.C24.
陈萧伊
Chen Xiaoyi
《山的手相》延续了对横断山脉的神话与其自然间多样连结的探索。尽管常被斥为伪科学的一种，作为人类参破命运的尝试，手相学广泛散布于欧亚大陆不同文化、时空的历史中。采矿业遗留下的矿脉痕迹，作为手相学中生命线的隐喻，历经几度的开采与探索，由卫星图像、摄影、无人机拍摄等技术进一步转化，最终作为铝板上的喷墨印刷留存下来。观者的视线在二维的生命线与三维地貌的不同维度中往复，对世界纵深的体验也被一次次更新。
In her ongoing projects in recent years, Chen Xiaoyi has been focusing on the past history of the West as a resource area. She specifically focuses on the mines and mining relics in the Hengduan Mountain Range region as a starting point. Her aim is to salvage the lost time, nature, and the mysteries of the earth. She explores the temporal and spatial layers of the mountains, as well as the relationship between the land and the mountain habitats, from the mining industry of the past to the present. Her goal is to "scan the image" of the western mountains through a more expansive narrative.
Palmistry is an attempt by mankind to anticipate their fate and is found widely throughout different cultures and historical periods in Eurasia. The abandoned trails left by mining, a metaphor for lifelines in palmistry, have been produced by excavation and exploration, which are further transformed through satellite imagery, photography, and drone photography into UV prints on aluminum plates. The viewer’s attention alternates between the two-dimensional lifelines and the three-dimensional topography, renewing the viewer’s experience of the depth of the world.
朱可染
Zhu Keran
朱可染的作品总是映射出艺术家对宇宙和自然循环的观察。在绘画时，她把物象降到了最低，回到了“空相”的状态。“空”是一个暂停的瞬间，也是一个绝对静止的时刻，当我们凝视空城、空山、一花一叶时，其实也是冥想的过程。在她的《云卷云舒》与《水何澹澹》的作品系列中，这个“空相”的状态在她笔下以黑白为主的半抽象描绘中展现得更为明显——绘画的意义在与把物象这个表皮给剥开，呈现了语言的内核，澄明朗现的过程就像禅修的过程一样笃定。从疫情开始的近几年，朱可染开始用一个300倍的望远镜在自家的阳台上观察月亮，并记录了在成都可以看到的几次满月。月球伴随地球而存在，亘古肃穆，月球引起地球有规律的潮汐，潮汐将原始生命带到了大陆上，生命演化有了现在的我们以及万事万物。这组全新的《满月》绘画系列作品便是她对月球以不同方式观察之后引发的哲思。
Zhu Keran's works always reflect the artist's observation of the universe and natural cycles. In her paintings, she minimizes objects and returns to the state of "emptiness". "Emptiness" is a moment of pause and absolute stillness. When we gaze at an empty city, an empty mountain, a flower or a leaf, it is a process of meditation. In her series of works "Rolling Clouds" and "Babbling Water", this state of "emptiness" is even more obvious in her semi-abstract depictions in black and white - the significance of painting lies in peeling off the skin of the object and presenting the inner core of the language, and the process of clarifying and revealing is as certain as the process of meditation. In the last few years since the beginning of the epidemic, Zhu Keran began to observe the moon from her balcony with a 300x telescope, and recorded the number of full moons she could see in Chengdu. The moon accompanies the earth and has existed for ages. It causes the tides on the earth, and the tides bring primitive life to the continents. Then life evolve to give us what we have now and everything else. This new series of "Full Moon" paintings is her philosophical reflections after observing the moon in different ways.
近三年，朱可染使用碳笔在布面上创作，其绘画呈现了点、线、面的半抽象因素，去掉了世俗图像的色彩，黑白处理使画面变得更单纯，通过对碳和布面的材质研究，逐步探索出具有西方极简主义与东方美学的的作品。她避开世俗化的物象符号，走向更加内心化、抽象化的一种表达，这就是从外部图像世界转向心理世界的变化，她的绘画变得超然物外，褪尽了世俗与繁华，走向了朴素与极简。
朱可染的作品把物象降到了最低，回到了“空相”的状态。“空”是一个暂停的瞬间，也是一个绝对静止的时刻，当我们凝视空城、空山、一花一叶时，其实也是冥想的过程。在她的《云卷云舒》、《水何澹澹》与《满月》的系列作品中，这个“空相”的状态在她笔下以黑白为主的半抽象描绘中展现得更为明显。
对于朱可染来说，对宇宙和自然循环的观察，感叹到生命本身原始与质朴，进而思考作为人类的这种生命方式与自然及宇宙的链接。比如月球、云和水都构成了我们地球上的生命条件，生命进化出人类以及万事万物。
Zhu Keran, a female contemporary artist born in 1986 in Huainan, Anhui province, holds a master's degree in oil painting. She now lives and works in Chengdu.
In the past three years, Zhu Keran has been using charcoal on canvas to create her artwork. Her paintings present semi-abstract elements of dots, lines, and shapes, devoid of the colors of mundane imagery, her treatment of black and white simplifies the composition, and through her exploration of the materials of charcoal and canvas, she gradually discovers works that embody both Western Minimalism and Eastern aesthetics. She avoids the secular symbolism of objects and moves towards a more introspective and abstract expression. This shift represents a transformation from the external world of imagery to the realm of the psyche. Her paintings transcend the material world, shedding the trappings of the mundane and opulent, and embracing simplicity and minimalism.
Zhu Keran's works reduce objects’ image to their bare minimum, returning to a state of "emptiness". "Emptiness" is a momentary pause, an absolute stillness. When we gaze upon empty cities, empty mountains, or a single flower or leaf, we are actually engaging in a process of meditation. In her series of works such as "The clouds roll in and out of the sky", "It's water rolls in rhythmic motion" and "Full Moon", this state of "emptiness" is more prominently depicted in her predominantly black and white, semi-abstract paintings.
For Zhu Keran, the observation of the universe and the cycles of nature leads to a contemplation of the primal and unadorned essence of life, and subsequently, a reflection on the connection between this human way of life and the natural and cosmic order. For instance, the moon, clouds, and water all constitute the conditions for life on Earth, from which life has evolved to encompass humanity and all things.
In addition to the exhibitions and events in the over 1,000 square meters gallery space, A Thousand Plateaus Art Space also takes an active part in important international art fairs including Art Basel in HK, Art Hong Kong, Art Stage Singapore, Asia Now | Paris Asian Art Fair, ART021, West Bund Art & Design, JING ART, Art Chengdu, Photo Shanghai, Festival LOOP and Paris Internationale, LISTE in Basel etc..
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