《鸟喙与煤》
Beak and Coal
2024.11.23 - 2024.12.23
开幕 Opening:
2024.11.23 15:00 - 19:30
艺术家 Artists:
谢灵柔 Lingrou Xie
邱止 Zhi Qiu
付若瑄 Roxane Fu
" I stand in the cold kitchen,
everything wonderful around me—
I hear the bird call out to the tree,
and the tree answer. "
美国诗人玛丽·奥立弗曾经在诗作《金翅雀》中写道，“我听到鸟叫穿过树缝/以及树的回应”。当生活中的吉光片羽落入视网膜，向内激起大脑的反应，一条串联起“证据”的逻辑链路即会瞬间被建立起来，在开始动用左脑进行理性思考的节点之前。
南柯画廊将于11月23日呈现谢灵柔、邱止的双个展项目“鸟喙与煤”。在百年前，煤矿工人会携带一只金丝雀，以借助其对于毒气敏锐的感知去检测矿井中可能存在的未知危险。在历史中，“金丝雀”的物化隐喻向来与加诸于女性的限制与期待相关。而于两位女性艺术家而言，不断向外界发出的感知也似是拥有灵巧、柔软而迅捷的翅膀的金丝雀，啼叫，在侦测到的宝矿旁边留下可见的证明。
The American poet Mary Oliver once wrote in her poem “Goldfinch”, “I stand in the cold kitchen，everything wonderful around me. I hear the bird call out to the tree, and the three answer”. When life's bird's song falls into the retina and stirs the brain inward, a logical chain of “evidence” is instantly established, before the left side of the brain begins to be utilized for rational thought.
On November 23rd, Nan Ke Gallery will present “Beak and Coal”, a dual exhibition by Lingrou Xie and Zhi Qiu . A hundred years ago, coal miners would carry a canary with them in order to detect unknown dangers in the mines with their keen sense of poisonous gas. Historically, the materialized metaphor of the canary has been associated with the limitations and expectations placed on women. For the two women artists, the senses that they constantly send out to the outside world are like canaries with dexterous, soft and swift wings, crowing and leaving visible proofs next to the mine that they have detected.
时间的旋涡 The Vortex of Time, 2024
布面油画 Oil on canvas
© Courtesy of the artist
In the images of Lingrou Xie's works, the blurred background of skimming light and the speeding film negatives are constantly overlapping, as if the double exposures are witnessing the intersection of parallel time and space. However, in the midst of the continuous changes, what is always clear is the existence of a “variable-size” square, a “picture within a picture” that seems to be a symbolic or metaphorical title, and through which the tenderness and resilience of a woman's point of view is used to dig out memories buried under the skin of the subconscious mind and to elicit information about the hidden secrets of the blurred images. Through their tenderness and resilience from a female perspective, they tap into memories buried under the skin of the subconscious mind and evoke empathy about the situation of women's roles in contemporary society as metaphorically represented in the blurred images.
燃烧着的 Burning, 2024
布面油画 Oil on canvas
© Courtesy of the artist
The small square of the piece strays and is fixed within the boundaries of the frame, as Marcel Proust describes it in " À la recherche du temps perdu ", “ something that has been embedded like an anchor at a great depth“. Originally, the idea came from old family photos. Often pressed under glass table tops or held in albums of flimsy plastic film, these thin sheets of paper have become totems of shared memories of the millennial generation. She meticulously depicts the faces of the people in the images and experiments with the possibilities of combining them with still lifes or plants as if they were collages.
玻璃之海 Sea of glass 2024
布面油画 Oil on canvas
© Courtesy of the artist
而此类“尝试”的逻辑，却是凌驾于理性逻辑之上的“感知”。谢灵柔曾提到，她似乎总被人与人之间的关系，尤其是亲密关系吸引。靠近与排斥之间拉扯的暧昧张力自然地引起她的注意与探索，又由此作出超出语言转译范畴的体悟与创作。随着感知的不断熟稔，她的表达范畴也逐渐由具象相片扩大至抽象的视觉元素——情绪化的残影，火焰，手势与眼神，构建起围绕着“女性”这个母题汇集而成的，互相牵引的星系。
邱止 Zhi Qiu
100h x 80w cm
© Courtesy of the artist
情绪的起伏同样会扰动邱止的注意。然而，相较于对不同个体间相互作用力的探查，她更为擅长的是探查独立的“人”表象与内质之间的、具有普世性的勾连与割裂。被儿时的偏好引导着，她将动物转化为了用以表达的符号，并不断探究其能够在个人的世界观中引起的愉悦亦或是恐惧。
Emotional ups and downs will also disturb Zhi Qiu's attention. However, she is more adept at exploring the universal connections and disconnections between the surface and the interior of the individual human being than the interplay between different individuals. Guided by a childhood preference, she transforms animals into symbols of expression and explores the pleasure or fear they can evoke in one's worldview.
邱止 Zhi Qiu
100h x 80w cm
© Courtesy of the artist
邱止用东方哲学与价值观中“业力”的作为线索，串联起她创作的图谱与系统化的思考。亦引导着她以共情的眼光重新审视灌注在不同的肉身容器之中的生命，并思索当其以不同形态出现时，会如何对于注视的意识体形成截然相反的撩拨。人为赋予的“意象”范式裹挟着生命的本质，形成坚硬而固定的象征，化为砸向复杂的思维迷宫的简短参考答案。
Zhi Qiu uses “karma” as a clue in oriental philosophy and values to link up the maps of her creations and systematize her thoughts. It also guides her to re-examine the life infused in different physical containers with an empathetic eye, and to contemplate how its appearance in different forms can create diametrically opposed provocations to the watching consciousness. The artificially given paradigm of “imagery” wraps itself around the essence of life, forming hard and fixed symbols that serve as short references to the complex labyrinth of thought.
邱止 Zhi Qiu
100h x 80w cm
© Courtesy of the artist
When different animals are simplified into strongly suggestive patches and rearranged together, the artist's inner complexity, desires, perceptions and insights are also broken down and translated, thus forming an effective intuitive communication to the external world. Under Zhi Qiu's brush, the chaotic world of entangled threads and strands is keenly found to be the source of the outline, and then melted into an undecipherable flow of the heart, connecting to any familiar or unfamiliar people with more or less common understanding.
邱止 Zhi Qiu
100h x 235w cm
© Courtesy of the artist
In Qiu's keen perception, the sentiment of “species feminism” grows naturally and permeates every animal figure she observes and depicts. Species Feminism focuses on the intertwined relationship between humans, animals and the environment, emphasizing the potential for women to demonstrate a more caring, compassionate and cooperative attitude towards non-human animals and the environment. Under an almost compassionate cross-species perspective, she uses her gifted female sensitivity to explore the cracks between appearance and substance, and expands the transient perceptions she acquires with intense and highly charged color and compositional expressions that continue to sing to the outside world.
The artist touches the entire exhibition space with instantaneous perception, it seems that the vertical three-dimensional structure can also be viewed by the unsteady eyes as a carefully installed birdcage, forming a safe or restrictive division from the outside world. The same wrapping and boundaries fall into Lingrou Xie 's paintings as regular frames and lines, and into Zhi Qiu's brushstrokes as the skin of the animals, which together protect or constrain their contents. However, when the viewer has complete trust in the closed environment in which he or she lives, narrow and arbitrary meanings of praise or degradation cease to exist, and the criteria for judging the good and the bad are temporarily invalidated, each individual will be like a canary in a mine, relying only on intuition to interact with the outside world, with each other, and with the self.
文/付若瑄
Text by Roxane Fu
Artist 艺术家 ｜
Lingrou Xie 谢灵柔
Artist 艺术家 ｜
Zhi Qiu 邱止
展评 Article｜张鹏：眷眷之村｜勾连 Intertwined
More information / 更多信息
