LINSEED Exile ed.2
天涯海角 ed.2
Min Jia 皿家
Samak KOSEM 萨玛·科赛
Asami SHOJI 庄司朝美
Rachel YOUN 瑞秋·尹
ZHENG Zhilin 郑芝琳
WeiXin QUEK CHONG 郭张玮欣
After Party
派对
7.30pm onwards, October 11, 2023
Frieze London VIP program
20 YEARS OF OUTSET
A celebration at Tenter Ground
Gestures of Resistance is also on view till late
“推手”展览开放至深夜
Please RSVP through the QR code:
敬请通过以下二维码赐复出席
In Conversation
对谈
3-4pm, October 12, 2023
Body and the Politics of Transnational Resistance
“身体与地缘的角力”
Sophie Guo 郭笑菲
Art Historian and Associate Lecturer at The Courtauld Institute of Art
艺术史研究者，考陶尔德艺术学院副讲师
Evonne Jiawei Yuan 袁佳维
Independent Curator Based in Shanghai
常驻上海的独立策展人
郑芝琳 ZHENG Zhilin
讲故事的人 Storyteller, 2023
布面油画 Oil on canvas
140 × 105 cm
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。
萨玛·科赛 Samak KOSEM
亲爱的 Habibi, 2021
Video, single channel 单频影像
08:17 mins
Edition 1/5
在萨玛·科赛的影像《亲爱的》中，一位阴柔的舞者正随着沙哑的音乐挥舞着手臂。正如卡尔·B.荷姆伯格（Carl B. Holmberg）在她的大众文化的研究所称，一些姿势具有性别化的指向。[1] 而这一点或许在易装舞蹈中最为显著。在南亚，就有一种“跳舞男孩（Bacha Bazi）”传统正在复兴：一些男孩在年幼时被训练如何像个女孩一样跳舞，并扮演女孩进行表演，以此取悦一些男性观众。然而科赛的影像并没有直接呈现这样的不幸，而是通过运用像是直播画面的镜头，使这部影片仍保留演出的娱乐性。不仅如此，随着镜头逐渐推向主角的身体，ta的眼神愈发迷离，肢体愈发挑衅。而科赛通过不断剪辑台上与台下正反打镜头，捏造出与台下穆斯林观众无声的紧张关系，重审宗教与性别双重背景下的欲望主体与客体之间的关系。
郑芝琳 ZHENG Zhilin
粗壮之躯与被其挤压的空气 Hulk and the Air It Squeezed, 2023
纸上彩铅 Coloured pencil on paper
60 × 160 cm
请向左滑动观看完整作品图
郑芝琳的作品同样呈现了她近期通过对于舞蹈中人体的研究，这种学习无疑增加了画面的戏剧性效果，也为她一直以来热衷的笨重却流动的肢体增加了一重身体的动态与弹性。在《讲故事的人》中运用了一种讲解插图式的构图，去除了背景甚者色彩，好像呈现了她对舞蹈动作技巧的类型研究结果。然而面无表情的舞者却与高难度的姿势似乎格格不入，扭曲的身体呈现出像是慢镜头播放的效果，身体就这样卡在了前一刻与下一刻之间，无视对这一姿势的切片解读。同样让人捉摸不定的是瑞秋·尹不停颤动的装置，观众无法推断这究竟是受惊的反应，还是一种内心雀跃的外显。尹的作品通过连接被废弃的按摩器，赋予人造植物以生命力，模糊了物的所谓功能性与装饰性。艺术家生长于一个在美韩国家庭，父亲是一个牧师。尹发现这个教堂的韩国人仍然坚持参与礼拜活动并非出于信仰而是为了与同乡人作伴，而这一动作对艺术家而言与参加酷儿派对的动作有一共同点：二者都是一个坦诚脆弱的姿势。正因如此，这样两个空间激发出了一种活力，正如被这些跳动雕塑装置所搅动的展览空间。
瑞秋·尹 Rachel YOUN
武士 Berserk, 2023
指压按摩仪，仿真花 shiatsu massager, artificial flowers
20.3 × 61 × 76.2 cm
与瑞秋·尹的动态（kinetic）作品相似地，庄司朝美和皿家画面通过对身体的描绘诱发了一种触感的体验。手的形态在庄司朝美的的画布上时常隐现，在《23.8.30》中，手在这些形状古怪的人物和动物之间形成了一个令人抚慰的循环。艺术家并未企图赋予手的物理性，反而是先用厚厚的白色肌理来制造溢出轮廓的，似乎正在溶化肉身的效果，以此涉渡一种温柔的触感。
庄司朝美 Asami SHOJI
23.8.30, 2023
布面油画与综合材料 Mixed pigments, oil on canvas
28 × 20 cm
与庄司作品暗含的神话中唯美的人兽恋以及动物指代的人性特征相似，在皿家的《陷⼊潮⽔的怀抱》中，主角与类似鬼魂的身躯交缠。皿家着迷于中国民间传说中因欲望而不断膨胀、遁形于人鬼兽之间的身体；而皿家作品中的手也似乎更具刺激性，在《捕⻛者》中，手指正挑衅地捏拿着覆在主角身上的网状织物。艺术家也在油画表面覆盖上了一层薄纱，使得这双轻佻的手成为了绘画与观看者之间关系的自我反射。与半透明感相呼应的，则是郭张玮欣作品中的透明织物试图唤起对不同材料—水、布料、金属、塑料植物—的细腻感知。这些艺术家似乎不再强调创伤性的在场，而意图巡捕与之一幕相隔的在场者之间气若游丝的联系。
皿家 Min Jia
陷入潮水的怀抱 Into the Ocean’s Arms, 2022
布面油画、水墨与丙烯 Oil, ink and acrylic on canvas
105 × 130 cm
LINSEED and A.I., in collaboration, are delighted to present the group exhibition “Gestures of Resistance”, featuring six artists with Asian backgrounds: Min Jia (b. 2001, Ürümqi, China), Samak KOSEM (b. 1984, Thailand), Asami SHOJI (b. 1988, Japan), Rachel YOUN (b.1994, USA), ZHENG Zhilin (b. 1991, Guangdong, China), Weixin QUEK CHONG (b. 1988, Singapore). The exhibition takes place at A.I. (at 1a Tenter Ground, London, E1 7NH) from October 5 to November 25, 2023. Spanning paintings, videos, sculptures, and installations, the works on display give form to the perplexity experienced in different social and cultural contexts. Revealing traces of desire, affection, the tactile, and the intimate, Gestures of Resistance illuminates how the body confronts, disentangles, balances, and reshapes the relationships of different powers.
In Samak Kosem’s Habibi, an effeminate dancer flails his arms with the raucous music. As noted in Carl B. Holmberg’s study of popular culture, certain gestures refer to gender, which is probably most ostensive in transvestist dance. [1] In South Asia, there is the re-emergence of the tradition of “Bacha Bazi” or “the dancing boys” where boys are trained to perform as girls for male audiences. However, through a lens akin to live-streaming vision, Kosem’s video takes a soft landing on the beholder with a tinge of entertainment instead of outright misery. As the camera closes up to the protagonist’s body and face, their eyes and gestures get more intimate and erotic. The dance spins about queerness and longing, which, with Kosem’s frequent shot reverse shot fabricating a strained dialogue with the Muslim male audience, raises the question of the subject and object of desire against the backdrop of intersectionality.
Zheng Zhilin’s work also showcases her recent research on different dancing gestures on stage in an attempt to accentuate the theatricality and elasticity in her signature portrayal of robust and unwieldy torsos and limbs. The Jazz dancer in Zheng’s Storyteller, though depicted in an illustrative format, defies a typological reading. His deadpan face seems to be a misfit with his twisted body. Zheng’s sinuous delineation achieves a slow-motion effect, leaving the body stuck between the past and the present, in between the two dancing poses. Similarly, it is difficult to tell whether the convulsing sculptures by Rachel Youn are euphoric or startled. Youn's work enlivens artificial plants through discarded massagers, bridging the functional and the decorative. Born to a Korean father as a pastor in America, Youn finds that the Koreans flock to the church less for religious purposes than to have company with fellow Koreans. For the artist, one thing in common with attending a church and a queer dancing party is the gesture of vulnerability that ignites the space, epitomized by the convulsions of these sculptural installations.
Resonating with Youn’s kinetic work, Min Jia and Asami Shoji’s paintings evoke a haptic experience through the body. The hand is a prominent feature looming on Asami’s murky canvas steeped in fits of gloom. In 23.8.30, the hands create a wonderfully soothing loop between figures in erratic contours. Instead of endowing physicality, the artist addresses the gentle feeling of touch through the dissolving flesh that often overspills the outlines—an effect achieved through a thick priming of white paint.
Akin to an allusion to mythological anthropomorphism and bestiality in Asami’s paintings, the character in Min Jia’s Into the Ocean’s Arms is having intercourse with a ghost-like figure. Min Jia has been enamored with Chinese folklore depicting insatiable bodies that transform into different shapes. The hands in Min Jia’s work seem more provocative with, for example in Wind Catcher, the fingers pinching the fabric or catcher over the protagonist. With a piece of gauze overlaid on the painting, the hands become a self-reflexive writing of the relationship between the painting and the viewer. Echoing the veiling, the sheer film in Weixin Quek Chong's work reexamines the tactile material nature. These artists no longer emphasize the presence through traumatic expression but to capture the delicate connections and instigate a dialogue.
