“To the Things Themselves”上辑 PART I: 2024/08/03 - 2024/08/22下辑 PART II: 2024/08/23 - 2024/09/11
每日 10:00 - 22:00 (Mon.-Sun.)
上海市黄浦区淮海中路550号 HAI550商场 L6-05HAI 550 L6-05, No.550 Middle Huaihai Road, Huangpu District, Shanghai我们必须从由文档为我们设定程序的具体性中抽象出事情，这些物都可以归结为一个共通之处：在这个世界上，我们并不孤独，我们与他人同在，我们所经历、认识和评价的一切，都是我们与他人达成一致的结果。新的抽象之路离开信息，走向他人。从本质上讲，“回到事情”意味着揭开代码，以便将自己和他人从代码中解放出来。
——威廉·弗鲁塞尔
We must abstract things from the concreteness that the document has programmed for us, and these abstractions can be reduced to one common denominator: we are not alone in this world; we are with others, and all we experience, know, and evaluate is the outcome of our agreement with others. The new path of abstraction moves away from information and toward others. In essence, "getting back to things" entails breaking the code in order to liberate ourselves and others from it.
——Vilém Flusser
东画廊欣然宣布在即将启幕的HAI550商场L6-05空间展开一次特别的策展尝试。本次为期五周的快闪展览将跳脱出传统白盒子的空间框架，以《回到事情本身》为题，在真实的消费场景下反思超扁平的数字时代中人与信息、物品及他者之间的兴趣与关系。十余位艺术家通过各自不同媒介与材料作品的介入，从确切的主题中抽象出物与人的具体关系，引领我们“回到事情本身”，重建与恢复日常生活的亲密接触。展览将于2024年8月3日开幕，上辑中将展出高伟刚、郭海强、刘任、吕松、李珊、章佩芸以及张如怡近年来的创作，展览预计持续至8月22日。
With great pleasure, Don Gallery announces a special curatorial experiment in the soon-to-be L6-05 space at HAI550 mall. Under the title "To the Things Themselves," the five-week pop-up exhibition will leap out of the conventional white-box spatial framework and reflect on people's interest in and relationships with information, items, and others in the ultra-flat digital era in the context of real consumer scenario. Through their interventions in various mediums and materials, over ten artists will abstract the tangible interaction between objects and people from the exact theme, guiding us "to the thing themselves" and rebuilding and restoring the intimacy of everyday life. The exhibition, which is slated to open on August 3, 2024 and continue through August 22 and PART I will include recent pieces by GAO Weigang, GUO Haiqiang, LI Shan, LIU Ren, LU Song, ZHANG Peiyun, and ZHANG Ruyi.
韩炳哲在其2021年的《非物：生活世界的变革》一书中将矛头指向数字资本主义，从信息作为“非物”的角度，鞭挞了当下痴迷于“超生产”和“超消费”的数字时代的状况：我们正在逐渐丧失与他者的关系——无论是人还是物。手指在智能手机上的点选取代了真正的接触与人际交往，大数据算法精准、无限投放的短视频平台放大了我们对转瞬即逝的虚拟信息的欲望，生产出即时提供解决方案的图像商品流。如弗鲁塞尔所言，“我们对拥有物品的兴趣越来越小，而对消费信息的兴趣越来越大。”随着“非物”而不是“物”构成了人们所处环境的首要内容，夺回“生活世界”的主动权成为一个紧迫的生存论命题……
In his book "Non-things: Upheaval in the Lifeworld" from 2021, Byung-Chul Han criticises digital capitalism and laments the current status of the digital age, which is fixated on "hyperproduction" and "hyperconsumption," from the standpoint of information as "non-objects." We are progressively losing our relationship with the Other, both human and physical. Real contact and human interaction are replaced by the tap of a finger on a smartphone, and our need for transient virtual knowledge is heightened by big data's algorithmic precision and endlessly available short-form video platforms, which generate streams of image commodities that provide quick answers. We are becoming more and more engaged in consuming knowledge, as noted by Flussell, and less and less interested in possessing things. As non-objects increasingly make up people's environs instead of items, taking back control of the "lifeworld" has become an urgent existential issue…
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Open, GAO Weigang 高伟刚, 2023. Stainless steel, gold 不锈钢电镀24K金, 100 × 70 × 20 cm. 9Ed+1AP⾼伟刚（b. 1976）的创作尽⼒摒弃⽇益泛滥的全球化浪潮带来的强势影响，坚持以个⼈视⻆⾯对⾃身过往的⽣活经验并以此来判断⼈与社会⽣活、⾃然因素之间的⽭盾所在。在金色不锈钢装置作品《OPEN》（2023）中，一扇窗，作为被视而不见的日常之物，在剥离了实用性和功能性后被放置于一个“空的”空间中，因其自身的形体被孤立出来，显现出了作为一个物的自身。高伟刚的作品坚定地保留着媒介本身强烈的特性，他将幽默诙谐的⼿法和怀疑的态度贯彻其中，不断地挑战观众的视觉及思维习惯，促使观者去反思这个熟知的世界。GAO Weigang (b. 1976) has attempted to challenge the globalisation movement's great effect in his works by focussing on a personal confrontation between his own past life and the social and environmental elements that confuse it. A window, an ordinary object, is devoid of its purpose and utility in the gold-colored stainless-steel installation OPEN (2023), and instead is put in an "empty" area where it is separated from its own shape and becomes an object in and of itself. The strong qualities of the medium itself are still very much present in Gao Weigang's works, and his light-hearted style and critical mindset constantly question the audience's preconceived notions about the world around them.
2022.4.11, GUO Haiqiang 郭海强, 2022. Oil on canvas, branch and jute fibre 布面油彩、树枝和黄麻丝, 187 × 245 cm
郭海强（b.1980）的艺术实践沿着雕塑语言与绘画语言的边界进行探究，旨在通过绘画的方式为自己的精神世界塑形。近年来，郭海强的主要创作方式乃是“写生”。他骑行至终南山，独自遁入山中，以油画勾勒山景的形态，并据此完成画作。尽管户外写生在艺术史上并不罕见，而且早已被塞尚等人升华为艺术创作的方法论模式；然而，郭海强此举却并非身处21世纪对于19世纪进行怀旧式的简单重复。由于文化语境与艺术观念的骤变，郭海强的写生显露出中国传统认识论中“格物”的意味——他尽可能弃绝当代技术，仅凭借肉眼观察将凝视的对象内化，再通过创作将所见的物质世界转译为简单而宁静的内心世界。
GUO Haiqiang's (b.1980) artistic practice aims to shape his spiritual universe through painting by examining the boundaries between the languages of sculpture and painting. "Sketching" has been GUO's primary creative process in recent years. After riding to Zhongnan Mountain, he vanishes into the mountains by himself and finishes his paintings by using oil paints to outline the contours of the surrounding landscape. Although outdoor sketching is not uncommon in art history and has long been elevated to the status of a methodical model for art creation by artists such as Cézanne, GUO Haiqiang's activity is not a 21st-century version of a nostalgic 19th-century practice. His sketching reveals the meaning of the traditional Chinese epistemology of "Ge Wu" because of the abrupt shift in artistic concepts and cultural context. He eschews modern techniques as much as possible, internalises the objects he looks at with his unaided eyes, and then uses his creations to translate the material world he sees into a calm and simple one. He transforms the material world he observes through his works into a straightforward and calm inner reality.![]()
Sunset(Namibia) 落日(纳米比亚）, LI Shan 李珊, 2017. Oil on paper 纸上油画, 22 × 29.5 cm
李珊（b.1957）在上世纪七十代初期与中期曾以非官方艺术家的身份积极参与“玉渊潭画派”的创作活动，其后或名为“无名画会”的主要成员，在中国当代艺术史上占据特殊的意义。李珊是画会中对没有经过系统性学院训练最不在意也最没有负担的成员，她的画面总是出自本真和自然，天然得没有任何矫饰，略去了细致的纹理，以平涂的方式描绘景与物的构造，展现出对色彩的敏锐和极高的天赋。绘画之外的李珊，爱好海外旅行、徒步和单板滑雪等户外活动，足迹遍及新疆、英格兰、北欧、瑞士、尼泊尔等多地，绘画也因而成为她记录旅途的日记本。李珊坦言，绘画时的专注和宁静与她日常生活中表现出来的外向、爱冒险的性格形成巨大反差。她的作品中，不论是花卉静物、天山风貌或是异国景致，都引人进入一个仿佛激愤与忧愁皆被净化了的世界。李珊把对美好事物的关注和对生活的热爱倾注于画布上，作品中总有一种明媚、温暖而可靠的气质。LI Shan (b.1957) was an active participant in the ‘Yuyuantan Lake School of Painting’ as a self-taught artist in the early and mid-1970s, and was later named a key member of the ‘No Name Group,’ which holds a special significance in the history of contemporary Chinese art. Since the 1970s, LI Shan has likely been the member who is least bothered by and concerned about the absence of formal academic background. Her paintings are always natural and unadorned, omitting detailed textures and depicting the structure of scenes and objects in a flat manner, demonstrating a keen eye for colour and a great talent for it. Outside of painting, LI Shan's interests extend beyond to overseas travelling, hiking, snowboarding, and other outdoor activities. These pursuits have allowed her to visit various locations such as Xinjiang Provence, England, Scandinavia, Switzerland, Nepal, etc., and her paintings have served as journals for her travels. LI Shan confesses that the concentration and peace she experiences while drawing contrasts sharply with the extroverted, adventurous nature she exhibits in her daily life. Her works, whether still lifes of flowers, vistas of the Tianshan Mountains, or exotic settings, transport the viewer to a realm free of both anger and despair. LI Shan pours her appreciation for beautiful things and love of life onto the canvas, and her works are always bright, warm, and dependable.
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Cuts in Passing– Crows Cawing at Night. Last Night was Windy and Rainy (LI Yu) 锋利划过——乌夜啼.昨夜风兼雨（李煜）, LIU Ren 刘任, 2022. Oil, straw paper, and ready-made object 油彩、草纸、现成品, 35.2 × 35.2 cm (36.8 × 36.8 × 4.3 cm with frame 含框) . 3Ed +2AP(#1/3)刘任（b.1983）的作品延续了他长期以来对时间的流逝、生命的消耗以及人的存在状态的关注和兴趣。他将日常身边的碎片化的信息或平凡的事件、行为与表演，转化为具有干净工整的视觉形态的作品。在作品《锋利划过——乌夜啼.昨日风兼雨（李煜）》（2022）中，刘任将李煜的名句“世事漫随流水，算来一梦浮生”拆解成12个字体符号，顺时针抄写于草纸之上。同时将挂钟的指针打磨出锋利的边缘，时间如无情的刀片划过空气，所对应的正是人生的虚空与悲情。《PantaRhei》系列中，刘任在压缩凝固的草纸浆块表面用丝网印刷不断重复“PantaRhei”并在缝隙中嵌入黄金，与草纸廉价的消耗性形成强烈对比。个人信息流逝的痕迹在这个过程里被强调与提炼，进一步强化了“PantaRhei”的哲学意涵——“万物皆流，无物永驻”的最终归宿，这正是刘任对自己所处历史时期的注解。LIU Ren's (b.1983) work continues his longstanding concern and interest in the passage of time, the consumption of life, and the state of human existence. He creates works with a tidy and clean visual shape out of the disjointed information or ordinary events, behaviours, and performances that he witnesses on a daily basis. In the piece Cuts in Passing - Crows Cawing at Night. Last Night was Windy and Rainy (LI Yu) (2022), LIU Ren broke down LI Yu's well-known statement, "All are gone with the running stream, but my floating life is a dream," into twelve font symbols, which he reproduced clockwise on the straw paper. Simultaneously, the wall clock's polished hands have sharp edges, symbolising the emptiness and melancholy of life as time slices through the atmosphere like a savage blade. In stark contrast to the inexpensive and disposable character of the straw paper, LIU Ren screen-prints "PantaRhei" repeatedly on the pulp of compressed and solidified straw paper and embeds gold into the gaps in the paper. This method emphasises and refines the traces of personal information moving, which further strengthens the philosophical meaning of "PantaRhei"—the ultimate conclusion that "everything flows, nothing lasts forever"—exactly what LIU Ren's reflection on the time in his own history. ![]()
Theater #12 剧场 #12, LU Song 吕松, 2022. Acrylic on canvas 布面丙烯, 120 × 90 cm
吕松（b.1982）的《剧场》（2022）系列将我们的目光牵引至其绘画的观念性上。该系列作品起始于2021年他实施的一个跨界项目，吕松邀请导演、演员、模特、编舞、舞者、作曲家等各类创作者加入其中。过程中，吕松自己并不使用颜料，不参与绘画行为本身，但他拥有选择保留部分画面的权利。他通过控制画面结构来编辑参与者的风格，将两个或三个参与者的涂鸦通过拼贴方式加以组合，从而形成一幅完整的画面。自此之后，吕松在工作室的创作中也开始使用这种关联图像的方式，不同的是，他通过组合自己在不同时间中创作的图像来构成画面，搭建新的“剧场”。吕松重组和拼接不同元素，充分地释放绘画的随机性，从而创造出新颖的视觉效果。艺术家在过程中需要敏锐地作出种种选择和决策。这种作风，也挑战了绘画作为一种纯粹的视觉艺术形式的传统观念，并将其扩展到更为广泛的艺术实践中。这种直接表达，转变为了一种间接的、策略性的编辑和组合，解构和重新思考绘画的创作过程。
LU Song's (b.1982) Theatre series (2022) draws our attention to the conceptual nature of his paintings. The series began as a cross-border project he undertook in 2021, in which Luzon invited directors, actors, models, choreographers, dancers, composers, and other types of creators to join him. In this process, LU Song retains the right to decide which portions of the image to remain, even if he does not use paints or take part in the actual painting process. He modifies the contributors' styles by manipulating the image's composition and utilising collage to combine the graffiti of two or three people to create a single, cohesive image. Since then, LU Song has also started to employ this method of image association in his studio works; the only difference is that he produces a new "theater" by fusing images that he generates at various points in time to create a single image. By examining the hybrid state of disparate visual interests and modes of thought, he utilises painting as a means of fostering connections between individuals of various backgrounds. In order to fully unleash the randomness of painting, he rearranges and splices various pieces, producing unique visual results. LU Song must simultaneously make a number of thoughtful selections along the procedure. Additionally, this style expands the concept of painting to include a larger spectrum of artistic practices, challenging the idea that painting is only a visual art form. The painter's direct statement is changed into a deconstructed and rethought process of indirect, intentional editing and combination.![]()
In the Garden #7 在园中 #7, ZHANG Peiyun 章佩芸, 2022. Concrete 水泥, dimensions variable 尺寸可变
作为东画廊目前代理的最年轻的艺术家，章佩芸（b.1991）存在着明显的“双重反差”。首先是较之实际年龄更为沉稳深思的心理年龄，其次则是作品中不同年代感的绘画语言与精神底色之间催生出的张力。创作方面，章佩芸擅长运用极简的线条与轮廓，却并非简单地操练这种当代艺术的语言规范，而是旨在探索如何在当代的形式感之下蕴藏古典时代的秩序感。《在园中#7》（2022）是一组由白色水泥形塑而成的雕塑，以其特有的形质栖居于木架之上，其形生发于手稿，似园中植物在自然中的模样，展现出细腻、坚硬与纯白的质感。雕塑中的“白”在光线下被起伏、龟裂、粗糙与光滑的表面赋予了丰富且细腻的色彩变化。作品中的沉重与轻盈、破碎与修复构建了一处宁静、柔软的栖身之所。
As the youngest artist currently represented by Don Gallery, ZHANG Peiyun (b.1991) has an obvious ‘double contrast’. Firstly, her psychological age is more calm and thoughtful than her actual age, and secondly, there is tension between the different chronological painting languages and the spiritual undertones in her works. In terms of creation, ZHANG Peiyun specialises in the use of minimalist lines and contours, but rather than simply practising the linguistic norms of contemporary art, she aims to explore how the order of the classical era can be embedded underneath the contemporary sense of form. In the Garden #7(2022) is a group of sculptures made of white cement, inhabiting a wooden frame with its characteristic shape, which is born from the artist’s manuscript, resembling the plants in the garden in nature, displaying a delicate, hard and pure white texture. The sculpture's undulating, cracked, rough, and smooth surfaces give the colour "white" a rich and delicate colour diversity when illuminated. A calm and tranquil environment is produced by the contrasts between the heavy and light aspects of the work, the broken and the restored.![]()
Soap– 3 香皂─ 3, ZHANG Ruyi 张如怡, 2017. Concrete, soap holder, tiles 混凝土、香皂架、瓷砖, 9 × 5.5 × 2 cm (soap 香皂）, 12.7 × 8.4 × 3.5 cm (soap holder 香皂架）, 60 × 30 cm (tiles 瓷砖)
张如怡（b.1985）的艺术实践围绕日常逻辑展开，作品因调和人工制品、工业经验以及城市生活而占据特殊空间。她擅于从日常材料中涉取灵感，借“现实”为样板，牵引出城市环境变迁过程中个体与周遭环境间的隐秘关系。正如在《香皂— 3》（2017）中，儿时的舒肤佳肥皂被浇铸成了混凝土翻制的肥皂雕塑，静静安放在光洁的瓷砖墙面上的肥皂架中。20世纪90年代的发展高峰期的很多时代变化和生活痕迹都投射成为艺术家的记忆片段，也成为其创作灵感的来源。张如怡并非是大开大合地描绘一个时代翻天覆地的变化，而是相对私人化地去记录细碎的日常逻辑和个人情绪。
ZHANG Ruyi’s (b.1985) practice and work unfold around the logic of every day and occupy a unique space which reconciles artefacts, industrial experience, and urban life. She is skilled at finding inspiration in commonplace objects and using "reality" as a model to highlight the unspoken connection that exists between people and their surroundings as urban settings change. In the work Soap-3 (2017), a well-known Safeguard soap from her early years has been transformed into a concrete sculpture and placed on a glossy tile wall in a soap holder. Numerous alterations and remnants of her life during the height of her career in the 1990s have been portrayed as shards of the artist's recollections, serving as an inspiration for her works. ZHANG Ruyi captures the logic of everyday life and human emotions in a reasonably intimate manner rather than portraying the seismic shifts of a period.
关于 About HAI550
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久居城市的人囿于窠臼，大多已与自然相隔甚远，但是内心对“长歌吟松风，曲尽河星稀”生活的向往，却仍在悄无声息地滋长。哥大建筑系主任Karen Fairbanks 曾说：“建筑是通往世界的一扇窗。”人们得以从中窥探生活的另一面，重新建立和世界万物的关系。
基于此，坐落于上海市中心的HAI550应运而生。这栋8层建筑像一棵丰茂的大树，自然而然分叉出对自然生活的想象——由衣至住，一日三餐，艺术设计……将与自然相关的生活切面娓娓道来。它游驰于城市与自然交织的地带，展开一场城市理想主义的实验。Long-time city dwellers are constrained to their own habits and are already separated from nature in the majority of cases, but a silent longing for a life of "singing to the pine wind, singing to the stars" persists in their hearts. "Architecture is a window to the world," as noted by Columbia University architecture department director Karen Fairbanks. It serves as a window into the outside world, allowing visitors to reconnect with the natural environment and its inhabitants. In the heart of Shanghai, HAI 550 was developed with this in mind. This eight-story structure resembles a large, lush tree that spontaneously splits into the imagination of the natural world. It depicts the tale of the elements of life that are connected to nature, from clothes to housing, from three meals a day to art design. It explores the area where nature and the city converge, initiating an urban idealism experiment.联系方式｜Contact Us
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