阿拉里奥首尔｜文信、 权五祥双个展 「剪下来，贴上去」｜展期至6月22日

与按年代顺序策展思路不同的是，此次展览自然地将它们混合呈现在三个主题化的展览空间之中。这种策展方式强调了两位艺术家的实验精神与跨越不同时代的挑战意愿。展览并不满足于对两位艺术家作品的简单罗列，而旨在加深作品间的相互联动。展览的核心线索在于两位艺术家对于通过形态构建进行雕塑研究的共同关注，以及对各种材料之实践。此外，权五祥还特别为此次展览创作了特别作品，重新诠释并致敬文信的经典之作。

Rather than presenting the works of the two artists separately in chronological order, the exhibition mixes their works naturally across three themed exhibition spaces. This method emphasizes their passionate experimental spirit and willingness to challenge across different eras. Furthermore, GWON Osang has created special works for this exhibition that reinterpret and pay homage to MOON Shin’s works, moving beyond merely listing the works of the two sculptors to showcasing their interaction. The primary reason for linking these artists is their common focus on sculptural research through form construction and experimentation with various materials, which prominently characterizes both sculptors. 

由画家转变为雕塑家的文信，专注于一种排列和构建最小雕塑单元、而非特定形象或图形的创作方法。文信的抽象雕塑有其独特的形式风格，或是令人联想起生物体形象的有机形状，或是表达其内在节奏的独特曲线。值得注意的是，他的雕塑往往处于对称和不对称之间微妙平衡的地带，创造出一种紧张感；强调正面性与完美的表面处理也是观察文信作品的乐趣之一。

文信 MOON SHIN

左上）无题 Untitled, 1991

铜 Bronze

32.5 × 33 x 15(h) cm

下）和平 2 Peace 2, 1988

铜 Bronze

100 × 30 x 54(h) cm

右上）翱翔 Soar, 1990

铜 Bronze

56.5 × 20 x 43(h) cm

ⓒ 阿拉里奥画廊及艺术家

Artist and Arario Gallery

除了形态构建的独特性外，文信在材料和方法的使用上也是开创性的，他经常使用金属丝网或金属网构建基本框架，而后覆以石膏进行雕刻，或用平板锯切割木材形成形态，而非直接使用实心原木。这些创新性方法涉及对各种材料和技术的不断实验。

Beyond the uniqueness of form construction, MOON was pioneering in his use of materials and methods, where he often built basic frameworks with wire or metal mesh, overlaying these with plaster that he could carve, or shaping forms from flat, sawn wood rather than from solid logs. This innovative approach involved constant experimentation with various materials and techniques. 

文信的绘画作品也是他艺术实践的重要组成部分之一，通过扩展动态的互动和最基本的雕塑形式（如圆圈和线条）吸引着观者的注意力。此次展览则重点展示文信自1970年代伊始直至1990年代所创作的雕塑作品。

MOON’s drawings, which are also an important part of his oeuvre, captivate viewers with their organic beauty through the dynamic interplay and expansion of the most basic sculptural forms such as circles and lines. This exhibition highlights MOON’s works from the 1970s along with sculptures that were created from the late 1980s to the 1990s.

此外，权五祥还将他的三维照片雕塑扩展为浮雕的形式，只强调雕塑的其中一面。艺术家将这一系列描述为“空气流动性的描绘”，突出了连接雕塑内、外部之间的孔洞，创造出一种独特多样的空间感。这些雕塑上的孔洞反映了艺术家对于“在雕塑自身内部创造小型封闭空间”这一课题的探索。

Additionally, an expanded version of his three-dimensional photo sculptures is presented in relief, emphasizing one side of the sculpture. This series, which the artist describes as depicting the flow of air, prominently features holes that connect the interior and exterior of the sculpture, creating a unique and varied spatial sense. These holes in the sculptures reflect the artist’s contemplation on creating small, enclosed spaces within the sculptures themselves.

风孔减压, 2024

收藏级艺术微喷，综合材料

左上）37.5 x 5 x 29(h) cm

左下）29 x 5 x 37.5(h) cm

ⓒ 阿拉里奥画廊及艺术家

权五祥 GWON Osang

Wind Hole Relief, 2024

Archival pigment print, mixed media

右上）29 x 5 x 37.5(h) cm

右下）37.5 x 5 x 29(h) cm

ⓒ Artist and Arario Gallery

展览连接起画廊的地下室、一层及三层空间。地下室空间展现了文信1970年代的绘画作品，以及他在80年代末至90年代制作的乌木、青铜和不锈钢材质雕塑。同一空间中还呈现了权五祥的新抽象照片雕塑，以及首次展出的铜质半身像和全身像雕塑。两位艺术家的作品在地下室空间中交错呈现，展现出他们对于各种材料和技术的深入探索。

The exhibition takes place across three floors of the gallery. The basement space shows MOON Shin's drawings from the 1970s alongside his sculptures made of ebony, bronze, and stainless steel from the late 1980s and 1990s. This same space also presents GWON Osang's new abstract photo sculptures and his bronze busts and full-figure sculptures for the first time. The works of both artists are intermingled, showcasing their intensive explorations of various materials and techniques. 

文信的两件不锈钢雕塑作品将于一层空间呈现，被设计成反映其周围环境，并具有将周围空间吸引到雕塑本身内部的独特能力，仿佛能将周围的一切囊括进其形态之中。该空间中，权五祥的两件重要雕塑作品中，一件是对文信的不锈钢雕塑美学的重新诠释，并将之转化为照片雕塑的作品；另一件则是5米宽的浮雕照片雕塑，深入探讨了他在雕塑中使用孔洞的思考。

In the first floor space, two of MOON’s stainless steel sculptures are exhibited. These works demonstrate the characteristic frontality and are designed to reflect their surroundings and have the unique ability to draw the surrounding space into the sculpture itself, encapsulating it within their forms. Accompanying these are two significant sculptures by GWON Osang. Particularly noteworthy is an enlarged and produced work of one of MOON’s sculptures that carries GWON’s reinterpretation on the aesthetics of MOON’s reflective stainless steel sculpture into photo sculptures. Another work by GWON is a 5 meter wide relief photo sculpture which delves into the artist’s contemplation on the use of holes in his sculptures.

最后，三层空间展示了“人类可居住的雕塑”。这一概念首先由文信在1960年代提出，当时他正在思考雕塑与建筑之间的关系。尽管韩国昌原市文信市立美术馆是这一概念的最佳例证，但有关这一概念的实践在文信的实际雕塑作品中却较少看到，主要存在于他的绘画作品之中。无独有偶，近年来青年艺术家权五祥也推出了一系列可供人类使用的雕塑家具，此次展览便呈现了该系列的沙发和照明组件等设计家具。三楼的空间提供了一个可以看到“文信对人类可居住型雕塑的思考，是如何被权五祥重新诠释为‘可用雕塑’”的机会，并同时展示了这些想法在扩展的空间背景下又是如何影响着周边环境的。 

Finally, the third floor space presents works that envision ‘sculptures that humans can live in’. These were conceptualized by MOON in the 1960s as he contemplated the relationship between sculpture and architecture. The ChangwonCity Masan MoonShin Art Museum serves as the most appropriate example of this concept and sculptures that humans can live in were rarely realized in MOON’s actual sculptural works and predominantly exists in his drawings. GWON has also recently introduces a series of sculptural furniture that can be used by humans, and this exhibition features sofas and lighting from this series. This space provides an opportunity to see how MOON’s thoughts on sculptures that humans can inhabit are reinterpreted by GWON into usable sculptural objects, examining how these ideas transform within an expanded spatial context that influences the surrounding environment.

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展览现场，阿拉里奥画廊首尔，2024

ⓒ 阿拉里奥画廊及艺术家

Artist and Arario Gallery

权五祥 GWON Osang

光与奶酪 Light and Cheese, 2023

木材、灯泡和照明设备上UV打印

UV print on wood, light bulbs and lighting devices

40 x 30 x 110(h) cm

Ed. 3 + 1 AP (#1/3)

ⓒ 阿拉里奥画廊及艺术家

Artist and Arario Gallery

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阿拉里奥画廊·首尔 ARARIO GALLERY SEOUL

关于画廊 | ABOUT US

阿拉里奥画廊自1989年创立至今，分别于韩国天安、首尔和上海拥有其支点画廊。在过去的三十年间，阿拉里奥画廊始终致力于关注与推广亚洲与国际艺术家，丰富其艺术家名单，并长期培养支持年轻艺术家。其代理的五十余位艺术家来自韩、日、中、印和东南亚地区各国，涵盖自20世纪70年代至今的实验艺术先锋，创作门类包括视觉艺术、绘画、雕塑、影像以及装置等众多艺术类别，突出展现亚洲地区令人瞩目的社会历史文化。自2005年入驻北京798艺术区起，阿拉里奥通过展示亚洲地区极具代表性的优秀艺术家，迅速成为中国当代艺术发展的重要枢纽。2014年8月，上海徐家汇衡山坊馆正式开馆，2017年7月迁址上海西岸，与来自中国和海外的艺术家一道为中国艺术舞台的多元性注入活力，继续作为中国当代艺术的先驱力量而存在。

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