M50展讯 | BP 展览｜Dori Deng 个展「 静噪 Clean Noise 」

 “ Clean Noise ” 

地址｜Address

中国上海莫干山路50号6号楼105

Rm 105, Bldg 6, 50 Mo Gan Shan Rd, Shanghai 

BROWNIE Project 画廊荣幸宣布将于2024年8月31日呈现 Dori Deng 个展「静噪 Clean Noise」。此次展出的十一件作品皆来自同一系列：Expansion Series（2020年至今）。Expansion 一词之于来说拥有多重旨意；它指向从作品本身无限延伸而出的光晕，或装置中某一处被放大的结构和物性，或（原）材料被拓展为量产的工业物的过程，或克制的视觉背后值得被细述的有关秩序与无序的隐喻。展览虽从策展人哈利的个人研究角度梳理并呈现 Dori Deng 四年间的创作，但也邀请观者主动寻找作品之间的微妙变化，感受艺术家不同时期的创作心境和材料技术。

Brownie Project is pleased to announce the presentation of Dori Deng's solo exhibition, Clean Noise, on 31 August 2024, featuring eleven works from her ongoing Expansion Series (2020 - present) at the heart which lies the multilayered meanings of the word expansion: the diffusion of light, the amplified structural or material qualities in a work, the increased availability of mass-produced industrial objects, and the elaboration of a discussion about orders and disorders hidden behind her works. While the exhibition arranges and presents Dori’s works from the curator Harriet Min Zhang’s perspective, it also invites the audience to understand differently, to appreciate the subtle nuances between each piece, and to experience the artist’s state of mind at different times of her creative process. 

Dori 的视觉语言克制、干净、规整，其中常有被精准切割的工业材料、将材料间物理力学具像化的铁丝、天然石材、自然光、人造光等。Dori 再以手工艺的方式介入物质之间，将本该用于工业或建筑场景的材料放入新的视觉秩序。展览标题“静噪 Clean Noise”中的 静/Clean 不仅呼应了Dori 作品呈现的气质，它也代表了一种被建构出来的洁净秩序，暗指人类向往秩序机械化的本能。而对噪音的引用是为引导观者思考秩序背后曾经发生过的无序，以及如今依然隐藏在干净表象之下的凌乱状态。

观者将在展览现场更深刻地感受到 Dori 创作背后的厚度与净度。前者提醒着我们：当谈及一些“原材料”时，我们已然忽视了“原生”一词的欺骗性，以及材料背后已上演了百年的工业化进程；大规模的自动化批量生产制造和加工使材料变得唾手可得，生产与消费秩序的形成也让我们逐渐忘却材料的内在特性。这也是 Dori 希望通过与手工艺结合，并以极简的作品呈现方式，引出的另一个问题：被精准切割和管理的玻璃、钢、铁丝等人造材料的背后，是怎样被隐去的叙事和噪音？而噪音——它是不被认可的声音，是工业的副产品，是无形的污染——在此成为了人类自私自利的又一个可笑象征。

Minimal. Neat. Organised. Precise. Dori often works with precisely cut industrial materials, metal wires that visualise the physical mechanics between different parts, as well as natural media like wood, rocks, and light. She challenges the idea of ready-made materials in industrial and architectural scenes by engaging with them through her crafting. Clean in the exhibition title not only echoes the aura of Dori's work, but also represents the common impression of an order, a social construct shaped by the perpetual momentum of mechanisation. Noise, on the other hand, refers to the disorder or chaos that once existed - if not still exists - under the clean appearance of the order.

Audience will get a deeper sense of the thickness and cleanness of Dori's use of materials. Thickness refers to a web of meaning and a melange of social facts embedded within an object matter. For instance, as we mention the “raw material” in a work, are we aware that their rawness is rather deceptive, that they are ready-made materials which have gone through a controlled, regulated and standardised process of production? Our extensive need for automated batch processes - to produce varieties of sheet glasses, sheet metals, thin wires, light tubes - has distracted us from the large-scale manufacture that has been going on for more than a century. Dori’s works evinces an understanding that the relation between clean-cut man-made materials and a larger narrative begins long before a thematic reference as such is made. She develops it through a combination of craftsmanship and minimalist presentation. While cleanness not only refers to the clean-cut and the clean-fit, but also intends to mock the effort we put into a unthoughtful maintenance, in which we, on one hand, produce noise and chaos, and, on the other, try to eliminate the unwanted. Hence, noise - the unwanted sound, an industrial byproduct, a piece of intangible pollution - in this context becomes yet another laughable symbol for humans’  selfishness.

此次展览也希望观者关注作品在画廊内不同展厅所呈现的不同物象。白色展厅内丰富的光线层次和显眼的空间边界，与画廊深处低层高的黑色展厅中无限向内压迫的气氛，形成冲突。同时，Corridor 长廊计划也将被用来回顾与 Dori Deng 早期创作相关的决定性物件。这一附于主展览之上的半独立策展项目空间以 “The Analogue Room” 为名，试图通过陈列在长廊两侧展台上的物件，让观者了解贯穿于艺术家 Dori Deng 创作生涯中的具体线索。

The main gallery space with white walls and a high ceiling, along with the black boxes with dropped ceilings further inside, will offer different senses of aura to the audience. Dori, who has worked in theatres before, understands very well how perspective matters in a three-dimensional space. It will be interesting to observe the consistency within Dori’s works through her use of space. At the same time, the twelve-metre long corridor space will become The Analogue Room, showing objects that are dear to Dori and her practice. This semi-independent curatorial project space complements the main exhibition body, providing an opportunity for audience to understand Dori’s creative process in a richer context. 

( 文Text / 哈利 Harriet Min Zhang ）