一隅流光
A Small Land of Watery Light
Whitney Claflin 惠特尼・克莱弗林
Vivian Greven 薇薇安・格蕾文
Sam Lipp 山姆・利普
Victoria Palacios 维多利亚・帕拉西奥斯
Martyna Pinkowska 玛蒂娜・宾科斯卡
Paul Robas 保罗・罗伯斯
Tung Wing Hong 董永康
Jesse Wine 杰西・瓦恩
展览时间：2024年3月30日至5月4日
周二至周六 | 10:00–18:00
开幕时间：2024年3月30日，星期六，下午4至7时
Duration: March 30–May 4, 2024
Tuesday–Saturday | 10:00–18:00
Opening: Saturday, March 30, 4–7 PM
上海市黄浦区云南南路261号6楼
6F, 261 S. Yunnan Rd., Huangpu Dist., Shanghai
关于展览
About the Exhibition
Gallery Vacancy荣幸地宣布将于2024年3月30日至5月4日呈现群展“一隅流光”，展出艺术家惠特尼・克莱弗林（b. 1983）、薇薇安・格蕾文（b. 1985）、山姆・利普（b. 1989）、维多利亚・帕拉西奥斯（b. 1992）、玛蒂娜・宾科斯卡（b. 1997）、董永康（b. 1989）、保罗・罗伯斯（b. 1989）和杰西・瓦恩（b. 1983）的作品。此次展览的作品围绕着与身体相关的议题展开，探索了由经验和环境、不平等和反抗所共同构建的多元记忆档案，而这些都隶属于我们当下的时代背景。
其中一些艺术家挖掘了性别身份和内在记忆的主题，意图推翻其所处地缘政治和心理背景下的社会和个体身份叙事；其他艺术家在实践中融合传统技法、现成材料和直觉，借此打破艺术史上的形式惯例。这些绘画、视频装置和雕塑作品均脱胎于艺术家的感知、概念和思考，由此共构一个精神实体，并以拟人化的表现顺着创造性的力量迸发，提供了多样性形态的可能性。
惠特尼・克莱弗林
障眼法，2023
布面油画、耳环、酒精颜料
22.9 x 30.5 公分（9 x 12 英寸）
Whitney Claflin
Trick Wall, 2023
Oil, alcohol ink, and earring on canvas
22.9 x 30.5 cm (9 x 12 in)
惠特尼・克莱弗林的作品展现了绘画于身体之间的柔韧关系。她基于身体的抽象绘画不仅仅由传统的油画颜料创作而成，还融入了美妆产品、时装服饰和首饰配件等材料。这些俏皮奇异的女性符号在她的画布上交汇、结合，平行于化妆品公司所宣传承诺的个人蝶变以及消费主义下现代女性的自我定义。
薇薇安・格蕾文
Ode II，2021
布面油画、丙烯
160 × 110 公分（63 × 43 1/4 英寸）
Vivian Greven
Ode II, 2021
Oil and acrylic on canvas
160 × 110 cm (63 × 43 1/4 in)
薇薇安・格蕾文的创作侧重于对身体的女性主义探索，将性别和性化的观看体验交织在一起。在传统的男性凝视中，女性的身体只能作为艺术的客体被呈现，而格蕾文在作品中颠覆了此种固有的权力动态、展示了肉体本身进行扰乱和不安的潜力，并以此重申她对于女性身体的再赋能。
山姆・利普
用处，2019-2020
珐琅、油彩、螺丝、钢板
45.7 x 30.5 公分（18 × 12 英寸）
Sam Lipp
Use, 2019-2020
Enamel and oil on steel, screws
45.7 x 30.5 cm (18 × 12 in)
维多利亚・帕拉西奥斯
我有两个情人，但我谁也不爱，2024
丙烯、水粉、书籍
15 x 10.5 公分（5 7/8 × 4 英寸）
Victoria Palacios
J'ai deux amants mais je n'en aime aucun (Two lovers but an empty heart), 2024
Acrylic and gouache on book
15 x 10.5 cm (5 7/8 × 4 in)
维多利亚・帕拉西奥斯在其戏剧性的肖像中塑造了许多身着戏服的人物形象——杂技演员、丑角和小丑——将她熟悉的事物与对自我的想象投射交织在一起。在她的许多作品中，这些小丑形象光彩照人、烁烁有神，以他们的欢乐、天真和悲伤取悦着我们。作为被排斥在正常生活之外的异类，帕拉西奥斯发现了演艺人和艺术家之间的相似之处，他们都处于与世隔绝和相对孤立的状态中。
玛蒂娜・宾科斯卡
惯性动作，2024
布面油画
155 × 129.5 公分（61 × 51 英寸）
Martyna Pinkowska
Pozycje nawykowe (Habitual Poses), 2024
Oil on canvas
155 × 129.5 cm (61 × 51 in)
保罗・罗伯斯
流年，2024
布面丙烯、油墨
40 × 30 公分（15 3/4 × 11 3/4 英寸）
Paul Robas
Time Away, 2024
Acrylic and ink on canvas
40 × 30 cm (15 3/4 × 11 3/4 in)
保罗・罗伯斯的作品将日常生活中的夜晚场景与画家对人类表情的描绘并置在一起，既鲜明又模糊，既具象又抽象。罗伯斯的画布融合了他过去收集的摄影档案，将照片中静止的瞬间与绘画构图相结合，以一种肃穆的方式唤起瞬间的本质和情感的共鸣。
董永康
无用失所，2019
旧皮箱、往复式电机
35 x 53 x 16 公分（13 3/4 x 20 7/8 x 6 1/4 英寸）
Tung Wing Hong
No Place for Useless Men, 2019
Vintage briefcase, reciprocating device
35 x 53 x 16 cm (13 3/4 x 20 7/8 x 6 1/4 in)
杰西・瓦恩
一切皆有时，2023
陶瓷、沙子、颜料、钢
200.7 x 58.4 x 50.8 公分（79 x 23 x 20 英寸）
Jesse Wine
Real flowers that last for a year, 2023
Ceramic, sand, paint, steel
200.7 x 58.4 x 50.8 cm (79 x 23 x 20 in)
最后，杰西・瓦恩创作拟人化的雕塑作品，在数字时代向 “非身体”网络身份转变的背景下，思考身体的虚无与实体。正如在作品《一切皆有时》（2023）中所展示的，内部本为空心的雕塑被雕刻的外衣所包裹，通过呈站姿的衣服唤起了它所覆盖的身体的框架，一切以缺席使之存在。
Gallery Vacancy is pleased to announce the group exhibition A Small Land of Watery Light, on view from March 30 to May 4, 2024, featuring artists Whitney Claflin (b. 1983), Vivian Greven (b. 1985), Sam Lipp (b. 1989), Victoria Palacios (b. 1992), Martyna Pinkowska (b. 1997), Paul Robas (b. 1989), Tung Wing Hong (b. 1989), and Jesse Wine (b. 1983). The selection of works will explore themes surrounding the body, and its manifold archive of memories shaped by experiences and environments, by inequalities and resistance, that is belonging to our time.
Some artists tap into themes of gender identity and inherent memories, appealing to subvert narratives of social and personal identity symptomatic of their geopolitical and psychological contexts. Others defy formal conventions in art history by employing a fresh take on traditional techniques, found materials and intuition in their practice. These paintings, video installations and sculptures come together as mental bodies materialized from one’s perception, concept and contemplation. Sentient. Mortal. Exposed. These anthropomorphic manifestations honor the power of the creative spark and allow us to see the shape of that diversity.
Whitney Claflin makes the relation between painting and body feel pliable, by composing her body-oriented abstractions not only of traditional paint, but of beauty products, fashion garments and accessories. This cheekily bizarre confluence of female signifiers parallels the kind of personal metamorphosis promised by cosmetics companies and the prescribed self-definition of modern woman under Consumerism.
Vivian Greven’s painting integrates the ubiquity of artistic nude with a contemporary twist through an overdesirous portrayal of the erotic body. Through this reversal of power dynamics inherent to the traditional male gaze, where a woman’s body was only presented as an artistic subject, Greven demonstrates the potential of nudity to disturb and unsettle, and re-stakes her artistic claim.
Sam Lipp’s work focuses on the depiction of bodies as a way of delineating identity as a subset of subjectivity and an instrument to rework social, culture and political power structures. The measurements of Use (2019-2020), which are identical to those of a yard sign, amplify the similarities between his painting and signage–a duality of concept and material, both discrete in their intention as willing subjects of objectification.
Victoria Palacios' theatrical portrayal of costumed figures––acrobats, harlequins, and clowns––intertwines personal familiarity with her own imaginative identification. In many of her works, these clownish characters appear brilliant, scintillating, entertaining us in their gaiety, naivety and sorrow. As unusual beings excluded from normal life, Palacios detects the resemblance between the entertainer and the artist, in isolation and loneliness as the other.
Martyna Pinkowska’s autobiographical portraits, which often combine observational drawing and her imagination, are a metaphorical reflection to self-possession, femininity and her own experiential relationship with her body––a duality of intimacy and isolation.
Paul Robas’ works are a juxtaposition of nocturnal scenes out of his daily life and painterly portrayal of the human expression, both depicted in a sharp and fuzzy, figurative and abstract way. Merging photographic archives he collected in the past, Robas’ canvas marries stilled moments from photographs with painted compositions to invite the essence of moments and emotional resonance in a reverent way.
Tung Wing Hong maintains an interest in the embodiment of human presence onto machines and a belief that technology can liberate the corporeal body from the messiness of our present-day condition. His kinetic sculpture, No Place for Useless Men (2019) uses simple mechanics and repetition of movements to aggregate the impotence in one’s attempts to create meaning, offering a Sisyphean commentary on these meaningless actions that drain or exhaust the way we live and work.
Finally, Jesse Wine creates anthropomorphised sculptures that contemplate the etherealness and corporealness of the body amidst the digital age’s shift toward ‘non-body’ cyber identities. As seen in, Real flowers that last for a year (2023) the bodiless garment sculpture elicits the frame of the body it covers, as if inflating itself with a breath of air, giving shape to the thought of a presence through its absence.
V A C A N C Y
周二–周六
Tuesday to Saturday | 10:00–18:00
200021 上海市黄浦区云南南路261号6楼
6F, No.261 S. Yunnan Rd., Shanghai 200021
+86-(0)21-62411239
info@galleryvacancy.com
www.galleryvacancy.com
