展覽現場｜BLANKgallery東京：胡子個人展覽 “夜見 The Night Watching”

日期：2024-11-14 16:26:08 來源：BLANKgallery

展覽 >展覽現場｜BLANKgallery東京：胡子個人展覽 “夜見 The Night Watching”

夜見

The Night Watching

展期 | Date

2024/11/01-2024/12/01

藝術家 | Artist

胡子 Hu Zi

地點 | Venue

〒150-0001 東京都渋谷區神宮前四丁目21番1號フィルパーク表參道テラス 2階H

2F-H, 4-chome-21-1, Jingumae, Shibuya-ku, Tokyo, Japan

BLANKgallery東京空間正在呈現藝術家胡子Hu Zi在東京的首次個人展覽，以獨特觀看方式展出13張繪畫作品。

倫勃朗于1624年受雇于阿姆斯特丹射手連為其所做的肖像畫《夜巡》,倫勃朗一改以往肖像畫中人物按照尊卑順序排列的原則，另辟蹊徑作出舞臺化的效果。他運用夸張的光暗對比手法，令部分畫中人猶如有聚光燈打在身上，另一部分則近乎沒入黑暗之中。不過事實上，畫中場景并非發生在夜晚，而是于破曉時分，一隊民兵正準備列隊步操入城進行守衛。

而畫中出現的一個人物，即戴著貝雷帽，從一個戴鋼盔士兵身后窺視的人物，正是倫勃朗本人，這種幾乎難以察覺的細節，是倫勃朗讓自己在畫作中永生的常用手法。《夜巡》震驚了當時的社會，人們從未見過如此生動的人群、這樣戲劇性的光暗營造。要理解此作的原創性，最好的方法是將之與當時傳統的民兵肖像畫作比較，更多是像是一幀校園合照，光線飽滿均勻，人物頭部與身形都輪廓清晰，人物的視線直望觀者，一字排開，效果非常沉悶。

自畫像一直是藝術家摯愛的主題。丟勒是歐洲第一位畫自畫像的畫家，被稱為自畫像之父。倫勃朗的自畫像，筆觸從早期的爐火純青到晚期的狂放不羈。梵高的自畫像，從陰郁暗沉古典的顏色到絢爛明亮炙熱，弗朗西斯·培根的自畫像更加粗獷暴力，黑暗恐怖，直指內心。他們能成為藝術史上的經典，不僅僅是因為他們在技法之上為后人開辟了道路，更重要的是他們把自己跌宕起伏，孤獨寂寥，狂傲放浪的一生交給了自畫像。時至今日，我們依然感動于人性的光芒。而現代主義又重新定義了自畫像的概念。它可以是Cindy Sherman早期的黑白照片，自演自拍式的攝影，真實記錄攝影在自我的虛構中呈現不同的社會身份。也可以是馬修·巴尼式的寓言，在影像里探尋人，神話，生物的心理，超現實的自畫像出現在電影里。更可以是Tracy Emin的自拍Insomnia, 無數張巨大尺寸的照片，直接簡單粗暴，卻又傷感有力量。

BLANKgallery東京胡子個展現場

Courtesy of BLANKgallery

十三張The Night Watching重新組合了人物關系和光線的變化，汲取了畫中神秘復雜蓄勢待發，人性暗涌，社會角色的宏觀感。十七世紀的《夜巡》對應當下社會群體的面貌再現，個體性與社會性，仿佛一面鏡子，照映著自我。正如Roni Horn所說："When you see your reflection in water. Do you recognize the water in you?"

綠色。古典時期，人們從未停止過尋找綠色真正的來源，以一己之力調制出自然光譜中各種微妙的相當名貴且危險的綠色色相：銅綠，孔雀石，綠土，弱翠綠。并賦予神話含義古埃及的主神奧西里斯是死亡之后復活之神而充滿生機意義的他在人們想象中有著綠色皮膚。這組綠色的觀念繪畫之下，也賦予每一張畫在綠色里新的探索，就好像探索不同人格下關于人性的思考。

文/胡子

BLANKgallery Tokyo is presenting Hu Zi’s first solo exhibition in Tokyo, showcasing 13 artworks with a unique way of seeing curated by the artist.

In 1624, Rembrandt was employed by the Amsterdam Archer Company for his portrait painting The Night Watching. Rembrandt changed the principle of arranging the characters in the order of superiority and inferiority in the previous portraits, and created a stage effect in a new way. He uses exaggerated light and dark contrast techniques, making some of the people in the painting seem to be hit by a spot light, while others are almost submerged in the darkness. But in fact, the scene in the painting does not take place at night, but at dawn, a group of miltiamen are preparing to march into the city to guard.

And the one figure that appears in the painting, that is the figure wearing a beret peeping from behind a soldier wearing a steel helmet, is Rembrandt himself. This almost imperceptible detail is Rembrandt who immortaized himself in the painting common method. The Night Watch shocked the society that time, people have never seen such vivid crowd, such dramatic lighting and darkness. To understand the originality of this work, the best way is to compare it with the traditional militia portraits at that time, which are more like a group photo of a campus, with full and even light, clear outlines of the head and body of the characters, looking directly at the viewer, lined up, the effect is very dull.

Self-portrait has always been a beloved theme for artist. Dürer was the first painter in Europe to paint self-portrait, and is known as the father of self-portrait. Rembrandt's self-portraits, the brush strokes range from the early days of proficiency to the late works that are wild and unruly. Van Gogh's self-portraits range from gloomy, dark and classical colors to gorgeous, bright and vibrant. Francis Bacon's selt-portraits are more rugged and violent, dark and horror, painting straight to the heart. They can become classics in the history of art, not only because they have opened up a path for future generations based on techniques, but more importantly, they have given their ups and downs, lonely and hot, arrogant and dissolute life to self-portraits. To this day, we are still moved by the light of human nature. And modernism redefines the concept of self-portrait it can be Cindy Sherman's early black-and-white photos, self-acting and self-portrait photography and true recording photography presenting different soclal identities the fiction of the self. It can also be a Mathew Barney-style fable, exploring people, mythology, and biological psychology in images, and sumreal self-portraits appear in movies. It can even be Tracy Emin's selfies Insomnia, countless huge-size photos, straight for ward, simple and rude, but sentimental and powerful.

Thirteen pieces of The Night Watching recombine the relationship between characters and changes in light, and draw on the mystery and complexity of the painting, ready to go, undercurrent of human nature, and macro sense of social roles. The Night Watching in the seventeenth century corresponds to the reappearance of the face of the current social group, individuality and sociality, like a mirror, reflecting the self, as if every face in The Night Watching, it is the complex side of the human nature of the ego. As if Roni Horn said: "When you see your reflection in water. Do you recognize the water in you?"

Green. In the classical period, people never stopped searching for the true source of green, and single-handedly concocted various subtle, rather expensive and dangerous shades of green in the natural spectrum: patina, malachite, smectite, emerald green. And given mythological meanings, Osiris, the main god of ancient Egypt, is the god of resurrection after death and full of vitality, he has green skin in people’s imaginations. Under this set of green conceptual paintings, each painting is also given a new exploration in green, as if exploring the thinking about human nature under different personalities.

Written by Hu Zi

夜巡 XII?

The Night Watching XII

布面油畫

Oil on canvas

50 x 65 cm，2021

關于藝術家

胡子 Hu Zi

生于1981，畢業于中國美術學院并獲藝術碩士學位 (2007), 曾在巴黎美術學院交換生期間于巴黎國際藝術城駐留 (2006) 并入選蘇格蘭格蘭菲迪藝術家駐村計劃 (2014) 和瑞士文化基金會駐留項目 (2019), 現生活并工作于巴黎。

個展經歷：夜見，BLANKgallery, 東京，2024；凝視瑪哈，阿爾敏萊希, 布魯塞爾, 2022；暗面，東畫廊, 上海, 2020；石肉，東畫廊, 上海, 2018。群展經歷：光影的感知，阿爾敏萊希, 布魯塞爾, 2023；繪畫沙龍，阿爾敏萊希, 紐約, 2021；隱喻現實，阿爾敏萊希, 上海, 2020。她曾參與K11美術館, 油罐藝術中心, 法國里昂當代藝術館, 瑞士巴塞爾Dreispitzhalle等海外機構的展出。

Hu Zi (b. 1981) graduated from The Department of Comprehensive Painting at China Academy of Art with M.F.A. (2007), once stayed in Cité internationale des arts Paris for residency during her exchange student at école des Beaux-Arts de Paris (2006) and was selected for Glenfiddich Artist in Residence Programme in Scotland (2014), Swiss Arts Council Artist in Residence in Switzerland (2019), currently living and working in Paris.

Solo Exhibition: The Night Watching, BLANKgallery, Tokyo, 2024; Staring at Maja, Almine Rech, Brussels, 2022; Dark Side, Don Gallery, Shanghai, 2020; Stone Flesh, Don Gallery, Shanghai, 2018; etc. Group Exhibition: Light, Almine Rech, Brussels, 2023; Salon de Peinture, Almine Rech, New York, 2021; Metaphorical Reality, Almine Rech, Shanghai, 2020; etc. Her works have also been shown in the museums and institutions like K11 Art Museum, Tank Shanghai, Musée d'art contemporain de Lyon, France and Dreispitzhalle Basel, Switzerland.

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展覽現場｜BLANKgallery東京：胡子個人展覽 “夜見 The Night Watching”