宋琨个展:泛灵净界·鲛人泣珠

Poster-Song Kun-Qiao Space

宋琨

泛灵净界·鲛人泣珠

由乔空间与贝浩登联合举办

开幕:20211110 日(周三)

202111 10 2022年至 1 16

 

SONG KUN

PURE LAND · TEARS OF SEA-MAID

Presented by Qiao Space and Perrotin

Opening Wednesday November 10, 2021

November 10, 2021 – January 16, 2022

 

宋琨最喜欢及最擅长的题材是人的形象,尤其是女性的身体,这不仅与她的性别相关,也与她深厚的学院背景相关。在今天,身体作为一种艺术史母题正在经受诸多考验,或者是被禁锢在性别政治的意识形态内,仅作为一种符号化的存在。但宋琨作品中的身体并不是符号,她们首先是确实的感性存在,有着严谨的造型结构,并伴随着一种新世代的理想之美。在这个层面上,宋琨的绘画堪称古典,她在为她所处的时代塑造混合身份、理想而宏伟的人物形象。

The human body, and above all the female body, is of Song Kun’s greatest interest and artistic command. It refers back to not only her gender, but also her solid academic background. As a classic motif in art history, the body is under constant trials nowadays. Or rather, it is imprisoned as mere signifiers within gender politics. But the bodies in Song’s artworks are not mere signifiers. They convey a sensibility through rigorous forms, and moreover, an ideal beauty of the new generation, which almost renders Song’s paintings classical in a sense.In this day and age, she is concocting magnificent paradigms from miscellaneous identities and dreams.

 

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《鲛人泣珠-心意》 Tears of Sea-maid – Mind, 2021. 布面油画、夜光色| Oil on canvas, neon coloring.Ø : 65 x 8 cm. © Song Kun.图片提供:艺术家与贝浩登| Courtesy of the artist and Perrotin

这些形象首先是女性。作为女性,宋琨的女性体知无需太多的正当性论述,她画自己,也透过自己画别人,或者透过别人表达自己。她画中的女性处于各式各样的状态,但都是超越或疏离现实的身体、幻化的身体、赛博格身体、关节玩偶化的身体、虐恋中被束缚的身体,宋琨通过身体形象所呈现的是一种神话 / 科幻双重仪式的性感,以及在形象、造型与涂绘中迅疾而确切的感性。

宋琨的“女性”不是一种社会身份,反而是一种去边界的并不断生成的维度,既在个体生命体验的层面上,也在人类叙事的层面上。在这里,“她”可以被理解为一种苏珊·桑塔格所说的新感受力:“从这种新感受力的观点看,一部机器的美、解决一个数学难题的美、Jasper Johns的某幅画作的美、Jean-Luc Godard 的某部影片的美以及The Beatles 的个性和音乐的美,全都可以同等接纳。”1

These figures and forms depict women first and foremost. As a woman, Song has an implicit understanding of womanhood. She paints herself, and paints others through herself or vice versa. Though placed under various conditions, the female bodies in her paintings are all transcending or alienated from reality. They are the fantasized bodies, the cyborg bodies, the BJD bodies and bodies in bondage. Song endows upon them a mythic sci-fi sex appeal, as well as a swift yet tangible sensibility in characterization, styling and her brushstroke.

In Song’s work, “women” is not a social identity, but a continuously generated dimension beyond boundary, spanning from personal experiences to the grand narrative. Here, “she” can be understood as the new sensibility prescribed by Susan Sontag. “From the vantage point of this new sensibility, the beauty of a machine or of the solution to a mathematical problem, of a painting by Jasper Johns, of a film by Jean Luc Godard, and of the personalities and music of the Beatles is equally accessible.”1

 

当然宋琨所处的时代与桑塔格已远远不同,宋琨所连接的是合成材料之美、身体与机器之美、氛围音乐、Emo 人声与实验电子之美,时尚之美,以及文艺复兴造型、佛教观念与中国气韵之美。这里的“美”,在宋琨那里叫做“灵”,既是灵韵,也是灵魂。

Of course, the times of Song is far from that of Sontag. Song is linked to the beauty of synthetic materials, of human flesh and mechanical apparatus, of ambient, emo and electronic music, of fashion, of Renaissance portraiture, Buddhism beliefs and a distinctively Chinese character. Within this remarkable beauty lies the spirit and soul of Song’s oeuvres.

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《赛博水母体》Cyber medusa, 2021. MV影像作品《海洋》静帧截图| Still image from the music video work Ocean. © Song Kun. 图片提供:艺术家与贝浩登| Courtesy of the artist and Perrotin

针对今天的社会与文化,宋琨是一个泛灵论者,因此,也是一个跨越者与弥合者,她跨越不同媒介与形式,试图弥合着今天被各种规制所隔绝的感性。宋琨把自己近期作品中的形象就叫做“泛灵族”,在那里,她连接着人与物,情感与理性秩序,欲望与冷静、肉与骨、生与死。宋琨的作品以绘画为主 , 同时结合了音乐现场、Music Video、装置等方式,尝试着一种统觉的现场,以打通不同艺术,以及虚拟与实在。她喜欢无住因而无我、无常的意象,比如海浪、比如透明。

Song remains an animist in the face of contemporary society and culture. She is, therefore, also a border-crosser and a healer. She works among different mediums in an attempt to recover a sensibility barred off by rules and restrictions. For the same reason, an animized race takes center stage in her latest works. There, the artist bridges between humans and objects, emotions and rational order, desire and soberness, flesh and bone, as well as life and death. Aside from paintings, she employs live music, music videos, installations and other media to create apperception, to connect diverse art forms, and to coalesce virtuality with reality. She likes the imageries of waves and transparent materials, which to her signify the state of coming from nowhere, the concept of no self, and the acceptance of no certainty.SK-PR-7

《海上珍珠贝与雾霾都市》 Sea pearl and Fog city, 2021. MV影像作品《海洋》静帧截图 | Still image from the music video work Ocean. © Song Kun. 图片提供:艺术家与贝浩登 | Courtesy of the artist and Perrotin

在这个意义上,宋琨的艺术除了与我们此刻此在的经验息息相关,她还呈现了一个超越性的视点,回到原初或抵达未来,于是当下的一切文明只是暂时的、偶然的,终究只是历史,而历史终究只是时间。与暂时性同时,这正是当代性的本质,在一个艺术日益陷入道德和困入理论的时代,这种时间的认知与感性难能可贵。但时间将把我们带往何处?宋琨既怀念古典时代的纯净、庄重与入情,又憧憬着未来世代的想象力。或许,还原到过去只是为历史的升级做好准备,正如宋琨此次展览MV 作品里的歌中所唱的:

还你肉身纯净,下一个合成体……

鲍栋

On this level, Song’s artworks are not only a posteriori and rooted in the here and now, but also transcendental and traveling between the past and future. All that belongs to the present is transitory, a chance occurrence, a segment of history in the making which can be boiled down to time. And to be contingent is to be modern. At a time when art is plagued by ethical and theoretical crises, this perception of time and sensibility are rare to come by. But to where would time lead us? Song feels nostalgic for the purity, solemnity and emotional sincerity of the classical period. Yet she also longs for the unbounded imagination of future generations. Perhaps, our return to the past is solely the preparation for a historical upgrade, as it was chanted in Song’s music video for the exhibition this time:

You will be reborn as a pure body / The next synthesis…

Bao Dong

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《海上珍珠贝与雾霾都市》 Sea pearl and Fog city, 2021. MV影像作品《海洋》静帧截图 | Still image from the music video work Ocean. © Song Kun. 图片提供:艺术家与贝浩登 | Courtesy of the artist and Perrotin

“泛灵净界”一方面来自“万物有灵”的传统说法;另一方面来自佛教关于“东方琉璃净土”的描述——“人所想象不到的、自性发光的净土世界”。这个世界如今产生了何种变体?而人的灵与肉身在传统自然、网络媒体信息、工业及科技混杂的当代社会生活中又如何演变?我感兴趣的是人的肉身,有机体和机器化秩序的混合体验。借用“鲛⼈泣珠”的古老想象,我试图在当代艺术的语境里重新演绎这个概念,并邀请音乐人、舞者和模特朋友们一起合作了此次展览。我们的感知、想象力和情绪如何能够真实自由地表达?而混合身份在面对现实时又该如何突破狭隘的定义?

—— 宋琨

Pure Land stems from the tradition of Animism; it also draws from the description of the pure land in Buddhism —— “the pure land world of self-luminescence that people can’t imagine”. What variations have this world become today? And how do the human spirit and body evolve in contemporary life, where traditions and nature, online media and information, industry and technology interweave with one another? I’m interested in the multi-layered experience of the human body, the organism and the robotic order. Using the ancient imagination of “Tears of Sea-maid”, I try to re-interpret this concept in the context of contemporary art, and invite musicians, dancers and models to collaborate on this exhibition. How can our perceptions, imaginations and emotions be truly and freely expressed? And how should the mixed identity break through narrow definitions when it comes to reality?

—— Song Kun

 

关于艺术家

宋琨,1977年⽣于中国内蒙古,目前生活工作于中国北京。宋琨分别于 2002年及2006年获得北京中央美术学院油画系学⼠与硕⼠学位,目前任中央美术学院油画系第三⼯作室客座教师,并且是 N12 艺术团体的发起及组建⼈之⼀。宋琨的艺术实践以绘画为主,同时结合了⾳乐现场、Music Video、装置等⽅式。透过捕捉描绘不同的形象、真实或超现实的瞬间,宋 琨的创作展现出个 体瑰丽隐秘的私⼈世界对变化中的中国特有的反映和关照。近年来宋琨的创作步⼊了⼀个新的阶段,实验性地将当代亚⽂化及东方宗教元素与其创作系统相融合,延续对⼈类身体、潜意识与⽣存现状的探索,通过提炼、融合传统及各类亚⽂化元素,⽣成泛⽂化的未来⾁身。

宋琨的作品曾广泛 展出于中国与海外艺术机 构,如中国北京展览馆(2021)、中国北京民生美术馆(2021)、中国上海SSSSTART空间(2019)、中国上海龙美术馆(2016)、美国坦帕美术馆(2014)、中国北京UCCA尤伦斯当代艺术中心(2012)与美国洛杉矶哈默博物馆(2007)等地,并曾多次参加巴塞尔艺术展。诸多艺术机构亦将其作品纳入公共收藏,如中国北京中央美术学院美术馆、中国香港M+视觉⽂化博物馆、中国民生美术馆、中国新世纪当代艺术基⾦会、中国上海龙 美术馆、中国上海星 美术馆、中国成都知美术馆,中国Cc艺术基金会、何炬星收藏、乔志兵收藏、法国弗朗索瓦·⽪诺收藏、美国吉罗德·毕沙罗·塞伽罗特收藏与瑞士乌利·希克收藏。

About the artist

Born in 1977 in Inner Mongolia, China, Song Kun currently lives and works in Beijing, China. She earned her BFA and MFA from the oil painting department at the Central Academy of Fine Art (CAFA),Beijing. As one of the founding members of the N12 art group, she now lectures as a guest professor at the third studio of CAFA’s oil painting department. Song’s practice focuses on painting, while incorporating music live, video, installation and other media. In her works, she observes and captures the different figures and fleeting moments in reality and hyper-reality, she gathers up the fragments of our time, and at the same time restructure the elements. As a result, her works constitute a mythical, private spatiality that reflects the potential changes in China. In recent years, Song Kun’s artistic creation has entered a new stage, integrating contemporary subcultures with oriental religious elements in her creative outputs and experimentations. By refining and integrating elements of traditional culture and various subcultures, Song’s works generate the future body of pan-culture.

Song Kun’s works have recently been widely exhibited at international art institutions, including Beijing Exhibition Center (Beijing, China, 2021); Minsheng Art Museum (Beijing, China, 2021); SSSSTART (Shanghai, China, 2019); Long Museum (Shanghai, China, 2016); Tampa Museum of Art (Tampa, U.S., 2014); UCCA Center for Contemporary Art (Beijing, China, 2012); Hammer Museum (Los Angeles, U.S., 2007) among others. She has also been continuously participated in the Art Basel. Song Kun’s works has joined collections of Central Academy of Fine Arts Art Museum (Beijing, China); M+ Museum of Visual Culture (Hong Kong, China); Minsheng Art Museum (China); New Century Art Foundation (China); Long Museum (Shanghai, China); Star Museum (Shanghai, China); Cc Foundation (China); He Juxing collection; Qiao Zhibing collection; Francois Pinault collection in France; Giraud Pissarro Segalot collection in U.S. and Uli Sigg collection in Switzerland, among others.

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