Four artists explore fluid relationships between bodily memory and urban traces through multimedia creations, presenting transient aesthetics in blurred boundaries.
聂闻徽的创作将动物和人并置，却非对田园牧歌的倡导和歌颂。通常来说，动物所呈现的特征其实都只不过是人类面对它们时的一种观念的投射，如一面魔镜，人们望向它却总是看见自己和自己想要看见的。聂闻徽《老马识途》（An Old Horse Knows the Way），亚麻油画，90×80cm，2023年聂闻徽《我是谁？》（Who Am I?），板上油画，40×30cm，2022年聂闻徽《囿于宁静》（Confined Serenity），亚麻油画，100×180cm，2024年聂闻徽《征兆》（The Omen），布面油画，30×40cm，2024年聂闻徽《我从哪里来？》（Where Do I Come From?），色粉、油画，40×50cm，2022年聂闻徽《遥不可及》（Yonder），木板油画，18×24cm，2023年在艺术家的笔下，与主人紧紧依偎在一起的老马，侧卧于沙发之上的裸女脚边的长喙鸟类，站在屋顶上眺望远方的白兔……画面中动物的状态在某种程度上已经过分地入侵人的生活，人类与自然之间的边界被模糊——艺术家通过对场景的精心布置，呈现出人类在文化和情感层面上的联系与分离。圣地亚哥·加诺斯《分光镜1-9》（Spectrum 01-09），纸板坦培拉，尺寸不一，2023年
圣地亚哥·加诺斯始终遵循着一种“探险式绘画”的法则：他走出画室，随机地在城市之中游荡——如果把城市比作一个巨大的身体，地铁隧道是它的血管，钢筋水泥是它的骨骼，昼夜交替的霓虹是它的呼吸，那么艺术家则以自己的身体为媒介，试图感受其与城市的共振。圣地亚哥·加诺斯《财神爷》（God of Money），纸板、塑料、油画，30×17×20cm，2023年圣地亚哥·加诺斯《区域线》（District Line），纸板油画和再利用的金属框，20×34×7cm，2024年圣地亚哥·加诺斯《无题·风雨交加》Untitled（Brolly），木板油画，35.2×24.8cm，2023年在数字媒体和人工智能逐步占据城市这座巨大的身体之时，圣地亚哥以这样的介入方式向它发问——所谓“真实世界”究竟始于何处，又终于何处？圣地亚哥·加诺斯《兰贝斯》（Lambeth），木板油画，18×21cm，2023年圣地亚哥·加诺斯《橘子芒果汁》（Co-op Orange and Mango Juice），布面油画，38×33cm，2022年圣地亚哥·加诺斯《南肯辛顿》（South Kensington），木板油画，27×37cm，2022年圣地亚哥·加诺斯《皮卡迪利线》（Piccadilly Line），纸上油画，20×36cm，2022年艺术家在出走过程中所遇到人、事、物和其当下所处的环境都已不再重要，反而他更关注这座巨大身体在一呼一吸间遗留下的代谢物——艺术家把寻找到的现成物变为创作的平台，当这些现实世界里的碎片蜕变为画面的框架之时，艺术家自我书写的痕迹便被刻入其中，所记录的画面不过是他在偶然遭遇“真实世界”的那一瞬间的感受和想象。孙一涵《叉》（X），木板、水彩、丙烯，173×100×8cm，2024年
Those who flow in the body also wander in the city. Let it go, leave it behind.Text by Leslie DONGCub_ism_ Artspace is pleased in collaboration with artists Chen Keru, Nie Wenhui , Santiago Llanos and Sun Yiihan, presents the spring exhibition from 1 March 2025 to 6 April 2025 ‘Those who flow in the body also wander in the city. Let it go, leave it behind.’ Chen Keru’s practice multiple media – painting, sculpture, collage, fiction, poetry, sound and stop-motion animation. This exhibition focuses on her abstract paintings and installations. The artist admits that she ‘once didn’t know how to create abstract paintings’ until one day she heard a spiritual call and immediately bought a plane ticket the next day to fly back to her country, venturing into the mountains and ancient monuments without any preconceived ideas. She bent down to try her hand at painting in remote temples where incense was no longer in full bloom, and in the tunnels of museums – she saw abstraction in subtle ancient sculptures and figurative frescoes; beside her, people kneeling in reverence murmured, and the ancient statues of the gods and goddesses on their pedestals were silent. ‘Abstract 1’ was the first painting the artist created after returning to London, and it was from that moment on that she realised that something fluid had quietly passed through her body, and that she suddenly “knew” how to paint abstractly. For Keru, the creation of different media is by no means isolated; for her, it is the works that inspire the works – the works of each medium inspire each other to form her snowballing chain of creation – and the boundaries are fused together to become one big world. Her installations are made from the ‘excess’ of daily work, and the process of collecting these fragmented objects, which have lost their original properties, can also be said to be like collecting a lot of scattered brushstrokes, which the artist uses to put together glyphs, form her words, create her sentences, and speak her words, so that a language is formed, and so that consciousness begins to flow.Nie Wenhui’s creations juxtapose animals and people, however not advocate or glorify idyllic pastoralism. Generally speaking, the characteristics of animals are nothing more than a projection of human concepts when they are confronted with them, like a magic mirror, into which people look but always see themselves and what they want to see. In the artist’s paintings, the old horse snuggling with its owner, the long-billed bird lying on the sofa at the feet of the naked woman, the white rabbit standing on the roof and looking into the distance …… The state of the animals in the paintings has somehow intruded into the lives of human beings too much, and the boundaries between human beings and nature have been blurred…. –The artist presents the connection and separation between human beings on a cultural and emotional level through the careful arrangement of the scenes.Santiago Llanos has always followed the rule of ‘adventure painting’: he goes out of his studio and wanders randomly in the city – if we compare the city to a huge body, with underground tunnels as its veins, reinforced concrete as its bones, and neon signs alternating day and night as its breath, then the artist uses his own body as a medium to try to feel its resonance with the city, but this has already gone beyond the traditional paradigm of outdoor sketching. If we compare the city to a huge body, subway tunnels are its veins, reinforced concrete is its skeleton, and the alternating neon rainbow is its breath, then the artist uses his own body as a medium to try to feel its resonance with the city, which has long since transcended the traditional paradigm of outdoor sketching. At a time when digital media and artificial intelligence are gradually taking over the huge body of the city, Santiago uses this intervention to ask it – where does the so-called ‘real world’ begin and end? The people, events, objects and the environment that the artist encountered in the course of his journey are no longer important; instead, he pays more attention to the metabolites left behind by this gigantic body as it breathes in and out – the artist turns the readymade objects that he searches for into platforms for his creation, and when these fragments of the real world are transformed into frames of images, the traces of his self-writing are engraved into his works. The recorded picture is just his feelings and imagination in the moment when he encounters the ‘real world’ by chance.Sun Yihan physically ‘cuts’ the conventional picture through the shaped frame, forcing the viewer to accept a restricted perspective. This kind of compulsory visual path planning seems to be in order but is actually disordered. The long, narrow, pipelike images are randomly divided by the artist, and the information between the images is not even closely related to each other, and the figurative content flows at this moment, swallowing up the effective information. In this state of dislocated viewing, people have to try their best to grasp the fragmented parts and think and imagine about them – although the artist tries to establish some kind of ‘readability’ in his works, the viewer’s subjective consciousness and experience will ultimately replace the artist’s expression! — This contradictory state is also the real state of life.The ‘body’ and the ‘city’ can be seen as two ends of a metaphorical continuum – the former is destined to become a container and evidence as time or something else passes by, while the latter constantly tries to erase the traces or solidify or transcend. The former is destined to become a container and evidence when time or something else flows by; the latter is constantly trying to erase traces, to solidify or to transcend. What flows between the two, let’s say, there’s a pine tree, maybe a lake or a lively neighbourhood, summer passes, summer comes again, and it doesn’t seem to you to be any different; but when you look closely, and more closely, you’re surprised to see that the flow has blurred the boundaries until they dissolve; you think of someone else or something else in the world, and you think about how they’re all in the same sky, in the same time or thing that’s been renewed. renewed time or things that have been renewed; and then you think of yourself and feel something flowing through you – and you blurt out,‘Let it go/leave it behind.’
Why does the ‘men’s rights’ guru to the alt-right surround himself with Soviet-era memorabilia, which he doesn’t even class as art? – 为什么《男性权利》的《奥尔特右派》围绕着苏维埃时代的纪念品，而他甚至不把它当作艺术呢？
陈柯茹《怪物》（Monster），汤圆包装盒、花园栅栏、拼贴、毛毡玩偶的腿、热熔胶，尺寸可变，2023年
展览现场 Exhibition View
展览现场 Exhibition View
展览现场 Exhibition View
