展期 Period：
2024.6.8—2024.6.30
艺术家 Artist：
时索飞 Sophie Schagerl地点 Venue：
新闻稿 Press Release：
PIN将于2024年6月8日呈现艺术家时索飞（Sophie Schagerl）的个展「碎片7 SCHLUPFLÖCHER」。在本次展览中，艺术家带来7件新作，来自于Sophie在北京学习、生活与工作受到的灵感与启发。
几年前的一部电影《降临》中有一段台词说：“语言会影响你洞察世事的方式。”异乡人(Stranger)，总是需要调动除了言语外更多的感官，来察言观色地猜测，联想与误读地去理解一个巨大而陌生的环境。也许是在维也纳的翻译小组(Versatorium)工作过的原因，索飞对于语言的兴趣与理解显得更丰富些。
这次展出的七件作品，大部分作品的灵感都来自她在中国的生活经历及朋友的玩笑或故事。在《把旺夫痣吃掉》中，画面整体的棕红色，浅群青色与发白的肤色。让人想起乔托式的色彩。一个巨大的，显眼的，带着东方女性特征的脸。下面围绕着七个不同动作的小人偶，有的在照镜子，有的像是在祈祷，有的拿着筷子状的夹子试图取下这张大脸上的痣。朋友的一句玩笑，在索飞记忆的解析与想象的误读中生成一种戏剧性的荒诞画面。这种非文本叙事的图像，也许也反映了她对于文化差异与语言辨析的理解与重构。
粗砺的画布与矿物油彩以及水墨的运用。在哑光的画面上能看到不断推敲的绘画痕迹。而画面的物质感与一种相对简单的色彩关系与素人般的造型方式，构成了一种直觉的，非语言的，微妙变化的视觉触感。索飞用一种体认的眼光将这难以言喻的个人记忆与感受装进一张张明信片似的作品中。
在这个越发疯狂的世界。去一个离这里更遥远的地方。学一门更具挑战的语言，结识一群有趣的朋友，聆听几件令人难忘的故事。这像是一种更年轻的更理想的召唤。
以上文字由画家及教师，陈作撰写。它可以被解读为一种细致入微的联想性评论，是开启与展出画作对话的多种方式之一。
A few years ago, in a movie called Arrival, there was this line: “The language you speak — it affects how you see everything.” As a stranger (异乡人), one always has to awaken senses that allow to reach beyond spoken language, attentively guessing, associating, and misunderstanding, so as to, conversely, be able to understand one’s environment, vast and unfamiliar. Maybe it is because of her experience working with the translation group Versatorium in Vienna that Sophie’s interest and insight into language seems particularly profound.
Among the seven works that are on view in this exhibition, most of the paintings’ inspiration derives from reflections on daily experiences during the artist’s time in China as well as jests and stories told by the people around her. In “把旺夫痣吃掉”, brownish-red, bright ultramarine blue and light skin tones are reminiscent of early renaissance painting. A big, conspicuous face with Asian feminine features can be seen. Below, seven figures engaged in different motions gather, some of them looking in the mirror, some as if involved in prayer, some raising chopstick-like tools, about to pick the moles off the grand face above them. In the workings of Sophie’s memory, by way of imaginative misreading, a friend’s sentence, a joke, brings about fantastic scenes on the picture plane. These narrative images might also reflect an understanding into cultural differences, nuances of language and the restructuring thereof.
Rough canvas, oil and ink. On the matt surfaces, traces of continuous painterly deliberation. The tactile qualities of the picture plane along with a rather simple way of relating to colour and form create a sort of intuitive visual impression that leaves space to the painting’s subtleties and no need for verbal explanation. Through both her bodily experience and careful reflection, Sophie fits memories and sensations that can hardly be described in words into paintings like postcards to remember.
In this world that is growing strange: Looking for a more removed place, a language that is daring, finding a group of interesting friends, to listen to stories that are hard to be forgotten. This seems to be a fresh, idealistic calling.
This text was written by Chen Zuo, fellow painter and teacher. It can be read as an attentive, associative comment, as one of many ways to initiate a dialogue with the paintings on view.
