展期 Period：
2024.12.28—2025.1.25
艺术家 Artist：
方伟绩 Fang Weiji、陶发 Tao Fa、雅戈达·米乔维奇 Jagoda Mićović、袁娜 Yuan Na、张银亮 Anna Nganleong Cheung
策展人 Curator：
杨紫苑 Yuana
地点 Venue：
索卡艺术 Soka Art（北京）
前言 Introduction：
索卡艺术荣幸宣布将于12月28日推出艺术家群展“无地方 Placelessness”，此次展览由五位艺术家——方伟绩、陶发、雅戈达·米乔维奇、袁娜、张银亮共同呈现。展览由杨紫苑策划，将持续至2025年1月25日。
“无地方” （Placelessness）是爱德华·雷尔夫在其人文主义地理学著作《地方与无地方》中提出的一个地理现象：在后工业化与消费社会极速膨胀的进程中，一些多样化的景观和重要场所的意义正在不断减少以至完全消失，逐渐失去原本具有的地方感。与之相伴的，便是人类被削弱了能够识别出地方及身份认同的感知力，迷失于无数“相似性”构筑起的迷宫。此次展览，五位艺术家从各自视角的理解和表达，探索了“无地方”语境下不同地域空间的界限与交织。
蔓延的知觉空间
知觉空间通常是一种“以人的直接需求与实践为基础的行为空间”，在过往经验中，人们会将自我情感和人格投射其中，营造出私人化的独特性场所。方伟绩的《静夜思》系列作品，以夜色中恬淡清美的花卉植物作为描绘对象，阐释了一种超验情感和哲思漫溢的美学，亦是艺术家源于生活的物象体验。都市的日常繁琐和窒息感加剧了人内心的焦虑和冲突，人们因此升出短暂逃离的冲动，开始向往一处净域。比如在闲暇时间里赏花弄月，坐看日升日落，试图在万千景观里寻求片刻的安宁与自我。方伟绩用淡雅和谐的用色和简洁明了的构图传达了其超脱视觉概念的即时心理状态。伫于月色下的花枝牵扯出一段儿时仰望星穹的记忆，过去和现在重叠在一起。至此，以个体为中心的知觉空间得以越过时间的限度，变成更久远的存在。
内部地方认同
“家”是我们对认同的基础，也是存在的栖居之地，人们对一个地方最原始的认知和最切身的感受都来源于此。艺术家陶发将创作的目光聚焦在自己的家乡云南，这是他最熟悉且能够依附的归属地，这里的山川湖泊孕育了他的身躯，这里的人文观念塑造了他的人格。陶发在创作中习惯让脑内潜意识自由支配画面，让颜料任性狂放地流淌于画布，在不拘常格的笔触和东方传统色彩的基调中构建出一个天地万物有灵的玄妙世界。他所绘的场景从来不是一派死寂，而是无时无刻不在活跃跳动的幻象。作品《圭山有刺》中，荆棘丛生的困境不会遮挡去路，当人物内心炽热的火焰外化显现，山神无声的指引预示着归家，此刻所有的情结和心绪都有归处。
显然，世间每个地方都有其自身的独特性与辨识度，当人们离开家园到达一个不熟悉的地方，被截然不同的事物和氛围环绕，过往那些依靠图片和文字进行的想象成为真实，由此并发的移情便产生了不同的地方认同。塞尔维亚艺术家雅戈达·米乔维奇（Jagoda Mićović）的作品灵感来自于韩国济州岛的风景。她以一个“异乡人”的身份造访岛屿，看到岛上充满多样色彩的景观，比如彩色的小屋，乌黑的大石块和大片广阔的绿森林。雅戈达提出了“让风景失色”的想法。通过减少高频率存在的绿色，用灰色取代原本外景的颜色形成单色景，融入彩色房屋的构图以及暗示景观轮廓的白色空间的对比，让画面保持生动和意境。当原色的缺失让景物形状变得锐利，灰色也变得具有“二元性”，它们成为了光与影、白昼与黑夜、闪烁与静止之间的对弈。仿佛一朝之间季节翻转，炎夏与皑雪在此共存。雅戈达的创作让济州岛脱离了那些空洞的描述和传统印象，转向另一种梦幻迷离，也使人与地方之间生出新的认知和关联。
每到一个新城市，旅行者就会发现一段自己未曾经历的过去：已经不复存在的故我和不再拥有的事物的陌生感，在你所陌生的不属于你的异地等待着你。
——伊塔洛·卡尔维诺《看不见的城市》
“无地方”穿行
随着人口的频繁流动，人们对于独有环境的归属感逐渐淡化甚至剥离。我们游走于各地，在世界不同的角落驻足和观望，经历着一次次的相遇、别离和重逢。在这种模式下，特定地域不再是生活的必须，它成为了一种倾向与否的选择。张银亮的作品主题来自她曾经游历过的城市体验，她以自身直觉观察每座城市的独特性，将微妙的色彩关系与交错扭曲的构图结合并运用于所见场景中。让“机场”、“餐厅”这类直指“无地方”的均质化社会场所，从冰冷的功能性存在中暂且抽解出来，以一种全新的视角展开和呈现，充满了清爽透明和耐人寻味的氛围感。作品《机场 - CD028》中，等待行李的旅人三两散落，他们不易被窥探的内心如其面孔一般朦胧，好比没有人能精准完整地讲述一座城市，真实和假象缠绕的记忆会在无休止的奔走中沉降，直到再也看不见延伸的尽头。
囿于地方之苦
如果说步履不停的辗转让人迷失和怀疑，长期困守一个地方的限制也会带来压抑和痛楚，于是人们开始在“需要和逃离家园的张力”中摇摆以找寻平衡，这种状态潜在影响了人们看待“亲密与疏离”关系的想法。袁娜的作品从自身出发，在日常生活中抽取寻常图像，剥离其“物的属性”，通过展现其间的相对冲突达到某种平衡。作品画面中被切割重组的几何形投射出“明与暗”的对局，柔软的布料被有序的网格破除了拉扯感…这些都像是在一种真空状态下“疏离”对“亲密关系”的制衡。其实在亲密关系里，情感只占很小的比重，艺术家试图探讨的是与之关联的更多可能，比如自己和自己，自己和他人或社会的关系，还有宇宙和尘埃、生命和死亡等等。如果把“追求平衡”看作是一个推进过程，而不是既定的结果，那些恒久直面沉闷的日子，终将引人挣脱内心积郁的拘禁。
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Soka Art is pleased to announce its group exhibitionPlacelessness on December 28th, presented by five artists:Fang Weiji, Tao Fa, Jagoda Mićović, Yuan Na, Anna NL Cheung, curated by Yuana, the exhibition will run until January 25, 2025.
“Placelessness” is a geographical phenomenon proposed by Edward Relph in his humanistic geography bookPlace and Placelessness: In the process of post-industrialization and the rapid expansion of consumer society, the significance of some diverse landscapes and important places is constantly decreasing or even disappearing, and they are gradually losing their original sense of place. Along with this, people have weakened their ability to recognize places and identities, and are lost in a maze of countless “similarities”. In this exhibition, five artists explore the boundaries and interweaving of different regional spaces in the context of “placelessness” from their own perspectives of understanding and expression.
Spreading Perceptual Space
Perceptual space is usually a “behavioral space based on people’s direct needs and practices”. In past experiences, people will project their own emotions and personality into it, creating a private and unique place.Fang Weiji’s Thoughts on a Quiet Nightseries of works, depicting the tranquil and beautiful flowers and plants in the night, interprets an aesthetic of transcendental emotions and philosophical thoughts, and is also the artist’s experience of objects from life. The daily tediousness and suffocation of the city have aggravated people’s inner anxiety and conflicts, so people tend to have the impulse to escape for a short time and begin to yearn for a peaceful land. For example, in their spare time, they appreciate the flowers and the moon, sit and watch the sunrise and sunset, and try to find a moment of peace and self in the thousands of landscapes. Fang Weiji uses elegant and harmonious colors, simple and clear composition to convey his immediate psychological state that transcends visual concepts. The branches standing under the moonlight involve a memory of looking up at the starry sky in childhood, then the past and the present seem to overlap. At this point, the perceptual space centered on the individual has been able to transcend the limits of time and become a more distant existence.
Insideness of Place Identity
“Home” is the basis of our identity and the dwelling place of being. People’s most primitive cognition and most personal feelings about a place come from this. ArtistTao Fa focuses his creation on his hometown, Yunnan, which is his most familiar and attachable place of belonging, where mountains and rivers nurtured his body, and where humanistic concepts shaped his personality. Tao Fa is used to letting his subconscious mind control the works freely in his creation, letting the paint flow wildly on the canvas, then constructing a mysterious world where all things are spiritual in the unconventional brushstrokes and the tone of traditional oriental colors. The scenes he paints are never silent but are always vibrant with illusions. In the workThorny Mount Gui, the dilemma of thorns will not block the way, when the burning fire inside people is externalized and manifested, the silent guidance of the mountain god indicates to return home. At this moment, all the complexes and emotions have a place to go.
Obviously, every place in the world has its own uniqueness and recognition. When people leave their homes and arrive in an unfamiliar place, they are surrounded by completely different things and atmospheres, the imaginations that were previously based on pictures and words become real, and the resulting empathy produces different place identities. The work of Serbian artistJagoda Mićović is inspired by the scenery of Jeju Island in South Korea. She visited the island as an “outsider” and saw the brilliant landscape on the island, such as colorful houses, black rocks and vast green forests. Jagoda came up with the idea of “making the landscape lose its color.” By reducing the high frequency of green, replacing the original colors of the landscape with grey to create a monochromatic view, and incorporating the contrast between the composition of the colorful houses and the white space that hints at the contours of the landscape, the work remains vivid and artistic. When the absence of primary colors makes the shape of the scenery sharp, gray also becomes “duality”, they become a game between light and shadow, day and night, flickering and stillness. As if the seasons had flipped, hot summer and snow coexisted here. Jagoda’s creations have taken Jeju Island away from those empty descriptions and traditional impressions, turning it into another kind of dreamy mystery, and have also created new perceptions and connections between people and places.
Arriving at each new city, the traveler finds again a past of his that he did not know he had: the foreignness of what you no longer are or no longer possess lies in wait for you in foreign, unpossessed places.
——Italo Calvino,Invisible Cities
Traveling in “Spacelessness”
With the frequent movement of people, the sense of belonging to a unique environment is gradually diluted or even stripped away. We travel around, stopping and looking at different corners of the world, experiencing encounters, separations and reunions over and over again. In this mode, a specific region is no longer a necessity of life, it becomes a choice of preference or not.Anna NL Cheung’s works are based on her experiences in the cities she has traveled to. She observes the uniqueness of each city with her own intuition, combines subtle color relationships with interlaced and twisted compositions and applies them to the scenes she sees. The homogenized social places like “airports” and “restaurants”, which directly refer to “spacelessness”, are temporarily extracted from the cold functional existence, unfolded and presented from a new perspective, full of refreshing, transparent and intriguing atmosphere. In the workThe Airport – CD028, the travelers are scattered around waiting for their luggage, their inner world is not easy to be peeped into as hazy as their faces, as if no one can tell a city accurately and completely, the memories entwined with reality and falsehood will sink in the endless running until the end of the extension is not visible any more.
Trapped in the Drudgery of Place
If the constant movement makes people lost and doubtful, the restrictions of being trapped in one place for a long time will also bring depression and pain, so people begin to swing between the“tension of need and escape from home”to find a balance, and this state potentially affects people’s views on the relationship between“intimacy and alienation”.Yuan Na's work starts from herself, extracts ordinary images from daily life, strips off their“object properties”, and achieves a certain balance by showing the relative conflicts between them. The cut and reorganized geometric shapes in the work project the game of“light and dark”, and the soft fabric is broken by the orderly grid to remove the sense of pulling... These are like the balance of“alienation”on“intimacy”in a vacuum state. In fact, in an intimate relationship, emotion only plays a very small part. The artist tries to explore more possibilities related to it, such as the relationship between oneself and oneself, oneself and others or society, as well as the universe and dust, life and death, etc. If the“pursuit of balance”is regarded as a process rather than a predetermined result, those days of constant facing dullness will eventually lead one to break free from the confines of inner depression.
