蒋涵萱个展——近拟遐远 | 三影堂厦门
来源:三影堂摄影艺术中心 作者：三影堂摄影艺术中心 时间：2019-08-17
近拟遐远
The Nearest Distance
主办：三影堂厦门摄影艺术中心
艺术家：蒋涵萱
策展人：甘莹莹
开幕时间
2019年8月18日 15:00
艺术对谈
2019年8月18日 16:00
展期
2019年8月18日-9月17日（周一闭馆）
地点
三影堂厦门摄影艺术中心
（厦门市集美区杏林湾营运中心，2号楼301）
世界由远及近地决定了我们的边界——在数码影像和网络等媒介还没有将我们浸透之前，我们对于远近的感受仍主要取决于距离。这儿是近的，熟悉的，那头是远的，陌生的。数字革命之后，所有的远与近被镜头解码，再编码，最后光速到达我们的眼前。在无数个“窗口”面前向外窥探，霍米·巴巴所说的“世界与家的界限被模糊”并不需要亲临其境即可感受到，他人的镜头已经先我们一步将陌生感压缩，将世界变得扁平。我们称之为远方和近处的，不再由距离决定，而是取决于事物曾否曝光在我们面前。
随着观看的时间累加，影像建构了记忆，对于未知的远方熟悉感进行叠加。苏珊·桑塔格曾写道，“自我的回忆就像是对一个地方以及如何将自己放置其中并在其中穿行的回忆。”通过影像的浸制，我们似乎已经有了开始在别处穿行的回忆，以至于真正抵达远方时——便捷的交通亦压缩了近与远的空间，这些回忆被激活，带来了似曾相识之感。
艺术家蒋涵萱在此次展览中带来了四个系列作品，皆来自于她旅居他乡时的创作，循序渐近地集中探讨了这样一个问题：当我们趋近一处场域时，如何去感受意识中遐远的存在，当我们在用个人经验去取代图像带来的集体体验时，如何去探索真正的远与近的边界，乃至思考人类存在的本质问题。
《我在此》系列是一组图像与影像装置的结合，艺术家将此处与彼处，现实与记忆中潜在的相似性在影像中交融出现，即现实此地与意识此地在时间与空间维度重叠，并在这种不断重叠中促成事物对人的开敞与解蔽，以此印证在场者的在场。
《静谧之地》是一组摄影作品，原始森林鲜见文明的遗留痕迹，长久的凝视中链接到更为原初的人类记忆之中。
倘若说前两个作品中艺术家仍在通过观察、凝视与想象去体验场域，在《切近》这部无剪辑的胶片电影中，直观地再现了艺术家介入并经受空间的体验。她有时是旁观记录者，有时是参与者。带着一种若即若离的诗意，镜头间切换的短暂黑场敞开了她从空间不断返回自身的通道。
《厨房里的谈话》则探讨的是话语权与场域之间的关系，通过他们的谈话内容，厨房从生活空间变成了政治领域，超越了私人空间成为公共空间，将人的自由从“暴力而专制的家庭领域”（汉娜·阿伦特《人的境况》）中释放出来。
当我们凝视场域时，拉近了时间上离我们遥远之物；当我们启动想象，拉近了空间维度的远方；当我们介入或生存于彼处，拉近了空间与自我的距离；当我们于此表达和交流时，就真正打开了头脑中的疆域于无限无界的遐远处。
文/甘莹莹
关于艺术家
Artist Introduction
蒋涵萱，1995年生，创作侧重于影像摄影和当代水墨，现就读于英国皇家艺术学院 (RCA) 当代艺术实践系研究生，浙江省美协会员，2018“新峰计划”入选艺术家。2019 年被中国美术报评为“五四百年百杰优秀青年艺术家”。作品被中国文联基金会、中国美术馆等国内外机构收藏。合作作品入围2019年“北京大兴国际机场”的公共艺术全球征稿。
重要展览:
2019 第八届北京国际双年展，中国美术馆，北京，中国
2019 “Form 2019”, CICA美术馆，韩国
2019 之江国际青年艺术周|浙江省“新峰计划”优秀青年艺术家作品展，浙江省展览 馆，杭州，中国
2019 布鲁塞尔水墨周2019，ULB 美术馆，布鲁塞尔， 比利时
2018 “共同经历、会员、集体和工会”，Beaconsfield 美术馆，伦敦，英国
2017 庆祝香港回归祖国二十周年—中国画作品展，中国美术馆，北京，中国
展厅现场
Exhibition Hall
A solo exhibition of Hanxuan Jiang The Nearest Distance
Artist：Hanxuan Jiang
Curator：Yingying Gan
Organiser: Three Shadows Xiamen Photography Art Centre
Opening
Aug 18, 2019 15:00
Talk
Aug 18, 2019 16:00
Duration
Aug 18 – Sep 17, 2019 9:30-17:30 (Close on Mondays)
Location
Three Shadows Xiamen Photography Art Centre
(No. 301, Building 2, Xinglinwan Business Center,
Jimei District, Xiamen)
There is a barrier between the world around us and distant reality. Before we becameimmersed in virtual media such as digital images and the internet, our understanding of far and near were decided by distance. Here is closeand familiar whereas there is far away and strange. Since the digital revolution, all far-ness and near-ness have started decoding,then coding, and now reach us instant aneously. When observing the outside world in front of countless windows, it feels as though “the border between home and world becomes confused ” (Bhabha, H, (1992) The World and the Home. ).The lenses of others have compressed the strange nature of the world and madeit flat. The concepts of far-ness and near-ness are no longer decided by distance, but rather decided by whether they have been exposed infront of us.
Along with the accumulation of time, images construct our memory by repeatedly adding familiarity to the distant unknown places. To quote Susan Sontag, “Reminiscencesof self are reminiscences of a place, and how he positions himself in it, navigates around it,” When submerging with images, we seem to form memories of traveling elsewhere. Our means of conveniently traveling to these places within a short-time frame skews our perceptions of near-ness and far-ness. When we arrive, our memories are activated thus bringing forward a sense of deja vu.
Hanxuan Jiang exhibits her work from four series which were created during her travels.They gradually discuss the following subjects:
- How to sense the far-nessin your conscious mind when approaching a space
- How we explore theborder between far-ness and near-ness when replacing thecollective experience brought by images with personal experience, thus thinking about the essential questions of the nature of being.
The Presence series is a combination of a set of pictures anda video installation. Here and there, the potential similarities between reality and memory blend, that is, Here in reality and here inconsciousness overlaps in time and space dimensions. Through this constant overlap, Jiang promotes the opening and obscuration of things to people, thus confirming the presence of the present.
Jiang’s A Silent Place is a photography project focused on wandering through ancient woodlands. In these forests, you seldom see the remains of modern civilization. The long-term gaze links to more primal human memories.
If in the afore mentioned works the artist is still experiencing the space through observation, gaze and imagination, in the uncut film Nearness, the artist's intervention and experience of this space is visually reproduced. She is sometimes a by stander and sometimes a participant. With a poetic feeling of uncertain distance, the short black space that switches between shots opens the way in which she constantly returns from the space.
Jiang’s film Talk in the Kitchen explores links between the characters’ chance to express their opinions and the space. Through their dialogue, the kitchen is changed from a living area to a political space; it transcends the private space and becomes a public space. This grants people freedom from their original restraints, the kitchen, referred to by Hannah Arendt as "The violent and authoritarian family field“ (Arendt, H, (1958) The Human Condition).
When we gaze at the space, we draw closer to distant things through out time. When we imagine, we draw closer to the distance of the spatial dimension. When we intervene or live in a space, we narrow the distance between space and self. When we express and communicate in the space, we truly open up the boundaries of our minds - boundless and unlimited.
Text / Yingying Gan
Artist Introduction
Hanxuan Jiang (b. 1995, China) is a young artist who is currently based in London, United Kingdom as a Master of Art in Contemporary Art Practice student with Royal College of Art. She is a member of Zhejiang Artists Association. She was selected in 2018 “Xin Feng” Art Programin China. She was announced by Art News of Chinaas one of the most excellent young artists in China (100in total). Her works was collected by Chinese Federation Foundationand Beijing Biennial Exhibition. Her collaborative work was selected by Beijing Daxing International Airportin 2019.
IMPORTANT EXHIBITIONS:
2019 Beijing Biennial Exhibition, National Art Museum of China, Beijing, China
2019 Form 2019, CICA Museum, Gimpo, Korea
2019 Excellent Artistsin “Xin Feng" Art Program, Zhejiang Exhibition Museum, Hangzhou, China
2019 Ink Art Week Brussel, ULB Museum, Brussel, Belgium
2018 The Partisan Social Club Project, Beacons field Gallery Vauxhall, London, United Kingdom
2017 The Theme about HongKong Exhibition, National Art Museum of China, Beijing, China
Website : www.hanxuanjiang.com
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