■ ■  策 展 人 前 言  ■ ■

Curator's preface


     “景觀”是社會依靠現有體制的狀態和目標,重新生產的“幻覺”:它具有混淆主體與客體的能動性,將被動的感知隱匿在主體具有話語權的假定意識之下。Ragesh A. S.的個展《景觀的本質》關注了藝術家在第一次到訪中國的語境下,在重慶躬體力行的創作。以個體和自然的關聯性作為切入點,展覽彙聚了他在駐留期間帶來的一系列新作品,涉及器物、繪畫以及影像。從語義上來說,藝術家謙虛地呈現了他對自然的歸屬感與崇敬之情,以及對自然的消解後再表達。這些用自然作為媒介而解構的景觀試圖吸引觀眾,使其陷入不由自主的凝視與反思。

     The landscape represents an illusion, product of the contemporary society which is built upon systematic conditions and goals. On the Nature of Landscape features Ragesh's bodily practices during his residency in Chongqing while encountering with China for the first time. Entirely comprised of on-site new works across objects, paintings, and moving images, the exhibition explores the interrelation between the individual and nature. Semantically, the artist humbly depicts his innate affiliation and homage to the natural environment, and echoes of working on nature. His works beckon viewers by attending to the deconstructed landscape encompassed by natural mediums. 


     在本次展覽中,Ragesh直覺地將離散的自然重新塑造成了一個綜合體。在那些界限模糊的碎片裏,唯有不穩定性是唯一確定的存在。藝術家在創作過程中試圖呈現一種亞裏士多德探究的本質定義(essential definition)和表面定義(nominal definition)的巧妙平衡。或許可以說,他的作品探究的是事物的本質,而非用語言定義事物的術語。最終在展覽裏,“景觀”可以被認為是一種具有違背自然深刻的“本質定義”的宣言,有二律背反(antinomies)的性質。溯源居伊·德波的“景觀社會”理論,藝術家通過創作詰問這樣的現狀——“社會被現代生產體制所主導,生活被視為層層景觀的疊加”。

     Much as the exhibition title alludes, the artist collected fragments of nature and regrouped them together into a new synthesis. The uncertainty in the ambiguous debris possesses the sole certainty. Throughout his practices, the artist approached a distinctive balance between the real and nominal definition as Aristotle describes. Ragesh's work of art investigates the essence of things rather than defining words for those things. And finally, the antinomic landscape can be seen as a subversive proclamation on the profound invisible meaning on nature in terms of interrogating Guy Debord's discourse that in societies dominated by modern conditions of production, life is presented as an immense accumulation of spectacles.


     因此當代社會的混沌處境也是藝術家擔憂與疑惑的。Ragesh在作品中映射了他的個體經驗——陶器藝術的繼承人;成長於自然環境中的個體;缺失書面語言的弱勢社區的一員。可以窺視到,藝術家依靠的原始自然和文化正在逐漸消逝。同時,重慶獨特的都市“地貌”與藝術家長期生活的“自然”站在了著看似對立的位置。在這樣的歷史進程和激烈衝突中,被動地與過去斷裂的藝術家,將視野投向於個人身份認同與懷舊之情。展覽中景觀元素的指涉點正是源於Ragesh童年時期在自然環境中製造陶器的記憶。然而現實生活刻畫出的情景則反映出問題的迫切——“我的生活中沒有任何自然了”。

     The current society is in turbulent times as the artist immensely concerns and doubts. His work reflects his personal experiences living in a natural environment as the child of pottery artisans, as well as the fragility of the community's lack of written language. Both primitive culture and land have compulsively decayed. In addition, the antipathetic topographies of Chongqing and his homeland conveyed binary notions. The displaced rupture with the past foregrounds his notions of identity crisis and nostalgia. Within exhibition works, Ragesh composes a landscape from his childhood memory, where he embraced his family's heritage in pottery making. The matter of life depicts the critical course — I cannot have any natural things in my life. 


     對Ragesh來說,他一直被印象中的自然跟隨著,記憶和感知也持續滲透在作品之中。藝術家在構建時並不僅僅企圖仿造自然或者是再現自然,而是挖掘自己的感知力去辨認自然傳遞出的暗示。他的創作表達了對自然的深厚感情,以及對信仰的強調——每一個人都有與自然有關的過去。在當代的城市化浪潮和重慶的特定情景中,Ragesh記錄下了駐留期間的感官經驗,以梳理自己在“景觀”中的位置,文本化他自身的存在。

     On an intimate level, he projects on the remembered nature that he carries with himself as well as the remembered memory and feelings of it. He does not mirror what nature represents, but delving into his sensibilities to decipher what nature gave him. The artist expresses sentiments to the natural world and believes that everyone has a past that belongs to nature. Growing up in a manner of urbanization and inspired by the first visit to Chongqing throughout this residency, Ragesh records the sensational moments to reside himself in the landscape and narrate his existence.


     這一探索也指向藝術史本身,從巴比松畫派“向自然學習”走向郊外開始,並在印象派偉大藝術家的推動下,自19世紀初期,“自然”已經成為藝術領域最偉大的命題之一。他們向自然學習並用“風景”辯證地討論了郊區與翻天覆地的城市化進程的關係。對藝術家而言,“自然之道”不是對於“風景”的簡單模仿,而是一次思辨的修辭嘗試。Ragesh的當代實踐離不開“物”,核心在於試圖揭露都市“景觀”中的背立面所展現的社會機制。德波闡明了“景觀不是圖像的集合,而是被圖像操作的人和社會的關係”。因此,“景觀”可以被看做是佔有優先地位的機制產生的替代主體意識的產物。

     Alongside the conceptual framework, in the art history world, nature has become a prominent subject matter since the Barbizon school painters wandered into the countryside and followed by famous impressionists in the 19th century. They learned from nature and employed landscape on the dialectic between the countryside and rapid urban expansion. Ragesh's working on nature is not a rendering of the landscape but with resonances and philosophical discourse. Never far from land and objects, his contemporary practice unveils the back of the landscape facade in an urban context. Ragesh attempts to procure the inherent properties of landscape in contemporary society. The spectacle is not a collection of images; it is a social relation between people that is mediated by images, as Guy Debord states in The Society of the Spectacle. The landscape can be seen as the production of a group of dominant spectacles where the representation replaces reality. 


     通過作品脈絡,創作者以一種詩意的藝術語言表達了已被表現的對象的本質,捕捉了含糊的空間、時間、和知覺。在展覽中,他以一種違命的方式,使用類比法探討了“景觀”的隱形規訓——關於過去與當下,所指與能指,生存與存在,表現與真實,表像與本質。正如福柯討論的人的社會化:社會機制的產生造就了社會需要的個人,顯然,展覽的關鍵正是Ragesh對於“景觀”滲透出的終端體系的一場明確反叛。

     With capturing intricate space, time, visual diary, and perception, the exhibition highlights Ragesh's poetic language in terms of expressing the nature of the represented objects. He disobligingly generates an analogy to examine how the landscape interferes the past, and the present, the signifier and the signified, existence to existing, representation to reality, appearance to the essence. Overlaying Foucault's interpretation that people are disciplined by the social mechanisms, the exhibition is a rebellion against the end-products of the system shaped by the landscape.

——楊思嘉

——Sijia Yang



■ ■  藝 術 家 介 紹  ■ ■

About the Artist





教育背景︱Educational Background


2017:畢業於海得拉巴大學藝術與傳播學院(雕塑)美術碩士

2014:畢業於喀拉拉邦Thiruvananthapuram Palayam美術學院(雕塑)美術學士

Master in Fine Arts (Sculpture) 2017,S. N. School of Art and Communication, University Of Hyderabad

Bachelor in Fine Arts (Sculpture) 2014, College Of Fine Arts, Palayam, Thiruvananthapuram, Kerala



個人展覽︱Exhibitions


2019:海得拉巴卡克裏蒂藝術畫廊《土地的詩篇》小組展覽

2018:海得拉巴卡克裏蒂藝術駐留專案

2018:參加喀拉拉拉利他卡拉學院國家群展

2017:《新興調色板》海得拉巴Shrishti藝術畫廊群展

2017:海得拉巴大學藝術與傳播學院美術碩士畢業展

2016:參加了喀拉拉州Thiruvananthapuram美術學院《引用CFA》的現場特別藝術專案

2014:《2014年學位展》帕拉亞姆Thiruvananthapuram美術學院

2013:Thiruvananthapuram美術學院Thomas Kovoor舉辦的青銅鑄造研討會

2019 : ‘The Lay of the Land’- Group exhibition at Kalkriti Art gallery, Hyderabad

2018 : Artist in Residency Programme at Kalakriti Art Residency, Hyderabad

2018 : Participated in group exhibition at Kerala Lalithakala Academy state exhibition

2017 : ‘Emerging Palettes’- A group exhibition in Shrishti Art Gallery, Hyderabad

2017 : MFA Final Display, S. N. School of Art and Communication, University Of Hyderabad

2016 : Participated in site specific art project, ‘Cite CFA’, College of Fine Arts, Thiruvananthapuram, Kerala

2014 : ‘DEGREE SHOW 2014’, College of Fine Arts, Palayam, Thiruvananthapuram

2013 : Bronze casting workshop conducted by Thomas Kovoor, College of Fine Arts, Thiruvananthapuram



關於本次駐留︱Aboutthis Residency


     我的作品涉及空間和時間。在駐留期間,我將嘗試與重慶空間以及當地人進行溝通,探索這裏空間和物體。這次實踐基本上是以物體作為現成品進行創作,並創造一種新感官意義,而不是它所原有的實用意義,同樣我將去研究這座城市的歷史,學習這裏的文化藝術,並結合繪畫創作一系列裝置。我的作品可看作是一種日記,在這段時間中,我將用不同的媒介來記錄空間,例如繪畫、現成品、照片、聲音等。我對物體非常好奇,有時相同的物體具有不同的含義,這種多樣性也是每個社區的建立和存在的基礎。

     My works are dealt with space and time. In the period of the residency I will try to communicate with space and people. For the preparation of the residency I will study space and objects, my practice is basically on going with the composing objects and create a sensual meaning other than its utility thought. I have to study objects and history and create a collaborative installation with drawings. From Chongqing I have to learn a lot about culture and art. My works are a kind of diary, in the period of time I will document the space with different mediums example like drawings, objects, photos, sound etc.. I am curious about objects, sometime same objects have different meanings and the very diversity is the foundation of every community.



以往作品介紹︱Introduction to Previous Works


     我的作品一般都是關注我周圍的自然。我的童年生活在茂盛的綠樹叢中,與大自然建立了錯綜複雜的關係。我早期的作品涉及諸如人類活動對環境造成的猖獗破壞等主題。這些作品和特定現場裝置突出了自然的緩慢復興,這與人類活動的快速破壞十分矛盾。因此,我帶來了這些作品中時間、連續性和變化的元素。我後來的藝術作品把這一焦點縮小到了我發現自己的直接本質。我的作品開始描繪我周圍的空間。按照傳統,我從小就和周圍的物品和工具有著共同的聯繫。這種聯繫在我後來的作品中得到了顯現,在那裏我更加關注特定空間中的物體。這些物體形成了日誌,把我的過去和現在聯繫起來。我大部分時間都是在繪畫中,時間和空間的元素被我進一步發揮。我的草圖中重疊的數字試圖捕捉我對特定空間的反應。因此它抓住了我的周圍和我內心的混亂。我所有的作品都是以天然的陶土和木頭為材料。

     My art has generally dealt with the nature around me. Having spent my childhood amidst lush greenery, I had developed an intricate relationship with nature. My earlier works covered themes such as rampant environmental destruction by human activities. These works and site specific installations highlight the slow rejuvenation of nature which is quite contradictory to the fast paced destruction of human activities. I have thereby brought the elements of time, continuity and change in these works. My later art works has narrowed this focus to the immediate nature I found myself in. My works started to draw more from the space around me. Pot makers by tradition, I had shared a connection to objects and tools around me since childhood. This connection was revived during my later works where I focused more on objects in particular spaces. These objects acted as journals- journals that connected my past to present spaces. I have done mostly drawing were I further played with the element of time and space. The overlapping figures in my sketches try to capture my reaction to a particular space. It thereby captured the chaos around me and inside me. All of my works were done using natural mediums of terracotta and wood.


混凝土叢林,木材、混凝土、金屬,4x1.5x1英尺

concrete jungle,wood, concrete, metal,4x1.5x1ft


被遺棄的(現場雕塑),木材、水泥、金屬,2015

Abandoned(site specific sculpture) ,wood, cement, metal,2015


男人和女人,混合介質,16x21x14英寸

man and women,mixed media,16x21x14inch


無標題,56x28x27cm,2015

Untitled,56x28x27cm ,2015



■ ■  青年策展人介紹  ■ ■

Curator introduction




     楊思嘉曾工作於蔡工作室,在University of Illinois at Urbana-Champaign獲得了藝術史和景觀建築學位。在校期間,她作為研究員和助教參與了哥倫比亞的戰後景觀的研究與分析。2018年,她的論文《帕特農神廟的景觀和景觀表達》獲得了Kennedy獎學金。

     Yang Sijia graduated from the University of Illinois at Urbana-Champaign with a master’s degree in Landscape Architecture and minor in Art History. She worked at Cai Studio before returning to China. During her graduate study, she aided for the research project of the post-war landscape in Colombia with a role as research/teaching assistant. Her proposal Landscape and Landscape representation in the Parthenon won Kennedy Prize in 2018.


     她作為藝術家的作品投射於面對當代社會問題的集體語境和本能的反思性,關注非藝術領域的普通公民。她的創作涉及多種媒介,其動態影像和裝置串聯了自然和文化在當代社會中的關係。她之前的作品曾在安仁華僑城和Krannert美術館展出、刊載於Collecteurs Magazine。

     Yang Sijia’s artworks project intuitive reflection and collective dialogue confronting social concerns. Her art practices employ a range of media to develop boundary-pushing moving images and installations which interweaves nature and culture across contemporary society. With a background in landscape architecture and art history, she challenges the art norm for people who do not look at art. Her work has been presented at Krannert Art Museum and OCAT Chengdu. Publication includes Collecteurs Magazine.


感謝楊思嘉對本文提供的文字翻譯工作





■ ■  展 覽 信 息 ■ ■ 

Exhibition Information


《景觀的本質》,印度藝術家 Ragesh A S 個展

On the Nature of Landscape,Residency exhibition by Ragesh A S

 

開幕時間:2019.8.24(週六)19:30

展覽週期:2019.8.24 - 2019.9.8

(週五至周日14:00-18:00)

地點:重慶·黃桷坪·十方藝術中心

Openning Time: 2019.(Sat.)19:30

Exhibition Time: 2019.8.24- 2019.9.8

(Fri.-Sun.14:00-18:00)

Venue: Dimensions Art Center(DAC), Huangjueping, Chongqing

 

藝術家:Ragesh A S(印度)

藝術總監:曾途

學術支持:胡燕子

策展人:楊思嘉(十方青年策展人實踐計劃)

Artist: Ragesh A S

Art Director: Tu Zeng

Academic Supporting:Yanzi Hu

Curator : Sijia Yang(DAC Emerging Curator Practice Project)

執行統籌:Ben

海報設計:盧雨杭

翻譯協助:楊思嘉

現場拍攝:胡克

Coordination: Ben

Poster Design: Yuhang Lu

Translation Assistance: Sijia Yang

Live shooting: Ke Hu


主辦方:十方藝術中心(DAC)

Sponsored by: Dimensions ArtCenter (DAC)

支持方:

Sense健康管理工作室

國際化藝術拔尖人才實驗班

Supporter: 

Sense health Management Studio

International Art Top Talents Experimental Class

 


媒體支持:

SupportingMedia:

 




 


 


 

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微信: CNCQDAC

Facebook : 重慶市十方藝術中心

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Email : info@chongqingdac.org

Wechat : CNCQDAC

Facebook : Chongqing Dimensions Art Centre & Chongqing Artists In Residency

Address : Huangjueping GuanJiaLin 190, Jiulongpo, Chongqing, CN.