MASSIMODECARLO画廊巴黎PIÈCE UNIQUE空间荣幸呈现中国艺术家薛若哲在巴黎的首场个展《薛若哲》。参展的一组四件作品将在空间内被依次展示。
结合电影中的景象和切身感受，薛若哲将对巴黎的印象在画面中展开。克制极简的色彩和巴黎阴雨天中不可或缺的伞都一再出现在作品中。 从背影到调色盘上的寥寥几色，薛若哲认为：”这种含蓄与克制饱含了巨大的力量与想象空间——绘画不仅仅在于描绘了什么，更在于激起了什么。“
值得注意的是，画面中出现的伞不再是雨具，而是薛若哲在拍摄时使用的柔光伞。 这种伞在影棚内捕获光源并轻柔地传递到整个空间，与此同时也中性化了人物和背景。 这与PIÈCE UNIQUE空间里自前方、洒落在作品上的柔光相似，将作品与空间合而为一。
《The Umbrellas of HGZ》存在着横向和纵向两种时间。 横向的时间是根植于绘画物质性中的共时时间：在完成的绘画平面上，我们可以同时看到所有的时间发生在笔触和颜料层中的痕迹。这种共时性，在图像上，则是通过在作品中并置来自不同时间的相同人物而外化。 纵向时间——即时间的纵深——来自在PIÈCE UNIQUE空间有序地更换展墙上的唯一作品的过程。这一过程，与四件绘画本身共同构成了这件作品。 线性时间在此通过轮替作品的过程穿透共时的绘画表面，纵向与横向的时间也在此交织在一起。
画面中的人物所在的时间节点并不受现实时空所限制。意味着同时出现在画面中左右两边的时间并不一定具有因果关系，最早展出作品中的时间也不一定比最后展出作品中的时间靠前。“这一组四件形成的作品序列并没有固定的顺序，它们期待着被重新拆解组合，形成新的叙事。”
本次个展邀请了写作者东门杨对作品进行了回应，并将同步发布独立出版物。
MASSIMODECARLO Gallery’s PIÈCE UNIQUE space in Paris is honored to present Chinese artist Xue Ruozhe’s first solo exhibition in Paris, titled “Xue Ruozhe”. The four exhibited paintings will be displayed sequentially in the space.
Drawing from film scenes and personal experiences, Xue Ruozhe unfolds their impressions of Paris on the canvas. The restrained and minimalist colors and the essential umbrellas in rainy weather repeatedly appear in the works. From the backs of figures to a restrained palette, Xue Ruozhe believes: “This subtlety and restraint brings out immense power and imaginative space—painting is not just about depicting something, but also about what it evokes.”
It’s worth noting that the umbrellas in the paintings are not rain gears, nor do they serve to shield from rain. Instead, they are soft light umbrellas used in the photographic sessions by Xue Ruozhe. These umbrellas capture the light source and gently diffuse it throughout the space, simultaneously neutralizing all people and backgrounds. This effect is similar to the light setting in PIÈCE UNIQUE.
The Umbrellas of HGZ contains both horizontal and vertical time dimensions. The horizontal time is the synchronic time that exists in the materiality of the painting – on the finished painting plane, we can simultaneously see the traces of all the time happening in the brushstrokes and paint layers; this synchronic time, in imagery, is externalized by the juxtaposing two same figures from different time slices in a single painting. The vertical time is realized through the changing display of the only painting at PIÈCE UNIQUE. This process, together with four paintings, constitutes this work. Here linear time penetrates the synchronic surface of the painting through the process of changing, during which horizontal and vertical time dimensions are interwoven.
The time points at which the figures in the paintings exist are not bound by the constraints of real-world time and space. This means that the time on the left and right sides of the painting, where figures appear simultaneously, may not necessarily be a causal relationship. Additionally, the time in the earliest exhibited work may not precede the time in the last exhibited work. “The sequence formed by these four paintings has no fixed order; they are anticipated being reassembled and regrouped to create new narratives.”
Writer Dongmen Yang is invited to respond to the project, an independent publication from this collaboration will be released.
