唐乙
TangYi
策展人Curator:
林梓Lin Zi
出品人Producers:
李战豪LiZhanhao
展览日期EXHIBITION DATE| 2022.10.15-11.15
开幕时间 OPENING TIME| 10月15日下午15:00
地址 :北京市顺义区新国展裕丰路1号同里市集B1
Address : B1, TONGLI MARKET, No. 1, YufengRoad,
Xinguozhan, Shunyi District, Beijing
唐乙的影像具有一种无可置疑的神秘气质，日常生活的物体和事件被净化成一种本质化和精神性的状态。她的作品引向一种梦幻和记忆般的敏锐空间，幻觉和梦境以一种实体的形态呈现。在流变的时空中，唐乙抓取的正是情动时刻那虚晃的真实。杰姆逊(Fredric Jameson)如此阐释情动(affect)——情动指向了一种永恒的当下。
情动(affect)是情感生发时最初的状态，它无法被语言把握，因为它发生的太迅速，逃避了语言对事物言说的能力，因此人对于情动的反应却往往是惊愕和震撼。而唐乙对情动的切入点就在于此，她试图将情动时刻的惊愕和震撼抹平、延展、舒缓成一种具备历史性特质的图像。唐乙的创作基本都取材于生活中的素材，路边的落叶，孩子，身体，以及自己创作的作品。近距离观察唐乙的作品会发现在如诗般含蓄、内敛的图像里，艺术家用她充满温情的姿态和自信的语言，展开了对艺术和生活绵长而坚定的探索。她以女性独有的敏锐和知觉来感受平凡生活中的物品，试图在平凡中挖掘诗意的可能。
通过对素材的实体和文本层面进行的蒙太奇拼贴，以及对于铂金显影工艺的运用，唐乙使作品将意识对于情感在空间中的投射能力发挥到极致。这种独到把握，显露出了联络最纯粹的生活空间、身体意识和梦境之间的那些不易察觉的丝线。她的影像如此迷人，或华丽或朴素，有时感性逼人，另一些时候又冷峻而理智。她的作品透露出一种极致的美学追求——剔除了庸常的繁杂，专注于抽象经验的表达，其结果是理想而又唯美的简洁。
在唐乙的作品中，我们可以看到卡拉汉(Harry Callahan 1912-1999)以摄影为媒介对于生活的本质性把握中所透露出的感情与情动；还可以看到莫霍利.纳吉（László Moholy-Nagy 1895-1946）以实验主义摄影的视角对于结构和形式的理性与分析。而最后对于铂金显影工艺的运用又让人想到20世纪初维也纳摄影中的质感，使图像在观念和物理层面具备了双重历史性的特质。正是在唐乙的作品中，观看升华成一种对于精神空间的美学体验。
Tang Yi’s images contain an indisputable quality of allusiveness, in which the objects and events from mundane life are purified into essential and spiritual forms. Her work leads to an acute space filling with dreams and memory pieces, where illusions anddreams take the form of substance in the realm of imagery. In the vicissitude time and space, what Tang Yi grasped was the transient reality of the moment when the affect occurred. Fredric Jameson defines affect in this way—affect refers to an eternal presence.
Affect is the initial state where emotion occurs. It cannot be grasped by language because its transiency that evades the ability of language in naming; that is the reason why people’s response to affect is often bewilderment and shock. This is where Tang Yi’s incursion takes place regarding to affect. She tries to smooth, extend, and soothe the shock and bewilderment of moments of affect into a historical image. Tang Yi’s practices are mainly based on materials from daily life, fallen leaves on the roadside, children, bodies, and her own works. A close observation of Tang Yi’s works reveals that in the poetic and reserved images, the artist uses her heartfelt gestures and confident language to unfold a long and firm exploration of art and life. She experiences the objects in ordinary life with the womanly unique sensitivity and perception, striving to explore the poetic possibility in the ordinary.
Through the collage of montage at the physical and textual levels of the material, and the use of platinum development technique, Tang Yi exploits the competence in which consciousness projects itself onto objects in space. This unique grasp reveals the imperceptible threads that connect the purest living space, body consciousness, and dreamy realm. Her images are so captivating, sometimes sensual and at other times grim and intellectual. Her works reveal a supreme aesthetic pursuit—reducing the mundane complexity and focusing on the expression of abstract experience, the result is ideal and aesthetic simplicity.
In Tang Yi’s works, we can see the affect and emotions revealed by Harry Callahan (1912-1999) using photography as a medium to grasp the essence of life; we can also see Moholy Nagy’s (László Moholy-Nagy 1895-1946) rationality and analysis of structure and form from the perspective of experimental photography. Finally, the use of the platinum development process is reminiscent of the texture of Vienna photography in the early 20th century, which makes a dual historical quality on both the conceptual and physical level. It is in Tang Yi’s works that viewing is redirected into an aesthetic experience of spiritual space.
参考资料:
About. (n.d.). Jackson Fine Art. Retrieved September 29, 2022, from
Hal Foster on Eva Hesse and Tony Smith. (n.d.). Retrieved September 29, 2022, from
Laszlo Moholy-Nagy | Smithsonian American Art Museum. (n.d.). Americanart.si.edu.
Modern Photographs from the Thomas Walther Collection, 1909–1949 | MoMA. (n.d.). The Museum of Modern Art.
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