迷人的权力-何杰个展 The Charming Power-He Jie Solo Exhibition

2018.9.8-2018.10.8

迷人的权力-何杰个展

The Charming Power-He Jie Solo Exhibition

艺术家 | Artist: 何杰 | He Jie

开幕时间 | Opening Ceremony:2018年9月8日 16:00

展览时间 | Duration:2018年9月8日-2018年10月8日



ž凯旋画廊荣幸地宣布将于2018年9月8日举办何杰在艺ž凯旋画廊的第三次个展《迷人的权力》,展览将主要呈现何杰创作于2018年的最新作品。

基辛格曾说“权力是最好的春药”(Power is the ultimate aphrodisiac),因为权力是生命原始诉求的最直接体现:权力即有权支配他人的强制之力,一个人拥有的权力越大,他支配别人的能力也就越强,获利也越多。从获取利益和分配利益的角度看,可以说人类的各种社会活动都是围绕权力来展开的,它是社会问题的核心。何杰近年来的所有作品,几乎都在探讨在权力结构中居于上层者们的美学,围绕权力的多重“迷人”之处展开层层的剥析。在这个过程中,他发挥着艺术家对于感官魅力的天然关注,以及知识分子的问题意识。

从图像世界里,他选择那些炫耀权贵们的权势、地位、威望、影响力的各种场面或器物。这些场面和器物的炮制者们,精心调控美学的能量,让权力拥有者们的言行举止和意识形态饱含感官魅力。这种试图让理性消退的美学赋魅,手法越是高明,赋魅的结果就越是不露痕迹,种种意图明显的视觉产物似乎天然如此、与生俱来。同行总是最是了解同行,同为视觉生产者的何杰,把这些图像挪用到自己的画面上,用使人在心理上产生异样感的各种手法,对这些视觉产物进行祛魅或解密,让人同样在直觉层面有所觉知,应目会心,心领神会。

冠冕堂皇、气势逼人等,是权贵们偏爱的美学趣味,精心编排的仪式是这些趣味的酵母。何杰把这些充满仪式感的场面中的某些因素抽空,或者把那些器物错置到新的背景中,权贵美学生产者们精心炮制出的形式结构由此被篡改,产生复杂的语义。一方面,完整的结构被破坏后,魅力消散或扭曲,甚至充满被戏谑的幽默感;另一方面,某些依然充满美学魅力的器物、道具被放入新的背景中后,曾在当年的文化共同体中让无数人笃信不疑、心醉神迷的言行举止和意识形态,被新语境虚无化,物是人非,风光不再,留给观者的更多是喟叹和反思。

权力产生貌似客观的知识,权力也产生迷人的美学,权力与美学是相辅相成的。当何杰持续关注权贵者们的美学时,他的画面成为权贵美学的解密窗口。


Triumph Gallery is pleased to present “The Charming Power – He Jie Solo Exhibition” on September 8th, 2018 at Triumph Gallery. This exhibition will mainly present the latest paintings by He Jie in 2018.

 

Kissinger once said, “Power is the ultimate aphrodisiac,” for the simple reason that power is the most direct manifestation of the original claim of life. The greater the power, the stronger an individual is to control others, and consequently the more profits he gains. From the perspective of gaining and distributing benefits, it can be said that all social activities of human beings are carried out around power, which constitutes the core social problem. Nearly all of He Jie’s works in recent years are exploring the aesthetics of the upper-class, analysing power at various levels to reveal its source of fascination. In the process, he has displayed the natural tendency to follow the sensory charm as an artist, and his awareness of social issues as an intellectual.

In the world of image, he would select scenes or artifacts that show off the power, status, prestige, and influence of the dignitaries. The makers of these scenes and artifacts would carefully dole out the energy of aesthetics, so that the words, deeds and ideology of those in power are laced with sensory charm. It is an aesthetic attempt to pale reason, and the more sophisticated the technique, the less telling the final appearance, rending the visual products with the most undisguised intentions to be natural beings. As a fellow artist, He Jie knows them well. To decrypt these visual products, he would appropriate them onto his own palette in disturbing ways to make people feel intuitively their pompousness.

 

The elites and dignitaries prefer images with imperial and imposing connotations, represented by elaborately choreographed rituals. He Jie would tamper with the formal structure crafted by the elite aesthetics by taking away certain elements from them, or misplacing the artifacts into a new context, resulting in complex semantics. On the one hand, as the original structure collapses, the charm is dissipated or distorted, and replaced with mockeries and a sense of humour. On the other hand, as for the artifacts and props charged with aesthetic charm, once placed in a new scenario, their past glory as icons of ideology, worshiped and chased by the masses, fades into nothingness, leaving the audiences with sighs and reflections.


Just as the knowledge produced by power is deemed objective, so is the aesthetics of power enchanting, complementing each other along the way. As He Jie continues to focus on the aesthetics of the dignitaries, his pictures can be used as a window to understand them.