逆光與凝望
開幕時(shí)間：2021/07/03 19:00
開始時(shí)間：2021/07/04
結(jié)束時(shí)間：2021/08/28
展覽地點(diǎn)：滬申畫廊
展覽地址：成都高新區(qū)盛通街16號(hào)天府長(zhǎng)島29棟2號(hào)
參展藝術(shù)家：遲阿娟、陳曦、董瑾、鄧筱、董小聞、符曦、郭建婷、郭燕、何琳琳、胡順香、蔣興、蔣雨、康妮 、呂康佑、駱莉、 羅敏、李如碧、孫嘉旋、吳江濤、王瑋、王小雙、小滿、熊璇、謝正莉、楊柳、袁曉天、趙歡、雷、曾妮、朱可染
主辦單位：滬申畫廊
世界總有遺憾，她們常被批判，理解與冰釋總是姍姍來遲，于是她們變得越發(fā)堅(jiān)強(qiáng)。發(fā)聲者不是觀念和標(biāo)準(zhǔn)的代言人，她們接受，但不盲從;她們世俗，但不取悅。透過浮光，看到世事的滄桑，感受內(nèi)心的滿足：在光怪陸離的世界里，不屑于站隊(duì)道德立場(chǎng)，只做純粹的自己。有夢(mèng)，但無(wú)需太大，要成功，但美在更多可能性。任由心動(dòng)，凝視人生。
The world looms with regrets. She, the tar-get of crit-i-cisms, is forged strong by her con-stant encoun-ters of belat-ed under-stand-ing. The one who speaks, is not emblem-at-ic of con-cepts and stan-dards. She acknowl-edges but does not con-form. She lives in the mun-dane but remains unseized. Look-ing-be-yond the vicis-si-tudes of the world and through its glis-ten-ing lights, she-feels her heart graced by seren-i-ty. She stands unhinged on moral grounds,attests to her-self in this tan-gled world. She embraces all aspirations,regardless of the mag-ni-tude; and looks for-ward to suc-cess for the wealth ofprospects it car-ries. The heart stirs unat-tached while the gaze rests upon-life.
女性需要一種全新的生存文化，讓她們的生命之旅享有更多機(jī)會(huì)，和多樣性。那么，該如何打造這種文化?相信最重要的，是必須與朋友、同事、家人攜起手來，共同打造一個(gè)全新的文化社區(qū)——既認(rèn)可現(xiàn)有文化提出的遠(yuǎn)大目標(biāo)，又承認(rèn)實(shí)現(xiàn)目標(biāo)的途徑不止一條。無(wú)論如何，當(dāng)下社會(huì)對(duì)女性的要求都要更高。有一個(gè)故事，一個(gè)5歲的小女孩參加完課外活動(dòng)后，沮喪地回到家，跟媽媽說她和她喜歡的男孩都想當(dāng)宇航員，媽媽不明白為什么這會(huì)讓她困擾。小女孩回答說，如果我們一起上太空了，誰(shuí)來照顧我們的孩子呢?一個(gè)5歲的孩子，就已經(jīng)認(rèn)為飛上太空最大的挑戰(zhàn)就是如何照看孩子了。女孩在很小的時(shí)候，就明白今后要在發(fā)展事業(yè)和照顧家庭之間做出選擇，這種想法，將決定女性在事業(yè)上是否能夠全力以赴。養(yǎng)兒育女，就是養(yǎng)育社會(huì)本身，是一項(xiàng)崇高但是沒有收益的事業(yè)。社會(huì)由家庭組成，使家庭和諧，女人起到重要作用，社會(huì)因此和諧。女性的特質(zhì)，使她們更崇高，并成為一種宗教：女性是愛情的火種，是家庭的根基，是未來的搖籃。即便如此，社會(huì)一方面對(duì)女性是寬容的，另一方面也是苛責(zé)的，她們常感進(jìn)退兩難。
Women need a new liv-ing con-struct; one-suf-fice of oppor-tu-ni-ties and diver-si-ty for their life jour-neys. The ques-tio-n-is, how? It is cru-cial to enlist help from fel-low peers, col-leagues, and kin-sto estab-lish a new com-mu-ni-ty for this cul-ture— one which iden-ti-fies with thecom-mon goal pro-posed by our cur-rent cul-ture and agrees that there are mul-ti-plepath-ways to real-ize this. After all, the mod-ern every-woman is des-tined with-overt-ly high expec-ta-tions from soci-ety. There is an anec-dote to this— afive-year-old girl appeared deject-ed after return-ing home from her school-cur-ric-u-lar activ-i-ty. She told her moth-er about her and her crush’s dreams tobe-come astro-nauts. Her moth-er did not under-stand why that would upset her. Towhich the girl replied, “if we are in space togeth-er, who would be there-to look after our child?” At the ten-ta-tive age of 5, the girl fig-ures the-great-est chal-lenge that awaits her in space is actu-al-ly her role of parental-re-spon-si-bil-i-ties. At a young age, girls already under-stand that their deci-sion-be-tween career and fam-i-ly would ulti-mate-ly deter-mine the extent of theird-e-vo-tion toward their career. The aspect of rais-ing a child is equiv-a-lent torais-ing soci-ety itself; it is a noble task for a non-com-pens-able cause. When welook at our soci-ety, the fam-i-ly func-tions as its basic unit, and since wom-en-hold the key to cul-ti-vat-ing fam-i-ly har-mo-ny, they are the ones who ensure our-so-ci-ety’s sta-bil-i-ty and well-being. In essence, it is their inher-ent fem-i-ninequal-i-ty that makes them noble and divine. They are the spark to pas-sion, the-foun-da-tion to fam-i-ly, and the cra-dle to the future. Nev-er-the-less, soci-ety’s-para-dox-i-cal treat-ment toward women— being benev-o-lent and crit-i-cal— has ren-deredthem into a state of immo-bil-i-ty.
追求完美，但拒絕完美主義。自我克制，但不隱藏真實(shí)的自我。不為迎合他人的肯定目光，而去學(xué)習(xí)自我偽裝。即使她們明明知道，女性哲學(xué)、女性語(yǔ)言學(xué)、女性宗教和女性政治，都需要女性即要考慮男性的感受，又要照顧內(nèi)心的需求，來建構(gòu)屬于自己的獨(dú)特文化。
Wom-en’s pur-suit ofthe ide-al is nev-er about per-fec-tion-ism. Nor is their sense of self-mod-u-la-tio-nan attempt to hide their true selves. Instead of oth-ers’ val-i-da-tion, they-choose to dis-guise them-selves despite know-ing all too well that in an effort tobuild a cul-ture unique-ly theirs, they face a rig-or-ous equa-tion of cater-ing tothe male ego and rein-forc-ing their own needs across the dis-course ofphi-los-o-phy, gen-dered lan-guage stud-ies, reli-gion, and pol-i-tics.
世界需要藝術(shù)，藝術(shù)需要女性。女性具有與男性同等的智力和創(chuàng)造能力，女性情感細(xì)膩，溝通能力更強(qiáng)，而為了成為藝術(shù)家，女性需要堅(jiān)持不懈，并付出比男性更多的努力。
The world need-sArt as much as Art needs women. Both men and women share the same lev-el ofin-tel-li-gence and inno-v-a-tive-ness; in any case, it is women who are moreemo-tion-al-ly sen-su-al and elo-quent in their com-mu-nica-tive abil-i-ties. Yet, unliketheir male coun-ter-parts, female artists are tried much more for their-per-se-ver-ance, resilience and hard work.
女性最大的阻力不是來自外界，更多的是自己制造的內(nèi)心障礙。來，讓我們一起，向前一步，找到可以安放內(nèi)心的群體，彼此輕松愜意的相處，以沙龍的形式自由探討藝術(shù)、文化、時(shí)尚、哲學(xué)等話題，讓更多的人了解女性和女性藝術(shù)家，從而更好的平衡事業(yè)和生活，這是本次展覽的意義所在。
Her biggesto-b-sta-cle comes not from exter-nal forces; rather, she is haunt-ed by her ownan-guish. Hence, in light of this exhi-bi-tion, let us come togeth-er and ven-ture-for-ward in the search for a warm and wel-com-ing col-lec-tive, where we can-con-verse at ease about Art, cul-ture, fash-ion, and phi-los-o-phy in the form of asa-lon, advo-cate a bet-ter under-stand-ing of the female iden-ti-ty and femaleartists for the pub-lic, and there-by achieve a fin-er bal-ance between career andlifestyle.
一方面接受世俗禁錮，一方面肩負(fù)社會(huì)期望，女性們迎難而上，毫不退縮。所謂歲月靜好，即是冷暖自知，悲歡自渡。這，也是《逆光與凝望》所表達(dá)的精神內(nèi)核。
Women arerisk-tak-ers who can bear the dif-fi-cul-ties of sec-u-lar con-fine-ments and soci-ety’-s-ex-pec-ta-tions with great for-ti-tude. In the tran-quil-ness of pass-ing time, per-hap-son-ly the indi-vid-ual who wit-ness-es his/her own eclipse could savour thebit-ter-sweet-ness that dwells with-in. Such is, thus, the spir-i-tu-al core of “Incan-des-cence and in Gaze.”
曾妮，《僥幸地暫留2》，紙本水彩 ，32x41cm，2018
陳曦 ，《桃子》，紙上色粉， 68x63.5cm ，2018
遲阿娟 ，《女孩》，攝影， 75x60cm ，2017
鄧筱 ，《思維空間系列》，裝置，不銹鋼， 250x50x60cm，2015
董瑾 ，《荼蘼》，布面油彩， 直徑110cm，2014
符曦 ，《濤濤萬(wàn)頃動(dòng)風(fēng)色》，布面油畫 ， 80x50cm，2018
郭建婷 ，《門No.30》，布面油畫 ， 120x180cm，2016
郭燕 ，《尋光之夜》，布面油畫 ， 100x150cm，2017
何琳琳 ，《洪流》，布面丙烯 ， 40x30cm，2019
胡順香 ，《遛云No.3》，布面油畫 ， 直徑40cm，2021
蔣興 ，《茂盛的一天》，銅、木板，丙烯 ， 44x40cm，2020
蔣雨 《雁渡》-100x120cm-布面丙烯- 2015年作品
康妮 ，《融器》，布面油畫 ， 150x120cm，2010
雷，《靜物》，色粉 ，50x65cm，2017
李如碧 ，《女人》，雕塑，不銹鋼、綜合材料等， 56x53x113cm，2018
羅敏 ，《蜻蜓2》，紙本設(shè)色， 42x27cm，2020
駱莉 ，《玄秘5號(hào)》，木板油畫， 直徑15cm，2021
呂康佑 ，《愛將要去哪里NO.15》，紙本水墨綜合， 62x76cm，2020
逆光與凝望 海報(bào) 定稿
孫嘉旋 ，《量子場(chǎng)NO.30》，紙本水彩， 78x106cm，2017
王瑋，《藍(lán)》，紙本， 129x65.5cm，2017
王小雙，《都市心緒》，布面丙烯， 40x40cm，2015
吳江濤，《fall in love》系列34，布面油畫， 150x100cm，2021
小滿，《無(wú)題》，布面丙烯， 25x30cm，2009
謝正莉，《琉璃之影》，布面油畫 ， 100x80cm，2015
熊璇，《逆羽》，布面油畫 ， 80x80cm，2021
楊柳，《不朽》，布面油畫 ， 60x80cm，2013
袁曉天，《火花》，裝置，不銹鋼金屬 ， 尺寸可變，2021
趙歡，《X型X秀》，布面油畫 ， 50x70cmx3，2020
朱可染，《Night-blooming cereus-7》，布面綜合材料 ，150x90cm，2021
