PROJECTS

TOWARDS EVENINGS: SIX CHAPTERS
︎  Index / Worklist
︎  The Clock
︎  The Restoration

THE BEARABLE & BEES
︎  The Bearable
︎  Bees
︎  Installation Views
︎  The Artist’s Book
TEXTS

︎ Reviews
︎ Interviews
︎ Artist’s Writings

︎About
︎CV
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Towards Evenings: 891 Dusks, an Encyclopedia of Psychological Experience, Plug In ICA, Winnipeg, Canada
Long Day, Aranya Art Center,  Qinhuangdao, China

I · THE UNEVEN TIME

The Only Question is How to Endure


第一章 · 非均质的时间
《唯一的问题是如何度过》




2017
Metal cabinets, archival pigmented inkjet prints mounted on diabond and glass, text
180 x 180 x 10 cm each, 4 in total

2017

金属架,收藏级喷墨照片裱于铝塑板和玻璃,文字
每件 180 x 180 x 10 cm,共4件


How is your time spent in the evening, the hours of eternally overlapping transience and ephemerality?

Shall we immerse in waiting (“Feeling the time flow from one cheek to the other.”), or dwell in reluctance (“Getting through it like exhausted hikers.")? Should we expand this moment infinitely (“The golden divinity would not herself dwell with us always, but we could counterfeit her presence.") or dwell in its infinity and internalize this daily parting into one's temporality (“Every step I’ve made in the direction of the horizon matches its recessive step; every evening, the same sun sets off the horizon.”)?

Drawn from the artist's reading, research, and daily experiences, visual materials are collated into four possible experiences of dusk presented in the form of curios cabinets. This collection of photographs and archival documents displayed on four black shelves are also accompanied by literary texts. Here, these metal constructs serve as much as containers as large framing devices that present the internal relationships among the images rather than their specific visual forms. This notion resonates with John Berger’s statement, “Meaning and mystery are inseparable, and neither can exist without the passing of time. Certainty may be instantaneous; doubt requires duration; meaning is born of the two.”


如何度过黄昏?这段转瞬即逝又永恒交替的时间。

去沉浸等待(“感受时间从一个脸颊到另一个脸颊流过”),还是去抗阻逆行(“像疲惫的步行者一样,自己去穿越它”)?尝试把一瞬间拉成整个的时间那么长(“虽然黄昏总有尽头,但我们可以假想它永远存在”),还是堂堂正正地站在无限的中央,将每日的离别内化为自己的钟(“我朝天涯走一步,天涯朝后退一步,每天傍晚,天涯落下同一个太阳”)?

基于阅读和体验,艺术家创作了四组类博物柜的陈列组合,用以回应人们度过黄昏时的四种心理状态。照片与档案图像被分层安置在大型金属架上,相关的文学选段与之毗邻。在此,作为容器的金属架实为一个巨大的“相框”,其呈现的对象并非某张特定的图像,而是整组图像内部的流动的关系——“意义与神秘形影不离,密不可分,二者都是时间的产物。肯定确信或许生于瞬间,疑虑怀疑却需时间琢磨,而意义,实乃两者激荡下的产物。”(约翰·伯格)




Cabinets in the order as shown: Immersing / Resisting / Seizing the Moment / Understanding Eternity


The 9th Asia Pacific Triennial of Contemporary Art (APT9), Queensland Art Gallery, Brisbane, Australia, 2018


Prix YISHU 8: Finalists' Exhibition, YISHU 8 Maison des Arts, Beijing, China, 2018


Flown Away Is the Gold of Days, BANK, Shanghai, China, 2017


Mark



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