Spencer Finch
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日与夜——斯宾塞•芬奇与金允宁作品展
2013年11月9日至2013年12月31日
VIP开幕酒会：2013年11月9日，周六，下午6-8点 上海James Cohan画廊 地址：徐汇区岳阳路170弄1号楼1楼，近永嘉路
上海 James Cohan 画廊荣幸推出斯宾塞•芬奇与金允宁作品展《日与夜》。展览将于 2013 年11 月9 日开幕，并持续至12 月31 日。本次展览为这两位纽约艺术家在上海的首次展览。
展览《日与夜》带来的这两位由James Cohan 画廊代理的艺术家的作品，均对色彩、光、以及感知经验带着深厚与探索性的兴趣。二十多年来，斯宾塞•芬奇的作品致力于人类对自然界和城市生活的经验构架的愿望。在场域特定的装置作品、绘画、摄影、以及雕塑中，芬奇使用精确的刻度与计算，将对自然的细腻而诗意的探索、时光的流动、以及无尽的观察力与科学的角度相结合。本次展览中的作品包括艺术家持续创作的灯箱系列中的《冬日之光，巴黎——黄昏，2013》，作品重现特定时间、地点中光的颜色。同时展示的作品还包括芬奇的移位彩色数码摄影系列作品《光学小品》。艺术家在莫奈名作中的法国小镇吉维尼的睡莲池塘取景，将池塘附近的树木、天空在如镜面一般的水中的倒影拍摄下来。“视觉现象中永远存在一种悖论，即以一种无望的企图去看见自己在看，”芬奇说道，“我的许多作品是在探索这种张力的关系；试图看到，但是却无法看到。”承认印象派画家克洛德•莫奈对其创作有着重大影响，芬奇如莫奈一般，以科学的精确方式（时常使用色度计）去观察、记录、并研究色彩和光在特定地点所产生的效果。
在其近期并持续创作的系列作品中，金允宁捕捉光线的质感以及从黄昏到完全黑暗的过渡，画出城市的夜色。在金的《城市夜色》系列中，他描绘出城市人不断经历着的一种悬浮状态。如同他所仰慕的艺术家阿德•莱因哈特、马克•罗斯科和艾格尼•马丁，金在其作品中涉及到我们称为“抽象崇高”这一范畴。他的作品将自己定位于抽象与再现的临界，观念主义与纯绘画之间，以及从政治到环保主义再到文化身份中产生的潜在观念。在他的着色丰富、风格极简的作品中，金着力去超越我们所理解的抽象绘画，然而再进一步观察和思考，这些夜的绘画透露出一种充满的空间维度，一种大脑的外光主义所唤起的平静的空无。这些画作，时而以单一件、时而以双联画、三联画等形式呈现，经常在作品的两边或者三边的边缘运用硬边，作为建筑上的参考，象征着由窗户或建筑正面所构筑出来的我们观看城市夜空的视角。同时展示的作品还包括金的《星期日绘画》，由艺术家从2001年开始每个星期日持续创作的系列作品。这些尺幅相对较小的布面作品，表现天空云层时而汹涌、时而纤细的形状，同时这些作品也是一种简要的编年史或者日记，作为艺术家内心对创作的思考，或是打理日常生活琐事的一种记录。金曾经偶然读到中国道家经典庄子的著作，庄子写到无穷大与无穷小之间的关系，金受到启发从而开始了这一系列的作品。金用广袤天空与他每星期的例行仪式之间的比较来诠释这一意念，既作为一种记录也是对我们的人生以及生命本身的致敬。
斯宾塞•芬奇1962年出生于康涅狄格州的纽黑文。近期个展及特邀项目包括：《追随自然》，印第安纳波利斯美术馆，印第安纳波利斯州（2013年）；《画空气》，罗德岛设计学院美术馆，普洛威顿斯，罗德岛州（2012年）；《月》，芝加哥艺术学院，芝加哥，《罗马》，圣地亚哥当代美术馆，拉荷亚，加利福尼亚州，《光与我，之间》，爱米莉•狄金森博物馆，阿默斯特，马萨诸塞州（2011年）；《我和云之间的事》，Corcoran画廊，华盛顿哥伦比亚特区，《夜晚之星》，Pallant House画廊，其切斯特，英国，《月亮与海》，Frac des Pays de la Loire，Carquefou，法国（2010年）；《仿佛海应该分开而展示更远的海》，昆士兰现代美术馆，布里斯班，澳大利亚（2009年）。他曾参加许多群展，包括《光与风景》，Storm King艺术中心，芒廷维尔，纽约，《霓虹，发光艺术材料》，罗马当代美术馆，罗马（2012年）；《更多的光》，Museum De Fundatie美术馆，兹沃勒，荷兰（2011年）；《闹鬼：当代摄影/录像/表演》，古根海姆美术馆，纽约（2010年）；《创造世界：第53界威尼斯双年展》（2009年）；《土星的50个月亮》，都灵三年展（2008年）；《折射、反射、投射：馆藏中关于光的作品》，Hirshhorn美术馆，华盛顿哥伦比亚特区（2007年）；《人造光中的光艺术》，ZKM, 卡尔斯鲁厄，《克莱因之后的色彩》，Barbican画廊，伦敦（2005年）。芬奇在纽约的布鲁克林工作和生活。
金允宁出生于1961年，他是耶鲁大学的一名高级成员。金的代表作《提喻法》始于1991年并于在1993年在惠特尼双年展上展出，该作品在华盛顿哥伦比亚特区的国家美术馆馆藏之中。这一持续进行的系列包含数百张小幅作品，每副与一个人的肤色相对应。这既是艺术家生命中的一些人的肖像，也是对人种与族群的探索。金的职业中期展览《分界》被广泛巡回展出，从加州伯克利美术馆到首尔的三星美术馆，再到美国的五个其他展览地点（2006/7年）。金的作品被曾参加在纽约MOMA和英国利物浦的泰特利物浦美術館展出的地表性展览《色表：重新创造色彩，1950年至现在》。金参加了许多其他国际性展览，包括第三届与第七届韩国光州双年展。除了被国家美术馆收藏之外，金的作品也被纽约水牛城的Albright-Knox美术馆、芝加哥艺术学院、纽约布鲁克林美术馆、华盛顿哥伦比亚特区Hirshhorn美术馆、加州诺顿家族、康涅狄格州Wadsworth Atheneum美术馆、明尼苏达州的Walker Art Center、纽约惠特尼美术馆等收藏。他的《星期日绘画》系列作品曾在布鲁克林美术馆的展览《展开的传奇：当代艺术收藏精选》中展出。2012年，他的作品曾参加由Irene Hoffman策展的在加州的Santa Fe的SITE中心的展览《时光流逝》。
如需更多信息或图片，请联系周冰心izhou@jamescohan.com或+86-21-54660825。画廊工作时间：周二至周六，早10点至晚6点，周日中午12点至晚6点，周一请预约。
DAY AND NIGHT: Works by Spencer Finch and Byron Kim
November 9 through December 31, 2013
Opening Reception: Saturday, November 9, 6 to 8 pm Venue: James Cohan Gallery Shanghai Address: 1/F, Building 1, Lane 170 Yue Yang Road, by Yong Jia Road
James Cohan Gallery Shanghai is pleased to present DAY AND NIGHT, an exhibition of workswith Spencer Finch and paintings by Byron Kim. The exhibition opens on Saturday, November 9th and runs through Tuesday, December 31st, 2013. This is the first exhibition of works by these New York-based artists in Shanghai.
The exhibition DAY AND NIGHT brings together two artists from the gallery’s program who share deep, investigative interests in the phenomenon of color, light, and perceptual experience. For more than twenty years, Spencer Finch’s works have addressed the desire to frame our experiences of the natural and urban world. In site-specific installations, drawings, photographs, and sculpture, Finch combines a scientific approach, using precise calibrations and calculations, with a nuanced sense of poetic exploration of nature, the passage of time, and the endless powers of observation. On view in will be a selection of works, including Winter Light, Paris—Dusk, 2013 from the artist’s ongoing series of light boxes that recreate the color of light in a designated place at a specific time of day. Also on view are Finch’s dislocating digital color photographs Optical Studies where Finch photographed the reflections of the surrounding trees and sky in the glassy waters of the lily ponds at Giverny that inspired Monet’s famous works. “There is always a paradox inherent in vision, an impossible desire to see yourself seeing,” Finch has said. “A lot of my work probes this tension; to want to see, but not being able to.” Finch observes, documents, and studies with scientific precision (often using a colorimeter) the color and light effects of specific locations, much in the manner of Impressionist painter Claude Monet, whom he considers a major influence on his work.
In a recent and ongoing series of works, Byron Kim paints night in the city, capturing the quality of light and transition from dusk to total darkness. In Kim’s City Nights series he depicts a state of constant suspension that city dwellers experience. Like the artists he admires—Ad Reinhardt, Mark Rothko and Agnes Martin—Kim works in area one might call the abstract sublime. His works position themselves at the threshold between abstraction and representation, between conceptualism and pure painting, and whose underlying ideas often stem from politics to environmentalism to cultural identity. In his richly hued, minimalist works, Kim seeks to push the edges of what we understand as abstract painting, but on closer investigation and contemplation the night paintings reveal a charged spatial dimension, a kind of cerebral en plein-air that evoke a deep and calming sense of emptiness. These paintings, sometimes presented as single works, diptychs or triptychs, often have hard-edged, painted borders on two or three sides that act as architectural references suggesting windows or slight facades of buildings that frame our views of the city sky at night. Also on view are Kim’s Sunday Paintings, a series the artist has made nearly every Sunday since 2001. These relatively smaller canvases of sky-colored fields, some rendering full billowy or wispy cloud formations, also serve as brief chronicles or diary entries written across the individual canvases, something notating the artist’s inner thoughts about the making of his work, or the banality of running errands or doing chores during everyday life. The series was inspired by Kim's chance encounter with the writings of Chuang Tze, an early Daoist philosopher, who wrote about the relationship of the infinite to the infinitesimal. Kim translates this notion into a comparison between the vast sky and his weekly ritual as both a record and tribute to our days and to life itself.
BIOGRAPHIES:
Spencer Finch was born in New Haven, Connecticut, in 1962. Recent solo exhibitions and commissions include: Following Nature, Indianapolis Museum of Art, Indianapolis, IN (2013); Painting Air, Rhode Island School of Design Museum of Art, Providence, RI (2012); Lunar, The Art Institute of Chicago, Chicago, Rome, Museum of Contemporary Art San Diego, La Jolla, CA, Between the light - and me, Emily Dickinson Museum, Amherst, MA (2011); My Business, With the Cloud, Corcoran Gallery of Art, Washington, DC, Evening Star, Pallant House, Chichester, UK, Between The Moon and The Sea, Frac des Pays de la Loire, Carquefou, France (2010); As if the sea should part and show a further sea, Queensland Gallery of Modern Art, Brisbane, Australia (2009). He has taken part in numerous group exhibitions, including Light and Landscape, Storm King Art Center, Mountainville, New York, NEON, La material luminosa dell'arte, MACRO, Rome (2012); More Light, Museum De Fundatie, Zwolle (2011); Haunted: Contemporary Photography/Video/Performance, Solomon R. Guggenheim Museum, New York (2010); Making Worlds: 53rd International Art Exhibition, La Biennale di Venezia (2009); 50 Moons of Saturn, Turin Triennial (2008); Refract, Reflect, Project: Light Work from the Collection, Hirshhorn Museum, Washington D.C. (2007); Light Art from Artificial Light, ZKM Karlsruhe and Colour After Klein, Barbican Art Gallery, London (2005). Finch lives and works in Brooklyn, New York.
Byron Kim, born in 1961, is a Senior Critic at Yale University. Kim’s signature work Synecdoche started in 1991 and exhibited in the Whitney Biennial in 1993, is in the permanent collection of the National Gallery in Washington, DC. This ongoing series consists of a grid of hundreds of small panels that each match to color of a person’s skin. It is both a portrait of people in the artist’s life and an exploration of race and community. Kim’s mid-career survey, “Threshold” traveled widely from the Berkeley Art Museum, CA to the Samsung Museum of Modern Art in Seoul and on to five other locations in the United States (2006/7). Kim was included in the landmark exhibition “Color Chart: Reinventing Color, 1950 to Today,” at the Museum of Modern Art, NY and Tate Liverpool, UK (2008/9). Kim participated in many other international exhibitions including the 7th and 3rd Gwangju Biennale, Korea in 2000 and 2008. In addition to the National Gallery of Art’s collection, Kim’s work is included in the collections of the Albright-Knox Art Gallery, Buffalo, NY; Art Institute of Chicago, IL; Brooklyn Museum, NY; Hirshhorn Museum, Washington D.C.; Norton Family Collection, CA; Wadsworth Atheneum, CT; Walker Art Center, MN; and Whitney Museum, NY among others. His Sunday Paintings series were on view at the Brooklyn Museum in the exhibition “Unfolding Tales: Selections from the Contemporary Collection.” In 2012, his work was included in “Time-Lapse” at SITE Santa Fe an exhibition curated by Irene Hoffman.
For further information, please contact Ivy Zhou at izhou@jamescohan.com or contact the gallery at +86 21 54660825. Hours: Tuesday to Saturday, 10:00 to 6:00 p.m.; Sunday 12:00 to 6:00 p.m.; and Monday by appointment.
