Rouge Nihility - Exhibitions

髅骷粉红 Rouge Nihility

展览照片 Exhibition view

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个人展览 Solo Exhibition

展期 Opening

07/22/2023 07/22/2023

策展 Curator

鲍栋 Bao Dong

介绍 PRESS RELEASE

于航（b.1987）生于吉林，肄业于上海大学美术学院。现居住和工作于上海。个展：“哈库呐·玛塔塔”，弥金画廊，上海（2021）；“太阳是我胯下金灿灿的睾丸-于航个展”，马丁戈雅生意，杭州（2019）群展：“龙牌神马”，弥金画廊，上海（2022）；“人间” BLANKgallery，上海（2022）；“浅空漂浮：关于绘画的七种状态”，金臣亦非鸣美术馆，上海（2022）；“原始童话”，狮语画廊，上海（2022）；“ROMANTIC STREET DANCE“，弥金画廊，上海（2022）；“超群落”，油罐艺术中心，上海（2021）；“流浪者之歌”，「martin goya.pig」&「宅HOME Theatre」，杭州（2021）；上海021博览会，上海（2021）；“外星人在此”，空间站艺术中心，北京（2021）；“练习册：安娜卡在您那儿”，悦·美术馆，北京（2021）；西岸艺术与设计博览会，上海（2020）；“PINK PUNK PARK”，弥金画廊，上海（2020）；“NEW ERA FEST——扭曲纪元：前锋紧急支援小组”，K11，上海（2020）；“野草节点：自庚子年起的RPAG世界”，The Fart，杭州（2020） Yu Hang (b.1987) was born in Jilin. He graduated from University of Arts Shanghai. He currenly lives and works in Shanghai. Solo exhibition: “HAKUNA MATATA”, Gene Gallery, Shanghai (2021); “The Sun is the Golden testicle under my Legs-Solo exhibition in Yu Hang”, Martin Goya Business, Hangzhou (2019) Group exhibitions: “Long Pai Shen Ma”, Gene Gallery, Shanghai (2022); “The Human World”, BLANKgallery, Shanghai (2022)”Floating across the Shallow Clouds", Jinchen YFM Art Gallery, Shanghai (2022); “The Primeval Fairy Tale”, Leo Gallery, Shanghai (2022); “Romantic Street Dance”, Gene Gallery, Shanghai (2022); “Ultra Community", Tank Shanghai, Shanghai (2021); “The Timing of the Drifters ", 「martin goya.pig」 & 「Zhai Home Theater」, Hangzhou (2021); “ART021 SHANGHAI CONTEMPORARY ART FAIR”，Shanghai exhibition center, Shanghai (2021)

于航近来的绘画围绕着骷髅这个意象，骷髅经常在艺术史的图像中出现，在宗教题材甚至静物画中，它总在提醒着死亡与虚无。但骷髅的形象也不仅仅是被用来醒世，它时常意味着危险与威吓，比如在“有毒!”，或者“我是海盗!” 这类语境中，尤其是后者，随着海盗文化的传奇化与娱乐化，这个原本作为湿婆法器的形象也早已失去了其文化上的法力。

于航把骷髅画得很可爱，他用一种涂鸦风格的幽默感，把骷髅变成了一种图案形象，以至于让骷髅成了一种装饰物，类似于“心”形。这是他的一种工作方法，把那些普遍分布于不同文化中的符号提取出来，变成今天我们可以围绕其不断编织故事的基本母题。于航用一种艳丽但草率的色彩去描绘这些骷髅并铺陈出整个绘画的平面，他并没有去建构更复杂的空间，而是让事物与形象们各自独立。这是一个简单明了的故事，所以要用色彩去拉出戏剧张力。这些对比的甚至补色关系的色彩在光谱上尽可能激发出最大的能量，带来强烈的热带感。 Yu Hang's recent paintings are centered around the imagery of the skeleton, which has often appeared in art historical imagery, in religious themes, and even in still life paintings, as a reminder of death and nothingness. But the image of the skull is not only used as a wake-up call to the world, but it also often implies danger and intimidation, as in "Poison!" or "I'm a pirate!" In these contexts, especially the latter, the image of Shiva as an instrument of magic has long since lost its cultural power as pirate culture has become legendary and entertaining.

Yu Hang draws the skeleton in a lovely way, and with a graffiti-style sense of humor, he turns it into a graphic image, so much so that it becomes a kind of decoration, similar to the shape of a "heart". This is his way of extracting symbols that are commonly found in different cultures and turning them into basic motifs around which we can weave stories today. Yu Hang depicts these skeletons in a bright but haphazard color and lays out the entire plane of the painting, not constructing a more complex space, but rather allowing the objects and images to stand on their own. This is a simple and straightforward story, so it is important to use color to pull out the dramatic tension. These contrasting and even complementary colors are used to bring out the most energy possible in the spectrum, bringing out a strong sense of the tropics.

于航曾想过用 Lāhainā Noon 这个夏威夷土著语言的词语去命名这个展览，它是指热带地区正午时与阳光和地面垂直，因此物体都处于一种无影状态，呈现出一种独特光感——这倒是很契合于航的绘画给人的直观印象。在某个层面上，我们可以把于航的这些作品看成是一个关于快乐海盗的故事，在他的画面中，与骷髅相关的还有一个流行的海盗三角帽形象，你可以把它看成王冠或者云朵，甚至甲骨文里的“山”字。

但我们也不妨把这些画作放到一个久远的象征体系中去，一个不是用来叙述，而是用象征来反复提醒人们那些超验性的存在。在民间俗语、街头俚语甚至童谣中，这样的集体无意识一直普遍存在。在这个意义上，于航的绘画就是在用大白话提示那些深刻而恒久的道理，明亮的色彩与晦暗的题材、轻松的涂抹与沉重的主题，这些都蕴含着张力。

感性与认知之间张力是为了引发参悟，因此，民间佛教中红粉骷髅的形象是迷人而锋利的，它刨开皮囊执念，让我们认识到欲望与虚无的悖论，所谓空色一体。或许，于航也正在提醒自己与我们，此刻只是暂时，最终万象皆空，人生不过是一场“骷髅幻戏”。
Yu Hang has thought of naming this exhibition after the word Lāhainā Noon, a word from the Native Hawaiian language, which refers to the fact that at midday in the tropics, the sun and the ground are perpendicular to each other, so objects are in a state of shadowlessness, presenting a unique sense of light-which fits the intuitive impression of Yu Hang's paintings. On a certain level, we can see these works of Yu Hang as a story about happy pirates. In his images, there is a popular image of the pirate tricorn hat associated with the skeleton, which can be seen as a crown or a cloud, or even the oracle bone character for "mountain".

But we might also want to place these paintings into a long-standing system of symbols, one that is not used for narration but for symbols to repeatedly remind people of those transcendental presences. Such collective unconsciousness has been prevalent in folk sayings, street slang, and even nursery rhymes. In this sense, Yu Hang's paintings are prompting those profound and constant truths with the big vernacular. Bright colors and obscure subjects, lighthearted smears, and heavy themes, all of these contain tension.

The tension between sensibility and cognition is meant to trigger enlightenment. Therefore, the image of the red- powdered skeleton in folk Buddhism is fascinating and sharp, which plows through the leathery obsessions and allows us to recognize the paradox of desire and nothingness, the so-called emptiness and color as one. Perhaps Yu Hang is also reminding himself and us that this moment is only temporary and that in the end, everything is empty, and life is just a "skeleton play".

艺术家 ARTIST

于航 Yu Hang