Emotional Labour - Exhibitions

所有的树都会开花 Emotional Labour

展览照片 Exhibition view

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何逸飞个展 He Yifei solo exhibition

展期 Opening

May 26 - July 1 2018 May 26 - July 1 2018

介绍 PRESS RELEASE

何逸飞在创作中不断研究与实践物的在场和再现，并试图运用对图像和物体的直觉来解锁作品与空间的关系。绘画对于她来说是一个不停发现，并引入其它思维框架的过程，而不是一个持续呈现的过程。 He Yifei constantly studies and practices the presence and resurrection of objects in the artcreation, and tries to use her intuition of images and objects to unlock there relationship between her artworks and space. Painting to her is a process in which she never stops discovering and introducing other thinking patterns, rather than simply a process of continuous presentation.

在她的工作中，绘画尝试摆脱其作为一种工具的角色，同时不断成为新的起点。她关注在绘画进程中发现绘画与结构之间的可能，并重新思考创作过程及绘画的边界问题。由绘画与空间引申，未被处理的空间与已被干预的空间，画笔处理过的空间与未被处理的空间，被占用的空间与被空置的空间所构建的抽象框架之中，从最初的创作者与空间，到最后观众，作品与空间，这期间身体的放置成为了何逸飞探讨的关键。
In her work, painting attempts to get rid of its role as a tool and constantly becomes a new starting point. She is concerned about discovering the possibility between painting and structure in the process of painting, and rethinking the process of art creation and the boundary of painting.In the abstract framework extended from painting and space, and constituted with the space unprocessed/interfered, the space brush-processed/unprocessed, and the spaceoccupied/vacant, from the original creator and space to the viewers, art works and space, the placement of body during this period becomes the key of He Yifei's exploration.

展览空间中二十多吨砂石的存在，令空间，布面，土丘之间处于被动遮掩状态的一方难以被分辨。艺术家在现场不是情感的劳工，而是作为一个空间的引子存在于沙堆的褶皱之中，由此打开展览现场对于时间和空间的感知。而绘画在其创造的空间之中，超越图像的存在，而成为了一个事件的边界，一个可共享的起点。在此过程之中，她尝试使绘画从被动的物理空间走入意识空间。从皮埃尔·布尔迪厄的观点出发，艺术品只有在与观者建立联系后才存在，在这里，绘画作为对空间的反思，空间与绘画作为一个关系建立的见证者，引申出对空间想象的邀请。
The presence of more that 20 tons of sand and gravel in the exhibition space, makes it difficult to distinguish the party in a passive concealed state out from the space, the canvas and the mound. The artist is not an emotional labour in the scene, but as an introduction to the space that exists in the folds of the mound, thus opening up the perception of time and space in the exhibition scene. Painting, in the space it creates, transcends the existence of images, and becomes the boundary of an event and a shareable starting point. In this process, she tries to move painting from the passive physical space into the conscious space. From Pierre Bourdieu's view, artworks only exist after establishing contact with the viewer. Here, painting as a reflectionon space, while space and painting as witnesses to the establishment of a relationship, extends an invitation to space imagination.