乐园丨简策

点击观看由简策讲述的展览短片

Click to watch the video of the exhibition narrated by Ce JIAN

《透景画》与《偶像》是以商店橱窗和高端商业摄影之模式为原型的绘画系列，就像柏林奢侈品百货公司卡迪威（KaDeWe）的网站上所展示的那样。这些作品凭借其排列布局、混杂的形式和超现实的氛围，旨在对商业化“舞台”的戏剧化布景进行高度凝练的诠释。在此，审美的诱惑力、迷惑性和稍纵即逝感，通过精心构造的戏剧构作而融合在一起。

The series Diorama and Icon are a group of scenic paintings that were created after the model of shop windows and high-end commercial photography, as can be found on the website of the Berlin luxury store KaDeWe. With their compositional order, formal hybridity, and surreal atmosphere, the works are meant to stand as condensed paraphrases for the theatrical sphere of the commercial’stage’, where aesthetic allure, glamour, and transience are united by a calculating dramaturgy.

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《海市蜃楼》

墙纸手稿

sketch for wallpaper in Mirage

展览“乐园”围绕 19 世纪以来有关百货公司的商业文化为命题展开，其中的绘画系列被嵌入到展览空间“建筑框架”的律动中：其墙纸展示了卡迪威百货建造于 1907 年的正门。就像商店外墙上的橱窗那样，每一幅绘画都提供了一种“特殊物品”：一个在奢华、精致的布景中陈列着的花哨的商品。

In the exhibition Paradise, which revolves around the commercial culture of the department store from its beginnings in the 19th century to its status-quo today, the painting series is shown set within the rhythmic order of the’architectural framework’ of the exhibition space: a wallpaper backdrop showing the front gate of the KaDeWe, which was created in 1907. Like a row of shop windows on a store façade, they each offer a’specialty’: a fancy object presented in an extravagant, elaborate setting.

偶像（蒂芙尼） Icon (Tiffany), 2020, 布面丙烯 acrylic on canvas, 120×95 cm

《偶像（蒂芙尼）》是该系列中的第一件作品。它呈现了一种类似拼贴画的构图，相互穿插的形状制造出前景和背景的错视感，与蒂芙尼手镯标志性的双“T”图案构成一个精致框架。其中的主要元素来自于卡迪威百货为普拉达（Prada）拍摄的广告，后者模仿了现代主义抽象绘画和硬边绘画的风格。小巧的版式和温柔的光影使这幅画呈现出有如优雅的精品橱窗陈列的外观。在其中，居于核心的“偶像”仿佛是一个红球，如一颗璀璨的珍珠般盘旋在半空中，而其灵感则来自于一滴高光泽的指甲油。尽管视觉营销经常会引用艺术语汇来提升产品的审美“外观”，但“偶像”系列却着意通过凝练的反映，将商品转化回艺术作品，从而解构这种修辞。

Icon (Tiffany) was the first work of this series. It shows a collage-like composition of intersecting shapes that create the illusion of a foreground and background, with the two trademark ’T’s of a Tiffany bracelet forming a delicate framework. The main elements come from a KaDeWe advert for Prada that imitates the style of modernist abstraction and hard-edge painting. Its smaller format and the play of warm light and shadow give the painting the appearance of an elegant boutique vitrine. The central ’icon’ here seems to be a red glowing ball hovering in mid-air like a shiny pearl, whose form is actually derived from a drop of high-gloss nail-polish. While visual merchandising often uses artistic quotes to elevate the aesthetic ’look’ of a product, the Icon series wants to deconstruct this rhetoric by transferring it back into artworks in a condensed reflection.

偶像（凯莉）Icon (Kelly), 2020, 布面丙烯 acrylic on canvas, 160×120 cm 滑 动观看紫光效 果 swipe for the work in black light

《偶像（凯莉）》

手稿 sketch for

Icon (Kelly)

作品《偶像（凯莉）》从属于一组三幅以肖像形式展示“偶像”的中型绘画。自从格蕾丝·凯莉（Grace Kelly）这位大众偶像在上世纪 50 年代末被狗仔队拍到把一只爱马仕包抱在身前来遮挡她怀孕的小腹以来，凯莉包就成为了时尚的经典。在这幅画中，变形的红色手袋像是懒洋洋地躺在一张躺椅上。其表面的阴影营造出一副模糊的面貌，似乎在以一个沾沾自喜和诱人的微笑回应着观众。在画面中央，渐变的彩虹色背景形成一条发光的光隧道，使手提袋沐浴在灿烂的彩色阳光中。

The work

Icon (Kelly)

belongs to a group of three medium-sized canvases showing ’icons’ in portrait-like settings. The Kelly bag has become a fashion classic ever since Grace Kelly, a society icon herself, was photographed in the late 50s holding this Hermès handbag in front of her body to hide her pregnancy from the paparazzi. In the painting, the anamorphous red bag is shown lounging as if on a deck chair. The shades of its surface result in a vague physiognomy, it seems to look back at the viewer with a smug and inviting smile. The graduated rainbow background forms a glowing light tunnel at the centre of the painting, offering a brilliant chromatic sun for the bag to bask in.

偶像（花朵）Icon (Blossom), 2020, 布面丙烯, 马克笔和喷漆 acrylic, marker, spray paint on canvas, 160×120 cm。滑 动观看紫光效 果 swipeforthe work inblack light。

滑动观看更多细节 swipe for more details

《偶像（凯莉）》中的“主人公”居于画面左侧，而《偶像（花朵）》中的主角则站在画面右侧，一个类似桌面的八角形形状旁。这幅画以宝格丽香水“欢沁玫香”（Rose Goldea Blossom Delight）而命名，这款香水因其圆形、气旋状的玻璃瓶而格外引人注目。在作品中，玻璃瓶被描绘成一个具体形象，其有着一颗“头”和一个玻璃头盔的身体，令人想到科幻漫画中外星生物的样子。仿佛是受到了能量干扰，背景中均匀分布的圆点呈现出部分的扭曲。这个开放的、动态的空间与前景中静态的设置相对应——而这在商业摄影中颇为常见。与凯莉包类似，充满氛围感的香水瓶通过回视观众的目光，而获得了一个积极的角色。

While the protagonist in Icon (Kelly) sits on the left side, in Icon (Bloom) it stands to the right, next to an octagon shape 类似于 a table. The painting is named after the Bvlgari perfume "Rose Goldea Blossom Delight", remarkable for its round, cyclopean glass bottle. Transformed into a portrayed figure in the painting, the bottle becomes a body with a ’head’ and a glass helmet, evoking the look of an alien creature from some sci-fi comic. As if caused by an energetic disturbance, the background pattern of regular dots shows partial distortions. This open, dynamic space serves as a counterpart to the static setting of the foreground – something often found in commercial photography. Similar to the Kelly bag, the auratically charged perfume bottle gains an active role by virtually returning the gaze of the spectator.

偶像（子弹）Icon (Bullet), 2020, 布面丙烯 acrylic on canvas, 160×120 cm 滑动观看紫光效果 swipeforthe work inblack light

距离和欲望之间奇怪的紧张关系，是所有奢侈品的魅力来源之一，而这也是《偶像（子弹）》所要探讨的中心主题。在完美的对称构图中，矗立着一只巨大的娇兰口红，上面有一个金属外壳和一颗燃烧的红色“子弹”——这既是口红芯在英文中的名称，也象征着致命的武器。它被放置在底座上，并被装饰着彩色玻璃的哥特式窗户所框住。窗户上的重复性图案实际上是一个立体图，它根据德国教堂的玻璃窗制作而成，展现了基督受难的场面。用这个主题制作的立体图隐藏了一颗子弹的三维图像。通过模仿基督教教堂中祭坛蜡烛的崇高性，以及宗教雕塑（真正意义上的圣象）中不可触碰的庄严感，这支子弹形状的口红将诸多悖论联系起来：宗教图像与轻浮的化妆品；具有威胁感的直立的“男性”武器与象征“女性”之美的化妆品。

The strange tension between distance and desire, which characterizes the allure of all luxury displays, is the main topic in Icon (Bullet). At the centre of the perfectly symmetrical composition stands a gigantic Guerlain lipstick with a metal hull and a flaming red bullet – a name both for the lipstick’s core and the deadly projectile. It is placed on a base and framed by a Gothic window adorned with colourful glass. The repetitive images in the window fields are in fact a stereogram, made after a glass window from a German church showing the Passion of Christ. The stereogram that was programmed with this motif is hiding a 3D image of bullets. Imitating the elevated dignity of an altar candle in a Christian church as well as the untouchable gravitas of a religious sculpture (an icon in its actual sense), this bullet-shaped lipstick connects several paradoxes: Religious iconography and a frivolous cosmetic product; the ominous erect form of the’masculine’ weapon and a makeup accessory as a symbol of ’feminine’ beauty.

未完待续 To be continued

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简策 | 乐园

Ce JIAN | Paradise

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李氏家宅鸿运展

Fortune Exhibition of Li’s Family House

画廊开放时间 Opening hours ：周二-周日 TUE-SUN10:00-18:00

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