TheBodyofNonbody BP(1)
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在陈孟涵、黄含康、金赞颂、麦海士四位艺术家的绘画与雕塑中，身体被用作为达成某种超越的工具，分别化作肉身与实在间离的隐喻、心智与自然的中介、数码造物的历 史回应与政治寓言。 这些基于身体的表达将身体从其原初的物理属性中解放， 将其模糊和延展为精神社会研究与情感的能动——最终指向一种 “非身体 （non-body） ” 的可能。 四个篇章于画廊空间中穿插，启程一场漫长而内向的身体本能（力比多流）与身体本质（死亡欲望）间的折返。 “身外之躯”所聚焦的非身体（non-body）性，衍生自法国人类学家马克·奥吉（Marc Augé）的“非场所（non-place, non-lieux）”概念：那些难以使人产生认同感与 产生人际关系、不具有历史性的空间。身体作为容载器官、机体功能的空间单位，物理上是天然，独属且独立于外部世界的，是与当下状态紧密联系的有机体。与之相对的， 非身体是流动的、 未完成的、 连接其主体的当下与过去， 并作为一种情态与身体同时存在且相互作用的。 非身体是精神意志的广延， 不同于身体外形明了、 体积稳定的独立存在， 它具备向内、向深处隐匿，却能连接时间与空间的力量。非身体在艺术家们的作品中以身体与其喻体的形象出现，人的骨肉（金赞颂），兽首（陈孟涵），类似人体的山体（麦 海士），捆绑与联络众多身体的织网（黄含康）同时向终结的本质蔓生并提出想象：在肉身飘摇甚至消饵的景况中，如何以精神的自由活动去接近重生？ In the paintings and sculptures of Maggie Menghan Chen, Hankang Huang, Chansong Kim and Mahesh Singh, the body often presents itself as a tool to attain transcendence, namely, turning into a metaphor for the separation between the flesh and substance, an intermediary between mind and nature, a response to history through digital creation, and a political allegory. These body-based expressions liberate the body from its original physical properties, blurring and extending it into the agency of psychosocial research and emotion, ultimately pointing to the possibility of a “non-body”. The four chapters are interspersed in the gallery space, embarking on an ongoing and introverted journey between bodily instinct (libido flow) and bodily essence (death drive). The non-body nature in this exhibition is derived from the concept of non-place (non-lieux) coined by the French anthropologist Marc Augé, referring to the spaces of transience that are not relational, not historical and not concerned with identity. The body, as a spatial unit that houses organs and functions, is physically natural, exclusive and independent of the external world, an organism closely related to the current state. In contrast, the non-body is fluid and processive, connecting its subject's present and past while coexisting and interacting with the body as a modality. The non-body is the extension of the spiritual will. It is different from the clear-shaped existence of the body with stable volume. It has the power to hide inward and deep yet acts to connect time and space. The non-body appears in the artist's works in the form of the body and its metaphor, e.g. bones and flesh (Chansong Kim), animal head (Maggie Menghan Chen), human-body-resembled mountain range (Mahesh Singh), the webs that bind and communicate many bodies (Hankang Huang). All of them allude to their essential dispel and propose to imagine: How to approach rebirth with spiritual freedom when the body is ever-decaying?
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灼热，织网以及光的影子 140 x 100 cm 板上综合媒介 Burning, Weaving Webs, and Shadows of Light 140 x 100 cm Mixed media on board [金额已省略]
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血管之隔 80 x 50 cm 板上综合媒介 Distance of Blood Vessels 80 x 50cm Mixed media on board [金额已省略]
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新遗迹 I , 2022 30 x 30 x 5 cm 木头化石，木头纤维 PLA New Relic I, 2022 30 x 30 x 5 cm Wood PLA, petrified wood 1+1AP [金额已省略]
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圣骨匣 I，2022 10 x 12 x 20 cm PLA, 玻璃 Holy Bone Box I, 2022 10 x 12 x 20 cm PLA, glass 1+1AP [金额已省略]
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惓屠构 惓屠构㔱ᴂṏ曫◿兼㘱⪸澱㘋曫◿梘⬖◿㬓⠩⩨亐㘱⩨敤䷚䐽⩨⟭⩨ṏȿ惓屠构〡⁶岥ᶐĈ庻䑎Ĉ䖆㢄澱☪⡻ᷧ嶭ṕ ᴼᴽ枚䖆䷚䐽ᴯ澱ᴽṕᴐ⪤ṕȾᶴ⫈ᴐ敎䐡Ⱦ楳弒ᴐặ⼽㔱☪ᴏ㒯ᶦ䷉澱ở㈃䙂䰩⸢䖆⁵䯽澱☪㤣㟳ᴦ⋱䖆庻䑎ᴌ㖙哑 䙂⾮伎㘬₵䖆㓸ℽȿ伎☪廛ᴬ廉䤍ᴯ澱庻䑎垭つつ㤣䯌澱㒲䖆₇㜺⋊Ḝ᷐ᴯ≉屹澱⸗屹㒲ᴂ幰䖆䐡ᴐ≜⸊ȿ Chansong Kim Chansong Kim is a Korean artist. She graduated from Kookmin University (Seoul, Korea) with a BFA in Painting. Kim’s practice revolving around the body explores the concept of "boundary". In her paintings, subject and object, intimacy and strangeness, expulsion and invasion are always intertwined, maintaining a tense relationship, like a moment in suspense on these ambiguous borders. In this process, the boundaries are gradually blurring, and a new core will rise from them, bring symbiosis and game again.
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≁⌏☼㕱澱 2021 162.2 x 260.6 cm ⴅ晤㮻䐽 Scenes of Anonimity, 2021 162.2 x 260.6 cm Oil on canvas [金额已省略]
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≁⌏䖆ㅍ澱 2022 72.7 x 72.7 cm ⴅ晤㮻䐽 Anonymous Hands, 2022 72.7 x 72.7 cm Oil on canvas [金额已省略]
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⪅ᷮ澱 2020 53 x 72.7 cm ⴅ晤㮻䐽 Them, 2020 53 x 72.7 cm Oil on canvas [金额已省略]
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阅读者，2022 90 x 110 cm 布面油画 The Reader, 2022 90 x 110 cm Oil on canvas [金额已省略]
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狂热，2020 107 x 122 cm 布面丙烯 Fever, 2020 107 x 122 cm Acrylic on canvas [金额已省略]
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BROWNIE Project 致力于在这个激荡的时代环境下，探寻当代艺术的革新和社会关照。画廊的核心 600 平空间位于中国上海 M50 艺术园区，支持与推广在观念和创作方式上具有开创性的当代艺术家， 并且在全球范围内与策展人、 机构、 藏家及跨界品牌积极合作， 开启更多能够突破经验的艺术可能性。 BROWNIE Project is committed to exploring the innovation and social impact of contemporary art in a turbulent present. Our 600m² gallery space locates in M50 art district, Shanghai, China, supporting and promoting artists who apply exceptionally ground-breaking concept and art form. BROWNIE Project is constant collaboration with curators, institutions, collectors and brands for possibilities beyond our existing experience of art. 上海市莫干山路 50 号 6 号楼 105 室 Rm 105, Bldg 6, 50 Moganshan Rd, Shanghai, China 200060 [网址已省略] [邮箱已省略] brownieproject ( BROWNIE Project SH ) BROWNIE_Project brownieprojectgallery / Official Wechat Account / / Online Gallery /