触 | 汪莺莺个展
Touch - Wang Yingying Solo Exhibition
1 April -7 May, 2017
2017年4月1日空间站将隆重推出“TOUCH·触”汪莺莺个展，这是继她“Songs from A Room”个展之后，汪莺莺在空间站举办的第二次个展。汪莺莺并不是借助图像进行意义的勒索，而是用笔触将欲望和恐惧压进皮肤，制造魅惑之像来引诱凝视，触发了我们这个时代社会精神中的神经症人格的情感伤痛。
The Space Station will grandly launch TOUCH: Wang Yingying Solo Exhibition on the first of April, which is her second solo exhibition at the Space Station since “Songs from A Room.” Wang Yingying didn’t extort the meanings from images but pressed desires and fears into the skin with her paintbrush. Creating charms to seduce a stare, she triggered off the sentimental pains of the neurotic personality in our Zeitgeist.
We can always redeem the man who aspires and strives. – Faust.The Portrait series depicted the face, the most superficial organ that has a social attribute, in her exquisite but seemingly relaxed manner. These sensitive and fragile faces and the stories behind them embodied various spirits of our time. Although we can reel off the anecdotes behind these familiar faces, the fleeting expressions were stripped from the definition of identity -- what you faced is a naked person. Wang presented, elegantly, in a moderate way of only characterizing the facial features, the emotional and self-reflective “man” in the “reality”, who immersed in a defense mechanism of a kind of inherent neural function. Karen Horney said: “the so-called anxiety refers to the sense of insignificance, loneliness, weakness, fear and insecurity when confronting a hostile world. To cope with this anxiety, we have to strive for love, career success, power, fame and wealth so that to obtain a sense of security and self-confidence.” With the competition of the whole society more and more intense, the consequent sense of loneliness, weakness, alienation and inner insecurity make people in an endless internal conflict. They manifest various mental symptoms: feeling anxiety, suffering from depression, being sensitive or fickle, standing aloof from worldly affairs, getting hysterical, ridiculing and being indifference about others, even having schizophrenia. Those Horcrux fragments, as an individual rolling in the capitalism, emerged in the face.
Desiring for love but failing to love is a vicious cycle of love. The Relationship series offered a penetrating description of love. Wang described one group of people, who could hardly realize their lack of love when they were desperately trying to satisfy their hunger for love. Like being parched for water, one who is eager for being loved can’t really enjoy love. In the Kiss series he/she clutched each other tightly, a dying person and an uncatchable straw, a body laden with sorrow and maladies met a startling beauty, but he/she, filling with fears and doubts, knew deep down that they didn’t believe it at all. As a dying man who finally got a loaf of long-awaited sweet bread, when he got to eat it a doubt suddenly emerged: is the bread poisonous? A belief that he/she is not worthy of being loved occupied his/her mind. Just like a curse, you can’t really love yourself, and you, in a pig-headed way, believe that someone else can’t love him/her. Hell is other people. This undeveloped love will hurt him/her more cruelly. It is better to avoid loving without prompting.
Love is so important that the need for love may be concentrated in the same sex if the love for the opposite sex is blocked. It has become a decisive factor in latent homosexuality, and there is an anxiety behind the strong dislikes of the opposite sex. The homosexual love also appeared in Wang’s works, such as some plots in the notorious movie. A flashed picture in the 120 Days of Sodom made her prototype: three young boys, naked and thin, are holding flowers; and their faces break through the flowers with a tanbi of the sense of shame. She explored the possibilities of love. The twist bodies allowed the deploying of her steady and forceful brush strokes, and the white soft bedding and the nude bodies formed a contrast. Flat painting and sketching, along with multicolor and one color，were close to the contrast between the flat-painted background and the simple clear brush strokes, the bodies, therefore, also take the effect that looks like a thick and compressed relief. There is no porno teasing but an absent stare when the audiences keep their eyes on the work. Those bare skin and brush strokes summoned us to focus on the invisibility outside of the screen. It is more an analysis of love than the passion of love.
In love, some people will completely rely on another person, which inevitably carries a lot of resentment, hating themselves have to obey others, imagining themselves to be forced to suffer. It was the active behavior of suffering, which makes oneself happy, that made the other party cannot leave. The sadomasochism complex tends to empathically transfer to the relationship between doctors and patients, and in the course of treatment, although the patient suffered some pains, they would ignore their own interests and please the hardened doctor. In the Touch and Moment, the empathy indicates a dependent relationship among all non-rational response levels: while the body was making a would-be move, having not yet reached the extreme state, the potentially directional ambivalence resulted in the outbreak of the Stockholm syndrome. Oral desires can be shown not only in the sexual activities but also in the pursuit of power and prestige so that one could access to the power to abuse, insult and force others, which could replace the loveless insecurity. Masochism is a kind of abnormal paranoia and satisfaction, which can be satisfied by beating or humiliation or torture or non-morally physical pain. Masochism, a kind of self-destructive passion, the appearance of sexual force, comes from the basic impulse of an unstoppable death instinct.
The broken marble statue, which solidified and canonized sadistic aesthetics, made a form of passion in which the disability sublimated from the historical objectivity, and then became an aesthetic object in the museum. In the moment of the Bronze Boy pulling, the whole body’s motive pulled the audience’s attention towards the most slender tip of the foot, which forms the crystallization of the temporal memory. Wang Yingying endowed her materials with “enchantment” so that the puny language to which the ancient legends and myths attached became a pause of images like the moment after Medusa’s stare. In another dimension, beneath the cultural encrustation that is indifference, hard and beautiful, Wang gathered up a great charm force that the painting could carry to quietly release a biological drive to the Dionysian spirit of madness. There, under the calm ice sheet, are the endless desire of human nature and the depths of love and passion.
4 Jiuxianqiao Rd, 798 Art Zone,
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周二至周日10：00 - 18：00
Tuesday-Sundy 10:00 - 18:00
新闻稿 Press Release