香格纳新加坡将于2018年12月7日荣幸呈现黄晨晗个展《江湖水土》，展出艺术家为《石头寄寓》(2011- ) 系列以及《幻乡》(2015- ) 系列创作的最新作品。此次展出着重体现黄晨晗作品中描线、划痕、绘画与写字等元素为相互交错的概念过程；以及他对图像正负效果的进一步研究。展览将持续至2019年2月17日。

ShanghART Singapore is pleased to present the gallery’s first solo exhibition by Boedi Widjaja, featuring new and existing works from his Stone telling (2011-  ) and Imaginary homeland (2015 -  ) series. The presentation highlights Widjaja’s practice of tracing, mark-making, drawing and writing as interlaced, conceptual processes; as well as his extended research into the image negative.  

开幕 | Opening

2018.12.07, 5pm – 8pm

展期 | Duration

2018.12.08 – 2019.02.17, Daily 11am – 7pm (周一、周二及公共假期闭馆 | excluding Monday, Tuesday and Public Holiday)

现场艺术 | Live Art

2018.12.08 – 09,  3 – 6pm

2019.01.10 – 12, 01.23 – 24, 3 – 6pm

2019.01.25,  4 – 7pm (新加坡艺术周 x 黑夜艺术 | Art After Dark x Singapore Art Week)

地址 | Address

香格纳新加坡，吉门营房 LOCK路9号02-22 新加坡 108937 | ShanghART Singapore, 9 Lock Road #02-22 Gillman Barracks Singapore 108937

L | 忆之浮身 Floating body of memories | 2011 | 墨水，纸上石墨和石头沉积，装裱 Ink, graphite and stone deposit on paper, frame | 85 x 69 cm | R |  石头寄寓: 禁山 1 Stone telling: Larangan 1 | 2018 | 纸上水墨和石墨 Ink, extender medium and graphite on Awagami Kozo paper | 117 x 150 cm

石头寄寓 凯吕系列 | Stone telling: Caylus Series | 2014 | 纸上石墨，颜料，墙纸膏 Graphite, pigment and wallpaper paste on paper | Each 29.7*21cm

河之初 He zhi chu | 2012 | 收藏级印染在宣纸 Archival print on Hahnehmuhle rice paper | 61 x 652 cm

《石头寄寓》系列将地理物质转化为印记——是黄晨晗为土地，水与时间创造的一种原始文字。自他在新加坡福康宁山邂逅那些蕴藏历史的红色石头之后，他便开始将世界各地的地理素材融入作品当中。然而，这次首次展出的新作品当中，有些作品的创作过程中却没有用到任何实质上的石头。这些看似用石头印出的形状是黄晨晗通过擦画法将复写纸上的黑铅转移至白纸上的，而其过程中将同时产生正负两面图案。在反复擦试的过程中，他的动作与存在感以留下指纹的方式被记录了下来。

The Stone telling series looks at geological material transposed as marks—the artist’s proto-writing of land, water and time. Since his first encounter with the red stones of the historic Fort Canning Hill, Singapore, Widjaja has continued to incorporate geological material from international sites in hispractice. In his latest Stone telling works, however, the material stone is absented from the process. Instead, through frottage, the artist migrates graphite from transfer sheets onto paper, and simultaneously makes a positive image and its negative. The rubbing, pressing movement invariably records traces of the physical process as the artist’s fingerprints are imprinted on the work. 

幻乡：江湖（二上）；(二下） Imaginary homeland: kang ouw  (二上) ；（二下） | 2018 | 木、铁、吸铁石、布上炭和丙烯 Wood, metal and magnet, carbon and acrylic on canvas | 160 x 500 cm

局部 Detail

黑铅复写纸在《幻乡》系列中也扮演着重要的角色。黄晨晗用大张复写纸描出武侠电影的截帧以进一步探讨图像与其负片之间的联系。武侠电影业的发展与外地华侨关系紧密，黄晨晗亦是在80年代武侠电影的熏陶下长大的。他以装置艺术《幻乡：江湖（二）》的方式呈现他对武侠电影的反思——十米长的画布上描绘了不同打斗场景的截帧，每幅正面图象的背面即是其分裂出的负片。除武侠之外，爪哇古诗《Hana Caraka》亦是作品概念的一部分。传说这首以全字母句构成的四句诗创造了爪哇文字，而内容则讲述了两个武士一决死战两败俱亡的故事。

Graphite transfer sheets also feature prominently in Widjaja’s new works for Imaginary homeland. Continuing his research into the image negative, the artist uses large carbon sheets to trace and transfer wuxia (martial arts) film stills. Wuxia film is a form of Chinese diasporic cinema that the artist grew up watching in the 1980s. Widjaja’s frame-by-frame contemplation of major combat scenes is expressed in the 10m long installation Imaginary homeland: kang ouw [1] (二). Each side of the canvas carries a riven part of the image duality. Alongside wuxia, ancient Javanese poem hana caraka is a significant conceptual influence in the work. The mythical origin of the Javanese script, the poem consists of four short lines, and is a perfect pangram of the Javanese alphabet as each letter appears once. It tells of two warriors who duelled till death.    

[1] Kang ouw is Hokkien spelt in Dutch phonology. Spoken amongst Indonesian Chinese, it literally means “rivers and lakes” or jianghu in Mandarin; a territory that is marked not with geographical lines but in the minds of its actors; a psychological land of wandering swordsmen in wuxia films.

幻乡：江湖（四）Imaginary homeland: kang ouw (四)  | 2018 | 碳式复写纸，纸上石墨，导光板，光反射器，LED灯条和驱动器，电线，丙烯和木 Carbon transfer paper, graphite on Awagami Shiramine, light guide plate, light reflector, LED strip and driver, wiring, acrylic and wood | Frame 126.6 x 65.5  x 5 cm

黄晨晗即将为这次展览表演的现场艺术与文字作品“江湖水土”便是借鉴了《Hana Caraka》。他的诗同样有四句——“江与湖/土与水/陆与水/河与史”（“Rivers and lakes / Tanah dan air / Land and water / Sungai sejarah”），然而他将这四个句子随机重组成二十四个不同的组合，从而衍生出二十四首不同的诗。诗的每句都包含了地理特征和元素，包含了文化意义。黄晨晗录下他父亲朗读二十四首诗的录音，并请他手写诗词，以在表演时播放与抄写。届时黄晨晗将一边听录音一边在复写纸上抄写父亲的字迹, 直到整面墙都写满为止。

The heart of the exhibition, ‘live art’ and textual work Rivers and lakes Tanah dan air, [2]  echoes hana caraka. The artist wrote a bilingual poem of four lines, “Rivers and lakes / Tanah dan air / Land and water / Sungai sejarah”, which were re-ordered in 24 permutations, creating 24 poems. Each line, consisting of geographical features and elements, contains multiple cultural associations. The artist recorded the voice of his father reading the 24 versions of the poem. His father also wrote the text that he read. Across several days during the exhibition, the artist will shuffle a playlist of the 24 voice recordings and broadcast his father’s reading. Widjaja will listen and trace his father’s writing using a transfer sheet, eventually covering the blank 9m wall with this repeated text-as-image. 

[2] “Rivers and lakes” is a literal translation of kang ouw. And while “tanah dan air” means “land and water” in Bahasa Indonesia, the composite “tanah air” means “homeland”.

展览现场 Installation view

“手描图案必然会失去原图的部分细节，但是也造就了新的可能性 [...] 这种做法呈现的是 [...] 一条跨越时空的线。描线这一动作到现在为止已成为我的石头寄寓系列和幻乡：江湖系列中的一部分，‘描’ 成了一种对事物、对武侠电影的一种沉思。武侠电影借历史与文化变迁所描绘的世界，就如同外地华侨对祖籍的回忆与幻想。”

——黄晨晗，2018年2月8日

“Tracing an image by hand inevitably loses information of its reference but it also produces new modalities... the method suggest(s)... drawing a line across time. So far, the acts of tracing in my works are mostly of stones and with Imaginary homeland: kang ouw (一), tracing became a way to contemplate the wuxia films, which similar to the Chinese diaspora’s memory of their ancestral origins, are based on both historical references and cultural invention.” — Boedi Widjaja, 8 Feb 2018

石头寄寓：水土 （一下）Stone telling: Tanah dan air (一下)  | 2018 | 纸上石墨和丙烯，手风琴书 Graphite and acrylic medium on paper, accordion book | Open 9.2 x 184 x 0.2 cm | Close 9.2 x 12.2 x 1.3 cm

局部 Detail

这次展览展现了黄晨晗作品里的两条主线，并揭示了他富有层次与过程感的绘画方式。对他来说，描、留印、书写等原始的表达方式虽是肢体上的动作，但更是一个抽象的旅程。在创作的过程中，他从历史、童年记忆、神话与传说中拈取材料，将它们重组并赋予新的概念与可能性。

The exhibition highlights the artist’s two ongoing series and reveals his layered, processual approach to the primordial act of drawing, which includes tracing, mark-making and writing. For Widjaja, drawing is a physical activity that dilates into a metaphysical journey.Through drawing, the artist pulls at disparate materials — histories embedded in geological objects; his childhood memories; speculative origin stories constructed through myths — to re-code them into new forms and futures.      

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关于艺术家

Courtesy of Asian Film Archive

黄晨晗（1975年生于印尼梭罗，创作与生活于新加坡）毕业于建筑系，起初从事平面设计工作，三十岁之后步入艺坛。他的作品往往涉及多方面的概念，并结合自身的移民、文化、美学经历来探讨侨民、多重性、旅行、与孤独等主题。其艺术成果不但突显创作的过程性并具有强烈的概念感，且灵活地运用绘画、装置、声音与即场表演等多种媒体与艺术形式。

Boedi Widjaja (b. 1975, Solo City, Indonesia) lives and works in Singapore. Trained as an architect, he started his career in graphic design, and turned to art in his thirties. His works often connect diverse conceptual references through his own lived experience of migration, culture and aesthetics; and investigate concerns regarding diaspora, hybridity, travel and isolation. The techniques, materials and tools of drawing have become a defining element of his artistic practice. This is expressed through a broad range of media, from architectural installations to text and ‘live art’, with an emphasis on process and bodily engagement.

他的个展包括“黑—舍”，新加坡当代艺术学会，拉塞尔艺术学院，新加坡（2016）；“径。六，解我藏书。书城”，滨海艺术中心，新加坡（2014）；“Sungai, Sejarah 河流, 历史, 源”，黄河艺术中心新加坡分支，新加坡（2012）。他的作品也在海外多次展出，曾参与“第九届亚太当代艺术三年展”，现代美术馆,澳洲（2018）；“MAP1：Waterways”，侨民馆，第五十七届威尼斯双年展，意大利（2017）；“耶路撒冷双年展：分水岭”，地下组织囚犯博物馆，以色列（2017）；“银川双年展：图像，超光速”中国（2016）;“从东方到巴比肯”伦敦（2015）；“ArtJog 8：无限流动”，印尼（2015）；“ Bains Numériques #7”，昂冈莱班，法国（2012）等。黄晨晗近期入围与获奖项目有：FID 绘画大奖前十（2017）、Sovereign杰出亚洲艺术奖入围三十强（2015）、PrixBains Numériques（与大卫˙莱特利尔协作）总冠军，昂冈莱班，法国（2012）、新加坡陆路交通局滨海市区线艺术投稿选拔赛总冠军（2012）。

The artist’s solo exhibitions include: “Black—Hut”, Institute of Contemporary Art Singapore, Singapore (2016); “Path. 6, Unpacking my Library 。书城”, Esplanade, Singapore (2014); and “Sungai, Sejarah 河流, 历史, 源”, YRACS-Base, Singapore (2012). He has also shown in numerous exhibitions internationally, including: “Asia Pacific Triennial 9”, QAGOMA, Australia (2018); “MAP1: Waterways”, Diaspora Pavilion, 57th Venice Biennale, Italy (2017); “Jerusalem Biennale: Watershed”, Hamachtarot Museum, Israel (2017); “Yinchuan Biennale: For An Image, Faster than Light”, Museum of Contemporary Art Yinchuan, China (2016); “From east to the Barbican”, Barbican Centre, U.K. (2015); “Art Jog 8: Infinity In Flux”, Taman Budaya Yogyakarta, Indonesia (2015); and “Bains Numériques #7”, Enghien-les-Bains, France (2012). Recent accolades include: Top 10 Winner, FID Prize (2017); Finalist, Sovereign Asian Art Prize (2015); ArtReview Asia FutureGreats (2014); Grand Prize (Sound Arts; with David Letellier), Bains Numeriques, France (2012); and First Prize, Land Transport Authority Beauty World Station (2012).

作者：香格纳画廊