正在展出｜BLANKgallery東京：吳凌昊個展 “未來罪行 Crimes of the Future”

地點 | Venue

〒150-0001 東京都渋谷區(qū)神宮前四丁目21番1號 フィルパーク表參道テラス 2階H

2F-H, 4-chome-21-1, Jingumae, Shibuya-ku, Tokyo, Japan

BLANKgallery東京空間正在展出藝術家吳凌昊亞洲的首次個人展覽，展出8張近期創(chuàng)作的全新作品。

展覽名“未來罪行”即來自于大衛(wèi)·柯南伯格經(jīng)典的同名電影。電影中柯南伯格對于異形和人文未來主義的形態(tài)與空間的關注與吳凌昊所關注的話題有著密切的相關性。作為“Z世代“的藝術家深刻體會到從“全球化”到“后疫情”的激烈轉(zhuǎn)變，這種生活如同電影般的轉(zhuǎn)變和不確定性讓當下個體難以分辨感知的虛實，從而將這種生活感受產(chǎn)生各種各樣混亂的狀態(tài)呈現(xiàn)于畫面中。同樣在作品中反復出現(xiàn)的擬人態(tài)的有機體仍然保留類人的特征，某種由虛擬材料組成的形象在藝術家建立的獨特空間里經(jīng)歷著自我和社會形態(tài)之間的矛盾和沖突，在有粗野主義風格的背景中并置形成吳凌昊想要表達的獨特審美。

吳凌昊善于將未來主義的線條加以構建，以一種機械式的構圖引起觀看，這種刻意構圖既是作品引出思考的一種方式，同時在畫面中營造了一種和感官相矛盾，自我調(diào)侃的幽默感。這種感受再次可以引申到同樣是專注于未來主義的導演庫布里克作品的影響——刻意營造幽默以及運用有迷幻屬性的色調(diào)。另一方面，這種構建感在概念上呼吁了吳凌昊想要進行跨學科創(chuàng)作的意圖，最終形成藝術家獨特的藝術語言。這些畫面中的形態(tài)也并非毫無根據(jù)，比如“發(fā)條橙“，“全金屬外殼”，藝術家通過提取培根代表性作品中異形的姿態(tài)，二次創(chuàng)作在新的繪畫中。

電影和文學的影響，讓吳凌昊青睞于繪畫創(chuàng)作也是某種導演式的作品，這種畫面中獨特的空間世界是藝術家希望最終建立的某一“系統(tǒng)”，通過觀看這種“系統(tǒng)”，保留一種鏡面式的反思。

Titled "Crimes of the Future," Cronenberg’s exploration of metamorphosis and humanistic futurism resonates deeply with the themes that Wu Linghao engages with. As part of the Gen Z generation, Wu has lived through the significant shift from globalization to a post-pandemic world. This cinematic-like transition, marked by uncertainty and upheaval, has blurred the boundaries between reality and virtual perception. In response, Wu’s paintings convey a sense of chaotic experience. The anthropomorphic figures that frequently appear in his works retain human-like traits, yet are composed of virtual materials, grappling with tensions between individual identity and social constructs. Set against brutalist backdrops, these images manifest the distinctive aesthetic Wu seeks to communicate.

Wu Linghao excels in crafting futuristic lines and employing mechanical-like compositions, intentionally drawing attention to his work. This deliberate structure not only invites viewers to reflect but also infuses his canvases with a sense of humor that contrasts with the sensual perception at first sight, often carrying a self-deprecating tone. This approach can be linked to the influence of Stanley Kubrick, whose works also focus on futurism, blending humor into his film works and an often presence of psychedelic color palettes. Wu’s compositional style reflects his interest in interdisciplinary practice, finally forming a distinct artistic language. The forms in his paintings are not arbitrary. For instance, in works like A Clockwork Orange and Full Metal Jacket, Wu draws inspiration from the metamorphic figures in Francis Bacon’s iconic pieces, reinterpreting them through his own visual language.

The influence of film and literature shapes Wu’s process, making his approach to painting akin to that of a director crafting a scene. The spatial worlds he creates form intricate “systems” where each canvas acts as a mirror, offering a reflective experience for the viewer.

全金屬外殼

Full Metal Jacket

布面油畫 

Oil on canvas

180 x 120 cm，2024

開幕現(xiàn)場 | BLANKgallery上?？臻g夏季群展: HumanScapes

訪問時間 Opening Hours