个展“寂静之声（VOICE OF SILENCE）”
目前生活和工作于法国的金顺基（1946-），是1960年代末第一位将实验和概念艺术引入韩国的先锋艺术家。她的作品融合了对哲学、美学和技术的探讨，以影像、多媒体、声音、表演和摄影等不同类型的媒介呈现。在这次展览中，她的最新装置作品和多媒体作品（画廊地下1层、1层及3层），以及一些针孔摄像机作品——“傻瓜摄影”都被一一呈现，展现她对时间、光和传递等议题所内含的哲学与美学问题的思考。
Soun-Gui KIM (b. 1946) who lives and works in France is a pioneer of Korean contemporary experimental art. Since the late 1960s she has presented experimental works in which philosophy, art and technology harmonize through various genres such as video, multimedia, sound, performance and photography. The gallery’s B1, 1st and 3rd floor spaces will feature her new installation and multimedia work, and pinhole camera series of "foolish photography", which showcases her essential philosophy and aesthetics on time, light, and communication.金顺基 KIM SOUN-GUI, Téléphone Arabe, 2023, Mixed media, Dimensions variable ⓒ阿拉里奥画廊及艺术家
展览始于位于画廊地下空间的装置作品《阿拉伯语电话》（2023）。自20世纪80年代末以来，金顺基的作品主题一直专注于处理互联网通信中全球资本扩张和社会结构变化的问题。伊拉克战争的爆发造就了世界只相信美国新闻的局面，人们对歪曲的信息传播和媒体展露出了更大的兴趣。金顺基的这些忧虑可以在1987年至1992年期间的一些绘画作品中被觉察。矗立在展览空间的大型装置作品《阿拉伯语电话》便是从这些绘画中汲取灵感并作出了全新的阐释。The exhibition starts from the basement gallery space with the installation work "Téléphone Arabe" (2023). Since the late 1980s, KIM has focused on works tackling the theme on the expansion of global capital through internet communication and the changes seen in social structure. With the Iraq War, which created a situation where the world believed only news coming from the US, further interest has been developed in distorted communication and the media. These concerns can be seen in a number of drawings carried out between 1987 and 1992. The large installation work "Téléphone Arabe" (2023) that stands in the exhibition space is a new interpretation that has been inspired from these drawings. Téléphone Arabe（局部） ⓒ阿拉里奥画廊及艺术家左上：金顺基 KIM SOUN-GUI, Drawing, Téléphone Arabe, 1987-1991, Color on paper, 30.2 x 42 x 2.2(d) cm
右上：金顺基 KIM SOUN-GUI, Drawing, Téléphone Arabe, 1987-1991, Color on paper, 30.2 x 42.5 x 2.2(d) cm
左下：金顺基 KIM SOUN-GUI, Drawing, Téléphone Arabe, 1987-1991, Color on paper, 30.2 x 42.5 x 2.2(d) cm
右下：金顺基 KIM SOUN-GUI, Drawing, Téléphone Arabe, 1987-1991, Color on paper, 30.2 x 42.5 x 2.2(d) cm
ⓒ阿拉里奥画廊及艺术家
通过这件新作品，金顺基试图指明如今不断歪曲的信息传播的本质。通过回归最原始的沟通交流方式，即用绳子连接罐子来传递声音，让观众重新思考由由扭曲的传播引起的冲突和声音的本质——这些现象在现代社会以及不同文化情境中时常发生。
Through this newly realized work, KIM tries to point out the nature of constantly distorted communication. By returning to the most primitive communication of connecting cans with a string to transmit sound, it allows viewers to reconsider the nature of conflict and sound that is caused by distorted communication that often occurs in our modern society as well as in different cultures.
《寂静之声》展览现场，2023，阿拉里奥画廊首尔空间
一楼展示了金顺基的全新多媒体作品《股票花园——寺庙》（2023年），这是对艺术家先前于1990年代创作的视频作品之重新诠释，但在概念上有很大的扩充。这件有声多媒体影像装置，呈现了股市显示板上的数字，却在视频旁安置了黎明时分的钟声。33下钟声反映了佛教的宇宙哲学，并象征着东方哲学中的开放性和绝对时间。冥想之声和资本主义式的股市数字相互混杂在一起，最大限度地体现了生活在现代社会的人们对无形世界里资本主义价值观的依赖。The first floor presents KIM’s new multimedia work, "Stock Garden – Temple" (2023), which is a reinterpretation of her previous video work from the 1990s but much expanded in concept. This multimedia installation, with sound and video, presents numbers of the stock market display board and the sound of the bell tolling at dawn is installed alongside the video. The 33 tolling of the bells reflect Buddhist philosophy of the universe and signifies openness and absolute time in Eastern philosophy. The sound of meditation and capitalist stock market numbers get mixed up with each other, maximizing the inner selves of people living in modern society dependent on the capitalist values of the intangible world.
《寂静之声》展览现场，2023，阿拉里奥画廊首尔空间
最后，三楼陈列了金顺基的摄影作品。艺术家基于东方哲学视角（如“万物皆空”与“包容万物”等思想），非常重视对最简单、自然和原始状态的探索，正在展出的“傻瓜摄影”系列的精选作品正反映了这些观念。“傻瓜摄影”系列由针孔照相机拍摄的自然图像组成，在这种相机里，光线被长时间曝光，照片最终被制成模拟90年代印刷品的样子。Lastly, the third floor exhibits KIM’s photography works. The artist’s perspective is based on Eastern philosophy such as emptiness and openness and she places great importance on exploring the simplest, most natural and primitive state. A selection of KIM’s ‘foolish photography’, which reflects on these thoughts are presented. The "foolish photography" series consists of natural images created by a pinhole camera where light is exposed over extended time and images are made into analogue prints from the 1990s.
金顺基 KIM SOUN-GUI, Bouddha (Buddha), 1991, Pinhole camera, analog c-print, Work: 108 x 80 cm, Frame: 110.8 x 82.8 x 4(d) cm, Edition of 7 ⓒ阿拉里奥画廊及艺术家
由于对象都是以在自然的时间和光线下拍摄的，故成像十分独特、模糊和梦幻。“傻瓜摄影”包含了我们在日常生活中所见到的自然的一面，根据未经计算的时间和光线曝光以原始的状态拍摄，揭示了艺术家自身对世界的独特感知。
As subjects are taken in the most natural way using time and light, these photographs are characterized by distinctive, blurry and dreamy images. "foolish photography" contains the natural aspect of what we see in our daily lives captured in its raw state according to the uncalculated time and light exposure, revealing the artist’s own unique perception of the world.
左：金顺基 KIM SOUN-GUI, Atelier 1 (Studio 1), 1996, Pinhole camera, analog c-print. Work: 105 x 87 cm, Frame: 107.8 x 89.8 x 4(d) cm. Edition of 7.
右：金顺基 KIM SOUN-GUI, Atelier 2 (Studio 2), 1996, Pinhole camera, analog c-print. Work: 105 x 87 cm, Frame: 107.8 x 89.8 x 4(d) cm. Edition of 7.
ⓒ阿拉里奥画廊及艺术家
金顺基1946年出生在韩国扶余郡，毕业于首尔国立大学绘画系。1971年，她受尼斯国际艺术交流中心的邀请来到法国工作。留法期间，她分别在尼斯索菲亚综合理工学院和艾克斯普罗旺斯省大学大学学习半导体学和哲学美学。作为艺术家工作时，她曾在尼斯国立装饰艺术学院、马赛高等美术学院和第戎国立高等艺术学院任教。金顺基的作品多次在阿拉里奥画廊首尔空间（2018年）、阿拉里奥美术馆（2016年）、Sonje艺术中心（2014年）、Slought基金会（2013年）和尼斯现当代艺术博物馆（1991年）举办的个展中展出。自从在首尔国家现当代艺术博物馆举办的最回顾性的个展“慵懒的云”（2019）后——该展览呈现了她从60年代末到近期的众多作品，她的作品也已在德国卡尔斯鲁厄ZKM艺术与媒体中心展出（2022年），并应邀参加了在美国匹兹堡举行的第58届卡内基国际艺术展，未来她还将在韩国光州双年展（2023年）上展出其作品。
Soun-Gui KIM was born in 1946 in Buyeo and graduated from the Department of Painting at Seoul National University. In 1971 she was invited by Centre Artistique de Rencontre International in Nice to come and work in France. Whilst in France she studied Semiology and Philosophy aesthetics at I’Univeristé Nice-Sophia-Antipolis in Nice and l’Université d’Aix en Provence. While working as artist in France, she has taught at École Nationale d'Art Décoratif de Nice, the École Supérieure des Beaux-Arts de Marseille, and the École Nationale Supérieure d'Art de Dijon. Her works have been presented in a number of solo exhibitions held in ARARIO GALLERY Seoul (2018), ARARIO MUSEUM in SPACE (2016), Art Sonje Center (2014), Slought Foundation (2013), and Museum of Modern and Contemporary Art in Nice (1991). Since the most retrospective solo exhibition “Lazy Clouds” (2019) held at the National Museum of Modern and Contemporary Art in Korea, which showed her works from the end of the 1960s to recent works. Her works have been shown at ZKM Center for Art and Media Karlsruhe in Germany (2022) and she was invited to participate at the 58th Carnegie International in Pittsburg, USA. She will also present her works in Gwangju Biennale, Korea (2023).
当前展出 | Current Exhibitions
阿拉里奥画廊·上海 ARARIO GALLERY SHANGHAI
阿拉里奥画廊·天安 ARARIO GALLERY CHEONAM
阿拉里奥画廊·首尔 ARARIO GALLERY SEOUL
阿拉里奥画廊自1989年创立至今，分别于韩国天安、首尔和上海拥有其支点画廊。在过去的三十年间，阿拉里奥画廊始终致力于关注与推广亚洲与国际艺术家，丰富其艺术家名单，并长期培养支持年轻艺术家。其代理的五十余位艺术家来自韩、日、中、印和东南亚地区各国，涵盖自20世纪70年代至今的实验艺术先锋，创作门类包括视觉艺术、绘画、雕塑、影像以及装置等众多艺术类别，突出展现亚洲地区令人瞩目的社会历史文化。自2005年入驻北京798艺术区起，阿拉里奥通过展示亚洲地区极具代表性的优秀艺术家，迅速成为中国当代艺术发展的重要枢纽。2014年8月，上海徐家汇衡山坊馆正式开馆，2017年7月迁址上海西岸，与来自中国和海外的艺术家一道为中国艺术舞台的多元性注入活力，继续作为中国当代艺术的先驱力量而存在。2022年，由日本艺术家名和晃平及其SANDWICH工作室倾力打造的上海新空间落址西岸国际传媒港，集当代先锋艺术、国际限量艺术衍生品、收藏级家具设计、潮流时装快闪与精品咖啡品牌为一体，致力于打造一个当代都市长效生活方式的策展式艺术商业复合空间。
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