消失的是日子的黄金——《向晚六章》选作
FLOWN AWAY IS THE GOLD OF DAYS - WORKS FROM "TOWARDS EVENINGS: SIX CHAPTERS"

开幕/Opening：2017.9.09, 6 - 8 PM
展期/Duration：2017.9.09 – 2017.11.20
Address：Building 2, Lane 298 Anfu Road, Xuhui District, Shanghai, China
地址：BANK画廊，中国上海市徐汇区安福路298弄2号楼 

BANK is proud to present Chen Zhe's Flown Away Is the Gold of Days - Works from “Towards Evenings: Six Chapters”, the artist’s first show at the gallery. Chen's international notoriety stems from her epic series Bees & The Bearable, which posited photography as a catalyst for examining the psychology of self-abuse. In Towards Evenings: Six Chapters the artist attempts to materialize her long fascination with the complex and transient experiences of “dusk” through many different forms including photography, video, installation, objects, and texts. Towards Evenings: Six Chapters is a journey in search of the nebulous space between day and night, light and twilight, the known and unknown. For over five years the artist probed literature and visual clues throughout history and across cultures that evinced this magic hour’s profound effect upon the human psyche.

The series is divided into six independent chapters of which BANK will present selections from the first three chapters including “The Uneven Time”, “Nightfall Disquiet”, and “The Red Cocoon”. Three of the latest excerpts will be revealed to the public for the first time including “The Only Question is How to Endure”, whereby the artist explores four possibilities of experiencing dusk through a collection of images and found documents displayed upon four black shelf apparatus’ - a cabinet of curiosities of sorts - that are accompanied by literary texts. In these works the artist aims to examine different relations and connotations between texts and visuals through a process of re-contextualizing sources within new spatial milieus. These cabinets become self-referential systems of knowledge that illuminate myriad evocations of the twilight hour. 

The other two new works in the exhibition are subchapters of the second chapter “Nightfall Disquiet”. “891 Dusks: An Encyclopedia of Psychological Experiences” presents the artist’s research on widespread “evening uneasiness” in a reference book that categorizes and conceptualizes “disquiet” through hundreds of psycho-poetic entries. This encyclopedia is manifest in the book, which is a customized appropriation of “New Comprehensive Homoeopathic Materia Medica of Mind”, which is open for the viewer to read, and is accompanied by a video and sound piece. “Entre Chien et Loup (The Hour Between Dog and Wolf)” further expounds this “disquiet” through iterations of dusk in French literature. “Entre chien et loup” is the French interpretation of dusk which literally translates into “between dog and wolf” or the hour in which the identity of a dog and wolf are obscured, indicates one’s loss of perception and judgment during eventide. Departing from this phrase, the artist refined seven sets of coexisting-yet-conflicting concepts from literary resources and transcribed them onto huge terrazzo slates. These stone plinths recall an era of classicism when the indeterminate space between LIGHT and TWILIGHT, HOPE and FEAR, BEING and SHADOW confounded and bewitched us, as it still continues to do so today.

Chen Zhe (b.1989) is the recipient of the Three Shadows Award (2011), Inge Morath Award from the Magnum Foundation (2011), Lianzhou Festival Photographer of the Year Award (2012) and the Xitek New Talent Award (2015). Her works have been the subject of exhibitions at the CAFA Art Museum, Beijing (2017); Power Station of Art, Shanghai (2016); Ullens Center for Contemporary Art, Beijing (2013); and Three Shadows Photography Art Centre, Beijing. Her publication Bees & The Bearable was awarded the Best Photobook of the Year by Kassel Fotobookfestival in 2016.

BANK荣幸宣布将举办展览“消失的是日子的黄金——《向晚六章》选作”， 即艺术家陈哲在BANK的首次个展。在其早年作品《蜜蜂& 可承受的》中，陈哲以摄影为媒介审视和探询自伤者的内心世界，并凭借这两个系列在国际上获得了广泛的关注。而在长期项目《向晚六章》中，艺术家将她对于复杂且易逝之黄昏的着迷，投入到一系列涵盖了摄影、视频、装置、实物和文字的文体实验里。这个项目是艺术家为了理解黄昏——这一白昼与黑夜、日光与暮色、已知与未知之间的模糊地带——而展开的主题漫游。近五年来，艺术家收集了大量的文学与图像资料，在古今历史与不同文化间往复撷取，解析黄昏的复杂神秘及其对于人类精神世界的影响。

该项目分为六个独立的章节。此次BANK将呈现来自“非均质的时间”、“向晚意不适”以及“赤之茧”三个章节的部分选作，其中包括三组全新的章回选节。在《唯一的问题是如何度过》中，艺术家创作了四组类似博物柜的陈列组合以呼应人们度过黄昏时的四种心理状态——一系列照片与图像档案被置于大型黑色金属架上，与之相邻的是相关文学作品的选段。通过对原始语境的剥离和再造，艺术家意图在高度作者化的环境里检验并比照文本和视觉表达之间多样的连通可能。这四组陈列亦构筑了一个自我参照和互文的知识系统，晖映着暮色时分人们的情感波动。

第二章内容围绕着“向晚意不适”展开讨论，此次将展出其中的两组新作。其中，《关于891次黄昏心灵活动的百科全书》将以百科全书与音乐视频的方式呈现艺术家针对“黄昏不适”——这一广泛存在但在医学上无从确诊的症状——进行的调查研究。本书内容篡改自伪科学出版物《关于心灵的顺势疗法药物学》。艺术家通过近千条混合了精神分析和诗意特质的词条信息，将“究竟为何向晚意不适”这一疑思类别化与概念化，用真假难辨的方式提出了一个难辨真假的问题。同一章节的作品《狗狼暮色》则是对于这种不适体验的复诵。“Entre Chien et Loup”，法语意为“介于狗和狼之间”，表达人们在光线受限、感知力受阻的日暮时分，难以辨别来客是狗是狼。由此出发，艺术家从相关的文学素材里提炼出了七组在黄昏时共存但对立的概念，并将其转录于七块巨型水磨石板之上。这些石板似是某种古典主义在当今时代的回响，在“光”与“暮色”，“希望”与“恐惧”，“存在”与“阴影”之间的不确定地带，持续诱发着人们的混沌、迷惑与不安。

陈哲（生于1989）曾先后获得三影堂摄影奖（2011）、玛格南基金会Inge Morath奖（2011）、连州摄影节新摄影奖（2012）、无忌新锐奖（2015）等。她的作品曾展出于：中央美术学院美术馆，北京（2017）；上海当代艺术博物馆，上海（2016）；尤伦斯当代艺术中心，北京（2013）；三影堂摄影艺术中心，北京（2011）等。其出版物《蜜蜂&可承受的》获得卡塞尔摄影书节2016年度摄影书奖。