尤莉·坎薩庫：騎白馬的女子
The Lady on a White Horse：A Solo Show by Yuree Kensaku
策展人 Curator：Loredana Pazzini-Paracciani
開 幕 Opening：2019.6.20 6 – 8 pm
展 期 Duration：2019.6.20 – 7.24
地點 Location：泰國曼谷帕度萬倫披尼區，拉查丹利路，金地廣場三樓 3rd Flr, The Peninsula Plaza, 153 Rajdamri Rd. Lumphini, Pathumwan
當代唐人藝術中心榮幸地宣布，將于2019年6月20日在曼谷空間推出藝術家尤莉·坎薩庫的個展“騎白馬的女子”。展覽取材于東南亞廣泛流傳的民間傳說和神話故事中的超自然生物，展出尤莉最新創作的令人驚異的作品。
泰國流傳著一個著名的故事，預言日後將有一位“騎白馬的女子”橫空出世，成爲民族的救主。有人說，這則預言只是某位泰國高僧虛構的。“騎白馬的女子——尤莉·坎薩庫個展” 即是在此東南亞傳說和神話的背景下，表現了宗教和社會文化背景所孕育的英雄與超級英雄概念，是人們藉以逃離現實的一種方式。換言之，在戰爭、暴力與政局動蕩的時代，人們構想出各種神鬼幻獸和傳奇英雄，也提取現實鬥爭中嶄露頭角的真實英雄，編織出正義戰勝邪惡的故事，從而驅散內心的恐懼。
《騎白馬的女子》亞麻布、丙烯、閃光顔料、銀箔與拼貼 | The Lady on a White Horse, Acrylic, glitter, silver leaf and collage on linen | 150 x 540 cm 2019
衆所周知，尤莉擅于運用糖果般缤紛的色彩和日本漫畫般的創作風格，“粉飾”那些令人不安的社會事件以及飽嘗苦痛與煎熬的人們。在其全新作品系列《騎白馬的女子》中，尤莉思考了民間傳說和神話故事如何影響我們的日常生活和社會文化，如何扭曲甚或虛構事實。爲此，尤莉在作品中融入了流行文化中標志性的視覺敘事，以十分微妙的方式質疑藝術作品中的“再現”手法能否准確地再現現實；並且最終探索這一命題：人們的所知所見只是幻象而已；由于人性的脆弱及對社會變革的抵觸，人們制造出這些幻象來掩蓋事實真相。
《騎白馬的女子》局部 | The Lady on a White Horse (detail)
本次展覽將呈現油畫、絲網版畫和雕塑等各種形式，而展覽的同名作品——5米長的布面油畫《騎白馬的女子》無疑是重量級展品。畫面描述了預言中的場景，年輕的女救世主跨坐在白馬上，身邊是凶惡野獸、往日的殘迹和身披僞裝的黑烏鴉。巨大的幅面將一切放大，促使人們思考這則預言對當今泰國社會結構與政治結構的影響。
《2019年3月24日的預言》 閃光紙、絲網版畫 | The Prophecy of 24 March 2019, Silkscreen on shimmering paper | 88.3 x 60cm 2019
圍繞這一主題，展覽中還有兩件作品值得一提：一是《2019年3月24日的預言》，該作以絲網版畫的形式，複制了2019年3月24日的中國黃曆，且頁面底部寫有當天的運勢預測。這天是泰國自2011年以來的首次大選，是一個充滿希望和可能性的日子。
《這不是一只黑烏鴉》 布面丙烯 | Ceci n’est pas un corbeau noir, Acrylic on canvas | 60.33 x 81.12 cm 2019
另外，尤莉的布面油畫《這不是一只黑烏鴉》（Ceci n’est pas un corbeau noir）是對勒內·馬格裏特（René Magritte）《這不是一個煙鬥》（Ceci n’est pas un pipe）的致敬。該作品指涉了“白烏鴉撒播謊言”這一泰國民間傳說，進而討論了“再現”的概念，語言與客觀事物之間的關系，以及它們如何被社會認知，如何得到後代的認可和繼承。
本次展覽一如既往地將來自不同宗教、不同信仰的象征符號融合在一起，且參展作品活力四射，充滿了視覺魅力。初見尤莉的作品，觀者可能被其生動的場景畫面所吸引。然而在畫面背後，是她以獨到的藝術視野與創作功力，暗諷泰國社會乃至全球所面臨的文化和政治上的不確定性。
《美猴王與蟠桃》 帆布、丙烯、閃光顔料與拼貼 | Monkey King and the Peach of Immortality, Acrylic, glitter and collage on canvas | 120 x 80 cm 2019
藝術家簡介
尤莉‧坎薩庫生于1979年，現居泰國，是一位跨學科藝術家。其作品具有活力充沛的用色，诙諧幽默的風格，以及糖果般色彩缤紛卻含有“暗黑”意蘊的卡通人物，這些已成爲她獨樹一幟的特點。初見尤莉的作品，觀者會覺得十分有趣；但細品之下便會發現，她始終對社會進行著大膽而辛辣的批判，並對自己女性藝術家的人生曆程做著深刻的反思。
《頂端捕食者》展覽現場，新加坡美術館，新加坡，2016 | Apex Predator, Singapore Art Museum, Singapore, 2016
《Nagabi Transferry》展覽現場，泰國雙年展，甲米，2018 | Nagabi Transferry, Thailand Biennale, Krabi, 2018
尤莉參與了國內外諸多個展與群展，包括“桃太郎少女曆險記”，橫濱美術館，2007年；“記憶的總和：關渡雙年展 ”，國立台北藝術大學關渡美術館，台北，台灣，2010年；“夢想時光：第4屆莫斯科國際青年藝術雙年展”, 莫斯科博物館，俄羅斯，2014年；“兩象爭鬥，草地遭殃”，香港巴塞爾藝術展，2015年；“幻像之城：海之上，海之下”，新加坡美術館，2016年；以及《邊界幻境：泰國國際雙年展》，泰國甲米，2018年。尤莉的作品受到森美術館，新加坡美術館，橫濱美術館，清邁MAIIAM當代藝術博物館，以及許多私人收藏名家永久收藏。
《熱點美夢》展覽現場，第四屆莫斯科國際青年藝術雙年展，莫斯科博物館，俄羅斯，2014 | Hot Spot Sweet Dream, 4th Moscow international Biennale for Young Art, Museum of Moscow, Russia, 2014
策展人簡介
Loredana Pazzini-Paracciani 是獨立策展人、作家和講師，專注于東南亞當代藝術。其研究和策展實踐圍繞東南亞重要的社會政治問題展開，並與藝術家和藝術專業人士開展持續對話，倡導反霸權的、非西方中心主義的話語。其近期策展項目包括：“淨土：黎光定個展”（2019年），當代唐人藝術中心曼谷；“離散：東南亞的出走、流亡、移民 ”（2018-2019年），清邁MAIIAM當代藝術博物館，並任展覽出版物編輯。該出版物刊載多篇文章，探討非主流的藝術和社會。
以往的策展項目包括：“或正或反？當代泰國的不確定性與張力”（2017年），聖德拉姆泰戈爾畫廊；“遊戲 /越南—黎氏兄弟”（2016年），吉姆湯普森藝術中心；“建築景觀：東南亞在最前沿”（2015年），紐約皇後區藝術博物館。曾在多家學術機構的期刊上發表文章，如新加坡國立大學亞洲研究所（ARI）的期刊，英國聖安德魯斯大學的《Frames Cinema Journal》；新加坡南洋藝術學院的《New Asian Imagination》等。在各種展覽出版物以及《CoBo Social》、《ArtRepublik》，《Artand Market》等藝術雜志上發表多篇藝術對話。現在英國倫敦和泰國曼谷兩地生活。
《天婦羅人魚姬坐在永存的廢品上》 玻璃纖維、玻璃、樹脂、閃光顔料與工業漆 | Gogi Chan Sitting on the Eternal Waste, Fiberglass, glass, resin, glitter and industrial paint | 164 x 101 x 67cm 2019
Tang Contemporary Art Bangkok is proud to announce the opening of Yuree Kensaku’s solo show “The Lady on a White Horse” on June 20, 2019.
There is a well-known prophecy in Thailand known as The Lady on a White Horse. While some people claim a famous Thai monk devised the tale, the prophecy tells of the day Thailand will be saved by a woman on a white horse. Taking the lead from the pervasive folklore and mythology of supernatural beings of Southeast Asia, the exhibition The Lady on a White Horse – A Solo Show by Yuree Kensaku engages with the notion of heroes and superheroes kindled by religion and social culture as a way to escape the worldly realm. That is, in the midst of war, violence and political instability, we rely on ghostly beings, fictional characters, as well as real-life heroes that emerge from daily struggles to help us translate our fears into triumphant stories of good over evil.
《泛舟于時間停滯之域》 帆布、丙烯、閃光顔料與拼貼 | Rowinga Boat in a Basin Frozen in Time, Acrylic, glitter and collage on canvas | 150 x 90cm (Calendar: 26.7 x 19 cm) 2019
Celebrated for her candy-colored, manga-style canvases that disguise disconcerting social events and personal stories of suffering and loss, Yuree’s new series The Lady on a White Horse reflects on how folklore and mythology affect our daily life and social culture to the point of leading us towards a distorted and, at times, delusive reality. To do so Yuree’s works embrace the iconic pop-culture visual narrative to question, ever so subtly, the validity of representation in art as in life, ultimately reflecting on what we see and believe is in fact an illusion that merely conceals a different truth in the face of human frailty and social resistance to change.
《廢托邦的美人魚》 玻璃纖維、玻璃、樹脂、閃光顔料與工業漆 | Mermaid in the Dystopian World, Acrylic, glitter, gold leaf, silver leaf and collage on canvas | 150 x 180 cm 2017
Spanning paintings, silkscreens and sculptures, the main feature of the exhibition is the five-meter long canvas titled, as the show, The Lady on a White Horse. While it depicts the Thai prophecy of a young savior astride a white horse surrounded by menacing beasts, vestiges of the past, and black crows in disguise, the canvas enlarges its parameters to consider the impact of this prophecy on the social and political fabric of present-day Thailand. To this end, among the show’s many works, there is the painting Ceci n’est pas un corbeau noir (“This is not a black crow”) and The Prophecy of 24 March 2019, a silkscreen reproduction of an extract from the Chinese calendar, at the bottom of which bears the prediction of one’s fortune on that day – 24 March 2019 was the day of the first general election in Thailand since 2011 and hence a time for heightened hopes and new possibilities. A nod to René Magritte’s Ceci n’est pas un pipe, Yuree’s Ceci n’est pas un corbeau noir, while referring to the Thai folklore of the white crow as bearer of falsehoods, it explores the concept of representation and the relation between words and common objects and how they are socially perceived and unquestionably accepted through generations.
個展“恐怖氛圍”，100 Tonson 藝術空間，曼谷，2016 | ATMOSFEAR, 100 Tonson Gallery, Bangkok, 2016
Invariably incorporating different faiths and religious emblems, the show presents visually engaging and energetic works. Yet underneath her attractive tableaux vivants that meet the audience at first glance is Yuree’s unique ability to contextualize her artistic vision within the current cultural and political uncertainties that are taking hold of society in Thailand and beyond.
《和平的蘑菇雲》展覽現場，第四屆莫斯科國際青年藝術雙年展，莫斯科博物館，莫斯科，2014 | De(er)va of Peace Holding Mushroom Cloud, 4th Moscow international Biennale for Young Art, Museum of Moscow, Moscow, 2014
About artist
YUREE KENSAKU (b.1979) is a Bangkok-based multidisciplinary artist whose works are known for their electrifying colours, rich sense of humour, and candy coated cartoon characters with a dark twist. Wildly entertaining at first glance, Yuree’s works persistently present bold, critical commentary on society, as well as intimate introspection on her personal life as a female artist.
Yuree’s works has featured in numerous solo and group exhibitions both regionally and internationally including The Adventure of Momotaro Girl, Artist in Yokohama Museum of Art (2007); Kuandu Biennale “Memories and Beyond”, Kuandu Museum of Fine Arts, Taipei, Taiwan (2010); The 4th Moscow International Biennale for Young Art “A Time for Dreams”, Museum of Moscow, Russia (2014); When the Elephants Fight, the Grass Gets Trampled, Art Basel Hong Kong (2015); Imaginarium: Over the Ocean, Under the Sea, 8Q, Singapore Art Museum, Singapore (2016); and Thailand Biennale “Edge of the Wonderland”, Krabi (2018). Her works are included in permanent collections of Mori Art Museum, Singapore Art Museum,Yokohama Museum of Art, and MAIIAM Contemporary Art Museum, as well as many high profile private collections.
《加盧達的哀悼》展覽現場，泰國曼谷文化藝術中心，曼谷，2017 | Garuda Offers Condolences, BACC, Bangkok, 2017
About curator
Loredana Pazzini-Paracciani is an independent curator, writer and lecturer of Southeast Asian contemporary art. Complemented by continuous dialogue with artists and art professionals, her research and curatorial practice revolve around critical sociopolitical issues in Southeast Asia, advocating a counter-hegemonic andnon-Western-centric discourse. Her recent curatorial projects are Pure Land: A Solo Show by Dinh Q Le (2019) with Tang Contemporary Art Bangkok, and Diaspora: Exit, Exile, Exodus of Southeast Asia (2018-19) with MAIIAM Contemporary Art Museum, for which she edited the accompanying publication, a collection ofessays that examine art and society at the periphery. Past exhibitions include Heads or Tails? Uncertainties and Tensionsin Contemporary Thailand (2017) with Sundaram Tagore Gallery; The Game/Viet Nam by LE Brothers (2016)with Jim Thompson Art Center; and Architectural Landscapes: SEA in the Forefront (2015) with Queens Museum. Loredana’s writings have appeared in numerous academic journals such as Asia Research Institute (ARI), National University of Singapore; Frames CinemaJournal (University of St Andrews, UK) and New Asian Imaginations (NAFA University, Singapore). She has also contributed to the art discourse in various exhibitions catalogs and art magazines such as COBO Social, Art Republik, Art and Market amongst others. She lives in London, UK, and Bangkok, Thailand.