叶江「折叠寺」

折叠寺

Folding Temple

2023.1.7 – 2023.3.5

艺术家：叶江
Artist: YE JIANG

地址：北京市朝阳区酒仙桥路2号798艺术区中二街D06 Tong Gallery+Projects
Venue: D06, Middle 2nd St., 798 Art Zone, No. 2 Jiuxianqiao Rd, BJ

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你能在2017年的纽约找到叶江的小房子。

彼时，叶江正在纽约读书，他用铁管搭了一个小屋，方底尖顶，像儿童简笔画。在5年前的一段影像中，叶江将这个铁房子捧在胸前，或举过头顶，在纽约的街头飞奔。

5年后，这个漂浮的房屋意象再次出现，然而其中已经不再有叶江身处异乡的游子心绪——正如影片最后，他奔过纽约，将铁房子扔进了河里。5年后的叶江仅仅将它理解为一个“形”。他将房屋互相堆叠，再折出褶皱，如此而已。这是画布上的一场纯粹的空间游戏。

“折叠”仿佛叶江近年创作思考的草蛇灰线。折叠本身包含的两个动作：折与叠，先将空间扭曲、分割，再将分割的空间叠放起来。叶江将“折叠”称为一种富有侵略性的动作，其结果又极富层次与矛盾性，这与他此前的“莫兰迪系列”产生了微妙的互文。

有时叶江会将背后的画布有意显露，织物的纹理与颜色不仅是留白，而成为画面本身。日常物品彼此产生张力，建构出一种奇异的舞台感。然而，观众却不难从中找到共情的通路。叶江画纸条，窗帘，铁栅门，动物小饼干，就如近两年居家时，他画家里的卷心菜、厨房纸，以及受限生活中一切。这毫无疑问令人艳羡：真诚的创作对于叶江而言仿佛一种质朴的本能，因为创作即是他细碎却真实的生活本身。

You can find Ye Jiang’s small temple in New York in 2017.

At that time, Ye Jiang was studying in New York. He built a small house with iron pipes, with a square bottom and a sharp top, like a children’s sketch. In a video five years ago, Ye Jiang held the iron house in front of his chest or raised it above his head and ran fast in the streets of New York.

Five years later, this floating house image reappears, but there is no longer a wandering mood of Ye Jiang in a foreign land – just as in the end of the video, he ran to New York and threw the iron house into the river. Five years later, Ye Jiang only understood it as a “shape”. He stacked the houses on top of each other, then folded them, that’s all. This is a pure space game on the canvas.

“Folding” is just like a hidden clue of Ye Jiang’s creative thinking in recent years. Folding itself includes two actions: bending and overlapping. First, space warping, dividing, and then stacking the divided space. Ye Jiang called “folding” an aggressive action, and the result was highly hierarchical and contradictory, which produced subtle intertextuality with his previous “Morandi series”.

Sometimes Ye Jiang intentionally exposes the canvas behind the image. The texture and color of the fabric are not only left blank, but become the picture itself. Daily objects produce tension with each other, creating a strange sense of stage. However, it is not difficult for the audience to find the channel of empathy. Ye Jiang painted paper strips, curtains, iron gates, and animal biscuits, just like the cabbage and kitchen paper in his painters and everything in his limited life in the past two years when he lived at home. This is undoubtedly enviable: sincere creation seems like a simple instinct for Ye Jiang, because creation is his fragmented but real life itself.

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