正在展出 | ARCH PROJECT | 汉娜·贝纳西「A N G E L U S」

海报作品：Red Storm，木板上丙烯、模型用胶、黏土和米纸, Acrylic,modellingpaste, clay and rice paper onpanelled board, 100x80x2.5cm, 2022

汉娜·贝纳西：A N G E L U S

Hannah Benassi：A N G E L U S

2022年10月22日 - 2023年1月7日

Oct 22, 2022 - Jan 7, 2023

策展人：胡奕航

Curator：Hu Yihang

ARCH GALLERY | 拱形画廊

地址：长沙市天心区1123文创园1楼

Adress：1st Floor, 1123 Cultural and Creative Park, Changsha.

ARCH PROJECT正在呈现艺术家汉娜·贝纳西（Hannah Benassi）个展「A N G E L U S」，本次展览展出了艺术家近两年来代表性的木板绘画作品。

汉娜的作品通过绘画探索材料的直观分层。她的作品主要使用丙烯颜料，表面结合了印刷拼贴、粘土、油彩棒和纸，在柔和的表层上创造结构形式。汉娜在抽象的画面上展示了微妙的薄层颜料、充满划痕的表面和拼缝的结构。她的灵感来自于日光的色调和阴影的变化以及人造景观的有机特性。

ARCH PROJECT A N G E L U S 展览现场

摄影：ARCH GALLERY

前言：

Mein Flügel ist zum Schwung bereit,

ich kehrte gern zurück,

denn blieb ich auch lebendige Zeit,

ich hätte wenig Glück.

- Gerherd Scholem, "Gruss vom Angelus"

ARCH PROJECT A N G E L U S 展览现场

摄影：ARCH GALLERY

废墟，一种被自然吞咽的永恒的场所。“它们的轮廓纵使历经几个世纪都不曾改变”。站在废墟之上，疮痍的残垣如“庞大的稠密星团”一般“凝视着这片大地”。（Travel Souvenirs，Benjamin）

废墟的图像（Bild）是碎片式的。“就像寓言是想法的提炼，那么废墟就是物质的提炼”。（Under the sign of Saturn，Sontag）在人与自然对物质归属权的斗争中，图像以蒙太奇的方式被组合在一起，构建成文明的根基。然而一种具有“成功者”精神的提炼在野蛮地拣选伟大天才们的姿态时忽视了真正文化的记录，这种提炼却充满矛盾地被称为“历史”。

左：Clays Cotto，木板上丙烯、黏土和米纸

Acrylic, clay and rice paper on panelled board

30x43x2.5cm, 2022

右：Meeting of Calico，木板上丙烯、白棉布和亚麻籽油

Acrylic, calico, oil bar and linseed oil on panelled board

43x60x2.5cm, 2022

ARCH PROJECT A N G E L U S 展览现场

摄影：ARCH GALLERY

相较于尼安德特人，拉斯科人创造的黑颅红身的母牛图像是存在于“未来”的上帝的承诺。这个承诺不属于当下，也因此不具有救赎的力量。真正产生救赎的是每一年定期穿过奥弗涅牧场的密集的驯鹿群不再选择相同的路线和附近不止的河流的干涸。真正的“历史”应该是由“当下”所填满。

回望废墟，甚至当艺术作品也成为废墟时，“过去的一种独特的、不可替代的图像，随着每一个未能意识到自己被其作为目标的现在而消失。”（Sur le concept d’histoire, Benjamin）只有当复数的斑驳和单数的奇景经过“震惊体验”（Chokerlebnis）阻断了整体的奇景和细节的斑驳，过去的有机特性才能抵抗住强风的吹散。

ARCH PROJECT A N G E L U S 展览现场

摄影：ARCH GALLERY

Summer Sands,，木板上丙烯、黏土、油画棒和白棉布

Acrylic, clay, oil bar and calico on board

43x60x2.5cm, 2021

日光和石墙的交融尽管表面上是和谐的，但它们影射的是历史的材质拼接。罗马人在格劳庇乌山战役（Battle of Mons Graupius）让苏格兰人感受到了历史时刻的密度，“被遗忘的受难过去”是客观存在于艺术作品中的。但更激进点说，这种“过去”在当下只存在于艺术作品中了。

因此，当我们处在未来的时间中观看汉娜的作品以及她所描绘的建筑和人造景观时，我们的视角如何与处在当下观看其作品和存在于画面中那些过去的“废墟”产生差别，关键不在于两种视角的比较，而在于当未来并不只是一个美好承诺时，我们该如何记录终将成为过去的当下。

文 | 胡奕航

Mein Flügel ist zum Schwung bereit,

ich kehrte gern zurück,

denn blieb ich auch lebendige Zeit,

ich hätte wenig Glück.

- Gerherd Scholem, "Gruss vom Angelus"

Ruins, an eternal place swallowed by nature. "Their outline remained unchanged even through centuries". Standing on top of the ruins, "the destruction reaffirms the eternity of the fallen stones" and "shones lividly down, dense clusters of stars, upon the earth". (Travel Souvenirs, Benjamin)

The image (Bild) of ruins is fragmentary. "As allegory is the distillation of ideas, so ruins are the distillation of matter". (Under the sign of Saturn, Sontag) In the struggle between man and nature over the right to the ownership of matter, images are assembled in a montage to build the foundations of civilisation. Yet a distillation in the spirit of the "achiever", which ignores the record of true culture in its savage selection of the gestures of great geniuses, is paradoxically called "history".

In contrast to the Neanderthals, the image of the black-skulled, red-bodied cow created by the Lascaux is the promise of the God who exists in the "future". This promise is not of the present and therefore does not have the power of redemption. What is truly redemptive is that the dense herds of reindeer that regularly cross the Auvergne pastures each year no longer choose the same route and that the nearby rivers dry up in more ways than one. The real "history" should be filled by the "present".

Looking back at ruins - even as the artworks become ruins – "a unique and irreplaceable image of the past disappears with each present that fails to realise that it is being targeted." (Sur le concept d'histoire, Benjamin) It is only when the plural patination and singular spectacle block the whole spectacle and the detailed patination through Chokerlebnis that the organic character of the past can resist strong winds that blow it away.

The intercourse of daylight and stone walls, despite their apparent harmony, allude to a material patchwork of history. The Romans at the Battle of Mons Graupius gave the Scots a sense of the density of the historical moment; the "forgotten past of suffering" is objectively present in artwork. But more radically, this "past" exists only in artworks today.

Thus, when we look at Benassi's work and the buildings and human-made landscapes she depicts in a future time, the difference between our perspective and that of viewing her work in the present and "ruins" of the past that exist in the images is not so much a comparison of the two perspectives, but rather when future is not just a promise of good things to come, how we record the present, which will eventually become the past.

- Hu Yihang

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艺术家介绍

汉娜·贝纳西（Hannah Benassi）是一位工作与生活在爱丁堡的苏格兰抽象画家。自从2019年毕业于邓迪大学乔丹斯通艺术与设计学院纯艺术专业并获得一级荣誉学士学位后，贝纳西继续在格拉斯哥美术学院和格拉斯哥大学学习，并于2020年获得了当代艺术策展实践的荣誉硕士学位。贝纳西获得了 Farquhar Reid Trust 奖，并被提名为Saatchi Arts Rising Star（2019 年）。随着她在苏格兰的艺术实践，她的作品已在英国和葡萄牙展出，未来将继续在世界各地展出。贝纳西的近期展览包括与 PADA Studios(Barreiro) 合作的“MARS BLUEBERRIES”、与 Rafiki Gallery (Edinburgh) 合作的“Abstract Zeitgeist”以及与 TATHA Gallery (Newport-On-Tay) 合作的“Beyond Boundaries”。

Hannah Benassi is a Scottish abstract painter based in Edinburgh. Since graduating in Fine Art (2019) with a First-Class BA Honors Degree from Duncan of Jordanstone College of Art and Design, Benassi continued her creative studies at GSA and Glasgow University where she received a distinction in Contemporary Curatorial Practice (2020). Benassi has been awarded the Farquhar Reid Trust prize and was nominated as Saatchi Arts Rising Star (2019). With her practice based in Scotland, her work has been exhibited across the UK and Portugal and continues to exhibit her paintings internationally. Recent exhibitions that showcased Benassi's work from 2021 onwards includes, 'MARS BLUEBERRIES' with PADA Studios (Barreiro), 'Abstract Zeitgeist' with Rafiki Gallery (Edinburgh) and 'Beyond Boundaries' with TATHA Gallery (Newport-On-Tay).

近期获奖：

2019 THE FARQUHAR REID TRUST PRIZE

2019 SAATCHI ARTS RISING STAR

个人展览：

2022 'Meeting of Moments', UPRIGHT Gallery, Edinburgh

2022 'Somewhere Somewhere', ARCH Gallery, Changsha China, 27/05/2022

近期群展：

2022 'Celebrating The Women On Our Walls', UPRIGHT Gallery, Kimpton Hotel, Edinburgh

2022 'BEYOND BOUNDARIES' TATHA Gallery, Newport-On-Tay, Fife

2021 ABSTRACT ZEITGEIST, Group Show, The Rafiki Gallery, The Biscuit Factory, Leith, Edinburgh

2021 MARS BLUEBERRIES, PADA Studios, Barreiro, Portugal

2021 'Group Show', SHRINE Gallery, Digital Exhibition, New York

2020 'New Becoming Normal', Curated by Mhairi Mcphail, Garden Gallery Exhibition, Edinburgh

2020 'ON THE TABLE', Curated by Julie-Ann Simpson, Online Exhibition.

2020 'Free from restrictions', Tatha Gallery, Dundee.

2020 'Zebra Girl' - 5 paintings used for the set of a Scottish independent movie 2020

2019 'History in the making - Reflection on 2019'- The Christmas Auction, Menier Gallery, London

驻地：

2021 PADA STUDIOS, BARREIRO, PORTUGAL

2021 DUPLEX | AIR, LISBON, PORTUGAL

收藏：

COLLECTORS

SAATCHI ART

ART|FORM Consultancy

SINGULART Gallery

ARCH GALLERY

Artpistol Gallery

关于ARCH PROJECT

ARCH PROJECT是ARCH GALLERY支持的实验性展览的艺术空间。与ARCH GALLERY主空间形成呼应，且拥有独立的展示区域。该空间致力于推动当代艺术家的独立实践，以及国际间的跨学科合作，为艺术家提供充分的创作和探索空间，旨在共同构建艺术生态的丰富性，拓展艺术概念的疆域。

ARCH PROJECT is a space supported by ARCH GALLERY for more experimental exhibitions. Today the gallery supports and promotes the work of artists internationally, and ARCH Project is aiming for creating a more interactive art space through collaboration with artists, academic scholars and cooperation that involving more than one artistic discipline. We are responsible for giving artists a space for creativity and exploration and making the ARCH PROJECT embodies courage, diversity, and expands the conceptual boundaries.