SIMULACRA拟像将于2024年6月8日带来吉奥格·诺德马克（Georg Nordmark）和陈高杰（Gaojie Chen）的双个展「舒肤家 Creature Comfort」。当代生活中不规则的事件潮汐此起彼伏，去中心化的身份如幽灵游荡。我们同时扮演医生与病人；饲养员与动物。一个个临时搭建的手术台与保育区让我们迅速地解剖彼此又互相舔舐伤口，鲜血淋漓旋即不留痕迹。借由图像学的方法潜入日常之下的深处，两位艺术家研究系统结构的无形之手对表面世界的驯化与控制，以及个体与网络之间的冲突张力。防护服与野兽面具，被文明包裹的肉身与被兽性挟持的头脑，各种矛盾的象征符号在精心雕琢的意象中维持着脆弱的平衡，精神似乎已经被摊平为一张张斑斓闪烁的皮肤。在问题撕裂约定俗成的体面之前，我们是否仍有机会轻盈一跃，摆脱固定我们的铁锚，在因缘里变换角色，改写射向我们名字的咒语？也许本体应无所住，栖息在流动性之中才最为舒适。
SIMULACRA will present Georg Nordmark and Gaojie Chen's dual exhibition「Creature Comfort」on June 8, 2024. In contemporary life, the tides of irregular events rise and fall, with decentralized identities drifting like ghosts. We simultaneously play the roles of doctor and patient; caretaker and animal. Temporary operating tables and nurseries allow us to swiftly dissect each other and lick each other's wounds, with blood flowing profusely and disappearing without a trace. Using iconography to delve into the depths beneath the everyday, the two artists study the invisible hand of systemic structures that tames and controls the surface world, exploring the tension between individuals and networks. Protective suits and beast masks, bodies wrapped in civilization and minds held captive by animalistic instincts—various contradictory symbols maintain a fragile balance in meticulously crafted imagery. It seems that the spirit has been flattened into a shimmering, colorful skin. Before issues tear apart conventionally accepted decency, do we still have a chance to make a light leap, break free from the anchors that fix us, and change roles within causal relationships, rewriting the spells cast on our names? Perhaps the essence should reside without attachment, finding the greatest comfort in fluidity.
两位艺术家分别从绘画和雕塑的角度，探讨了当下人类生活景观与自然环境之间的交互。陈高杰的作品类似于日常与神话的融合，在他诡谲、异化的意象之中，是艺术家童年时期山海经式的想象与当下生活经验的结合重构。Georg Nordmark通过挪用工具和引用艺术史研究“人类-动物学”现状的物质性，从而模拟动物控制和护理工具中固有的价值与隐喻。
The two artists explore the interaction between contemporary human life and the natural environment from the perspectives of painting and sculpture. Gaojie Chen’s work resembles a fusion of the everyday and mythology, with his grotesque and alienated imagery reconstructing the combination of his childhood "Classic of Mountains and Seas"-style imagination and current life experiences. Georg Nordmark, through appropriation and art historical references, investigates the materiality of our ‘anthro-zoological’ present, exploring the inherent values in instruments of animal control and care.
吉奥格·诺德马克
Georg Nordmark
Georg Nordmark，2021年毕业于斯德哥尔摩皇家艺术学院，现工作和生活于哥德堡。
Georg Nordmark的艺术实践旨在创造一种基于并扩展自用于处理动物的工具和物品的雕塑语言。他的作品通过物品的交流属性来具体化我们“人类-动物学”现状的关系前提，揭示其局限性和未被讲述的价值。
Nordmark的作品视觉语言借鉴了实用工具的反美学特征，具有可识别的功能形状和实用比例。他的雕塑主要受“行为丰富”工具的启发。“行为丰富”是一种通过创建和提供设备来诱发和刺激在笼养环境中被抑制的特定行为的方法，旨在改善动物（如实验动物、宠物、家畜或动物园/保护区的动物）的生活质量。这些物品从行为系统中进行评估和设计，通过观察行为和提供刺激来定义福利。例如，一个装满食物的拼图盒可以等同于野外觅食。
每件作品通过挪用丰富工具，能够唤起动物（包括我们自己）的一系列动作、咬合、抓挠和嗅闻，这些动作被移置到艺术地位和语境中，创造出独特的触感和意图性。由于动物处理的参考框架，这些作品开始引用并转向艺术史上的前辈及其特征，如关系美学的行为导向和科学讨论、极简主义的主导空间感和工业严酷性、超现实主义的荒诞拼装和挑逗触感，以及贫穷艺术的“非高贵”材料和工艺。
通过他的雕塑，艺术家希望探讨艺术物品的功能和特殊性——从高雅的艺术品到原始的刺激和好奇心。作品的潜在和暗示功能作为艺术的代理潜力的体现，利用其内在特质来操控观者，与这些装置最初旨在对待的动物并无太大不同。
Georg Nordmark graduated from the Royal Institute of Art in Stockholm in 2021 and currently lives and works in Gothenburg.
Georg Nordmark has, in his artistic practice, set out to forge a sculptural language based on, and expanded from, instruments and objects used in the handling of animals.
His works draw on the communicative properties of objects to concretize the relational preconditions of our ‘anthro-zoological’ present; its limitations and untold values. The visual language of the realised works relies on the utilitarian anti-aesthetics of practical instruments, with recognisably functional shapes and practical proportions. Nordmark’s sculptures are primarily inspired by instruments of ‘Behavioral enrichment’. ‘Behavioral enrichment’ is a method aimed at bettering the quality of life for animals (for example test animals, pets, lovestock or animals in Zoos/sanctuaries) by creating and supplying devices that evoke and stimulate specific behaviours otherwise inhibited by the artificial conditions of caged life. These objects are evaluated and designed from a behavioural system where welfare is defined from observed behaviour and provided stimuli. This reductionist reasoning allows for example a puzzle box filled with food to equal foraging in the wild.
Each work, by appropriating enrichment items, are capable of evoking movements, bites, claws and sniffs from animals aside from ourselves, which, transposed to an art status and context, creates a distinct tactility and intentionality. Owing to the referential framework of animal handling the works have come to reference and divert toward art historical predecessors and their characteristics; such as the behavioural orientation and scientific address of relational aesthetics, the dominant spatiality and industrial harshness of minimalism, the absurdist assemblages and teasing tactility of surrealism, and the ‘un-noble’ materials and crafts of arte povera.
Through His sculptures, the artist seeks to examine the function and exceptionality of the art object – from elevated pieces of fine art to raw stimuli and curiosity. The potential and implied functions of the works are as such an embodiment of the agential potential of art, manipulating the beholder with its inherent qualities, not so dissimilarly to the animals originally intended to be subjected to these contraptions.
展览节选
个展
2023
Housebroken, Issues画廊，斯德哥尔摩，瑞典；
CHART艺术博览会，Carl Kostyál画廊，哥本哈根，丹麦；
2022
From Being Jealous of a Blind Dog’s Dreams, NSFW/Svilova，哥德堡，瑞典；
2021
Slow Feeder, MFA毕业展，Mejan画廊，斯德哥尔摩，瑞典；
双个展
2024
舒肤家，SIMULACRA Gallery，北京，中国；
群展
2023
Lucky Syndrome, Study for Art Platform，斯德哥尔摩，瑞典；
Downtown Issues II, Issues画廊，斯德哥尔摩，瑞典；
Chart in Tivoli, Tivoli，哥本哈根，丹麦；
Maximum Capacity, Odem Atelier，斯德哥尔摩，瑞典；
Gullringsbo Konstsamling 2.0, Hospitalet，斯德哥尔摩，瑞典；
2022
Gullringsbo Konstsamling, Hospitalet，斯德哥尔摩, 瑞典；
Things That Used to Feel Fun, Amazegallery，斯德哥尔摩，瑞典；
Handels X Mejan, 斯德哥尔摩经济学院，斯德哥尔摩，瑞典；
2021
Downtown Issues, Issues画廊，斯德哥尔摩，瑞典；
Transmission, MFA毕业展，斯德哥尔摩皇家艺术学院，斯德哥尔摩，瑞典；
Nectar, Inter.pblc画廊，哥本哈根，丹麦；
Panoptikon, Långholmen监狱，斯德哥尔摩，瑞典；
2020
Survival of the Fittest, Accelerator，斯德哥尔摩，瑞典；
陈高杰
Gaojie Chen
陈高杰，1993年出生于福建顺昌，2015年毕业于中国美术学院油画系第二工作室。目前生活和工作于杭州。
陈高杰致力于创造一个关于生命、神话和命运的绘画体系，如同燃烧的水晶。面对当代世界中浩瀚而混乱的信息洪流以及个体无限的孤独，他用反乌托邦和神秘的图像来定位自己，反思万物。他从经验中收集碎片，并将其放置在模糊的炼金术中，在风暴的中心锻造出一种刺激物。确实，艺术家的叙事无法明确传达给观众；其中包含的某些概念、符号和偏执尚不清晰；那些纠缠和融合的段落，形成了一张不断扩展的百科全书式的网，甚至超出了作者的理解。
艺术家对揭秘或批判不感兴趣。他的实验类似于施展魔法，创造出开放的混合图像系统，添加偶发的、潜在的、无法解释的、多态的元素，使得画布的入口或出口无法定位。他通过组合的禁闭来抹去内外的界限：描绘虚幻和非理性的图像不是对现实的背叛，而是一种游牧式的逃逸。为了从生活的沉重中解脱出来以获得敏捷，艺术家不得不以宏观模式观察自然规律，以一种另类的超验逻辑干预未来的遗产。
Born in 1993 in Shunchang, Fujian. He graduated from the Second Studio of the Oil Painting Department of China Academy of Art in 2015. Currently lives and works in Hangzhou.
Chen Gaojie is committed to creating a painting system as a burning crystal about life, myth, and destiny. Faced with the vast and chaotic flood of information in the contemporary world and the infinite solitude of the individual, he uses dystopian and mysterious images to anchor himself and reflects on all things. He collects fragments from experience and places them in his ambiguous alchemy, forging a stimulant in the eye of the storm. Indeed, the artist's narratives cannot be clearly conveyed to the viewer; they contain certain concepts, symbols, and paranoia that are not yet clear; passages that are entangled and fused, forming a growing encyclopedic web even beyond the author's comprehension.
The artist is not interested in demystifying or criticizing. His experiments are akin to enchantment, creating open-ended hybrid systems of images, adding episodic, latent, inexplicable, polymorphous elements that make it impossible to locate the entrances or exits of the canvas. He uses the confinement of the assemblage to obliterate the distinction between the outside and the inside: depicting illusory and irrational images is not a betrayal of reality but a nomadic flight. In order to liberate himself from the heaviness of life for agility, the artist is forced to observe the laws of nature in a mode of the molar, intervening in the heritage of the future with an alternative transcendental logic.
展览节选
个展
2019
受肉，马丁·戈雅生意，杭州，中国；
双个展
2024
舒肤家，SIMULACRA Gallery，北京，中国；
2023
金色狮子，万一空间，深圳，中国；
2019
路马头 X 蛇口，中国美术学院铜场 Tproject，杭州，中国；
群展
2023
花鸟集 8.0，想象力学实验室、又俊又勇、R3PM3、马丁・戈雅生意， 杭州，中国；
2022
ART021 上海廿一当代艺术博览会万一空间，上海，中国；
2021
函三，万一空间，深圳，中国；
2020
开光，挥发艺术中心，上海，中国；
宠物店伙计 2:游荡轩尼诗，马丁·戈雅生意 &MINEPROJECT 画廊， 香港，中国；
花鸟集，马丁·戈雅生意 & 想象力学实验室，杭州，中国；
2019
毛坏赛博，马丁·戈雅生意，杭州，中国；
因为:绘画，象山艺术公社，杭州，中国；
苍蝇馆子，马丁·戈雅生意&大田秀则画廊，上海，中国；
好奇柜 3，朵云轩艺术中心，上海，中国；
KingofY2K，西岸艺术中心，马丁·戈雅生意 & 大田秀则画廊，上海，中国；
2018
真实的人生，马丁·戈雅生意，杭州，中国；
后南宋王朝，马丁·戈雅生意 & 金杜艺术中心，北京，中国；
女神的装备一离线的女神，银盐 space，杭州，中国；
2016
反炳伐纣一上海首届 cult 文化艺术展，北外滩艺术园区，上海，中国；
2015
清明:BUKAAOD 首展，LBX 画廊，杭州，中国；
上海青年艺博会，上海国际展览中心，上海，中国；
2014
巴别:变乱后的重建，中国美术学院美术馆，杭州，中国；
