开幕时间：2020-06-20 15:00

展览地址：上海市徐汇区龙腾大道2555-4栋

参展人员：瑞秋·罗斯

展览备注：鸣谢：柯芮斯画廊

展览介绍：

美国艺术家瑞秋·罗斯将在2020年6月20日至7月31日于池社举办其在中国乃至亚洲地区的首个个展。继德国卡塞尔弗里德利希阿鲁门博物馆个展及法国巴黎老佛爷基金会艺术中心个展之后 ，艺术家将于上海呈现其广受赞誉的《湖流谷》影像装置作品，“生”系列全新雕塑作品以及“象征”系列摄影作品，以探索人类童年、生命政治、炼金术、精神性、自然等主题在当今时代的意义。

瑞秋·罗斯于2016年创作的影像作品《湖流谷》在伦敦柯芮斯画廊首次公映，后于2017年在威尼斯双年展展出。这一件围绕童年主题展开叙事的影像装置作品使用了以精细技艺手工绘制赛璐珞胶片，以及数千张十八至二十世纪儿童文学的插画扫描图片。由大量静态作品及历史图像构成的《湖流谷》得名于一个虚构的美国城郊地区，讲述了一个被主人遗弃的、形态变幻莫测的动物的生命历程。对于罗斯来说，《湖流谷》探索了如此一种现代理念：童年经验是与成人生活相剥离的。从工业化时期开始，核心家庭的构成就将孩童从成人世界中抽离，而现代儿童文学正是在18世纪欧洲工业革命时期因此社会状况演变生成的。罗斯将遗弃与隔离视作是早期儿童文学的主要叙事，统合庞杂而奇幻的历史资料，写就了《湖流谷》的孤独故事。

在池社空间伴随《湖流谷》展出的“生”系列雕塑作品进一步发展了瑞秋·罗斯长久以来对卵状形态的兴趣。每一件序列命名的“生”雕塑作品均包含一个吹制玻璃“卵”，以及一个卵状或碎壳状的石质结构。对于艺术家来说，玻璃及岩石构成的“卵”是有重要炼金术象征意义的符号，而以《克里斯蒂安·罗森克鲁茨的化学联姻》为代表的古代炼金术文学也以其深藏在风景描述文字中的隐秘炼金术影响了罗斯对于“大地物质”的兴趣：玻璃和岩石是同一种材料——沙——在两种时间及状态的不同表现形式。玻璃即是由沙或极为细碎的石制成的。吹制玻璃在顷刻之间即可塑型，而岩石则是上千年沉寂过程的结果。玻璃不是固体，而是永远处于极缓慢运动过程中的流体，甚至可被称作是流体石。对于罗斯来说，“生”雕塑中的物质汇聚过程指向了卵作为孕育生命载体的丰富潜能。

瑞秋·罗斯最新创作的“象征”系列影像作品则回顾了艺术家对于幻想、虚构景观的兴趣。艺术家在法国卡马尔格地区拍摄影像，随后以技术手段拉伸、扭曲、切割这些梦境般的片段，将动态与静止、生命及前生命时期、虚构及真实等对立关系渲染于其中。瑞秋·罗斯于池社的展览呈现了艺术家富代表性的早期及新近作品，以平面作品、雕塑作品及沉浸式影像装置鼓励观众重新思考生命的脆弱与力量。

瑞秋·罗斯（1986年生于纽约）现生活工作于纽约。罗斯的艺术实践探索了真实与人造事物、内部与外部世界、死亡与生命的变换状态。在创作时，罗斯回顾电影发展史，广泛引用多样电影手法及风格，并通过描绘不同的主题——低温生物学、美国独立战争史、现代主义建筑或是外太空漫步经验等——质询人类身份的意义，并探索改变、加强或逃离此身份的各种尝试及努力。罗斯曾于巴黎老佛爷基金会艺术中心（2020）、卡塞尔弗里德利希阿鲁门博物馆（2019）、阿尔勒LUMA基金会（2019）、都灵Fondazione Sandretto Re Rebaduengo（2018）、费城艺术博物馆（2018）、纽约惠特尼美国艺术博物馆（2015）、伦敦蛇形塞克勒画廊（2015）、都灵Castello di Rivoli（2015）等机构举办个展，曾参加第57届威尼斯双年展（2017）、2014年台北双年展等大型国际展览。

Pond Society is pleased to present American artist Rachel Rose's first solo exhibition in China and Asia, opening on 20th June 2020. After the artist's recent exhibitions at Fridericianum, Kassel, and at Lafayette Anticipations, Paris, the exhibition in Shanghai focuses on showcasing the artist's crit-ically acclaimed video installation Lake Valley, her new series of sculptural work, Borns, and Signs, Rose's latest series of moving image works. As a whole, the exhibition testifies to the artist's explo-ration of the renewed meanings of childhood, biopolitics, alchemy, spirituality, and nature in the turbulent present.

Lake Valley, created in 2016, was first exhibited at Pilar Corrias in 2016, and was later presented at the Venice Biennale in 2017. Concerned with the topic of childhood, Lake Valley is an animation comprised of meticulously hand-drawn celluloid frames and layered plates generated from thou-sands of scanned 18th-20th century children's book illustrations. Set in an imagined American suburb that shares the title of the work, Lake Valley centres on a domesticated chimeric animal left alone by its owners. The impulse for Lake Valley was Rose's inquiry into Western ideas of child-hood as separate from adulthood. Industrialisation gave rise to the nuclear family, delineating the child's role as separate from that of the adult. Modern children's literature evolved out of this in the 18th century during the Industrial Revolution in Europe. Recognising the themes of abandonment and separation as a dominant narrative in early children's stories, Rose wrote a fable that amal-gamated literary sources she was researching from the past, to create her own retelling of loneli-ness.

Also on view are the sculptures of her series Borns, which further develop Rachel Rose's long-term interest in the shape of eggs. For each numerically titled piece, the artist has created a glass-blown shape, which sits atop or seeps into a rock, itself shaped like an egg or eggshell shard. For the artist, the egg is an alchemical symbol; alchemical literature, such as the Chymical Wedding of Christian Rosenkreutz, informed the artist's choice of hybridising elemental substances from the earth: Borns are in effect made of one material—sand—in two different states and times. Glass is made from sand, which is pulverised rock. While blown hot glass sets and takes shape immediate-ly, rocks form over thousands of years. Glass is also not solid: it is a liquid material in slow motion; liquid rock. For the artist, the meeting of materials in Borns presents an analogy with conception embodied in the egg as an embryonic vessel from which life grows.

Rachel Rose's latest series of moving image works, Signs, harks back to the artist's interest in imagined and constructed landscapes. For these, she films animals in their natural landscapes and then distorts and edits them into dream-like scenes, rendering relationships between animate and inanimate, alive and pre-born, and fiction and reality eerie and uncanny. Rose's representative early work and recent artistic developments included in the exhibition together encourage the public to reconsider the fragility and powerful potential of life.

Rachel Rose (1986) lives and works in New York. Rose's work explores states between real and artificial, interior and exterior, dead and alive. Rose draws from and contributes to a long history of cinematic innovation, and through her subjects – whether investigating cryogenics, the American Revolutionary War, modernist architecture, or the sensory experience of walking in outer space – she questions what it is that makes us human and the ways we seek to alter, enhance, and escape that designation. Recent solo exhibitions include: Rachel Rose, Lafayette Anticipations, Paris; Ra-chel Rose, Fridericianum, Kassel; Enclosure, LUMA Foundation, Arles; Fondazione Sandretto Re Rebaudengo, Turin; Philadelphia Museum of Art, Philadelphia; Everything and More, The Whitney Museum of American Art, New York; Palisades, Serpentine Sackler Gallery, London; Interiors, Castello di Rivoli, Turin. Recent group exhibitions include: Viva Arte Viva, 57th Venice Biennale in 2017, and Taipei Biennial in 2014.