展览 | “Thou·汝” Duo Show of Kong Shengqi & Kang Kun
THOU poster-01
Location

地址 | ADRESSE:

18 Rue Chapon,
Paris, 75003 

Metro: Arts et Métiers (lines 3,11)

7min walk from Pompidou Centre

 

 

Opening Hours

Exhibition

30/08-24/09 2022

 

Opening

le Vendredi 09 Sep 2022 à 18h

 

Open from Tuesday to Saturday

11:00 — 19:00

 

Close on Sunday and Monday

 

 

 
Thou·汝
 
‘All real living is meeting.’ says Martin Buber. Meeting is the one that between me and other people, and ‘I’ cannot survive without the existence of ‘It’, but if ‘I’ is only dependent on ‘It’, its meaning ceases to exist. As G.W. Hegel pointed out in his Phänomenologie des Geistes, human consciousness cannot recognize itself without the recognition of the Other. But ‘It’ is an object and an instrument of purpose for ‘I’. In this relationship, we usually have expectations, but we cannot show ourselves as we really are.
 
Most of the time, the human relationship is an ‘I-It’ relationship, because we often give the object a lot of social roles, but there are some moments in which one can find the pure I and treat the other as if it were the same as oneself, i.e., the ‘I-It’ relationship, which is not the norm. This kind of relationship built by the pure me is something we can’t ask for. The relationship of ‘I-You’ is also a ‘meeting’, unlike the relationship with ‘It’, which is not purposeful, nor is it an object or instrument of each other.
 
The two artists offer two paths of consciousness of the self from the inside out and from the outside in. Kangkun starts from the self and radiates outward thinking, so in his works, most of them are self-centered depictions. The local image of human body constitutes the main element of his sculpture works. These disturbing images are the emotions and posture that the artist is aware of when restoring the true ‘I-You’ relationship. Kong Shengqi, on the other hand, is willing to reflect on himself from an outside perspective, imagining that the ‘I’enters into the object, treating it as if it were himself, and empathizing with it, so that these symbiotic images are a combination of I and you.
 
Their works coincidentally choose sculpture as the main method of creation. Today, these hidden ‘Thou’ are presented to you and me in such a movable and touchable way that the soulful feeling is transformed into the substantive sense of touch, allowing us to be aware of their existence and to gaze at each other, which is a touch and nourishment to the self.
‘All real living is meeting.’ says Martin Buber. Meeting is the one that between me and other people, and ‘I’ cannot survive without the existence of ‘It’, but if ‘I’ is only dependent on ‘It’, its meaning ceases to exist. As G.W. Hegel pointed out in his Phänomenologie des Geistes, human consciousness cannot recognize itself without the recognition of the Other. But ‘It’ is an object and an instrument of purpose for ‘I’. In this relationship, we usually have expectations, but we cannot show ourselves as we really are.
 
Most of the time, the human relationship is an ‘I-It’ relationship, because we often give the object a lot of social roles, but there are some moments in which one can find the pure I and treat the other as if it were the same as oneself, i.e., the ‘I-It’ relationship, which is not the norm. This kind of relationship built by the pure me is something we can’t ask for. The relationship of ‘I-You’ is also a ‘meeting’, unlike the relationship with ‘It’, which is not purposeful, nor is it an object or instrument of each other.
 
The two artists offer two paths of consciousness of the self from the inside out and from the outside in. Kangkun starts from the self and radiates outward thinking, so in his works, most of them are self-centered depictions. The local image of human body constitutes the main element of his sculpture works. These disturbing images are the emotions and posture that the artist is aware of when restoring the true ‘I-You’ relationship. Kong Shengqi, on the other hand, is willing to reflect on himself from an outside perspective, imagining that the ‘I’enters into the object, treating it as if it were himself, and empathizing with it, so that these symbiotic images are a combination of I and you.
 
Their works coincidentally choose sculpture as the main method of creation. Today, these hidden ‘Thou’ are presented to you and me in such a movable and touchable way that the soulful feeling is transformed into the substantive sense of touch, allowing us to be aware of their existence and to gaze at each other, which is a touch and nourishment to the self.
 

马丁·布伯说:凡真实的人生,都是相遇。

 

相遇是我与其他人的相遇,没有的存在,不可生存,但如果只依附于,其意义也不复存在。他人的存在是认知自我的途径,正如黑格尔(G.W.Hegel)在《精神现象学》中表明的,如果没有他者的承认,人类的意识不可能认识到自身。但对于来说,是一种带有目的性的对象与工具,在这种关系里,我们通常带有预期,但我们却无法以本真的面貌示人。

 

大多数情况下,人与人的关系是我与他的关系,因为我们常常赋予对象许多社会性的角色,但在其中的某一些瞬间,人能够在此中发现纯真的我,并把对方当作与自己一样的存在,即我与你的关系,这不是一种常态。这种由纯真的我建立起的一种关系可遇而不可求。我与你的关系也属于相遇,与的关系不同,这种关系没有目的性,也不互相为对象和工具。

两位艺术家提供了由内而外,由外向内两条意识自我的路径。Kangkun是从自我出发,向外发散的思考,所以在他的作品里,多是以自我为中心的刻画,人的身体局部形象构成了他雕塑作品的主要元素,这些令人不安的形象正是艺术家在还原本真之我与你的关系之时,意识到的情绪与体态。而孔圣琪则乐于从一个外部的视角反观自我,他想象进入到对象之中,将对象当作自己一样的存在,感同身受,所以这些共生的形象是我与你的结合体。

 

他们的作品都不约而同的选择了雕塑作为主要的创作方法,今日,这些隐藏之以如此可见可触的方式呈现于你我面前,灵魂性的感念化为了实体性的触觉,让我们意识到他们的存在,并能够与它互相凝视,这是对自我的触动与滋养。

 
 
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ARTISTE | 艺术家 
 
Amoeba_ résine, polyuréthane, cotton, fourrure synthétique, aiguilles, fils, plumes, installation variable, 2020
 
 
Né à Séoul, 1988, Corée du Sud  
 
Formations
 
2017 DNSEP, École nationale supérieure d’arts de Paris-Cergy (FR)
2015 DNAP, École européenne supérieure d’arts de Bretagne, Rennes (FR)
 
Expositions personnelles
 
2021 Perte d’autre moi, Art space Gwanggyo – Suwon museum of art (KR)
2020 Amoeba, Lund gallery, Séoul (KR)
         Autre autre, Space Gachang, Daegu (KR)
2019 Social Clone, Art space O, Séoul (KR)
2016 Étranger, Yohann gallery, Paris (FR)
 
Prix / Sélection
 
 
2020 Support de l'exposition personnelle pour l'art visuel, Gyeonggi Cultural Foundation (KR) 
2019 Support de l'activité créative pour l'art visuel, Gyeonggi Cultural Foundation (KR)
2017 Sélectionné, 27e édition Miniartextil, Côme (IT)
2016 Sélectionné, ARTAGON II, Paris (FR)
Lauréat du Grand prix, Asia contemporary young artist award, Gwanghwamun Internationa Art Festival 2015, Séoul (KR)
2015 Lauréat du Prix du public et coup de coeur du Chassis, Prix Dauphine pour l'art contemporain, Paris (FR)
Théâtre anatomique_©Lajibe_1

Née en 1989 à Pékin.

 

Après l’obtention d’une licence en architecture à la Central Academy of Fine Arts à Pékin, Kong Shengqi a travaillé comme architecte durant deux ans à l’Approach Architecture Studio. Elle commence la pratique de l’art plastique en France. Des arts qu’elle perfectionne à l’École des Beaux-Arts de Paris à partir de 2016. En 2018, elle obtient son DNSAP avec les Félicitations du jury.

 

Suite à son diplôme, elle a participé l’exposition 100% l’EXPO La Villette à Paris, l’exposition émergences.fr au Palais des Beaux-Arts Bozar aux Bruxelles et les nombreuse expositions dans les centres culturels ou les galeries en France, au Danemark et au Luxembourg. Elle travaille et expose régulièrement comme membre de l'atelier Nabuzardan au Pré-Saint-Gervais depuis l’automne 2020. En 2021, elle s’installe en résidence d’artistes au Musée Bernard Boesch et à l’association de l’art Yishu 8 à Paris où elle réalise chacun un séjour comprenant une exposition personnelle. Elle est nominée pour la Bourse des Beaux-Arts de Paris 2020 et lauréate de projet Beaux- Arts de Paris x Altarea, projet Beaux-Arts de Paris x Moët Hennessy et Prix Gide.