Gu Benchi | 2018

GU BENCHI 顧奔馳

GU BENCHI 顧奔馳

GU BENCHI: THE ENERGY OF ORDER Text by JIANG Xiaoyang

In East-Asian culture, the caisson, a sunken panel set into the ceiling is a layered and richly decorative plafond found in Buddhist temples and palaces usually in the shape of either a square, octagon, hexagon, circle or any combination of these. Its dazzling beauty often signifies the opening of heaven to the earthly world.

In modern society, Shanghai-born artist Gu Benchi intertwines coloured high-strength polyester thread making patterns that are strikingly similar to caisson ceilings. By first painting the canvas with a bold palette, Gu defines the hue for the subsequently conducted weaving work. Following the principles of geometry, he begins with the shapes of square, rectangle and triangle that further become stars or diamonds or pure abstraction.

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The outcome of overlapping of the vivid frontal

surface over the underlying echoing coloured background gives a powerful and rich visual effect of illusionistic perspectival space en masse. With the artwork surface lowering half an inch into the wooden frame, it strikes the resemblance of a caisson ceiling.

It is not a coincidence to make this comparison and it does not merely stay on a superficial level.

In Chinese traditional culture, everything in the universe is cyclical: there is no definite beginning or end. The lines in Gu Benchi’s works continue to intertwine and overlap where the beginning and the end are undetectable. It resonates with the concept of Karma in Buddhism, and being a lay pupil of Buddhism, Gu Benchi weaves the spiritual energy into the exquisite patterns.

On the other hand, with a hint of mathematical contemplation, Gu Benchi’s works also reveal the characteristics of Op Art, patterns which are geometrically arranged. Having a background as a designer at a Japanese firm in his early life, Gu was trained to be rigorous in craftsmanship, structure and details. Inspired by the rigidity in the art of Japanese artists and designers Takenobu Igarashi, Kanemura Osamu and Hiroshi Sugimoto, Gu strives towards a sense of order in his works. He believes the universe is organized with an unseen and subtle order and that human beings naturally aspire towards order over chaos.

Gu Benchi’s works can be described as an emission of the energy of order. The rich layers and three-dimensional visual effects invite the audience to stare at the artwork from different angles for a good while. Trying to figure out the complexity in the arrangement of the lines, one should experience how vibrant and meditative the visual tempo is in order to uplift one’s emotions. There are very few Chinese artists that can make this thoughtful use of the simplicity of material to generate such an immense and immersive energy.

Just as the caisson functions to let the sun’s rays in to light up the otherwise dark mansion built from stones, Gu’s works clearly emits a similar light.

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thread and twine it around the corresponding nail on another side of the frame. By repeating this move I create a very complex geometry. As the last step I use glue to seal every connecting point

INTERVIEW

of the thread and the nail.

The weaving of your work looks very complex.

What is in your mind when you are arranging the lines?

In the very beginning, this body of works was about pursuing a sense of order under the control of reason. The composition was developed strictly according to logical thinking. As I delved into the depth of my artistic practice, I started to realize the

Could you please describe how you select your

value and impact of irrationality and randomness.

materials? What is the process of starting your

Thus, I started to explore the possibility of the

works?

coexistence and balance between logic and my sensibilities in my more recent creations.

I prefer strongly textured materials. Texture plays a very important role when you try to endow an

What is your artwork trying to express?

artwork with a sense of “flesh”, and defines the inherent temperaments and characteristics of the

I try to probe the concept of logic and sensibility

artwork.

and the emission of life energy, from the perspective of a human being.

The process can be described as conceiving, painting, pinning, threading, adjusting, readjusting,

What is your favorite art piece(s)? How do they

and readjusting again…until it’s complete.

inspire you?

To elaborate the process stated above, I produce

I would say Mondrian’s and Malevich’s artworks.

a technical drawing first on my computer. Maybe

In their creation I see that art can be governed by

it’s because I was a professional designer that

reason and perception rather than feeling.

I keep the habit of making mock-ups, a way to come up with the best visual arrangements.

You also see Takenobu Igarashi, Kanemura

When it comes to implementation, I brush the

Osamu and Hiroshi Sugimoto as influential to your

stretched canvas with acrylic first and wait for it to

creation. In which aspect is the influence? Do you

dry. Following my design, I mark around the inner

see any common ground in your artworks?

side of the wooden frame to tap the stainless

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steel nails on the marks. To begin my weaving I

Takenobu Igarashi is a modernist design master.

tie the thread to the first nail, and then stretch the

What I like the most about him is that he has

“WE ARE NEITHER THE ENEMY OF OUR TRADITION, NOR THE SLAVE OF IT.” continuously been using typeface design as the

a friend. He taught me how to gain power from

element to design calendars for MoMA for the last

the peace in my heart.

ten years. Through his rigorous typeface design I was exposed to the laws of spatial composition

The greatest enlightenment is that I have learned

for the first time.

to observe my Self in my artistic practice, through which I get to better understand my ego and the

Kanemura Osamu’s photography conveys the

universe I am in.

energy of architectural density. Under his teacher Kiyoshi Suzuki’s instruction he tried to juxtapose

What place has inspired you the most for your

different scenes into one frame, and this instruction

creation?

remains an influence to me as well.

I would say it is in my studio, where I do copious As for Hiroshi Sugimoto, he is more like a

amounts of repetitive work. To me inspiration

philosopher in my eyes. His artworks attract us

serves as a trigger point that triggers the qualitative

to reflect on time and space as well as ourselves.

change from accumulating quantitative changes.

Novel ideas in our mind are often generated based

They are all masters with the background of the

on our familiarity with the existing knowledge.

rapid westernization in Japan after World War II. Through their artworks I learned to confront our

If you were to explore other materials, what would

own traditional visual culture with a similar attitude:

be your interest?

we are neither the enemy of our tradition, nor the slave of it. In our artworks, we all deliberately

Mechanical and light installation.

investigate the boundaries of different cultures in the world with the realization that we never have

How do you see yourself fitting in the Chinese art

the omnipotent freedom from our tradition.

scene as well as internationally?

What is your spiritual practice routine? How does

I never pay attention to it.

it enlighten your artistic practice?

Please describe how you want to be remembered I wouldn’t claim myself as a Buddhist, and I

as an artist in one sentence.

wouldn’t count my deeds as spiritual practice. I am a layman who sees Buddha as a mentor and

(My art) to become eternal.

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顧奔馳：「秩序」的能量 文/江小陽

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在東亞文化中，藻井是常見于佛教石窟和宮殿的一種精美絕倫的裝飾性天花，一般由 多層斗拱組成，每層呈方形、六邊形、八邊形或圓形，層層疊疊向頂棚凹進。藻井美 麗眩目似是天宇，象徵著從凡間通往天庭之路。 在現代社會中，生於上海的藝術家顧奔馳用高強度彩色滌綸線編織出與藻井出乎意料 相似的圖案。創作過程中，顧氏先用鮮豔的顏色塗抹畫布，為之後的編織定下色彩基 調。遵循著幾何學的基本原理，藝術家先從方形、矩形和三角形等基本形狀入手，進 一步將其演變成星星、鑽石或者純抽象圖形。作品生動鮮明的表層和與之呼應的彩色 背景疊加起來，整體效果營造出富有張力並且如夢似幻的透視空間。作品的表面比裝 裱的木框架低進去半吋，正如藻井凹進窟頂。 這個類比並不是巧合，程度亦不僅僅流於表面。在中國傳統文化中，世間萬物皆被視 為處於循環往復的狀態，沒有始終。顧奔馳作品中的線延綿不絕地交疊，亦是不知 始末。這種狀態與佛教中「業」即因果的概念頗有共通之處。而顧氏亦是修習佛學之 人，他把這種精神領域的能量編織進優美的圖案之中。 另一方面，顧奔馳的作品亦有些許數學上的玩味，俱有歐普藝術（Op Art）的特點， 即幾何形畫面帶來的視幻效果。顧氏早期在日本公司擔任設計師，得以受訓成為一 位在工藝、結構和細節上十分嚴謹的人。顧氏亦受啟發於日本藝術家與設計師五十嵐 威暢（Takenobu Igarashi）、金村修（Kanemura Osamu）、杉本博司（Hiroshi Sugimoto）作品中的嚴謹性，不遺餘力地在他的作品中追求「秩序感」。他堅信整個 宇宙都是存在於一種隱匿而又微妙的秩序中，而人類會理所當然地追求「秩序」而非 「混沌」。 顧奔馳的作品散發著一種由秩序釋放的能量。豐富的層次感和三維視覺效果令觀眾得 以從不同角度對作品凝視良久。人們總會嘗試理解作品中線的複雜走向，但同時更應 該做的是體驗其中的視覺節奏所帶來的活力與禪定，精神將為之一振。而中國藝術家 之中只有寥寥數人有如此見解，能利用樸素的材料創造出如此巨大而富有感染力的能 量。 正如古時候藻井的採光功能，讓室外的陽光穿透照亮黑暗的石室，同樣的光芒亦從顧 奔馳的作品中照射出來。

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你是如何選擇你的創作材料的？ 請描述一 下你的創作過程。

藝術家訪談

個人偏愛那些擁有強烈質感的材料。因為 質感是讓藝術品俱有「肉身」非常重要的 一環，並且材料的質感也決定了作品內在 的氣質和屬性。 製作的過程大概是這樣的：構想－刷底－ 敲釘－繃線－調整－繼續調整－繼續調 整……直到完成。

「我們既不是傳統的敵人， 也不是傳統的奴隸。」

具體來說，我首先在電腦裏把要創作的圖 像模擬出來。這個可能是以前做設計師的 職業習慣，先畫效果圖，做出最佳的視覺 方案。然後在木框架上繃上畫布並刷上丙 烯顏料。待顏料乾透後，在木框四周依據 我的設計圖稿做標記，然後在標記處敲上 不鏽鋼釘。然後將絲線在第一個釘子上打 結固定，拉挺後在對面或是相對應的釘子 上纏繞後折返。以此往復最終形成一幅複 雜的幾何圖形。圖形完成後，在釘子和絲 線的連接處用膠把其封死，這也是製作的 最後一個步驟。 你作品中的編織看起來非常複雜。在安排 線的走向的時候，你的思維是怎麼運作 的？ 這個系列最開始追求的是一種理性支配下 的秩序感，畫面的結構嚴格按照邏輯的發 展來進行編排。但是隨著創作的不斷深 入，我察覺到非理性的、隨機事物的價值 和作用。所以在最近的一些作品中，我試 圖在理性的邏輯思維和感性的隨機中探索 並置和平衡的可能性。 你想要通過你的藝術品表達什麼？ 作為人類的一員試圖探索理性邏輯、感性 認知和生命能量的釋放方式。

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你最喜歡的藝術品有哪些？這些作品給你 作為一個佛學愛好者，你日常的修行是怎 的創作帶來怎樣的啓發？ 麼樣的？精神實踐對你的藝術實踐有什麼 影響或者啓發嗎？ 蒙德里安（Piet Mondrian）和馬列維奇 （Kazimir Malevich）的作品。藝術作品 很 慚 愧 ， 我 覺 得 自 己 稱 不 上 是 一 位 佛 教 除了表達情感，也可以完全由理性和觀念 徒，「修行」二字更無從談起，但我更樂 來支配。 意將釋迦摩尼看作一位導師和朋友。畢竟 在如何從內心的平靜中獲取力量，是他教 你 也 提 到 過 你 受 到 五 十 嵐 威 暢 導了我。 （Takenobu Igarashi）、金村修 （Kanemura Osamu）、杉本博司 最大的啓發是我學會了（在創作中）如何 （Hiroshi Sugimoto）等日本名家的影 觀察「自我」。通過不斷地對「自我」的 響，請描述一下他們從什麼方面影響你的 體察，來更好地去理解我們自身和我們所 藝術創作。你的作品和他們的作品的共同 處的這個世界。 點是什麼？ 哪個地方為你的創作帶來最多靈感？ 五十嵐威暢（Takenobu Igarashi）作為 一位現代主義的設計大師，我最喜歡的是 我的工作室：工作，大量重複的工作。所 他連續十年為紐約現代藝術博物館設計以 謂的靈感只是一個量變到質變的觸發點。 字體為元素的年歷。從這些邏輯嚴謹的字 新的想法往往是建立在對原有舊事物熟悉 體 設 計 中 ， 我 第 一 次 知 道 空 間 的 構 成 發 之上的。 展。 如果未來要探索其他材料的話，你會選擇 金村修（Kanemura Osamu）的攝影作 探索什麼？ 品讓我感受到了密集構造的能量。而他授 業老師鈴木清（Kiyoshi Suzuki）的那句「 機械和燈光裝置。 想辦法讓不同的場景重疊起來」，到現在 還在影響著我。 你怎麼看待你在中國藝術圈的地位？在國 際藝術圈呢？ 杉本博司（Hiroshi Sugimoto）更像是一 個哲學家。他的作品讓人陷入對於我們自 我沒有特別關注。 身以及時間和空間的思考中。 請用一句話描述一下作為一位藝術家你希 他們的共同點都是二戰後日本社會快速西 望如何被記住。 化的背景下成長起來的傑出藝術家。而從 他們的作品中，我也學習到了以何種姿態 （我的藝術）進入永恆。 去面對我們自身的視覺傳統。我們既不是 傳統的敵人，也不是傳統的奴隸。自由也 並不是無所不能，而是（在我們的作品 中）審慎地探索著這個世界的邊界究竟在 哪。

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On-site installation at 10 Chancery Lane Gallery

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Endless Line No.39 2018 Polyester yarn line, stainless steel nail, hot melt adhesive, acrylic 180 x 180 cm

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Endless Line 2018-05 2018 Polyester yarn line, stainless steel nail, acrylic adhesive, acrylic 150 x 150 cm

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Endless Line 2018-01 2018 Polyester yarn line, stainless steel nail, acrylic adhesive, acrylic 90 x 70 cm

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Endless Line 2018-06 2018 Polyester yarn line, stainless steel nail, acrylic adhesive, acrylic 90 x 70 cm Endless Line No. 60 2018 Polyester yarn line, stainless steel nail, acrylic adhesive, acrylic 120 x 150 cm (shown on the following page)

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Previous page: Endless Line 2018-07 2018 Polyester yarn line, stainless steel nail, acrylic adhesive, acrylic 145 x 200 cm Installation shot of Endless Line 2018-07

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Previous page: Endless Line 2018-07 2018 Polyester yarn line, stainless steel nail, acrylic adhesive, acrylic 145 x 200 cm Endless Line No.30 2014 Polyester yarn line, stainless steel nail, acrylic adhesive, acrylic 120 x 104 cm

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Endless Line No.27 2018 Polyester yarn line, stainless steel nail, hot melt adhesive, acrylic 112 x 120 cm

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Endless Line 2018-14 2018 Polyester yarn line, stainless steel nail, acrylic 150 x 150 cm

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Endless Line 2018-17 2018 Polyester yarn line, stainless steel nail, acrylic adhesive, acrylic 120 x 120 cm

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Endless Line 2018-10 2018 Polyester yarn line, stainless steel nail, acrylic 100 x 100 cm

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Endless Line 2018-09 2018 Polyester yarn line, stainless steel nail, acrylic adhesive, acrylic 100 x 100 cm

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Endless Line 2018-11 2018 Polyester yarn line, stainless steel nail, acrylic 120 x 120 cm

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Endless Line No.34 2014 Polyester yarn line, stainless steel nail, acrylic adhesive, acrylic 170 x 170 cm

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Endless Line No.14 2013 Polyester yarn line, stainless steel nail, hot melt adhesive, acrylic 180 x 180 cm

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Endless Line No.17 2013 Polyester yarn line, stainless steel nail, hot melt adhesive, acrylic 180 x 180 cm

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Installation shot, 2017, “Degree Zero of Art” the Rational Expression of Abstract Art, Hive Center for Contemporary Art, Beijing

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Endless Line No.56 2017 Polyester yarn line, stainless steel nail, acrylic adhesive, acrylic 100 x 120 cm

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INSTALLATIONS

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Möbius III, 2017,“Extension at Sea” Shanghai Artists Joint Exhibition, China Art Museum, Shanghai, China

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MÜbius - bloodline, 2018, Chen’s family ancestral temple, Ningbo, China

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Mรถbius VII, 2018, Shanghai, China

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Gu Benchi Born in Shanghai in 1979 Solo Exhibition 2018

Gu Benchi Solo Exhibition, 10 Chancery Lane Gallery, Hong Kong CHORUS” The First Exhibition of QIDU Gallery, QIDU Gallery, Shanghai

2014

“Endless Lines”, Fabrik Gallery, Hong Kong

Group Exhibition 2018

2017

2016

2015

2014

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“TIME LINE” Abstract Art from China,10 Chancery Lane Gallery, Hong Kong “Practice of Cloud Space” Public Art Group Exhibition, Yun.Contemporary Arts Center, Shanghai “Extension at Sea” Shanghai Artists Joint Exhibition, China Art Museum, Shanghai “In X Shanghai” Contemporary Art Group 2013 Exhibition, ISGO Galley, Shanghai “Degree Zero of Art” the Rational Expression of Abstract Art, Hive Center for Contemporary Art, Beijing “Urban Fable” Greenland Colorful Cities Art Exhibition / Shanghai / Greenland Art Gallery “Cismontane Scenery Beyond Compare Here” Joint Exhibition of Young Artists, Mount Huang, Mount Qiyun Art Field “Line” China and South Korea Exchange Project “Bridge” Series II, Korean Cultural Institution, Shanghai “FOTILE Theatre” FOTILE Art Transboundary 2012 Annual Exhibition - Shanghai Section, FOTILE Style Experience Center, Shanghai “Urban Variation - Spindrift.Urban Spacial Creative Art Project, Hongqiao Vanke Center, Shanghai “Discover the world” Contemporary Art 2010 Group Exhibition, CREATER SPACE, Shanghai

“Mix”Group Exhibition in May, ISGO Galley, Shanghai 2009 The 1st National Biennial Comprehensive Materials Painting Exhibition,Ningbo Museum 2008 of Art, Ningbo “Diamond Leaves” The 2nd Exhibition of Artists’ Books From Around the World, CAFA Art Museum, Beijing “Infinite Touch” Abstract Artwork Group Exhibition, ISGO Galley, Shanghai “Pursuing Dream - Shanghai Sculpture Exhibition”, Shanghai Sculpture Space, Shanghai

The 12th National Exhibition of Fine Arts, The National Art Museum of China, Beijing “Synaesthesia ” Talented Young Artists Exchange Exhibition Cross the Strait, 798 Soka Art Center, Beijing “Image Is Concept” Group Exhibition, Dalian Art Museum, Dalian “Color Temperature” China Young Artist Project Group Exhibition, China Istanbul exchange exhibition, Osman Hamdi Bey Hall Mimar Sinan Fine Arts University, Istanbul “Interactive Vision” - A Contemporary Art Exhibition across the Strait, Taiwan, National Taiwan Museum of Fine Arts, Beijing, The National Art Museum of China “Story of the Twin Cities” - Li Zeng Guo and Gu Benchi Duo Art Exhibition,The Galley, Shanghai “NEW DIRECTION” YoungChinese Contemporary Artists Exhibition, Sino-Russian Cultural Exchange Year, MOMA Contemporary Art Museum, Moscow CYAP China Young Artist Project Group Exhibition,No. 5 Guanghua Road International Convention and Exhibition Center, Beijing “Beyond Vision” - Group Exhibition of Young Artists, Zhujiajiao Himalaya Museum, Beijing “Community Community” Group Exhibition, Wanshengyuan Art Museum, Beijing Winners Exhibition of Epson Color Image Contest, Epson Art Gallery, Shanghai, Beijing

顧奔馳 1979年 出生於上海 個展 2018 顧奔馳 個人展覽，10號贊善里畫廊，香港 “和弦”器度畫廊開幕展， 器度畫廊，上海 2014 “構造學”，Fabrik 畫廊，香港 群展 2018 “無法闡釋”青年藝術家聯展，半境藝術中 2014 “追夢時空”—上海雕塑藝術邀請展，上海城 心，上海 市雕塑藝術中心，上海 “光 . 線”顧奔馳 翟宣弘 聯展，ATA空間，上 第12屆全國美術作品展，中國美術館 ，北京 海 “同構對畫”兩岸青年藝術家作品交流 “並置的時態”當代藝術聯展，城市創客空間 展，798索卡藝術中心 ，北京 ，上海 “圖像即觀念”群展，大連藝術館，大連 批評家年會青年藝術家推薦展，上海展覽中 心，上海 2013 “色溫”“中國青年藝術家扶持推廣計劃” “時間 線”來自中國的抽象藝術，10號贊善里 （CYAP）伊斯坦布爾交流展， 畫廊，香港 奧斯曼哈姆迪省長廳，米馬爾斯楠藝術大學， 伊斯坦布爾 2017 “雲之空間實踐”公共藝術聯展，雲藝術中 “交互視象”－海峽兩岸當代藝術展，台灣國 心，上海 立美術館，台灣，中國美術館，北京 “海上延伸”上海藝術家聯合大展，中華藝術 “雙城故事”－李增國、顧奔馳二人藝術聯 宮，上海 展，閣蕊莉畫廊，上海 “三幕-遊戲”新星星美術館開幕展，新星星美 術館，南京 2012 中俄文化交流年“NEW DIRECTION” 中國青 “在X 上海”當代藝術大展，ISGO畫廊，上海 年當代藝術家展，MOMA當代美術館，莫斯科 “零度之維”抽象藝術的理性表達，蜂巢（北 京）當代藝術中心，北京 2010 “超視界”—青年藝術家聯展，朱家角喜馬拉 “都市寓言”綠地繽紛城藝術展，綠地藝術 雅美術館，上海 館，上海 “風景這邊獨好”青年藝術家聯展 / 黃山 / 齊 2009 “群落 群落”群展，萬盛園美術館，北京 云山藝術場 “線”中韓交流項目“橋”系列II，韓國文化 2008 愛普生彩色影像大賽獲獎作品展，上海，愛普 院，上海 生藝廊，北京 2016 “方太劇場”方太藝術跨界年度展—上海站， 方太生活家，上海 “城市變奏”—浪花.城市空間創享藝術計劃， 虹橋万科中心，上海 “發現世界的方式”當代藝術聯展，創邑 SPACE，上海 五月“混”藝術家聯展，ISGO畫廊，上海 2015 首屆全國綜合材料繪畫雙年展，寧波美術館， 寧波 “鑽石之葉”第二屆全球藝術家手製書展，中 央美術學院美術館，北京 “無限撫摸”藝術家抽象聯展，ISGO畫廊，上 海 56

ALL WORKS OF ART COPYRIGHT Š GU BENCHI 10 Chancery Lane Gallery Designed by Rachel MAN Tung Ching This booklet is published on the occasion of the exhibition Gu Benchi’s solo exhibition at 10 Chancery Lane Gallery, Hong Kong from October 19 to November 3, 2018.

ALL RIGHTS RESERVED. No part of this publication may be reproduced or transmitted in any form or or by any means, electronic or mechanical, including photocopy, recording or any other information storage and retrieval system, without prior permission in writing from the publisher.

Printed in Hong Kong, 2019