duration_ May 26–June 23, 2018
opening_ Saturday, May 26, 5–8 PM
opening_ Saturday, May 26, 5–8 PM
Gallery Vacancy将呈现艺术家John Yuyi于中国的首次个展──JOHN YUYI。John Yuyi本名江宥仪，1991年生于台湾，毕业于台湾实践大学服装设计系，现生活并工作于纽约。John Yuyi是艺术家平行于真实自我的一个分身，反映了其艺术实践中身分多义与幽默特質。John Yuyi的艺术实践根植于信息时代的网络社交、emoji表情符号美学、以及消费主义下的品牌行销与网红现象。艺术家对虚拟世界个体形象的塑造蕴藏着她对于身份、身份认同的思考，展露出千禧一代的生存美学与生活情绪中的戏剧张力。
在設計師吳季剛工作室的工作经验赋予了John Yuyi对潮流的敏锐度与独到的审美趣味。2014年，为了庆祝她的脸书粉丝达到2,000人，John Yuyi拍摄了Bodypost系列。她将脸书上"Like"与自己的名字"JOHN YUYI"通过临时纹身转印在身上，把皮肤变成画布、身体变为直观的「脸书」。17年Yuyi又发表了Becoming Famous系列－她将美国流行文化名人Kylie Jenner的面孔制作为纹身贴纸，以其为面具贴在脸上自拍，在Instagram上获得热烈迴响。
流量（followers）构建了网路世界中新的阶级，也成为各个品牌兑换商业动机的衡量标准。John Yuyi洞悉了网络社交平台的游戏规则，将品牌效益转化为其个人窗口的展示，品牌商标由此被挪用、弱化为视觉图案，在短时间内吸引了大批粉丝，隨後而成为Gucci、NIKE Air Max等品牌的广告新宠，并与其合作推出多次项目与形象广告。既是摄影师又是模特、既是设计师又是艺术家，在身份的叠加与转换过程中，Yuyi超脱了个人身份，获得了更多自我实践的可能性；同时也揭示了受众对于网络符号的关注──在商业动机主宰的游戏中──不断被异化、从商标转移至个人的过程。
网络社交和商业消费作为当下生活的必需品，在侵入日常的同时无不夹杂着未知与不安。John Yuyi在Tinder Match与Back Post等系列中，通过网路平台敏锐地捕捉、提取、放大其中看似再习以为常不过却隐藏戏谑的可能性的信息，将其挪用、叠加，并借以身体通过可被快速观看及传播的图像形式再次重现于网络平台。所形成的循环通过无限的镜像重叠、反射，用以审视虚拟与真实世界里自我与自我及自我与他人之间不稳定的关系。
半透明胶片呈现下的影像可能会让你觉得似曾相识却又眼前一亮。随着不同的观看角度下会显现作品之间不同程度的层叠渗透，我们似乎可以窥见和感受John Yuyi是如何来回游走于观察、表达、反馈的视角之间。John Yuyi也正是以一种不自知的即兴创作状态，在转化文字及图像原有语境的同时构建了新鲜的，共通的视觉语言。它的强烈，刺激，准确，直白持续激发着大量年轻群体的共鸣。这样的行为本身携带着相应的群体认同便成为了当下快速消费，亚文化膨胀最直面的体现。她似乎从不过度解读这样的现象，她沉浸其中，她和我们拥有同样的情绪。你也许会在这个空间里发现，她不仅是我想要成为的样子，她好像就是我。
展览JOHN YUYI也有意潜入John Yuyi在虚拟世界创造的身份背后。无论是在成为John Yuyi之前还是之后，他对于自身、对他人从未停止过好奇。也正因如此，期待回应的阈值在John Yuyi的生活和艺术创作中都被无限放大。就像由Mouse Cursor和Your Broken Text生发出的最新装置作品I Tree To Call You（我树着打给你），John Yuyi在这个不可能持久生长植被的画廊空间内种植一棵树木，并将网络符号及简讯信息转印在每片树叶表面。如同她作用于作品对象的临时纹身一样，叶片不定期的掉落携带着John Yuyi自身在网络交往中的期待、未知与不安，也终将落入它短暂性的宿命。或许John Yuyi这般既向内又向外的探险已不单单是她情绪出走的通道，更是未来作品野蛮生长的养料。
Gallery Vacancy is pleased to present JOHN YUYI, John Yuyi's first solo exhibition in China. Born in Taiwan in 1991 and originally named Jiang Youyi, she graduated from Shih Chien University in Taipei with a degree in Fashion Design and currently lives and works in New York. John Yuyi has become another avatar, parallel to the artist’s true self and reflected in the ambiguous and whimsical qualities of her artistic practice. Her artistic practice is based on the Internet social mode of the Information Age, emoji aesthetics, brand marketing under consumerism, and the Internet-celebrity phenomenon. It highlights the artist's self-recognition in the real world and the individual image-molding in the virtual world, reveals her reflections on the body and identity, and presents the existential aesthetics and theatricality within young generations’ lives in contemporary society.
John Yuyi's work experience in the fashion industry has given her a sensitive sense for finding new trends and unique aesthetics. In 2014, to celebrate her Facebook fan count reaching 2,000, she launched her Bodypost series, in which she transferred the “Like” label from Facebook and her name “JOHN YUYI” onto her body using water-transferred temporary tattoo stickers, turning her skin into a canvas, her body into an intuitive “face book.” Taking advantage of the temporary and removable nature of the watermark sticker, in 2017 John Yuyi created her Becoming Famous series, in which American popular culture celebrity Kylie Jenner became the image of her transfer sticker. She wore it as a mask and posted selfies on Instagram, receiving enthusiastic responses from the Internet audience.
The ability to gain followers has formed a new class in the online world and become a measure of major brands’ commercial exchange motivation. John Yuyi captured a crowd in a very short amount of time and became a new favorite of brands such as Gucci and NIKE Air Max, with whom she has launched several projects and commercial campaigns. With her insight into the rules of social networking platforms, she simplifies the brand's trademark into pure patterns and icons, then translates the brand's benefits into her most powerful showcase. Being a photographer and a model, a designer and an artist, John Yuyi gradually separates herself from an artist’s own identity through constant superposition and conversion, expanding the possibilities of constructing and reorganizing her identity. Meanwhile, her practice reveals the process by which the audience’s attention toward an Internet icon is constantly alienated and transferred from trademarks to individuals, in a game dominated by business motives.
Through Tinder Match and Back Post, John Yuyi distills theatrical information from her observation of surroundings and puts them into her artistic practice. John Yuyi’s whole creative process could be interpreted as a loop, which begins with the anxiety caused by our daily life amidst social networks and consumerism, and ends with posting them back to the network platform. Mirrors at the entrance further reflect this loop by revealing the ambivalent relationship of self-defining in the world in which we live.
John Yuyi’s portrait photography on transparent films creates another dynamic space. While you are walking through this space, what you see will change, and individual pieces might overlap, depending on your angle of view. This experience, in a way, illustrates John Yuyi’s wandering state with her creative process. The uncertainty helps Yuyi create her unique language: universal, strong, and direct. By utilizing this language, John Yuyi’s accurate capture and expression resonate with the young generation. She gradually becomes the most contemporary representation of our fast-paced society and the swelling subculture phenomenonas an observer.
The exhibition JOHN YUYI intends to unveil what is behind John Yuyi’s virtual world. Yuyi always keeps her curiosity and never stops challenging herself. The unstable relationship between people will always be Yuyi's creative motivation. Her latest work, I Tree To Call You, based on the works of Mouse Cueser and Your Broken Text, is a performance of planting a tree inside of the gallery space and transferring the “communicative information” on each leaf’s surface. This practice might remind you of Yuyi’s work with temporary tattoos because they are both destined to disappear. The transience we see in Yuyi’s work gives John Yuyi limitless possibilities to explore herself, and we hope she always eludes definition.