Peng Ke ©
2004 — 2020

Agoramaniac 广场爱恋症
Jimei x Arles Discovery Award, Xiamen, China
集美·阿尔勒国际摄影季
2019.11.22—2020.01.05

If the city can be compared to the human body, then the city square is like its beating heart. The crowd riding the whirlwind is like blood flowing through it. The frequent flow and encounters are random and disordered, yet serve to confirm a staggering and overlapping lifetime. Agoramania, as the name suggests, is a kind of extreme enjoyment and fascination with the crowded public place. For Peng Ke, an artist who has experienced frequent geographical and psychological changes in life, high-speed changes and crammed urban spaces have given her an abundance of sensory materials. Her images capture and reveal some of the complex symbiotic ecosystems of urban life today, the interdependence of interpersonal relationships, and the potential impact of dramatic external changes.

Peng Ke is skilled at capturing visual samples that are birthed and inspired by noisy urban settings, and the display of their psychological rhythm. More importantly, Peng Ke gives a unique tone of mist and warmth to the image. This artificial temperature, like a natural body temperature, reconciles absurd elements of the image.

如果将城市比作人的机体,那么广场就是跳动的城市之心,人群在此如澎湃的血液一般汇集又离散,这样频繁的流动与相遇是随机、无序的,但是又同时印证着交错以及重叠的生命时间。“广场爱恋症”,顾名思义,一种在人群密集的公共场所而产生的极度享受与迷恋感。对于在生活中一直经历着地理及心理上频繁变动的艺术家彭可来说,高速变化以及人流密集的城市空间给予了她丰富的感觉材料。她的图像记录与揭示了今天城市生活中的某种复杂共生的生态系统、人际之间相互依存的联结关系以及外部剧烈变化给人们带来的潜在影响。

彭可擅长捕捉在嘈杂的城市生活之中所滋生与激发的视觉样本及其显现出的紧凑的心理节奏。更为重要的是,“广场”作为一个意指“汇集”的能指,具备天然的共时性,对彭可来说,这样的生态可以存在于从宏观到微观、从立体世界到平面图像的不同层次与维度当中。它将看似怪诞无序的城市异质元素整合到同一的系统,保持元素差异性的同时,又让某种复杂的亲密关联显影。
 
(韩馨逸 Han Liya、王紫薇 Wang Ziwei)
 
 

 
 
The Secured 亲密审讯
Salt Projects, Beijing
2018.07.27—08.30

During the preparation for the show, by chance we realized that the same material for secure enclosures are also used for the strict confinement of people. This violent contrast between a kindergarten and an interrogation room drew our awareness to the fact that security always goes hand-in-hand with strict forms of surveillance. In Peng Ke’s work, these contradictions regularly come to the surface through a subtle situation. She often captures these scenes inadvertently, seemingly by drifting without specific aim through these different settings. The artist neither adheres to the rigid documentation of reality nor does she base her methodology on a voyeuristic gaze. Rather, she situates herself somewhere between a loose and formal approach to image-making, relying on a detached way of looking in order to respond to a specific moment in time. Her photography retains a precocious, innocent, and curious gaze, which shines through a nostalgic light that radiates between her images. Against the backdrop of an ever-changing urban landscape, the corner of a living room steeped in a domestic Chinese aesthetic, or the scene of a public playground in the park – these images and perspectives are extracted from scenes to highlight the different levels of comfort and security that can be found in certain environments. These images also function as a mirror to reflect the incongruous or detached ambivalence that can be felt within these spaces.

The Secured at Salt Projects is Peng Ke’s debut solo exhibition in China and marks her first attempt to expand her photography work towards the creation of a setting within the space. Behind this warm and intimate environment, Peng Ke veils a critical gaze in her work, which in turn underscores a suppressed feeling of tension throughout the exhibition.

在准备本次展览的过程中,我们偶然发现密闭空间提供安全性能的材料往往也可以用于严苛的人身控制。幼儿园与审讯室两者的强烈反差让我们意识到安全感往往伴随着严密的监视。在彭可的创作中,相似的矛盾性经常通过温和的情景凸显出来,捕捉到似乎是无意发呆时映入眼帘的景象。艺术家不是一板一眼地抄写现实,也没有刻意窥视,而是紧凑和游移的方式制作图像,以冷静的观看延续时间。她的图像中保存了一种早熟、无辜且充满好奇的目光。在艺术家特有的颜色和视角中,不断变化的城市风貌、充满中国家庭审美的客厅角落、以及萧条的游乐环境中的舒适、安全感不同程度地显现出来。与此同时,艺术家的图像又像一面镜子,折射出某种不适的情绪。

“亲密审讯”是彭可在中国的首次个展,也是她首次将平面摄影延伸至三维空间和情境创造的尝试。在营造看似温暖而又亲密的氛围的同时,艺术家敏锐的目光隐藏其中,赋予展览现场一种克制的情感张力。