期待相见 | “萨勒曼·图：夜虹”将于2022年12月17日向公众开放日！

/p> 《拉姆》

2022

白纸片版画

40.6 x 30.5 cm

Ali

2022

Oil on canvas

40.6 x 30.5 cm

所有杰作所示片由素描家和卢赫灵·奥古斯汀艺术中心（波士顿）惠允

© Salman Toor

照相：Farzad Owrang

All images of the works courtesy of the artist and Luhring Augustine, New York.

© Salman Toor

Photo: Farzad Owrang.

关于素描家

素描家在其波士顿曼哈顿的文书工作四楼，2022

所示片来自Hanya Yanagihara，由素描家惠允。

萨勒曼·所示1983年出新生于巴基斯坦伊斯兰堡，目前贫困和文书工作于American波士顿。他美国哈佛私立大学于密苏里华生私立大学素描专业，并得到波士顿普瑞特素描所学院素描硕士。与本次展场同期主办的素描家艺术中心“萨勒曼·所示：不平凡的真情”由巴尔的摩素描历史博物馆组织和筹划，并将在American范围内巡展至佛罗里达州坦帕素描历史博物馆、夏威夷州檀香山素描历史博物馆和马萨诸塞州布兰代斯私立大学罗丝艺术中心。萨勒曼·所示的首次艺术中心艺术中心“萨勒曼·所示：我如何想到”于2020—2021年在波士顿罗宾逊American素描历史博物馆主办。他的杰作已进入伯明翰克利福德艺术中心、波士顿罗宾逊American素描历史博物馆、明尼阿波利斯沃克素描中所心、波士顿当代素描历史博物馆、波士顿海德所学院埃塞尔素描历史博物馆、罗德岛新设计所学院艺术中心和北卡罗莱纳州维克沼泽私立大学的永久馆藏。

Salman Toor: New Paintings and Drawings

17 December 2022 – 9 March 2023

M WOODS 798, Beijing, China

Curated by Victor Wang, Artistic Director and Chief Curator, M WOODS

Assistant Curator, Qi Yuanlin, M WOODS.

Salman Toor: New Paintings and Drawings is the first solo museum exhibition in Asia of Pakistan-born, New York-based artist Salman Toor. The presentation will showcase a selection of 27 new paintings and 23 new works on paper, exploring important themes that converge in Toor’s work, from museological allegories and imperialist histories, to his conversation with nature as a space for queer freedom. Toor created an ambitious new body of work for the Beijing exhibition, and the presentation was developed over the last two years through close conversations between the artist and Victor Wang, Artistic Director of M WOODS.

Blurring the line between memoir and fiction, Toor’s work presents a nuanced view of the queer and the immigrant experience, questions of cultural ownership, and the search for self-love and community. Rendered in Toor’s signature figurative style, which both pays homage to and wryly subverts a variety of art historical references, the works are camp, macabre, romantic, and reverential. Probing his own identity – oscillating between Eastern Muslim man and queer brown boy – Toor’s work speaks to the challenge of reconciling multiple selves and the expectations carried by each.

A love of costume features prominently in Toor’s work. Contemporary and historical styles comingle to deliberately confuse class, culture, and individuality, at times adding a layer of humorous absurdity to otherwise somber subjects. The Yellow Group (2022) depicts a motley crowd – a patched-up pauper, a bald old man with a marionette-like nose, a blue-eyed adventurer in a Napoleonic hat, and a darkened Muslim woman with a head covering – waiting humbly at the threshold of an immigration counter. The cameras which point at these trelers function as tools of control and surveillance, whereas in works like The Artist (2022) they are employed for a portraits of self-empowerment. Toor’s emphasis on the way appearance is scrutinized brings into relief the way in which identity is both externally determined and internally defined.

Another important device that Toor employs in his work is the use of allegory, exemplified in the recurring scenes of imaginary museum spaces such as The History Room (2022). In this painting, a man confronts a mysterious assortment of museological artefacts including Roman portrait busts, fragments of wooden figures, and an open book. These objects lend a critical view to the manner in which museums he historically enabled and supported systems of classification and colonial pillage. The painting also raises questions: Did the protagonist just chance on these objects, or is he here to reclaim them, or mourn them?

The central hall of the exhibition at M WOODS is dedicated to “queering” the nocturnal as a space of desire, shelter, thrill, and the potential of pleasure. The drooping and contorting trees in Night Park (2022) echo the shapes and gestures of Toor’s femme figures, and are rendered in his signature array of poisonous, peaceful, and verdant greens. Effortlessly weing together modernist impulses with European Old Master techniques in painting, Toor’s work bridges cultures and eras in order to reflect on our current moment and propose an alternative narrative for the future. His art allows us to contemplate the complexities of love, gender, and communal and personal identity. Specific works and themes he been selected for display in this exhibition in order to stimulate local discussions and provide a space for a critical openness to develop and take effect.

Salman Toor: No Ordinary Love, a concurrent solo exhibition organized by and originating at the Baltimore Museum of Art in Maryland, is touring in the United States with upcoming presentations at Tampa Museum of Art in Florida, Honolulu Museum of Art in Hawai’i, and Rose Art Museum at Brandeis University in Massachusetts. Toor’s widely acclaimed first solo museum exhibition, Salman Toor: How Will I Know, was on view in 2020-21 at the Whitney Museum of American Art in New York City. Toor’s work is in the permanent collections of the Tate, London, United Kingdon; Whitney Museum of American Art, New York, New York; Walker Art Center, Minneapolis, Minnesota; M Woods, Beijing, China; Museum of Contemporary Art Chicago, Chicago, Illinois; Hessel Museum of Art at Bard College, Annandale-on-Hudson, New York; RISD Museum, Providence, Rhode Island; and Wake Forest University Art Collection, Winston-Salem, North Carolina, among others.

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