东画廊欣然宣布艺术家吕松参加和美术馆群展「南方故事」，呈现一组题为「阿摩斯神殿」的作品。展览「南方故事」旨在探索语境变迁、制度改革、媒介转变与机构沉浮对南方艺术产生的影响。重新梳理了一百五十年来的南方艺术发展脉络，重点关注南方艺术模糊、争议与对抗的切面，为观众呈现持续波动中的南方艺术图景。
Don Gallery is pleased to announce the participation of artist LU Song in the group exhibition "Tales of the South" at He Art Museum, presenting a group of works entitled "Amos Temple". The exhibition aims to explore the impact of changing contexts, institutional reforms, media shifts, and the rise and fall of institutions on the South art, which also reorganises the development of South art over the past 150 years, focusing on the ambiguous, controversial and confrontational aspects of South art, and presenting a picture of the South art in the midst of continuous fluctuations.![]()
和美术馆展览现场，摄影：王宇超 Installation View, He Art Museum, photo by Hubert Wang
梦总是有意义的，从来不会错，是现实世界没有成长到梦的正常状态。电话簿说谎骗人，火车选择了不适当的方向，街道看起来彼此过于相像，城市名称中字母出错，人们常常忘记自己的名字。只有梦是真的。
This is no reason not to believe in dreams, it finally occurred to her. They always make sense, they never get it wrong – it’s the real world that doesn’t live up to their perfection. Phone books tell lies, trains go in the wrong direction, the letters in the names of cities get mixed up, and people forget their own names. Only dreams are real.
——《阿摩斯》奥尔加·托卡尔丘克
Amos, Olga Tokarczuk
吕松的「阿摩斯神殿」系列作品受启发于托卡尔丘克短篇小说《阿摩斯》，故事讲述了一个银行女职员凭借梦境的启示寻找信仰却以失败告终的故事。在文章高潮部分，信仰与现实矛盾激化的时刻，主角目光停留在一个房间内部，在这里她经历了和这个房间以及房间的主人从陌生到熟悉，再到陌生的过程。小说全篇结构分成三部分，第一、第三与主要部分并无太大联系，三段不完整的故事以拼图式写作方式还原了对某事件的感受。LU Song's "Amos Temple" series was inspired by Tokarczuk's short story "Amos", which tells the story of a female bank clerk who searches for faith with the revelation of her dreams but fails. In the climax of the text, a moment of conflict between faith and reality, the protagonist's gaze rests on the interior of a room, where she undergoes a process of transition from strangeness to familiarity to unfamiliarity with the room and its owner. The structure of the novel is divided into three parts, the first and the third are not very much connected with the main part, and the three incomplete stories are written in a jigsaw style to restore the feeling of a certain event.Amos Temple-3 阿摩斯神殿-3, LU Song 吕松, 2021. Acrylic on canvas 布面丙烯, 200 × 150 cm（Left 左）
Amos Temple-5 阿摩斯神殿-5, LU Song 吕松, 2021. Acrylic on canvas 布面丙烯, 200 × 150 cm（Right 右）该系列的12张绘画作品也按照不同创作阶段被划分为三组。最上面的两幅作品完成于吕松于海南三亚驻留期间；中间两幅是对主题的延伸，完成于北京工作室；中间左右两侧以及最下面的八幅作品则试图摆脱主题与文本的约束，从艺术家自身经验出发，产生对当下境遇的思考与想象。整体三组作品的排列方式在视觉上产生一种建筑感，呼应了托卡尔丘克的小说中对房间的描述，同时也回应了该作者典型的“星群式写作”风格，即通过碎片式但前后关联的短篇故事拼凑出复杂、多样的叙事方式。
This series consists of twelve paintings, divided into three groups according to different stages of creation. The top two paintings were completed during the artist's residency in Sanya, Hainan; the middle two paintings are an extension of the theme and were completed in his Beijing studio; the left, right and bottom eight paintings attempt to escape from the constraints of the theme and the text, and to think and imagine about the current situation from the artist's own experience. The overall arrangement of the three groups of works creates a sense of architecture that echoes the descriptions of the rooms in Tokarczuk's novels, and at the same time responds to the author's typical "constellation novel" style, in which fragmented but related short stories are used to create a complex and varied narrative.
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Amos Temple-4 阿摩斯神殿-4, LU Song 吕松, 2021. Acrylic on canvas 布面丙烯, 120 × 90 cm![]()
Amos Temple-9 阿摩斯神殿-9, LU Song 吕松, 2021. Acrylic on canvas 布面丙烯, 120 × 90 cm和美术馆(HEM)位于广东佛山顺德，是由家族发起、安藤忠雄设计的非营利民营美术馆。
HEM 关注从近代文化艺术思潮到国际视野下的当代艺术进程，通过为公众呈现独具魅力的展览和多元开放的文化活动，希望凭借自身的独特性，建立起传播的枢纽，挖掘跨文化的多元价值。
Located in Shunde, Foshan, Guangdong, He Art Museum (HEM) is a family established, non-profit private art museum designed by Tadao Ando.
Focusing on the culture and arts in modern and contemporary period with an international vision, HEM is devoted to present compelling art exhibitions, as well as diverse and open cultural activities. With its unique qualities, HEM hopes to establish a hub of communication to explore the integral values of cross-cultural exchange.
艺术家 | Artist
吕松 (生于1982年)，2006年毕业于英国伦敦艺术大学温布尔顿艺术学院油画专业，获硕士学位，次年归国，目前生活并工作于北京。艺术家热衷于在绘画创作中添加文学性的感受及蒙太奇的质地，在厚重且昏暗的色彩里映射出光感，灵活地体现与叙事性的对抗及与个人记忆的拉扯。近期个展包括“空地：阴影下的光”（Massimo De Carlo Pièce Unique, 巴黎，2023）、“日本花园”（东画廊，上海，2021）、“紫皮”（MDC香港画廊，香港，2021）、“罗马内室”（Mattatoio，罗马，2018）、“谿谷”（Massimo De Carlo，香港，2018）、“楼上的房间”（Massimo De Carlo，伦敦，2018）、“流”（OCAT西安馆，西安，2017）、“控制点”（东画廊，上海，2017）、“马背上的醉乞丐”（Galeria Nicodim，罗马尼亚布加勒斯特，2015）、“Hills Beyond the Backdrop”（Alexandre Ochs Galleries，柏林，2014）、“To the River till Sunrise”（Dominik Mersch Gallery，滑铁卢/悉尼，2013）、“To One Who Has Been Long in City Pent”（Alexandre Ochs Galleries，柏林，2012）。参与群展包括“南方故事”（和美术馆，佛山，2023）、“等待的剧场”（萃舍云集当代艺术收藏中心, 南京，2023）、“感性对话”（碧云美术馆，上海，2022）、北京艺术双年展（北京，2022）及“怀景之二”（科恩画廊，上海，2015）等。LU Song (b. 1982) graduated from Wimbledon College of Art, University of London in 2006 with a Master's Degree in Painting, and returned to China the following year, where he currently lives and works in Beijing. The artist is enthusiastic about adding literary sensibilities and montage-like textures to his paintings, mapping out the perception of light in the massive colouration of great somberness, embodied with the confrontation against narrative and the obsession with autobiographical memory.His recent solo exhibitions include "Empty Space. The light beyond the shadow" (Massimo De Carlo Pièce Unique, Paris, 2023), "Japanese Garden" (Don Gallery, Shanghai, 2021), "PURPLE SKIN" (Massimo De Carlo, Hong Kong, 2021), "Interni Romani/Roman Interiors" (Mattatoio, Roma, 2018), "Combe" (Massimo De Carlo, Hong Kong, 2018), "The Room Upstairs" (Massimo De Carlo, London, 2018), "Flow" (OCAT Xi’an, Xi’an, 2017), "Control Point" (Don Gallery, Shanghai, 2017), "The Drunken Beggar on Horseback" (Galeria Nicodim, Bucharest, Romania, 2015), "Hills Beyond the Backdrop" (Alexandre Ochs Galleries, Berlin, 2014), "To the River till Sunrise" (Dominik Mersch Gallery, Waterloo/Sydney, Australia, 2013), "To One Who Has Been Long in City Pent" (Alexandre Ochs Galleries, Berlin, 2012). He has also participated in numerous group exhibitions such as "Tales of the South" (He Art Museum, Foshan, 2023), "A Theatre of Waiting" (The Cloud Collection, Nanjing, 2023), "Un dialogue avec la sensibilité — Écriture, Désir, Amour" (Being Art Museum, Shanghai, 2022), "2022 Beijing Biennial" (Beijing, 2022) and "In Memory of a Landscape 2" (James Cohen Gallery, Shanghai, 2015), amongst others.
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