七位艺术家的空间姿态 J7 Art Museum Presents ‘A Posture Of Space’

展览现场

展览中，自然与社会、人类与非人类、杂合与纯化等元素交织在一起，共同构成了一个复杂而迷人的体系。你将在这里看到，任何例外状态都会沉淀、割裂、聚合，产生出各自独特的意义与感受。

In this daring exhibition elements such as the conflict between nature and society, the divide between human and artificial beings and intelligence, and the difference between purity and hybrid nature form a complex and fascinating artistic investigation. 

Here, through thrilling images and creations you will see that any exceptional state will fracture, fragment, erode and reform, producing more original meanings and emotions. 

高入云“无限趋近于零”展区

 “Infinite Approaching Zero” by Gao Ruyun

高入云的“无限趋近于零”房间，《无限》、《Loop》系列、运用机械运动技法，没有任何意指的形态和节奏，进入一个可供沉思的场域。进而达到无阻无限的“平稳路径”。

Gao Ruyun's "Approaching Infinity to Zero" room features the "Infinity" and "Loop" series, using mechanical movement techniques to create a contemplative space and achieve a smooth path to infinite. 

黑色线条沿着特定的轨迹和节奏，接近继而疏离。周而复始的运动，在观者的视觉记忆中留下了有几何形态的线条勾勒出的永远无法定格的时间和空间。运用了无限趋近于零的运动状态，编写着包含结构、功能、数字、空间、运动等看似“数学的物件”。

The black lines follow a specific trajectory and rhythm, approaching and then distancing. The cyclical movement leaves a time and space that can never be fixed in the viewer's visual memory, outlined by geometric lines. Using the motion state of infinitely approaching zero, he writes seemingly "mathematical objects" that include structure, function, number, space, and motion.

意识-3566, consciousness-3566，纸本水墨 Ink on paper，35×50cm, 2022

最先是把几何形体放置在平面容器里，接通电机，静止的几何装置随之开始运动。借着作品形式的探索，打破了容器的辖制，直接进入到空间里，成为了作品的大容器。这种放大的空间感，艺术作品的真正价值是我们对存在的意义的重估。

Initially, geometric shapes were placed within a flat container, and upon connecting to an electric motor, the static geometric installation began to move. Through the exploration of the work's form, the confines of the container were broken, and it directly entered into space, becoming the large container for the artwork. This amplified sense of space reveals the true value of artworks: a reassessment of the meaning of existence.

意识-3696, consciousness-3696，纸本水墨 Ink on paper，38×53cm, 2022

高入云的创作从“设计”的母体中生长出来，又蔓延向前，以触须试探设计所无法传递和囊括的、属于艺术的不规则领域。

Ruyun's work grows from the "design" framework and extends forward, using tendrils to probe the irregular realms of art that design cannot convey or encompass. Perhaps this is the way to engage in a dialogue with life.

Logos 01, 综合材料 Multiple material，170×170cm，2015 2021

他的《Logos》系列可以理解为一种世界原初的话语、信息。在古希腊文一般用语中有“所说的话语”的意思；在哲学中表示支配世界万物的规律性或原理。作品在平面的构图中以大量的拼贴和笔触，描绘出一种庄严、肃穆且神圣的图像氛围，将隐藏在表象之下的含义，一直持续的影响着当下的力量呈现出来。

The "Logos" series can be understood as a primal world discourse, information depicted in the composition with a plethora of collages and brushstrokes, portraying a solemn, dignified, and sacred image atmosphere, concealing beneath the surface to reveal a continuous sense of power. 

 黄喆“星体的故事”展区

 “The Stories of Celestial Bodies” by Huang Zhe

在黄喆“星体的故事”房间中，呈现了《隐力》与《蓝移》两个系列作品。

《隐力》系列是持续的装置系列项目，把材料相融合后，在空间中呈现多层次的延伸。光的散射随着人在不同角度观看产生变化，如在神秘与陌生的形态中游走，一个幻象的景观。通过这种感受性的捕捉，系列作品主要探讨了潜在力量的转移、变化，能量场中的“系统”问题。

Huang Zhe's "Story of Celestial Bodies" room presents the "The Hidden Force" and "Blueshift" series, reflecting the complex and subtle relationships between people through the study of different celestial bodies in the universe. 

The "Hidden Power" series is a continuous installation project that integrates materials to present multi-level extensions in space. The scattering of light changes as people view it from different angles, creating a mysterious and unfamiliar landscape of illusion. Through this sensitive capture, the series of works mainly explores the potential power transfer and change, as well as the "system" issues in the energy field.

蓝移系列 No.21, Blueshift No.21，综合材料 Mixed media，100×100cm, 2023

《蓝移》系列中的蓝移一词是天文学词汇，如果⼀颗黄色的恒星朝你自己的方向移动，移动时它的光看起来会微微发蓝，相互靠近时星光频率的提高产生了蓝移。太空中蓝移星系是少有的，而通过引力压缩两点间的空间也可以造成蓝移。我们也如宇宙中漂浮的星，人群中只有极少的人为你而来，陪你前行。而当相互吸引，他/她向你靠近，蓝色的光辉下会有两颗温暖的心。

"Blueshift"  is an astronomical term. If a yellow star is moving towards your direction, its light will appear slightly bluish as it moves. The increase in the frequency of starlight as it approaches produces a blue shift. 

Blue-shifted galaxies are rare in space, but they can also be caused by gravitational compression of space between two points. We are also like stars floating in the universe, and only a few people in the crowd come for you and accompany you on your journey. When they are attracted to each other, he/she will move closer to you, and under the blue glow, there will be two warm hearts.

蓝移系列 No.1, Blueshift No.1，综合材料 Mixed media，118×180cm, 2020

通过这两个系列，黄喆一方面可视化地表现了自己对星空的想象，以及对宇宙及世界上种种隐秘力量的想象。同时也为观众提供了一个面对未知时空、面对不可知的世界、面对混沌的历史与未来的想象空间。

Through these two series, Huang Zhe visually expresses his imagination of the starry sky and the universe, as well as the myriad hidden forces in the world. At the same time, he offers viewers an imaginative space to confront the unknown temporal and spatial realms, the unpredictable world, and the chaotic history and future.

楼烨“无限地生长”展区

“Infinite Growth” by Lou Ye

楼烨的“无限地生长”房间中，《无限》系列的转运竹造型，不只是自然图像的简单模仿，也有别于中国传统绘画中的类型化呈现。

In Lou Ye's "Room of Infinite Growth" the Transport Bamboo shape from the "Infinite" series is not just a simple imitation of natural images, but also differs from the typified presentation in traditional Chinese painting. 

无限12 Infinite 12，绢本设色 Ink and acrylic on silk，160×120cm，2023

作为她本人心理经验与思维理念的一种别样的映射出现在绢本上，而这类竹子的形状很像Ouroboros，涵义为“自我吞噬者”代表生死循环的概念，重生循环往复的探索。它也显示了德勒兹中“褶子”的含义，折叠是现实和存在的复杂本质的隐喻，强调所有事物的连续性和相互关联的本质。

Representing a unique reflection of her own psychological experience and thought concepts on silk, the shape of this bamboo is similar to Ouroboros, symbolizing the concept of the "self-devourer" representing the cycle of life and death, exploring the perpetual cycle of rebirth. It also reflects the meaning of "folds" in Deleuze, where folding is a metaphor for the complex essence of reality and existence, emphasizing the continuity and interconnected nature of all things. 

网 Net，绢本设色 Ink and acrylic on silk，105×105cm，2023

楼烨这一系列从不同视域表达了艺术家对事物在宇宙混沌中的无限生发，吞噬重生循环往复的探索。

Lou Ye's series of works express the artist's exploration of the infinite growth of things in the chaos of the universe, the cycle of consumption and rebirth, and the endless cycle of exploration from different perspectives.

吕思斯“模拟与数字化时代”展区

“The Age of Digital  Analogue” by LU SISI

吕思斯的“模拟与数字化时代”房间，此次展出的作品「孪-SIAMESE-孪」是由他的长期实验性的视听作品「模拟/数字化时代」衍生而来的多媒体装置。此实验性创作自2011年开始，课题围绕现代社会的数字模拟体现而展开，同时也是对工业时代的历史反思。

此项目共包括十三个部分，分别为打印机、织布机、照相机、蒸汽机等工业时代的断代标识，以及由于工业发展而受到影响的⾃然景观。对于这段历史，艺术家本人有他独特的、具有史诗⽓质的解读，并将其演绎得宏大而悲壮，将混沌、技术、浪漫主义完美融合，以音乐配合不同主题的视觉影像创造极致的现场感和空间体验。

LU SISI’s project "孪-SIAMESE-孪" is a multimedia piece derived from his longterm audio-visual project "The Age of Digital / Analogue". He examines the developments and recent applications of analogue machinery, digital technology and virtual networks from a novel perspective. By connecting recordings of textile machines with laser lights, he creates a dynamic interaction between the virtual and the real worlds.

The juxtaposition of these media connects the past, present and future. The sounds of the textile machines resemble a rhythm of fate, in which the future of the technological age and individual destiny are played out. 

苔丝·杜蒙“神话与诗篇”展区

“Myth and Poems” by Tess Dumon

Tess Dumon的“神话与诗篇”房间，则呈现了艺术家通过绘画和雕塑两种媒介，以象征和隐喻的手法创造属于自己的个人神话。

Tess Dumon's "Myth and Poems" room presents the artist's personal mythology created through painting and sculpture, using symbolism and metaphor. In her watercolor series on paper, Dumon depicts delicate emotions expressed in her beloved poetry with simple yet rhythmic lines and mythological imagery.

大扇贝Great Scallop

纸上水粉，银箔 Gouache and silver leaf on paper

121×88×4.6cm（含框 with frame），2023

明日，拂晓时分 Demain dès l’aube (Tomorrow at Dawn)，

纸上水粉，金箔，银箔 Gouache, gold and silver leaf on paper

121.3×161.6×4.6cm（含框 with frame），2023

纸本水粉系列作品，是Tess Dumon用神话式的象征手法为其喜爱的诗歌创作的形象表达。诗歌是杜蒙情感共鸣的重要来源。同时， Dumon的纸本作品擅长通过律动的线条描绘细腻的情感，与诗歌的表达有异曲同工之妙。

The gouache on paper series is Tess Dumon's visual expression of her beloved poetry, using mythic symbolism. Poetry is a significant source of emotional resonance for Dumon. Meanwhile, Dumon's paper works excel at depicting delicate emotions through rhythmic lines, achieving a harmony similar to that of poetic expression.

托马斯·坎托“结构与扩张”展区

 “Structure and Expansion” by Thomas Canto

Thomas Canto的“结构与扩张”房间里，他的作品以扭曲速度和城市结构的形式为特点，精准和几何的技术，结合光和动态，产生的阴影与力量感，勾勒出可以释放紧张感的空间。

In Thomas Canto's "Structure and Expansion" room, his works are characterized by their twisted speed and urban structure, precise and geometric techniques, combined with light and movement, creating a sense of shadow and power that outlines a space that can release tension.

虹彩闪耀的吸引 Iridescent attraction strength，

混合介质，光纤辐射实验系统、尼龙线、亚克力 Mixmedia on FOREX, nylon wires, acrylic glass，122×122×10cm，2019

Thomas Canto深受早期结构主义、六十年代的欧普艺术以及七十年代的概念艺术的影响。

通过对于线条、几何图形和光线的各种组合的斟酌、运用和掌控，坎托将他的经历和思考寓于其创作，最后的作品以其强烈的视觉效果令人驻足，并根据每位参观者的位置变换而展现出变化无穷的视象。

Thomas Canto's works are  deeply influenced by early Constructivism, Optical art in the 1960s, and Conceptual art in the 1970s. 

Through the consideration, application and control of various combinations of lines, geometric shapes and light, Cantor has put his experience and thoughts into his creations, and the final works are so strong in visual effects that they stop people in their tracks, and change according to the position of each visitor, showing infinite variations in vision.

奶粉zhou“天真之歌”展区

“Song of Innocence”by Nathan Zhou

最后奶粉zhou的“天真之歌 SONG OF INNOCENCE ”房间，将展示奶粉zhou一系列作品，展示了奶粉zhou一系列的艺术创作，包括绘画、涂鸦、诗歌、视频和音频装置。多样的艺术形式不仅展现了艺术家多方面的创意及独特的风格，也拉近了与观众之间的互动和交流。跟随艺术家留下的指引，观众可以在观展的旅程中，走近作品，走近艺术家的内心世界。

Finally, Nathan Zhou''s "Song of Innocence" room showcases a series of paintings, graffiti poetry, videos, and sound installations, including “Life River”, “Seaside”, “Winter Hunters”, “afoolonthehill+”. 

These art works reflect the artist's unique worldview and sensitivity to literature. The works contain poetry-like murmurs of English words, hinting at the artist's sensitivity to language and the hidden literary logic. The brush describes many objects and images with natural features, transforming the scene where one can freely wander and turn dreams into reality through the strokes of the brush.

展览现场

“房间”在这里不再仅仅是一个物理空间，它更是一种隐喻，代表着个体与世界之间的安全缓冲地带。你将通过重复观看和体验，感受到专注和冥想的力量，仿佛这个空间已经变成了你的心房，承载着你的心灵、身体和无限宇宙。

"Space" here is no longer merely a physical space; it is more of a metaphor, representing a safe buffer zone between the individual and the world. Through repeated observation and experience, you will feel the power of concentration and meditation, as if this space has transformed into your inner chamber, carrying your mind, body, and the infinite universe.

对话杨诘苍：我的画从墨与笔中走出

 Yang Jiecang And A Journey In Ink!

对话谷文达：当代水墨的探索与融合 

Gu Wenda, John Moores And Contemporary Ink Art!

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