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光 丝
LIGHT
杨 淞
Yang Song
展期 | Exhibition Duration
2024.11.03—12.03 周一至周六 9:00-18:00
地点 | Location
上海市普陀区莫干山路 50 号 6 号楼 4 楼
4F, Building no.6, 50 Moganshan Rd,Shanghai
观展需预约
请扫描以下二维码
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赛森开幕现场
利用非物质的光、空间和运动形式，杨淞以创新方式在光学绘画中，使用平行排列的金属丝开辟新的视网膜宇宙和领域。杨淞不受任何形式语言或科学公式束缚，以开放心态创作，以包容的、非二元的方式诠释自己的光学发现，他的金属丝可以与消色差的黑色抽象画，以及新表现主义的厚涂风景画结合。事实上，他将自己的视觉发现用作光学艺术和概念绘画，除了他自己对解构速度和光的创新探索之外，没有表明对任何美学范式的偏好。
IN an immaterial form of light, space and movement Yang Song's optical paintings use parallel arrays of metal wire to open up retinal universes and territories of a new and innovative kind. Unencumbered by any formal language or scientific formula, Yang Song operates with an open mind, articulating his optical discoveries in an inclusive, non-dualist approach, where his metal wire can be composed against an achromatic black abstract painting, as well as against a neo-expressionist impasto painted landscape. In fact, he uses his retinal discoveries as both optical art and conceptual painting, without declaring a preference for any aesthetic paradigm, other than his own innovative exploration of the deconstruction of speed and light.
很明显，重要的不仅仅是所用形式语言，而是其作为视觉和情感意符的有效性。在视觉和情感上，观众的身体运动触发动态的视觉效果。杨淞的感性绘画以其解构速度而出名。金属丝阵列、光投影和光学运动的天才组合使速度肉眼可见，让观众有一种雀跃眩目的体验。显然，杨淞感兴趣的是方式、手段、实验本身、对新领域的探索，以及寻找新的解决方案和形式，从而发展视觉语言并不断前进，同时引领我们一起探索。It is clear
that what matters is not only the formal language used, but its effectiveness
as a visual and emotional signifier, where the viewer's own body movement
triggers the kinetic optical effect. Yang Song's Perceptual Paintings are
striking in their deconstruction of speed, made visible through the intelligent
constellation of metal wire arrays, light projections and optical movement,
engaging the viewer in a dance and a dazzling experience. What Yang Song is
obviously interested in is the way, the means, the experiment itself, the
exploration of new territories, the search for new solutions and forms, in
order to develop a visual language with which he can move forward and take us
with him.
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赛森开幕现场
字典的意义在于列举词语的用途，而非含义。因此“无定形”不仅是具有特定含义的形容词，也是用于降级的术语，通常暗示万事皆需有形式。其所指之物从任何意义上讲都没有权利，而且从各方面都受到抑制……[1]
A dictionary begins
when it no longer gives the meaning of words, but their tasks. Thus formless is
not only an adjective having a given meaning, but a term that serves to
downgrade, generally requiring that each thing have its form. What it
designates has no rights in any sense and gets itself squashed everywhere…[1] Georges Bataille，《无定形》，文献杂志7（1929年12月）：382页杨淞是不断求变的艺术家，也是为数不多的，将速度作为形式视觉元素来探索的艺术家，他致力于演变、实验、不断探究新艺术领域以构建新视觉世界。他的愿景明确，不囿于特定形式语言或美学理论，而是志在探索他自己丰富的想象力。杨淞把形式和材料结合在概念和视觉作品中，拒绝或接受自己的发现，根据自己的感性目标和视觉研究结果，改变视角和过程。
Yang Song is an artist in constant movement, one of a few who explores speed as a formal visual element, evolving, experimenting, incessantly researching new artistic territories to construct new visual worlds. His vision is clear and not tied to a specific formal language or aesthetic doctrine but explores the powerful potential of his own imagination. Yang Song combines forms and materials in conceptual and visual compositions, rejects or embraces his findings, changes his perspective and procedure following his perceptual objective and visual research result.他灵活的思路和丰富的表现力超越主流逻辑，诠释了基于实践的、扩展的、进化的、概念性的工作体系，并借此不断前进、超越自我。他以逻辑缜密且直观的方式、敢于解决问题的精神和开放的态度展示了自己使用的形式和材料，就像视觉科学家探索速度的自然现象以及光、物质和运动、光学现象学和感知心理学一样。His flexible mind and versatile execution transcend any mainstream logic, articulating a practice based expansive and evolutionary yet conceptual body of work that constantly goes further and beyond. He reveals his forms and materials with logic and intuitive method, with a problem-solving spirit and open approach that resembles that of a visual scientist exploring the natural phenomena of speed as well as light, matter and motion, optical phenomenology and the psychology of perception.杨淞的许多作品都表达了概念、视觉和物质上的“无定形”，通过符号和物质，探索“不可察觉的转变”和“解构速度”这两个概念。从停滞的水到快速的工业车床，杨淞在非物质和主观层面解构速度——不是通过物质或机器，而是通过光，或者更准确地说，通过我们对磁辐射的光学体验表达。In many of his works Yang Song articulates a conceptual, visual and material formlessness that explores, through symbol and matter, the two notions of imperceptible transformation and the deconstruction of speed.From the physical slow inactivity of water to fast industrial slathes, Yang Song articulates also a deconstruction of speed, that is immaterial and subjective, articulated not by matter or machines, but by light, or more precisely by our optical experience of magnetic radiation.离心力肖像装置_2021_金属 3D打印 木 灯 感应装置横贯展厅的围栏网就像一堵透明的墙，将观众与两尊面对面的大型肖像和头骨雕塑隔开。这两尊雕塑夹在由坚固工业结构支撑的高速车床之间，由“白纸黑字”的普通报纸制成的色彩鲜艳的纸粘土塑成。这是模糊行为促成的色彩转换，也是关键潜力的有力象征。A full fencing net acts as a transparent wall separating the viewer from two large sculpted heads facing each other, sandwiched between high-speed lathes supported by vice-like industrial structures. The heads are sculpted in brightly coloured paper clay made from ordinary black and white newspaper, a colourful transformation in an ambiguous act and a powerful signifier of critical potential.两尊雕塑在绝对静止和难以察觉的旋转这两种状态间切换。这种速度形式肉眼不可见， 只能借助轻飘飘的细碎彩色纸屑才能察觉—— 旋转时，纸屑会克服重力， 猛地飞向观众和四周。机械旋转将具有象征意义的彩纸分散在无定形的空间中， 而这个空间好像一个陌生的宇宙。The two heads stand in intervals of absolute stillness and imperceptible rotation, an invisible form of speed that is only made perceptible by the small, light pieces of coloured paper, which the spin in its struggle with gravity, hurls violently towards the viewer and the immediate surroundings. The mechanical rotation scatters pieces of coloured paper with all their symbolic signification in an all over spatial pattern of formlessness, like a universe that resembles nothing.杨淞的早期作品之一《蜕》（2014）为其后期众多作品奠定了概念基础。我们看到的粘土头像淹没在水中，表达了土元素被水元素溶解的理念，同时也呈现了有形之雕塑转化为无定形之泥土的过程。作品通过概念诠释元素间的对抗，象征人工赋形与自然之无形间的较量。作为一个极具智慧和直觉的作品，它富有深刻的情感意义，阐明了“存在”的问题，以两种元素的基本形式，诠释变化、物质与时间、生与死，存在与消失，以及有和无的概念。一如老子、让-保罗·萨特和加斯东·巴舍拉关于存在主义哲学和物质想象之间的对话。One of Yang Song's early works, Die (2014), is a conceptual key to many of his later pieces. What we see is a face, a head, sculpted in clay, submerged into water, articulating a transformation, a dissolution of earth by water, matter by matter, dissolving the sculpted portrait into formless mud. A conceptual showcase of a confrontation between the elements and, symbolically, between the form given by man and the formlessness of nature. It is a highly intelligent and intuitive work, with profound conceptual levels of emotional meaning, articulating existential issues, not only in relation to change, matter and time, life and death, presence and disappearance, but also to the notion of being and nothingness, in the basic form of two elements. Like an existential whisper from Laozi to Jean-Paul Sartre and Gaston Bachelard on existential philosophy and the imagination of matter.![]()
798 艺术区公共项目2023.03-2023.06（北京）2022 如天涯，若比邻-Nord Art 2022，卡尔舒特艺术工厂， HK(X,@)，Tong Gallery + Projects, 北京 穿越时空的调色板--2022 草场地青年艺术家群展，2021 第4 届行走的艺术：北京——贵州阿西里西，2015 中国艺术家邀请展，泰勒基⾦会，巴黎，法国乔纳斯·斯坦普（Jonas Stampe），艺术史学家、艺评家、国际策展人。1965年出生于瑞典哥德堡市，他曾在法国巴黎高等社会科学院和瑞典隆德大学学习当代艺术史和理论，并定居法国25年。他从2001年起就在欧美不同国家组织策划了近60个行为艺术节与展览，包括来自59个国家的400多位艺术家。2017年，他加盟北京红砖美术馆，任高级策展人及资深研究员。2019年起，他与肖戈成立策展组合，策划了 CHAO 艺术中心年度大展“观看之道”，并获得《罗博报告》年度策展人奖。2020年，他与肖戈再度合作策划“从屏幕到观念—50 年的历史”“当速度成为形式—在屏幕里生活”等展览。肖 戈 艺术家、策展人、媒体人，现任凤凰艺术总编辑、副总裁、凤凰中心馆长。出生于艺术世家，毕业于中央美术学院、法国巴黎国立高等美术学院等多所高校，2009年归国定居北京。作为策展人，曾任第九届上海双年展“中山公园计划”策展人；2013年第55届威尼斯双年展平行展“大运河”策展人，以艺术之举推动中国大运河成功申遗；2019 年，与乔纳斯·斯坦普（Jonas Stampe）成立策展组合，策划CHAO艺术中心年度大展“观看之道”等。2014年加盟凤凰卫视集团，作为联合创始人，与团队一起将“凤凰艺术”打造成为国内最具影响力的艺术媒体之一，并策划了很多极具影响力的展览与活动。赛森致力于中国当代艺术的收藏、品鉴与推广，通过构建多元化的商业合作模式，长期支持中国一线及新锐艺术家的创作及发展。早在2005年，赛森首先将艺术作品运用到商业空间，为中国当代艺术开拓出更广泛的受众群。全新的赛森艺术空间将作为一个独特的展示平台，与艺术家、私人收藏家、公共机构以及商业品牌等密切合作，提供艺术沙龙式的咨询服务。SAISEN ART is committed to collecting, showcasing and promoting the Chinese contemporary art. Founded in 2005, SAISEN ART has developed diversified and innovative business models in order to support both established and emerging artists in a long run. Pioneer of inserting art into commercial space, SAISEN ART seeks to bring the Chinese contemporary art to a broader audience. The inaugurated SAISEN ART Space will work closely with artists, private collectors, institutions, and corporate organizations, establishing art advisory office and unique exhibition programs.E-mail:saisen@saisenart.com
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