HOW展览｜沈少民个展“鱼人鸟：三幕剧”策展前言，展览倒计时5天

《中国鲤鱼》，2018，硅胶、驱动电机、电子呼吸系统、金属包装盒，205㎡，图片致谢艺术家

在一个日益趋同的时代，沈少民已成为当今最具思维广度和挑战性的艺术家之一。无论是使用绘画、雕塑、装置、电影、视频、机器人还是人工智能等媒介，艺术对他来说是持续发展的感知和质疑的结果，也是学习世界的过程的结果。他将自己获得的知识和见解提炼成创新的互动作品，这些作品不仅能够自我转化，还能改变相遇之人的思想和经历。

本次展览以游戏的意象和结构作为框架，是沈少民首次以这种方式将此类元素汇集在一起。他在之前的作品中提到过人类对环境和自然的破坏，但在这部三幕剧中，作为主角的人类干预并没有被提及，而是指代为“介于之间”（in between），尽管它仍然是一个决定性的、可能具有破坏性的存在。

此次展出的三件作品都是以戏剧的形式呈现。这种叙述方式似曾相识，但又不完全清晰。这是否会是一出悲剧，一幕接一幕，循环往复，充满破坏性？或者，把它们放在一起，它们是否构成了一个简单的戏剧化局面，展示了人类消极冲动的愚蠢？从沈少民以前的作品中可以清楚地看出，这两种单一的观点都不能令人满意。每一件作品既是一个起点，也是迈上一条更漫长的道路上的一步；它们是一连串问题的具象化，如果要缓解并某种程度上解决这些问题，就必须意识到它们的范围和规模。如果要实现变革，行动的美德必须远远超越艺术和艺术家的美德。

从这个意义上说，这些作品可以被视为提高意识的框架，但作为艺术，它们通过阐述诗意和美学特征来超越和改进单纯的信息传递或警示，引发希望，并影响智力和身心。

在本次展览的阐述和对话中，每件作品既是一个起点，也是在更广阔、更漫长的道路上迈出的一步。它们共同构成了一连串复杂问题、关系和潜在危险事件的具象，如果要缓解或解决这些问题，我们首先必须认识到它们之间的相互关联性、范围和规模。如果要实现真正的、可持续的变革，行动的美德，就必须转化为经验以超越艺术的美德。

策展人 ｜大卫·斯图亚特·艾略特

In an era of increasing conformity, Shen Shaomin has become one of the most wide-thinking and challenging artists working today. Whether using the media of painting, sculpture, installation, film, video, robotics, or AI, art for him is the result of constantly evolving processes of perception, questioning and learning about the world. He then distills the knowledge and insights he has derived into innovatory interactive works that are not only capable of transformation within themselves, but also of transforming the thoughts and experiences of those who encounter them. 

The idea of adopting the imagery and structure of a game as the framework for this exhibition is the first time that Shen has collected such elements together in this way. He has referred to environmental and natural despoliation in 

previous works but within this play human intervention, the main protagonist, is unmentioned as 'in Between' although it remains a decisive, possibly destructive presence.

The three, recently made, works shown here are presented in the form of acts in a play. The narrative seems familiar but is not wholly clear. Could it be a tragedy in which one act leads onto the next in a repeated, destructive cycle? Or, taken together, do they form a simple tableau of the stupidity of humanity's negative impulses? As is clear from Shen's previous work, neither of these enclosed views is satisfactory. The virtue of action has to go way beyond the intention of the artist and the form of art if change is ever to take place.

In this sense, these works could be regarded as frameworks for consciousness-raising but also, as art, they transcend and improve on the mere transmission of information or alarm by elaborating poetic and aesthetic characteristics that trigger hope and affect the mind and body as much as they do the intellect.

Within the exposition and dialogue of this exhibition, each work is both a starting point and a step on a much broader and longer path. Together they are the concretization of a complex chain of problems, relationships, and potentially perilous events, but, if they are to be mitigated or solved, it is first necessary that we recognise their interconnectedness, scope and scale. 

Curator ｜David Stuart Elliott

沈少民个展

「鱼人鸟：三幕剧」

新展早鸟通道即日开启

🔛

一张票即可

优享HOW昊美术馆

2F+3F全部展览

***

早鸟通道截止时间：2024年11月3日