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物之邊際The Edge of Being

減小字體

增大字體作者：佚名來源：老百姓藝術網發(fā)布時間：2018-10-09 11:30:39

展覽名稱: 物之邊際

Name of Art Show:The Edge of Being

展覽時間: 2018年10月16日----11月15日

Exhibition Time: 2018年10月16日----11月15日

開幕時間: 2018年10月16日下午14:00

Opening Time: 2018年10月16日下午14:00

主辦方: 半壁山房世逸文化上海崔彤藝術工作室

Sponsors: SHIYI Culture, BANBI SHANFANG,Shanghai CUI TONG Art Studio

展覽地點：上海市奉賢區(qū)南橋鎮(zhèn)環(huán)城西路2511號菱光大廈裙樓半壁山房

Locale:shanghai Fengxian District,SouthBridge Town, 2511 West Ring Road

策展人: 崔天琦

Show Planner: CUI TIANQI

學術主持: 張培成

Academic Director: ZHANG PEICHENG

藝術家: 季平余啟平劉鉆王犁海曉龍崔彤劉永濤閻盈汐李知彌宗錫濤郭彬彬李木十孫源李忠印黃方啟鄭元無馬君崔雁王海宇代英倫蘇宗輝

Artists attending the show (TBD): JI PING,YU QIPING, LIU ZUAN, WANG LI, HAI XIAOLONG, CUI TONG, LIU YONGTAO, YAN YINGXI,LI ZHIMI, ZONG XITAO, GUO BINBIN, LI MUSHI, SUN YUAN, LI ZHONGYIN, HUANGFANGQI, ZHENG YUANWU, MA jun, CUI YAN, WANG HAIYU, DAI YINGLUN, SU ZONGHUI

張璪有句名言，“外師造化，中得心源”。這句話得到了廣泛的認可，并在之后以指導地位長期存在。放在今天，這句話是二元辯證思想在古代的樸素體現。然而之所以有“二元”這個概念，是因為還有以“一元”視角看待世界的方式。在認識客觀世界的廣度和深度得到空前發(fā)展的今天，我們漸漸學會以不同量級審視一切——“靜”是特殊的“動”;“里”是相對的“外”;那么以往的矛盾對立也就獲得了調和。

季平《雙鳥圖》 70x70cm 紙本水墨 2018

There is a famous saying from ZHANG ZAO, “art comes from life andnature, but also comes from inspiration and creation”. This saying is widelyaccepted, and has been existing for a long time by a dominant position. If thebackground of this saying is today, it’s a primitive reflection of the binarydialectical thought. However, the concept of “binary” comes from the manner ofviewing the world by a “unitary” perspective. Nowadays, unprecedenteddevelopment has been achieved in the breadth an depth of understanding theworld, so we have gradually learnt to look at every-thing with variousmagnitudes---“static” is a special “dynamic”; “inside” is the relative“outside”; then the previous contradictions have been harmonized.

我常在想，是什么支撐著水墨藝術穿越千年在今天仍舊存續(xù)?是天性中本然的描繪沖動和智慧溢出?是中華文明的綿延根脈?當然，問題比答案更重要。順著這個問題，追索到認識這個世界最基本的態(tài)度和視角的變遷。這似乎是一條隱藏在水墨藝術形式形態(tài)流變之下的暗線。它是我們的土地上高于思想的“思維系統(tǒng)”運行的結果——以東方的、知行合一的、現實和浪漫的思考來體察世界，并不斷迭代認識客體的方法——它得以升級，以至于認識到“心”與“物”的同一性。

余啟平《竹雨微風》 34x37cm 紙本水墨 2015

I’m often thinking over what’s supporting the ink painting overthousands of years? Is it in-stinct portray inspiration and wisdom spur? Is itthe long-lasting roots of the Chinese civilization? Of course, the question ismore important than answers. I recourse the transitions to the mostfun-damental attitudes and perspectives in comprehending the world. It seems adarkline hidden in the dynamic transitions of ink painting on artistic formsand morphologies. It’s a result of operation from the “ideological system”above the earthy thought---experiencing and observing the world with theoriental, syncretic, realistic and romantic reflections, and continuouslyiterating the methods for recognizing the objects---it’s being updated and soas to realize the identity between “object” and “mind”.

同時，還可以從另一個角度出發(fā)：既然我們所得到的一切認知是源于我們的感官，感官從心出發(fā)，那么我們所指的“造化”無非就是我們的“心”告訴我們的“造化”。那么，“造化”是源于“心”的。

Meanwhile, from another perspective: since all our cognitions comefrom our sensation, which is obtained from mind, then the so-called “nature” isnothing but the “nature” conveyed by our “mind”. Therefore, “nature” comes from“mind”.

劉鉆《大云水留別》180x180cm 紙本水墨 2016

想到這里，我希望找到這個維度里能夠自如創(chuàng)作的藝術家。

At that moment, I hope to find the artists who could create freelyin this dimension.

這個展覽正是從這個基點出發(fā)，以契合“心”“物”同一的思想為前提匯集作品，作品中的描繪的正是自身本心的真實映射。小到一片葉子，大到整個社會群體的縮影。

This art show is just based on this starting point. Works arecollection under the prerequisite of unifying with “mind” and “object”, andwhat portrayed in the works is just true reflection of the instinct. As tiny asa piece of leaf, and as huge as miniature of the entire social group.

王犁《春深處-15》34x17cm 紙本水墨 2017

在承襲千年的文化長河中，從先民們的“物我對立”，“萬物有靈”到今天的“我”的覺醒，是水墨的自覺，也是精神的自覺。

The transition from the “opposition in mind and object” and“animism” insisted by our ances-tors to our current awakening of “mind” is botha self-awareness of ink paintings and a self-awareness of our spirit.