新国学网:“象外之景——内地青年视觉艺术联展”在澳门当代艺术中心‧海事工房1号开幕_当代艺术-澳门当代艺术中心-空间-艺术家-青年-作品

开幕现场嘉宾合影由文化局主办的“象外之景——内地青年视觉艺术联展”于10月21日下午6时30分在澳门

开幕现场

嘉宾合影

由文化局主办的“象外之景——内地青年视觉艺术联展”于10月21日下午6时30分在澳门当代艺术中心‧海事工房1号举行开幕式，由中央人民政府驻澳门特别行政区联络办公室宣传文化部文体处副处长辛建波、澳门特别行政区政府文化局副局长陈继春、澳门日报常务副总编辑蔡彩莲、澳门美术协会会长陆曦和策展人孙凤主礼，场面热闹。

展览由资深策展人孙凤策划，邀请了内地当代青年艺术家欧阳苏龙、袁松、梁曼琪、胡为一和应歆珣参展，展出作品26件/套，类型多元，包括空间绘画装置、互动影像装置、立体打印、摄影、录像、雕塑等大型创作。艺术家巧妙地结合多种媒材，作品风格新颖独特，表达对社会百态、日常生活的独到见解，并将题材延伸至探讨个人经验及哲学，展现中国当代艺术美学特色。艺术家试图通过作品诠释精神意象，唤起观者对外界、对自身的探索与反思，彷佛经历了一段感知与理解的旅程。

“象外之景——内地青年视觉艺术联展”将于2019年10月22日至2020年2月23日在澳门当代艺术中心．海事工房1号（妈阁上街）展出，开放时间为星期二至日上午10时至晚上7时，免费入场，公众假期照常开放。

策展文

象外之景：内地青年视觉艺术联展

The World as Will and Idea

Group Exhibition of Chinese mainland Emerging Artists

“象外之象，景外之景”，是唐代司空图在《与极浦书》中提出的美学命题，探讨对于诗歌意境的形成及审美价值。第壹个“象”与“景”具体有形、清晰可见，第二个“象”与“景”超越物象表面意义的视觉界限与维度，产生多层次绵延的意象、意境、涵义，“立象尽意”而“境生象外”。此种“意在言外”的艺术创作和思维方式，似乎以集体无意识的积淀流淌在文化脉络中，在当代青年艺术家的创作中有着异曲同工又充满创新的实现。展览英文标题“The World as Will and Idea”引用了叔本华的著作书名《作为意志和表象的世界》，其书中第三篇将艺术作为认知世界、建构理念、表现意志、营造境象的方式，恰好与中文“象外之景”有着语义的关联与互为阐释的意味。展览试图以他者的眼光观察处于当下人造景观社会中的日常体验、角度转换、心理逻辑、表达方式，探讨隐于浮象之下的思考、观念、哲学、境界，从而以递进的层次与立体的维度展现充满意味内涵的视觉风景。

历经时代更叠与社会演进，沈浸于当下多元化的都市成长体验，年轻壹代艺术家以敏锐的观察感知力、独立独到的见解诠释看待世界的方式，在视觉、心理、思维、理念方面勇于探求，回归艺术本体的内观，以纯粹而切中肯綮的创作方式展现出特有的价值。他们壹方面善于反映现代社会的炫目表象，壹方面能够理性地对待真实与现实，以睿智的艺术语言表达观点、态度与内涵，在看似日常化的触手可及中营造情境、蕴含哲理，从而使经过多重巧妙转化的境象呈现更为丰富的艺术景观。此次参展的五位青年艺术家来自内地的不同城市，他们在各自的艺术创作方向进行探索并颇有成果，可以说是内地当代艺术发展面貌的缩影。

欧阳苏龙的雕塑作品突破常规思维，将物象虚幻无形的光影负空间、缝隙以固态实体加以表现，雕塑的体量感与质感转化成为对空间的干预、塑造和诠释。对空间正负虚实的探索进而被引申到现实世界与数字世界的关系，数字空间中的物体是壹连串的数码坐标，彼此既可以是平行空间互不干涉，又可以互相进入与交叉。艺术家捕捉这些交集的时间空间虚像痕迹加以物态化，形影之间产生多重推演维度，引发哲学的思辨。袁松的装置作品采用日常生活中的物品如霓虹灯管、碎玻璃杯、镜面不锈钢弯头管、水晶墙面贴片等加以拼贴、重构，将原本毫无关联、难以相逢、各具用途的物品交织在壹起，使本来处在无序状态的不同材料，通过带有象征意义的组合方式形成新的秩序。这些光鲜耀眼的物品通过呈现给观者眼花缭乱的奇特关系与视觉景观，表象之下却是虚幻的碎片与虚空的满足，带给人们对于消费社会的反思。梁曼琪将场景与作品融合，二维抽象绘画的点线面与色彩构成延伸至三维空间，跨越物理界限，在不同媒介中借助装置形态、与展览空间的相互联结、介入、呼应和延伸，而形成“场域绘画”。她关注潜意识里情感与行为模式的关联性，在绘画创作过程中有意保留反复性和思维痕迹，视觉层次和语义表述更为丰富，在现场感以外赋予作品更为深刻的心理学内涵。胡为一擅于运用多种媒介如摄影、录像、装置等进行创作，将自己生活的城市空间作为创作主体，以独特视角切入当下社会的文化发展内核，作品从平面化的身体感官迈向更为立体的深度社会讨论之中。他将社会生活中的日常片段纳入镜头，以机智的洞察力、寓言的方式、以物拟人的幽默感，演绎现代都市中的种种能量欲望、生存姿态、关联互动，赋予看似寻常的城市景观以丰富的奇异色彩与言外之意。应歆珣的创作围绕日常生活的体察、时代变化的凝视及对于艺术的个人态度而展开，关注人类纪时代的“景观化社会”所带来的人工性、感受力、精神等问题，以及对后美学、当代性的思考，探索媒介与身体、社会生态、自然生态之间的关系，形式语言多样。此次展出的作品以个人经历为出发点，通过材料质感与形式语言的反差构建真实与虚幻、出离与沈浸并存的场域空间，以知觉的模拟与通感的转换凸显心理的张力，对现实世界时有困惑又充满期待。

本次展览是对在内地举办的“港澳视觉艺术双年展”的壹次回响，反映着青年壹代共同关注的话题、认真的创作态度、活跃的思考状态、对社会生活的积极参与与回馈。展览的实现得到澳门特别行政区政府文化局视觉艺术发展处的诚挚合作，各位参展艺术家及策展实施团队细致投入的工作，在此深表谢意。希望展览成为澳门观众了解内地艺术风貌、促进两地青年艺术交流的契机，为未来创造更多可能性。

策展人 孙凤

中国对外艺术展览中心项目主管／策展人／副研究员

The World as Will and Idea

Group Exhibition of Chinese mainland Emerging Artists

“Image outside image, scenery beyond scenery.” This is an aesthetic topic proposed by Sikong Tu in his “Letter to Jipu” for discussing the formation of the artistic concept of poetry and its aesthetic value. The first “image” and “scenery” have surpassed the superficial meaning of visual limits and dimensions, producing an extended image, concept and significance of multiple layers while the second “image” and “scenery” indicate the visible forms. This method of “implying meaning beyond words” of thinking and creating art seems to be embodied as a collective consciousness in the cultural system and it is reflected in a creative way and by different approaches in contemporary young artists’ works. The title “The World as Will and Idea” is adapted from Arthur Schopenhauer’s book The World as Will and Representation (Die Welt als Wille und Vorstellung). In the third chapter of this book, art is regarded as the way to explore the world, to construct ideas, to express wills and to create images, which relates and interprets the Chinese concept. The aim of this exhibition is to observe the daily experience, the change of perspectives, the psychological logic and the ways of expression in contemporary artificial landscape through the eyes of the outsiders. It is hoped that this could provoke a discussion on the thoughts, ideas, philosophy and prospects beneath the floating world, thus demonstrating visual scenery full of meanings with progressive and three-dimensional layers.

The young generation of artists, who have experienced the change of the era and the society, emerged in the diversified city life, are using their sharp perceptions and independent views to explain the way looking at the world. They are brave to explore in the aspects of visuality, psychology, logic and concept. By returning to the essence of art itself, their pure and pertinent ways have a unique value. On one hand, they are good at displaying the colourful images of modern society; on the other hand, they could treat reality and truth with a reasonable mind, to express their idea, attitude and meaning with clever artistic languages. The realm and philosophy is set up through the seemingly ordinary stuff, but they offer comprehensive artistic scenery by the intricately transformed images. These five artists come from different cities in China and each has his/her own directions and achievements. They could be regarded as a miniature of the development of contemporary Chinese art. 

The sculptures of Ouyang Sulong have given the invisible cracks and negative space of light and shadow a concrete form, thus breaking through the normal logic. The volume and the material of the sculpture are transformed as an intervention, creation and interpretation for the space, exploring the spatial deficiency and excess and extending this into the concept of the material and the virtual world. The objects in the virtual world are series of digital coordinates, either parallel or interchanging with each other. The artist has captured the traces of this illusory image to materialize them, producing multiple dimensions for the philosophical thinking. Yuan Song’s installations used objects in daily life such as neon tubes, fragments of glasses, stainless steel elbow pipes with a mirror surface and wall surface patch to make reconstruction. By combining these non-relevant objects together, a new order is created through the metaphorical combination. The strange relation and scenery of such dazzling objects have shown that beneath the surface, it is only ephemeral fragments and empty contentment. This is a reflection for this consumption society.  Liang Manqi has combined the scenery with her works, extending from the two-dimensional abstractive drawing of lines and dots to the three-dimensional space. It has surpassed the material limits, and by installation of different media, has combined, intervened, reacted and stretched into the exhibiting space as a “site drawing”. She focuses on the relation of subconscious emotions and behaviors, intentionally keeping a repetition and the logical trace in the creative process. The visual level and expression become more comprehensive, giving a deeper psychological significance to the work beyond material representation. Hu Weiyi is good at using multi-media to create works, including photograph, video and installation. He used the city where he is living as the main topic, reaching to the centre of the social cultural development from a unique perspective. The works provoke a solid social discussion starting from the flattened body senses. He puts the daily fragments into his lens, by discreet observation, metaphorical narration and imitated humor, displaying the various desires, life styles and interactions in modern cities, infusing rich colours and meanings beyond the surface into the seemingly ordinary city landscapes.  The creation of Ying Xinxun is developed based on the observation to daily life, the gaze into the timely change and the individual attitude to art. It focuses on the artificial, sensible and spiritual problems resulted from this “Society of Spectacles”. With a thought on aesthetics and modernity, the works explore the relationship between media and body, social and natural ecology with different form languages. The works on show are based on individual experience, constructing the true and false, the distanced and the emerged space through the contrast of material and form, showing the psychological force by imitating senses and transforming feelings. There are both puzzles and hopes for the real world.

This exhibition is for the first time responding to the Hong Kong-Macao Visual Art Biennale, reflecting the common interest, serious creative attitude, active thinking and the positive participation in social life of this generation of young artists. This exhibition has received supports and cooperation from Cultural Affairs Bureau of Macao, especially the Department of Visual Art Development, and the participation and inputs of the artists. We sincerely express our thanks to them. Hope this exhibition would encourage Macao audience to learn more about the inland provinces, would promote the artistic communication between young artists and would create more possibilities for the future. 

Curator: Sun Feng 

Project Director, Associate Research Fellow

China Arts and Entertainment Group

孙凤 

中国对外艺术展览中心 策展人／项目主管／副研究员

中央美术学院艺术史学士，英国伦敦金斯顿大学策展硕士，Sino-British学者

曾策划中土文化年“内外兼修：中国当代艺术展”（伊斯坦布尔现代美术馆）、欢乐春节“萌生：中国青年创意设计展拍”（伦敦布隆贝里画廊）、“城市触觉-2018港澳视觉艺术双年展”及 “互动时代-2016港澳视觉艺术双年展”（北京民生现代美术馆等）、“中国茶室：中国艺术的精神空间”（尼日利亚中国文化中心）、“隐”系列主题展“隐·形：数码世代的视觉与表达”“隐·迭：物我之间”及“溯光：艺术装置系列项目”（InArt叠院儿/扭院儿/曜空间）、“心印：青年版画家原创作品展”（中国艺术品产业博览会）、中国-东盟文化交流年“盛装华彩：中国-东盟服饰文化展暨品鉴盛典”（中国妇女儿童博物馆）、国家艺术基金“国际艺术与创意活动策划高级人才培训”、财政部“根与翅：中国视觉艺术国际推广运营”等，以及担任协调人的中法文化年“中国，怎么样？中国当代艺术展”（巴黎蓬皮杜中心）、“墨以象外-中美艺术家十人展”（中国美术馆）、“新大陆：土耳其当代影像艺术展”（上海民生现代美术馆）等，多次获得文化和旅游部等国家级项目奖。

Sun Feng

Curator／Project Director／Associate Research Fellow of China Arts and Entertainment Group

BA Art History, Central Academy of Fine Arts

MA Curating Contemporary Design, Kingston University London, Sino-British Scholar

Sun Feng is the curator of “Transformation: A View on Chinese Contemporary Art”(Istanbul Museum of Modern Art, Turkey); “Initiation-Selected Works by Emerging Chinese Artists and Designers”(Bloomsbury Gallery, London); “Interactive Times: Hong Kong-Macau Visual Art Biennale 2016”(Beijing Minsheng Art Museum and a tour) ; “SHIFT-Special Project of Asia Now Art Fair(Paris) and so on. She also executed “Alors, La Chine?” (Pompidou Center, France)， “Darkness Visible: Group Show of Ten Artists from American and China”(National Art Museum of China)， “New Continent: A Selection from the Video Collection of Istanbul Modern”(Minsheng Art Museum, Shanghai) and so forth。

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