象限 Art-L Gallery 四人首展

策展人：惠书文

Curated by Hui Shuwen

艺术家：王小双·黄赛峰·翟轩弘·赵兵

Wang Xiaoshuang·Huang Saifeng·Zhai Xuanhong·Zhao Bing

开幕 Opening｜2021.3.12 14:00 pm

展期 Duration｜2021.3.12 - 4.30

地点 Address｜上海艾特艺术画廊Art-L Gallery

(闵行区虹莘路3500弄118号)

No.118, Lane 3500, Hongxin Road, Minhang District

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《象限》四人展前言

2021 Quadrant Exhibition Preface

艺术文献｜王小双·黄赛峰·翟轩弘·赵兵

发行于《An Art Space》

2021年3月4日

文/惠书文

Article/Hui shuwen

中国独立策展人，艺术写作者

CONUTER-FEIT 当代艺术双年展创办人

在百度百科中，象限（Quadrant）一词是为1/4圆等分之意，基以圆心为起始点向四极扩散。此处引用“象限”二字作为四位青年艺术家的展览主题，一是探讨艺术家在表达不同“象”之物和现实界限的关联属性；二是与分别独立的展陈空间形成视觉上的语法链接；进而梳理他们这一阶段性创作的风貌语言和文本脉络。

©王小双，城之光NO.17

The light of the city NO. 17，2020，布面油画

60 x 80cm，Oil on canvas

Copyright Wang Xiaoshuang.

In Baidu Encyclopedia, the word Quadrant means 1/4 circle equal points, spreading to the quadrupoles with the center of the circle as the starting point. There are two reasons the word "Quadrant" is quoted as the theme of the exhibition of the four young artists, one is to discuss the correlation between the artist's expression of different "quadrant" objects and the boundaries of reality; the other is to form a visual grammatical link with the separate exhibition space, and therefore to explore the style language and context logic of their creation during this period.

©黄赛峰，似是而非的空间28

Paradoxical space 28，2020，布面综合材料

100 x 80cm，Mixed media on canvas

Copyright Huang Saifeng.

象限是中国的本土词汇，亦是中国古代天文学用语。正如《易经·系辞》第十一章所述：是故，易有太极，是生两仪，两仪生四象，四象生八卦。这对于万物的复合阐述也对应着笛卡尔坐标系里的横轴和纵轴所划分的四个区域，其中的每一个区域称之为一个象限，从第一到第四象限的线性分布，映照着“四象”生存于共性社会中关乎个人成长所展现出的异质状态，是对当下图像学、空间维度、集体记忆和日常生活的深入洞察以及真实体认。

©翟轩弘，20190318

20190318，2019，布面油画

130 x 90cm，Oil on canvas

Copyright Zhai Xuanhong.

Quadrant is a native Chinese word, as well as an ancient Chinese astronomical term. As described in Chapter 11 of the book I Ching · Xi-Ci: Therefore, I has Taichi, which generates two complementary forces, Yin and Yang, which then generate four quadrants. Bagua are born from the four quadrants. This compound elaboration of all things also corresponds to the four regions divided by the horizontal and vertical axes in the Descartes coordinate system, each of which is called a quadrant. The linear distribution from the first to the fourth quadrant reflects the heterogeneous state, which is related to personal development, of the "four quadrants" existing in the common society.  It is an in-depth insight and true recognition of current iconology, spatial dimensions, collective memory and daily life.

©赵兵，时空回声—小确幸

Time and space echo -- small true happiness，2020，布面油画

160 x 120cm，Oil on canvas

Copyright Zhao Bing.

一、王小双：城域容器的精神废墟

I Wang Xiaoshuang: The spiritual ruins of the city container

现实的荒谬性显露着人类的欲望，虚拟世界的构建承载着我们对自然生态资源的无尽索取和盲目占有；城域文明的坍塌是个体精神的内心独白，同时，它将在社会进程的变革中塑制为一个废墟容器；理想桃花源的境地重逢是我们心驰神往的天堂岛，生命的幻想在此刻期许着未来；周遭环境的变迁成为我们心灵安放的临时居所，而王小双正是建构这一“临时居所”的守护者和捍卫者……

©王小双，城之光NO.16

The light of the city NO. 16，2020，布面油画

100 x 100cm，Oil on canvas

Copyright Wang Xiaoshuang.

The absurdity of reality reveals the human desire, and the construction of virtual world carries our endless demand and blind possession of natural ecological resources; the collapse of urban civilization is the inner monologue of individual spirit. At the same time, it will be shaped into a ruin container during the process of social transformation; the ideal Peach-Blossom Spring is the paradise island we long for, and the fantasy of life is expecting the future at this moment; the change of the surrounding environment has become the temporary residence of our hearts, while Wang Xiaoshuang is the guardian and defender of the construction of this "temporary residence"….

©王小双，光系列NO.13

Light series NO. 13，2019，布面油画

60 x 60cm，Oil on canvas

Copyright Wang Xiaoshuang.

城市的快速发展和更迭，加快了区域价值的不断飙升，与此同时，生态结构的平衡性也在隐形之中被打破。在上海建筑空间成长的嬗变中，王小双深刻地感受到现代都市建筑的扩张给人们带来的身心影响，他通过具象和非具象的绘画方式再现它们光鲜亮丽下的“满目疮痍”。具象的城域景观是庄重而又悲怆的，组群式的建筑物如同一个个被遗弃的标本，附以上帝视角般的俯瞰构图将其定格下来，不同透视物的相互叠加、缠绕，并置于同一场域中，灰暗色系的厚重沉淀，暗含着艺术家对现实环境的深深无奈和流露情感关怀的人文气质。

©王小双，城之光NO.07

The light of the city NO. 07，2020，布面油画

80 x 120cm，Oil on canvas

Copyright Wang Xiaoshuang.

The rapid development and change of cities have accelerated the soaring value of the regions. Meanwhile, the balance of ecological structure has been broken invisibly. Wang Xiaoshuang has deeply felt the physical and mental impact of the expansion of modern urban architecture during the transformation of Shanghai's architectural space growth, and he showed the "devastation" covered by the fancy surface through visual and non-visual painting style. The image of the cityscape is solemn and sorrowful, and the group-style buildings look like the abandoned specimens. They are captured by overlooking composition with God's view, with different perspectives superimposed and winding with each other in the same domain. The thick precipitation of the gray and dark color implies the artist's deep helplessness of the reality and his humanistic temperament of strong emotional concern.

©王小双，城之光NO.18

The light of the city NO. 18，2020，布面油画

60 x 60cm，Oil on canvas

Copyright Wang Xiaoshuang.

如果说“城市系列”是王小双对于现代工业化文明深切忧思的话，那么“光”系列则是他回归内心对现实世界更极致的绘画表达。孤独前行遗留下的生命轨迹，由画面中心向四周散发出的熠彩光辉，无不揭开现实在画布底层间的一层层薄雾，数遍颜料铺垫的视觉效果，极简理性且恣意自信！

©王小双，光系列NO.26

Light series NO. 26，2019，布面油画

100 x 100cm，Oil on canvas

Copyright Wang Xiaoshuang.

While the "City Series" is Wang Xiaoshuang's deep concern for modern industrial civilization, the "Light Series" is his return to the artistic expression of what he feels about the real world. The life trajectory of going forward alone glows brightly from the center of the picture, revealing the reality covered by the layers of mist on the canvas. The visual effect of piled pigments is minimalist, rational, free and confident!

©王小双，光系列NO.36

Light series NO. 36，2020，布面油画

50 x 50cm，Oil on canvas

Copyright Wang Xiaoshuang.

二、黄赛峰：异维视角的物象内核

II Huangsaifeng: The core of the hetero-dimensional perspective

黄赛峰的作品着力于表现个体心理的起伏变化，梦魇初醒的刹那间穿引时间而过，异质空间的转换和挪移，成为其思想表征的内核。寂静之光的凸显，伴随着时间的延展愈发强烈，它似一种坚质而温润的色域切片在观者的潜意识中缓慢沉浸。

©黄赛峰，似是而非的空间21

Paradoxical space 21，2019，布面丙烯

100 x 100cm，Acrylic on canvas

Copyright Huang Saifeng.

Huang Saifeng's works focus on the performance of the ups and downs of individual psychology; the moment of waking up from the nightmare flies by through time. The conversion and displacement of the hetero space become the core of its ideological expression. The highlight of the silent light becomes more intense with the extension of time, and it slowly immerse in the viewer's subconscious like a solid and gentle color field slice.

©黄赛峰，似是而非的空间25

Paradoxical space 25，2019，布面丙烯

80 x 110cm，Acrylic on canvas

Copyright Huang Saifeng.

面对多重世界的交互联系，个体的有效记忆压缩了我们思考的内存，转而形成固化观察的视角方式，在此期间，共性特征物的界限被重新拼接。正如艺术家的绘画语言一般，错位变型的物象结构显现出别样的迷惑和隐晦感，色相的巧妙分布和明度深浅，还原了梦境中的戏剧冲突。隔空围绕的淡色或是鲜艳形状所带来的静穆仪式感，是他对历史、地域和时代现状的质疑及追问，与之对视的瞬间，直击我们的视网膜，继而引导我们进入其模糊甚至交叠错层的异维世界。

©黄赛峰，似是而非的空间38

Paradoxical space 38，2020，布面综合材料

60 x 40cm，Mixed media on canvas

Copyright Huang Saifeng.

In the face of multi-world interaction, the individual's effective memory compresses the memory of our thinking, and leads to an inflexible observational perspective, during which the boundaries of the things with common features are re-stitched. Like the artist's painting language, the misplaced image structure shows a different sense of confusion and obscurity, and the smart distribution and different shades of the color restore the dramatic conflict of the dream. The sense of solemn ritual brought by the surrounding light color or the bright shape is his question and query of the history, region and current situation. It catches our eyes and leads us into a fuzzy and even overlapping hetero-dimensional world the moment we look at it.

©黄赛峰，似是而非的空间39

Paradoxical space 39，2020，布面综合材料

60 x 40cm，Mixed media on canvas

Copyright Huang Saifeng.

在绘画语言上，黄赛峰擅于挖掘和拭除物象本体的内在形态，以一种看似单一的色块反复涂抹和整合，从其造型、位置、色彩等角度多方位切入，最终生成一个充满意识温度的虚拟空间。它们的造型分割和颜色选取，阐释了艺术家对于人们形成惯性思维观看的视觉解构和认知理解；形态的位移，持续地输出着画面的朦胧感和自由度，而这正是他对生命时间和过往记忆的生动描绘和挚诚关照。

©黄赛峰，似是而非的空间30

Paradoxical space 30，2020，布面丙烯

90 x 70cm，Acrylic on canvas

Copyright Huang Saifeng.

In terms of the painting language, Huang Saifeng is good at excavating and erasing the internal form of the object. He repeatedly paints and integrates with a seemingly monotonous color block and finally, from a multi-perspective of the shape, position and color, generates a virtual space full of conscious temperature. Their shape segmentation and color selection illustrate the artist's visual deconstruction and cognitive understanding of people's inertial viewing; the displacement of the figure continuously displays the hazy sense and freedom of the painting, which is the vivid depiction and sincere concern of the time life and the past memory by the painter.

©黄赛峰，似是而非的空间

Paradoxical space，2019，综合材料

40 x 160cm，Comprehensive materials

Copyright Huang Saifeng.

三、翟轩弘：图像记忆的灵光幻境

III Zhai Xuanhong: The light fantasy of image memory

对于翟轩弘来说，物质与个体精神的互融是通往现实世界的核心通道，灵光帷幕下的图像风景，是他书写生命经历的真实体会。处于暗室下的静止景观，诉说着树木、植物在自然界中生机盎然的独特气息，抽象化和具体性的笔触划痕在既定空间中畅游、矗立，当我们置身其中时，宛若走进另一个繁锦世界，愈近则愈远，且富含无限能量。

©翟轩弘，衍之三十一

Derivative thirty-one，2017，油画（绘画装置）

64 x 64cm，Oil Painting (Painting Installation)

Copyright Zhai Xuanhong.

For Zhan Xuanhong, the integration of material and individual spirit is the core channel to the real world, and the image landscape under the light curtain is his true feeling of recording life experience. The still landscape under the dark space tells the vibrant and unique breath of trees and plants living in nature. The abstract and concrete strokes swim and stand in the established space, in which we would seem to walk into another prosperous world, the closer it is, the farther it is, full of infinite energy.

©翟轩弘，衍之三十八

Derivative thirty-eight，2018，油画（绘画装置）

60 x 60cm，Oil Painting (Painting Installation)

Copyright Zhai Xuanhong.

在这个充斥着碎片化信息的时代，我们的生理和心理感知逐渐被削弱，图像与自我的边界关系变得越来越虚幻。《衍》系列的生成，抽离了具有指向性符号的局限性：《衍之系列三十八》以蔚蓝色调为画面基地，状如苍茫宇宙中的一个星辰，其中闪耀着多个微生物细胞的触角，或呈红色、紫色、黄色等形态。与之衍生出的第五十六个作品而言，浅白色般漂浮物在画面上自由游荡的情状，行走的断续线条和无数圆形编码，即是艺术家构筑的一个来自远古幻境的神秘花园……

©翟轩弘，风景15

The scenery of 15，2020，油画（绘画装置）

122.5 x 162.5cm，Oil Painting (Painting Installation)

Copyright Zhai Xuanhong.

In an age of fragmented information, our physical and psychological perceptions have been gradually weakened, and the boundary relationship between images and self is becoming more and more illusory. The creation of the Yan Series goes beyond the limitation of directional symbols: Yan Series 38, with azure tone as the base of the painting, looks like a star in the vast universe, in which the tentacles of multiple microbial cells shine, showing in the form of red, purple, yellow, etc. As for the fifty-sixth artwork derived from it, the light white floating objects roaming freely on the canvas, the intermittent walking lines, and the numerous circular codes are the mysterious garden from ancient illusions built by the artist ....

©翟轩弘，风景2

The scenery of 2，2017，油画（绘画装置）

84 x 160cm，Oil Painting (Painting Installation)

Copyright Zhai Xuanhong.

宏大社会事件和现象的呈现并不是翟轩弘所表达的创作方向，相反，他更关注这些事物背后显现出的脆弱性和隐秘性。无限风光的山色和天景，在我们驻足前隙停滞，闭目凝神之际，得以“窥探”艺术家对于生命知觉的敏锐嗅觉力。而画面中每一个细枝末节的诗意描绘，则是图像文本在光照之境下与世界本源的内在关联，并在未知时域中绽放光芒。

©翟轩弘，20200610

20200610，2020，布面油画

102 x 77cm，Oil on canvas

Copyright Zhai Xuanhong.

The presentation of sensational social events and phenomena is not the direction expressed by Zhai Xuanhong’s creation. Rather, he pays more attention to the vulnerability and secrecy behind these things. The infinite scenery of the mountains and skyscapes allows us to "peep" at the artist's keen sense for life perception, as we stop in the front of the painting, closing our eyes. The poetic depiction of each detail in the picture is the inside relationship between the image text and the world's origin in the lighting environment, shining in the unknown time domain.

©翟轩弘，201709

201709，2017，布面油画

120 x 90cm，Oil on canvas

Copyright Zhai Xuanhong.

四、赵兵：空间碎片的日常叠影

IV Zhaobing: Daily overlays of space fragments

情境叙事的切片画面是局部的，在脱离主体结构后，无时影射着光影的迷离感。“存在”到“在场”的空间指涉，指引未来的方向，某一刻，它将变为一段无声的电影，旁白的引咎点缀，内含混沌和空灵之气象。空景的片段，疏离之外，亦附加着赵兵对于绘画语言的内质探索。

©赵兵，无声

Silent，2019，布面油画

90 x 120cm，Oil on canvas

Copyright Zhao Bing.

The sliced picture of the situational narrative is local, and reflects the confusion of light and shadow from time to time after detaching from the main structure. The spatial reference from "existence" to "present" guides the direction of the future, and it would become a piece of silent film at some point, the narration of which contains the spirit of chaos and ethereal. The fragments of the empty scene, other than alienation, are also attached to Zhao Bing's internal exploration of the painting language.

©赵兵，指引

Guide，2016，布面油画

100 x 88cm，Oil on canvas

Copyright Zhao Bing.

赵兵的绘画多以碎片化的日常为创作主体，焦点错位和难以名状的符号元素在其间“各行其道”。《时空回声—小确幸》从侧面彰显了艺术家对造型体态的细腻把控，被剥离和分割的对象局部是他迷恋的物质所在，层层叠叠的色域，在这些规则和不规则的物象边缘游离，并伺机缓慢落下，继而成为记忆环节中的某个标记。诚然，它们是惊愕的，甚至有着怀疑论者的先天意识，忧虑思量之下，潜隐地藏匿于画面中的每个角落……

©赵兵，无题

Untiled，2020，布面油画

120 x 90cm，Oil on canvas

Copyright Zhao Bing.

Zhao Bing's paintings are mainly about the daily fragments, with the misplaced focus and unnamable symbolic elements walking in between. Time and space echo – Little doses of happiness shows the artist's delicate control of the shape of the objects from a side perspective. He is obsessed with the stripped and segmented parts of the objects, with layers of color fields roaming around the edge of these regular and irregular images and waiting for the opportunity to slowly fall and then become a mark in the memory chain. Surely, they are stunned, even with intrinsic consciousness of sceptics. Being worried, they are hiding in each corner of the picture....

©赵兵，月光曲

Clair DE lune，2019，布面油画

80 x 100cm，Oil on canvas

Copyright Zhao Bing.

生命的真实显影是对现实无节制的客观延续，人性的感官情绪是这一脉络的内在媒介。诸如《月光曲》体现出的静微叠影，是赵兵历经个体成长与自然的相惜相照，波光粼粼，浮若天边那一抹云彩。他试图将内心的自我与绘画之间建立“屏障”，一种拧巴的，不可确信的焦虑感、质疑性运转于这个闭合空间。他以物质分解的观念重组物象，更强调打破和叠加事物本身的外在因素，并刻画出一个支离破碎和不确定性的日常画面，就像一个失去重心平衡的声音意像，它们是在过去、现在，还是未来？

©赵兵，隐喻的故事

Metaphorical Stories，2016，布面油画

60 x 80cm，Oil on canvas

Copyright Zhao Bing.

The real appearance of life is an objective continuation of the unbridled reality, and the sensory emotion of human nature is its internal medium. The quiet and micro-stacking shadow of Moonlight Melody, sparkling and floating like a piece of cloud in the sky, is the reflection of Zhao Bing’s mutual care and cherish for nature after individual growth. He tries to set up a "barrier" between his inner self and the painting, with twisted and unsure sense of anxiety and doubt running through this closed space. Reorganizing the images with the concept of material decomposition, he emphasizes more the breaking and overlaying the external factors of the images, and portrays a fragmented and uncertain daily picture, like a voice that loses its center of gravity: Are they from the past, present, or future?

©赵兵，过去.现在.未来？

Past. Present. Future?，2016，布面综合油画

100 x 80cm，Comprehensive oil painting on canvas

Copyright Zhao Bing.

◐   关于策展人·Curator

C  V

惠书文（Hui Shuwen），一位活跃的独立策展人、艺术写作者。CONUTER-FEIT 猎质当代艺术双年展品牌创办人，猎质当代艺术展总策展人。Rainbow box project发起人，An Art Space策展人。主要从事中国当代艺术史论研究与写作、当代艺术批评实践、展览策划及独立艺术空间的创建与运营等工作。

主要讲座与艺术项目包括：清华大学美术学院（惠书文：猎质行动——青年策展实践与思考）；鲁迅美术学院（惠书文：策展年记——关于艺术家的成长与自我塑造）；西南大学美术学院·学术讲座（惠书文：行动中的猎质——策展实践与思考）；吉利学院艺术学院·学术讲座（惠书文：策展人的一剂良药）；中国当代艺术权力资本与市场·学术论坛（论坛主持：惠书文）；《我们如何面对今天的艺术？》艺术项目总策划；中国商丘抽象国际邀请展联合策展人，首届夜郎谷现场艺术周学术观察。

曾策划与合作个展的艺术家包括：黄鹿、杨加勇、曾朴、刘亭君、鲍贤杰、罗天志、曹亮、陈清勇、陈蜀、董冰清、黄凌云、蒋佑胜、李浩、李勇、林惠兴、刘强、米小西、邱兴健、石东旭、时永华、孙小川、王朝、王琳、王韦、王文聃、王旭、吴江涛、谢蓓、谢珍良、杨涛、曾臻、张丹、张术利、张海君、郑大弓、郑龙一海、朱峰等。

◐   关于艺术家·Artist

C  V

王小双（Wang Xiaoshuang）1991年出生于河北，2013年毕业于西安美术学院油画系，获学士学位，2016年毕业于上海大学美术学院油画系，获硕士学位，2018年参加中国青年艺术家赴意大利弗洛伦萨驻留计划，现工作生活于上海。

主要个展包括：“谧城”（黑白之中画廊,上海,2019），“Urban Landscape”（Galerie Diane de Polignac,巴黎,法国，2017），“城域”（HDM Gallery，杭州，2016），作品曾在俄罗斯国家博物馆，土耳其Elgiz Museum，中华艺术宫，浙江美术馆，江苏美术馆，北京今日美术馆，石家庄美术馆，太原美术馆,刘海粟美术馆,多伦现代美术馆等国内外艺术机构展出，作品被法国DSL Collection，希腊Copelouzos Family Art Museum,土耳其Elgiz Museum,西安美术学院美术馆、北京时代美术馆、新美术馆、意大利中艺国际、恒大集团等机构和私人收藏。

黄赛峰（Huang Saifeng）1983年生于上海，2003毕业于上海师范大学美术学院。2014毕业于上海戏剧学院舞台美术系油画专业，获硕士学位。现工作生活于上海。

主要个展包括：“意外空间”（五五画廊,上海,2019），“空盒游戏”（E空间,上海,2016），“ 不可思寻”（秋刀鱼艺术中心,台北,2014）。公共项目：2020《空盒游戏·距离与无间》余德耀美术馆，上海；导演作品：2017戏剧《空盒游戏》19届上海国际艺术节 扶青计划 委约作品；获奖：2015年第7届新锐艺术人物评选 视觉艺术大奖，2017年第4届青年艺术+项目 “英才计划”。

翟轩弘（Zhai xuanhong）1987年生于湖南常德，2012年毕业于四川美术学院油画系。现工作生活于上海。

主要个展包括：“衍”（嘉源海艺术中心,上海,2013），“欲望成国”（ISGO Gallery,北京,2019）。曾获第四届新星星艺术节新人奖。作品曾被四川美术学院美术馆，重庆美术馆，蓝顶美术馆，MOCA STAR，半岛美术馆，宝龙艺术中心，Museum jan van der Togt（荷兰），Copelouzos family art museum（雅典）等收藏。包括中骏集团，壹德集团，南京德基广场，神州数码集团，祥源控股集团，麦德龙，荷兰阿姆斯特尔芬市政厅（市政厅代表市长收藏），金杜律师事务所主席及金杜艺术中心创始人李先生，以及国内外各种企业及私人收藏。

赵兵（Zhao Bing）1986年生于开封，2010年毕业于中国美术学院版画系，获学士学位。2016年毕业于威尼斯美术学院绘画专业，获硕士学位。现工作生活于上海。

主要个展包括：“我回头并且看了一眼”（问象艺术空间,南京），“光·寂”（知了艺术空间,上海），“失焦的真实”（问象艺术空间,南京）。