△ 艺术装置《万物共生》影像??佳能中国The art installation: The Garden of Kyosei

　　"时间有无数系列，背离的、汇合的和平行的时间织成一张不断增长、错综复杂的网。由互相靠拢、分歧、交错或者永远互不干扰的时间织成的网络包含了所有的可能性。"

　　--《小径分岔的花园》

　　"This web of time - the strands of which approach one another, bifurcate, intersect or ignore each other through the centuries - embraces every possibility."

　　-The Garden of Forking Paths

　　△ 康蕾 Kang Lei小径分岔的花园 The Garden of Forking Paths综合材料 Mixed media 200 × 700 cm 2017

　　《小径分岔的花园》是阿根廷作家豪尔赫·路易斯·博尔赫斯所著侦探小说，通过建立靠拢、分歧、交错或永不相扰的时间网络，探讨过去、现在、未来杂糅并存的神秘时空。

　　Jorge Luis Borges, the Argentinian short story writer, in his novel The Garden of Forking Paths explores a mysterious spatial-temporal dimension characterized by the coexistence of elements from the past, present and future. The author in the novel establishes a time network that is adjacent but divergent, intertwined but never intersected.

　　以此为灵感，艺术家康蕾在2017年创作了同名艺术作品，也是其近年来极具代表性的作品之一。时间和距离是艺术家思考的主题：多维度的时空，超现实的梦幻色彩，并置的人与植物，长满仙人掌的生命乐园，神奇的大自然以及顽强的生命力，世界纷繁复杂而又生机勃勃。

　　Taking The Garden of Forking Paths as source of inspiration, the artist Kang Lei created a mixed-media work named after the novel in 2017, which is also one of her most prominent works in recent years. Time and distance are notions at the centre of Kang Lei's artistic research. In her work, while exploring the multi-dimensional character of time and space with surreal and illusionary colours, the artist depicts human characters and plants, images of paradises full of cactus. Her works disclose the mystery of nature and the vitality of life, revealing a complex, rich and fascinating world.

　　向左滑动 Swipe for more

　　△ 小径分岔的花园 The Garden of Forking Paths

　　"一个人可以成为别人的仇敌，成为别人一个时期的仇敌，但不能成为一个地区、萤火虫、字句、花园、水流和风的仇敌。"

　　--《小径分岔的花园》

　　"A man might be an enemy of other men, of the differing moments of other men, but never an enemy of a country: not of fireflies, words, gardens, streams, or the west wind."-The Garden of Forking Paths

　　大自然与生态文化是艺术家康蕾始终关心的主题，在其作品《无相》、《乐园》系列中处处可见花园、水流与风的痕迹，万物以和谐共生之态无边生长。

　　Nature and ecological culture are the themes at the centre of artist Kang Lei's artistic research. Images of gardens, water and wind can be easily seen in her works Phaseless and Paradise series, where all things grow endlessly in a harmonious state of symbiosis.

　　2021新年伊始，在始终倡导"共生"理念的佳能支持下，康蕾以佳能环保回收相机零件为创作灵感，将《小径分岔的花园》重塑创作成一件《万物共生》立体装置。百余台回收相机，通过艺术家的拆解改变其原有的形态和使用属性，屏风式三重亚克力板带来光怪陆离的错视与幻象，2000余个被拆解的佳能相机零件，在花园中与热带植物同繁共茂。

　　At the beginning of 2021, with the support of Canon, who has always advocated the concept of "kyosei" (the Japanese word for "living and working together for the common good), the artist used recycled parts of Canon cameras to reshape her ever-growing garden into a three-dimensional installation titled The Garden of Kyosei. More than one hundred recycled cameras have been dismantled and their original forms and functions have been altered. Screen-style triple acrylic panels and more than 2,000 Canon camera units are combined together with images of tropical plants, bringing the viewer into an illusionary and bizarre spatial dimension.

　　△ 艺术家康蕾创作过程，绘图、拆解相机零件等Kang Lei's creative process: sketching, disassembling camera parts, etc.

　　△ 使用相机零件拼贴 《小径分岔的花园》原作第一部分的角色"白鹭与蛇"Using camera parts to shape the characters "Egret and Snake" in the first part of the painting The Garden of Forking Paths

　　△ 万物共生 The Garden of Kyosei

　　综合材料(亚克力、喷绘、丙烯、佳能相机零件) Mixed media (acrylic, inkjet printing and camera parts by Canon on acrylic panels)240 × 535 × 100 cm 2021

　　装置《万物共生》采用三叠五联的屏风形式。作为一种准建筑形式，屏风将《小径分岔的花园》塑造成分隔三维空间的表现对象，同时以其形式本身呼应原作小说错综复杂的时空线索。屏风的作用正如巫鸿在《重屏》所述，"很难找到一种比屏风更能创造神秘感和悬念的物象：屏风总是同时划分出两个区域，一个在前一个在后。因此总是同时既展示又隐藏了某些东西，总是在吸引观者去探寻那些隐秘不见的事物。"

　　The installation The Garden of Kyosei is characterized by a three-layer and five-fold screens structure. As a quasi-architectural form, the screen shapes The Garden of Forking Paths into a three-dimensional space; the form of the installation echoes the intricate temporal and spatial dimension of the original novel. The function of the screen is well elaborated in The Double Screen by Wu Hung, "It is difficult to find an object that can create a sense of mystery and suspense more than a screen: a screen always divides the space into two parts at the same time, the front and the back. Therefore, it always shows and hides something at the same time. It attracts viewers to explore the hidden things."

　　△ 三层透明亚克力屏风

　　Triple-layer transparent acrylic screen

　　△ 艺术家康蕾在装置前

　　Artist Kang Lei in front of the installation

　　透明屏风在中国艺术史上也曾出现，就这一方面而言，康蕾延续了她对传统文化的一贯关注、融合与革新。"物体的实在透明性，是对隐含其中的观念透明性的实现"，罗莎琳·克劳斯在《现代雕塑的变迁》提及透明空间的开放性为雕塑物件带来的虚拟量感和抽象性，亦可作为对装置《万物共生》形质特征的总结。

　　Transparent screens have also appeared cyclically in the history of Chinese art. In this respect, Kang Lei has continued her consistent research based on the integration and innovation of traditional culture within contemporary artistic language. "The literal transparency of objects is the realization of the implicit conceptual transparency", as Rosalind Krauss states in Passages in Mordern Sculpture: the openness of a transparent space brings an element of virtuality and abstraction to the sculptural objects. It can also be taken as a summary of the morphological characteristics of the installation.

　　△ 装置局部："黑海"中原画与零件相得益彰Installation detail: the meta-image and the camera parts complement each other in the black sea area

　　△ 装置局部：画面背面满是艺术家的手绘细节Installation detail: the backside of the installation is full of drawings by the artist

　　《万物共生》以时间为逻辑，将《小径分岔的花园》元(meta)图像按照视觉经验的顺序在亚克力透明板上喷绘，正面则对大量CMOS(感光材料)、芯片等零件进行固定。在此基础上，艺术家使用丙烯在装置表面和相机零件上增添手绘内容，画面呈现进一步挑战"外与内"的辩证法。曲折形态的存在真正使作品的中心变得无法确定和不可企及，几何学的经验在此受到阻碍，想象的疆界因而拓宽。

　　In the installation The Garden of Kyosei, the visual composition of the painting The Garden of Forking Paths is split and fragmented as the meta-images of the painting are inkjet printed on the back of three layers (15 sheets in total) of transparent acrylic panels placed in different angles. The front of the panels is combined with the camera parts such as CMOS (the photosensitive material) and chips. Furthermore, the artist also used acrylic to add visual content on the surface of the inkjet images and on the camera parts, further challenging the dichotomy of "outside and inside" in the presentation of the image. The presence of twists and turns makes the center of the work indeterminate and unattainable. The boundaries of imagination are therefore widened.

　　"这边(l'en-de?à)和那边(l'au-delà)沉闷地重复着内与外的辩证法：一切都被画出，包括无限。"--《空间的诗学》

　　Here (l'en-de?à) and there (l'au-delà) dully repeat the dialectics of inside and outside: everything is drawn, including infinity. - The Poetics of Space

　　△ 装置局部：金属零件给予桃红色的花卉以火焰的灵魂

　　Installation detail: the metal units brings the soul of flame to the pink flower

　　△ 装置局部：集手绘、拼贴、和喷绘于一体的抽象画面呈现多元质感Installation detail: an abstract image that integrates drawing, collage, and inkjet printing presents multiple textures

　　△ 装置局部：画面中包括塑料等软性材料，使屏风上的形象向三维空间延展

　　Installation detail: soft materials such as plastic are included on the screen to extend the image to the three-dimensional space

　　展示于侨福芳草地LG2中庭的《万物共生》因一日之内的自然光线变化而呈现不同的心情，抽象细节带来的复杂性、金属零件由于功能性的迁移带来的丰富性更是留给观众揭开面纱般的惊喜。它可以是探讨艺术、科技、环保与未来的入口，也可以仅仅是无边生长的热带花园，在那里，自然生命力是永恒的主题。

　　The Garden of Kyosei, displayed in the atrium of LG2 at Parkview Green FangCaoDi, is subject to the different shades of natural light during the day. The complexity of the work lies in the combination between abstract images and metal camera units devoid of their original functions. The visual impact of the installation surprises the viewers. The Garden of Kyosei could be an entrance to explore art, technology, environmental protection and the future, or it could be just an eternal tropical garden where the vitality of nature is the ever-lasting theme.

​　　康蕾，艺术家，中央美术学院油画系教授，硕士生导师。曾多次在国内外重要艺术机构举办个展，并参加重要的群展和博览会。如：中国美术馆、中央美术学院美术馆、今日美术馆、时代美术馆、巴拿马现代艺术博物馆、韩国光州市立美术馆、奥斯卡锡迈耶博物馆、MEAM现代艺术博物馆等。其作品被中华人民共和国文化部、中国美术馆、中央美术学院美术馆、时代美术馆、东亿美术馆、ASA艺术基金会等国内外重要机构和藏家收藏。

　　The artist Kang Lei, graduated professor of the oil painting department of Central Academy of Fine Arts China from where she got a Master degree. In the past, she held several solo shows in very important art institutions in China and abroad and she participated to several group exhibitions and art fairs.  Her shows were presented in different important locations including: National Art Museum of China, Central Academy of Fine Arts, Today Art Museum, Times Art Museum, Panama Museum of Modern Art, Gwangju Art Museum, South Korea, Museum Oscar Niemyer, MEAM Museum of Modern Art. Her works have been collected by important institutions and private collectors both in China and abroad such as the Ministry of Culture of the People's Republic of China, the National Art Museum of China, the Central Academy of Fine Arts Art Museum, Times Art Museum, Dongyi Art Museum, ASA Art Foundation, etc.