“非彼非此”——吴烊艺术作品展

"Neither Here Nor There" – Artworks by Wu Yang

展览时间：2024-03-22 - 2024-4-20

Exhibition Dates: March 22, 2024 - April 20, 2024

开幕时间：2024-03-22 15:00

Opening Reception: March 22, 2024, 15:00

展览城市：南京

Exhibition City: Nanjing

展览机构：依索帕拉画廊

Exhibition Venue: Espoir Gallery

展览地址：南京市梦都大街150号建筑师工社107室

Location: Dream Avenue, Building 107, Room 150, Nanjing, China

学术主持：高登科

Academic Host: Kedeng Gao

策展人：阮小懿

Curator: Xiaoyi Ruan

艺术家：吴烊

Artist: Yang Wu

出品人：周围

Producer: Wei Zhou

主办单位：Espoir Gallery

Organizer: Espoir Gallery

媒体支持：雅昌艺术网、艺术中国网、中国爱艺网、新华日报、中国美术报、99艺术网、一画网

Media Support: Artron.net, Art China, artyi, Xinhua Daily, Art News of China, 99 Art, Yi Hua Network（narental）

特别鸣谢：吴东 阮礼荣 刘铭扬

Special Thanks to: Dong Wu, Lirong Ruan, Mingyang Liu

非彼非此

Neither Here Nor There

文/阮小懿

By Xiaoyi Ruan

“人生，没有彼岸。”这是某一天烊烊对我说的。

没有彼岸，唯有自渡。或许，创作就是吴烊对抗生命漂泊辗转的方式。近十多年，香港、北京、伦敦、纽约生活时空的转换，连带语言、饮食、身份觉知和认同，客串或长居，主体与客体变换的模糊与清晰，或许曾有期待，有质疑，有调侃，甚至还有些隐喻，对时空对文化的独立思考都融在她每天的生活里，也正是如此，才有了这次展览的纸上水彩拼贴系列。

从2019年迈阿密参加SCOPE艺术博览会展览的合作，到本来应该在纽约2020年5月的个展，一个疫情，隔断成两个世界。转眼四年，因为念念不忘的回响，才有了这次3月南京的展览，这是展览的前因。

"Life has no opposite shore," said Yang Yang to me one day.

With no opposite shore, one must ferry oneself. Perhaps, creation is Yang Wu's way of confronting the wanderings and transitions of life. Over the past decade, whether as a temporary visitor or a settled resident, her transitions between living spaces and time in Hong Kong, Beijing, London, and New York, along with the accompanying changes in language, diet, identity awareness, and recognition, and the blurred and clear shifts between subject and object may have held expectations, doubts, jests, and even some metaphors, as a result of which independent reflection on time, space, and culture has all been integrated into her daily life. It is precisely because of this that the paper collage series for this exhibition has come into being.

From the collaboration at the SCOPE Art Fair in Miami in 2019 to the solo exhibition originally planned for May 2020 in New York, a pandemic divided one world into two. However, the lingering nostalgia during the past four years has resulted in this exhibition in Nanjing in March.

幸运日

纸上丙烯  综合材料 30.3x40.5cm  2017

“非彼非此”，是一个看不见却客观存在的边界，移民与迁徙潮中，来来回回，反反复复，仿佛生活在别处便可到达彼岸，然而客串的人生没有完美只有取舍。吴烊的作品，是对自身生存状况和意义的追问，正如她自己所说：“在这个世界上，一直有两个我，一个是你日常世界里看见的我，在温暖的世界里温文尔雅有礼有节，单纯而亲切；另一个是一直在你看不见的世界里存在的我，游走在各类文化和历史的边缘里，触碰着不同文化背景的边界，思考感知并幻想着的我。”

"Neither Here Nor There" is an invisible yet objectively existing boundary, amidst the tide of immigration and migration, with constant back-and-forth movements, seemingly suggesting that living elsewhere could lead to the opposite shore. However, in the transient life of an itinerant, perfection is absent; only choices remain. Yang Wu's works are an inquiry into her own existence and significance, as she herself puts it: "In this world, there have always been two of me. One is the me you see in your daily life, courteous, restrained, simple and cordial in a warm world; the other is the me that exists in a world you cannot see, wandering on the edges of various cultures and histories, touching the boundaries of different cultural backgrounds, thinking, perceiving, and fantasizing."

人面桃花相映红

纸上水彩 综合材料 21x29.5cm  2016

对于她来说，边界是模糊又清晰的，是一个个不断逝去而又不断重新开始的设置，有点像电脑的不断重启，或是生命多元化的不同呈现。在辗转于纽约、伦敦和北京循回的生活中，不同语言、不同文化、不同历史在她身上体现了个体身份不断叠加融合的多重性，在不同的集体关系中，不同的环境体验下的身份感是微妙的、流动的，这也给她的艺术创作赋予了多元文化意识的思考，甚至转变为打破原有概念的实验性，探索着创作的新的可能性。她通过一系列综合材料的运用、现成品的剪贴、多种颜料的使用、多维度的线性装置等形式，以个性化的视角重组碎片化的当代生活，试图打破性别、年龄、地域、文化甚至身份的界限。

For her, boundaries are both blurry and clear, resembling a series of settings that continually fade away only to begin anew, akin to the repetitive rebooting of a computer or the diverse manifestations of life. In her cyclical life journey through New York, London, and Beijing, the diversity of languages, cultures, and histories she encounters reflects the multiplicity of individual identities constantly merging and intertwining within her. In various collective relationships and environmental experiences, the sense of identity is subtle and fluid, endowing her artistic creation with multicultural consciousness and even transforming into experimental attempts to break existing concepts, as well as explore new possibilities of creation. Through the use of a series of integrated materials, collages of ready-made products, the use of various pigments,and multi-dimensional linear installations, she reorganizes the fragmented contemporary life from a personalized perspective, attempting to break the boundaries of gender, age, region, culture, and even identity.

石火光中…

纸上丙烯  综合材料 30.3x40.5cm 2017

这次展览，主要以她的纸上水彩拼贴为主，穿插了部分油画和丙烯，系列作品里有呼吸、有纠结、有沉思，她眼里的众生相，她生活里的时空交错，她独行时的思维迷宫……有时候，艺术家也像是个魔术师，不经意间的笔墨中，描述出一个似是而非的世界。作品视觉上，平行的不对称性和视觉的抽象性给我留下了深刻的印象，构图的平衡和灵活的不对称性，使得画面充满活力和动感；而抽象的画面和细微的迹象把空间和人相关联了起来。有些作品，远远看去可见远近大小的多重空间的折叠，仿佛模糊的混沌中慢慢浮现出清晰的梦幻世界，有些画面本身就是矛盾的虚拟空间，在远近大小不同角度的碰撞中共生，充满了不确定性。似乎有无数个边界，让你迷惑、困顿而无从分辨，语嫣不详；恍惚间置身于一个生动的世界，却又窒息于同一个世界的镜像里，无所适从……

This exhibition mainly features her paper collage works, interspersed with some oil paintings and acrylics. In the series, there is breathing, entanglement, contemplation; the myriad of creatures in her eyes, the interweaving of time and space in her life, the maze of thoughts when she is alone... Sometimes, the artist seems like a magician; in the unintentional strokes, she describes a world that seems plausible yet not. Visually, the parallel asymmetry and visual abstraction leave a deep impression on me. The balance of composition and the flexible asymmetry make the images vibrant and dynamic; while the abstract images and subtle traces connect space and people. In some works, the folding of multiple spaces of different sizes can be seen from a distance, as if a clear and dreamlike world slowly emerges from the blurry chaos; some images themselves are contradictory virtual spaces, coexisting in the collision of different perspectives of distance and size, full of uncertainty. It seems there are countless boundaries, leaving you confused, trapped, unable to distinguish, with inexplicable language; at times, you find yourself in a vivid world, yet suffocating in the reflection of the same world, lost...

泡影

布面丙烯  综合材料 30.3x40.5cm 2018

不同的维度里的吴烊，正如她的作品一样，试图冲破某种界面却又困于其中，身份的冲突、意识的困扰、文化本源的追溯，在各种空间的挣扎里达到一种平衡。

Yang Wu in different dimensions, just like her works, attempts to break through certain interfaces yet is trapped at the same time. The conflicts of identity, the disturbances of consciousness, and the tracing of cultural origins, struggle within various spaces to achieve a balance.

几何迷宫

布面油画 综合材料拼贴  50.4x60.5cm  2016-2017

工作室场景一

工作室场景二

关于艺术家

About the Artist

Yang Wu

视觉艺术家。先后毕业于安徽工程大学艺术学院和中央美术学院壁画系。2010-2022年间旅居伦敦、纽约。游历欧美各大艺术都市，研习视觉艺术。2022年底从纽约回国现创作生活于北京。

2006年至今在北京和南京多次举办个展。2001年至今参加国内外联展逾二十个，包括英国、美国、意大利、法国及日本等国家的国际联展。2018年在纽约成功申请Pen + Brush艺术基金项目。2019年12月五件作品参展美国迈阿密艺博会。

Yang Wu, a visual artist, graduated from the School of Art Anhui polytechnic University and the Mural Painting Department of the Central Academy of Fine Arts. Between 2010 and 2022, she lived in London and New York, traveling to major art cities in Europe and America, studying visual arts. At the end of 2022, she returned from New York to China and now lives and works in Beijing.

Since 2006, she has held solo exhibitions in Beijing and Nanjing many times. Since 2001, she has participated in over twenty domestic and international joint exhibitions, including international joint exhibitions in countries such as the United Kingdom, the United States, Italy, France, and Japan. In 2018, she successfully applied for the Pen + Brush Art Fund project in New York. In December 2019, five of her works were exhibited at the Miami Art Fair in the United States.

作品收藏：

北京皇城艺术馆

南京市美术馆

日本名古屋东洋艺术研究所

澳大利亚M ON THE BUND

中国，英国，香港，印度，美国，日本等私人收藏

Artworks Collected by:

Huangcheng Art Museum

Nanjing Art Museum

Nagoya Oriental Art Research Institute, Japan

M ON THE BUND, Australia

Private collections in China, the United Kingdom, Hong Kong, India, the United States, Japan, etc.

关于学术主持

About the Academic Host

高 登 科

Dengke Gao

博士，清华美院社会美育研究所副所长，清华大学艺术博物馆博士后，元宇宙三十人论坛学术与技术委员会委员。中译出版社《分身：元宇宙艺术的打开方式》作者，课题组负责人。主要研究中国艺术史、艺术与科学、美育理论与实践。2011年参与创办民艺杂志《蜗牛》，2015年至2017年策划北京国际设计周“民艺：转化的生机”系列论坛，编著《艺术作为一种职业》《青果京华：清华学派第四次学术研究展》等，于《装饰》《美术观察》《美术大观》《新美术》《艺术市场》《文化月刊》等杂志发表论文多篇。

Ph.D., Associate Director of the Social Aesthetics Research Institute at Tsinghua University, Postdoctoral Fellow at the Tsinghua University Art Museum, Member of the Academic and Technical Committee of the Metaverse Thirty-Person Forum. Author of "Doppelganger: An Open Approach to Metaverse Art" published by China Translation & Publishing Corporation, and head of the research group. He mainly studies Chinese art history, art and science, and aesthetic education theory and practice. He participated in the founding of the Crafts magazine "Snail" in 2011 and organized the "Crafts: Vitality of Transformation" series forum during the Beijing International Design Week from 2015 to 2017. He has authored "Art as a Profession" and "Tsinghua School Fourth Academic Research Exhibition" and published multiple papers in magazines such as "Decoration," "Art Observation," "Artistic Perspective," "New Art," "Art Market," and "Cultural Monthly."

关于策展人

About the Curator

阮 小 懿

Xiaoyi Ruan

策展人，依索帕拉画廊主理人，江苏省中外文化交流协会理事，四川美院依索帕拉奖学金项目策划人，艺术史论研究者。毕业于南京艺术学院，主要专业方向为展览策划、学术研究、馆藏建设等。

The curator, proprietor of the Espoir Gallery, director of the Jiangsu Provincial Association for Cultural Exchange, planner of the Sichuan Fine Arts Institute Espoir Scholarship Project, and researcher in art history and theory. Graduated from the Nanjing Art Institute, with a focus on exhibition planning, academic research, and museum collection development.