2026年4月4日，北京798国际艺术区 共同艺术中心 即将迎来“卢志荣&郭雨桥双个展”，敬请关注。

策展人 / Curator

彭锋 / Peng Feng

出品人 / Producer

鲍禹 / Brenda

策划 / Planner

温懂华 / Andy、韩嘉成 / Hale

展览时间/Exhibition time

2026.4.4-5.12

开幕式/Opening ceremony

2026.4.4 15：00

地址：北京市朝阳区酒仙桥路2号798艺术区707街B03共同艺术中心

Address：Common Art Center, 707-b03 Hongshi Square, No.2 JiuxianqiaoRoad, Chaoyang District, Beijing, China.

「梦想之家」郭雨桥个展

「Dream House」Yuqiao Guo Solo Exhibition

梦想之家Dream Home

文 / 鲍禹

所有的建筑，都是子宫的记忆。

在人类进入世界之前，每个人都曾生活在一个封闭的空间之中：温暖、黑暗、被液体包围，没有语言，也没有边界。这个最初的内部空间构成了人类关于“家”的原型想象。从洞穴到房屋，从城市到国家，人类不断在外部世界中建造新的结构，以重新获得这种被包裹的状态。建筑不仅是居住的容器，也是人类试图延续这一原初经验的方式——一种对内部空间的持续复制。

然而在当代社会，这种稳定的内部正在逐渐松动。

家庭结构持续变化，城市生活高度流动，亲密关系不断重组。与此同时，数字技术深入私人生活：经验被记录、传播并转化为数据，人与人之间的关系越来越依赖屏幕与网络。社会学家 Zygmunt Bauman 将这种状态称为“液态现代性”。在这样的社会结构中，稳定的关系逐渐溶解，一切都处于持续的流动与重组之中。传统意义上的“家”不再是一个固定的地点，而更像一种临时生成的结构——一种在不断变化的世界中短暂形成的内部。

技术同样在改变身体本身。从辅助生殖到基因技术，生育逐渐从自然过程转变为可以被规划和管理的系统。理论家 Donna Haraway 在其关于“赛博格”的讨论中指出，当技术进入身体内部时，自然与人工之间的界限开始变得模糊，身体不再只是生物学的存在，而成为一个不断被重写的结构。在这样的历史条件下，子宫也逐渐呈现出新的文化意义：它不仅是生命生成的器官，也是一种关于内部空间的原型模型。

郭雨桥（Guo Yuqiao）作为同时拥有建筑师与艺术家双重身份的创作者，她的实践长期在空间与身体之间思考“栖居”的问题。在她看来，身体本身就是一种居所：身体是精神的房子，既滋养和庇护个体，也在某种意义上形成限制与边界。因此，在她的绘画中，身体往往成为“家”的隐喻。这些身体被拉伸、变形或重新组合，有时像建筑结构，身体在这里不再只是个体形象，而是一种空间性的存在——一个不断变化的内部环境。从某种意义上说，郭雨桥的绘画可以被理解为一种“亲密建筑”（intimate architecture）。这种建筑并不是由墙壁和结构构成，而是由身体、情感与想象共同形成的内部空间。它既具有庇护性，也包含某种不稳定的张力。

Drawers_2026_og

她的图像很少直接来源于现实视觉，而更接近从记忆与梦境中生成的空间结构。梦境在其中发挥着重要作用：记忆在梦中被重新排列，而现实经验也在这一过程中发生偏移。绘画因此成为一种捕捉这种瞬间结构的方式——为那些原本短暂存在的念头寻找具体形态。蓝色构成了这些空间持续存在的气氛。它既像深海，也像宇宙；既像身体内部的流体环境，也带着电子屏幕般的冷光。生命体在这样的空间中漂浮、游动、彼此可见，却始终保持微妙的距离。这种距离既是心理的，也是结构性的：它暗示着当代个体在高度连接的社会中所体验到的某种孤独状态——看似接近、亲密，却始终难以真正抵达彼此。

因此，《梦想之家》并不是对家庭或母性的再现，而更像是一种关于栖居方式的想象实验。当稳定的家庭结构逐渐消失，当身体持续被技术改写，人类仍然在寻找一种能够安放自身精神的位置。如果说过去的“家”源自子宫这一原型空间，那么今天新的“家”或许正在出现。它既不完全属于建筑，也不完全属于身体与关系，而是一种在现实与想象之间不断生成的结构。

《梦想之家》正是这种空间的隐喻。一种尚未被完全命名的 Dream Home。

Dream Home

By Brend

All architecture carries the memory of the womb.

Before entering the world, every human being exists within a completely enclosed space: warm, dark, surrounded by fluid, without language or boundaries. This primordial internal space forms the archetypal imagination of “home.” From caves to houses, from cities to nations, humans have continuously constructed new structures in the external world, seeking to recreate the sense of being enveloped. Architecture is not only a container for dwelling but also a medium through which humans attempt to extend this original experience—a sustained reproduction of internal space.

Yet in contemporary society, this stability of the internal has begun to loosen.

Family structures are in flux, urban life is highly mobile, and intimate relationships are constantly being reorganized. At the same time, digital technologies penetrate private life: experiences are recorded, disseminated, and transformed into data, and interpersonal relationships increasingly rely on screens and networks. Sociologist Zygmunt Bauman describes this condition as “liquid modernity.” In such a social structure, stable relationships gradually dissolve, and everything exists in a state of continuous flow and reconfiguration. The traditional notion of “home” is no longer a fixed location, but rather a temporarily generated structure—an interior that forms fleetingly amid a changing world.

Technology is also reshaping the body itself. From assisted reproduction to genetic technologies, the process of childbirth has shifted from a natural phenomenon to one that can be planned and managed. Donna Haraway, in her discussion of cyborgs, notes that as technology enters the body, the boundaries between the natural and the artificial blur, and the body becomes a structure continuously rewritten. Under these historical conditions, the womb acquires new cultural significance: it is no longer merely an organ of life generation but emerges as an archetypal model of internal space.

Guo Yuqiao, as both an architect and an artist, has long explored questions of “dwelling” between space and the body. In her view, the body itself is a residence: it is a house of the spirit, nourishing and protecting the individual while simultaneously establishing limits and boundaries. In her paintings, the body frequently functions as a metaphor for “home.” These bodies are stretched, transformed, or recombined, sometimes resembling architectural structures. Here, the body ceases to be a mere individual form and becomes a spatial entity—an internal environment in continuous flux.

In this sense, Guo’s paintings can be understood as a form of intimate architecture. This architecture is not composed of walls and structural elements but emerges from the interplay of body, affect, and imagination. It possesses both sheltering qualities and a subtle instability.

Her imagery rarely derives directly from visual references in reality; it is more closely generated from memory and dream. Dreams play a significant role: memories are rearranged in them, and experiences of reality shift in the process. Painting becomes a means of capturing these ephemeral structures—giving form to thoughts that otherwise exist only fleetingly.

Blue constitutes the persistent atmosphere of these spaces. It evokes both the deep sea and the cosmos, the internal fluid environment of the body, and the cold light of digital screens. Life forms float and move within this space, visible to one another yet maintaining subtle distance. This distance is both psychological and structural, signaling the particular kind of solitude experienced by contemporary individuals in a highly connected society: seemingly close and intimate, yet ultimately unreachable.

Thus, Dream Home does not aim to reproduce domestic life or motherhood; rather, it constitutes an imaginative experiment in modes of dwelling. As traditional family structures erode and the body is increasingly shaped by technology, humans continue to seek a location in which their spirit can reside. If the “home” of the past originated in the womb as an archetypal space, then today, a new form of home is emerging. It belongs neither entirely to architecture nor solely to the body, but is instead continuously generated in the interstice between reality and imagination.

Dream Home serves as a metaphor for this space—a structure still in formation, as yet unnamed.

关于艺术家

郭雨桥（1992年生于北京），成长于北京与美国之间，现居伦敦，是一名艺术家和建筑设计师；同时她也是伦敦本地手工冰淇淋品牌Matter at Hand的创始人。她在实践独立建筑设计的同时，也专注于油画创作。

郭雨桥在2019年获得美国哈佛大学设计研究生院建筑学硕士学位，此前在2015年获得

美国波莫纳学院艺术与环境分析双学士学位。

「象罔之境」卢志荣个展

「BEYOND UNKNOWN」Chi Wing Lo Solo Exhibition

象罔与观看 Xiangwang and Seeing

——后图像时代的感知Perception in the Post-Image Era

文/鲍禹

在当代视觉文化的快速转变之中，图像的地位正在被重新定义。随着生成技术、数字媒介以及全球视觉网络的扩展，人类所处的视觉环境已经从单纯的“图像世界”逐渐进入“后图像时代”（Post-Image Era）。在这一阶段中，图像不再只是对现实的记录，也不再仅仅作为观看对象存在，而 increasingly 成为构成感知环境的一部分。图像不只是被观看的事物，它同时也在塑造我们观看世界的方式。

在这样的背景下，当代艺术的任务也随之发生变化。如果说过去的艺术不断创造新的图像，那么今天的问题则逐渐转向另一层面：在图像无处不在的时代，人如何重新学习观看？

本次展览围绕这一问题展开。

在卢志荣的创作中，建筑、雕塑与绘画并不是彼此分离的媒介，而是同一思考系统中的不同阶段。作为建筑师，他长期在一个强调精确与结构逻辑的领域中工作。一个建筑观念必须通过材料、结构与技术逐渐获得现实形态，并在建造过程中不断被修正与完善。然而正如他所指出的，建筑并不仅仅是理性系统的产物。在比例、节奏、空间序列以及光影关系的选择之中，始终存在着一种无法完全由逻辑推导的维度。这种维度来自直觉、经验与审美判断，使建筑从单纯的技术实践转化为一种艺术与诗意的行动。

雕塑与绘画正是在这一层面上进入他的创作体系。它们为想象提供了一片更加自由的领域，使艺术能够在现实建造的约束之外展开探索。卢志荣早期以木质榫卯结构与材料创作的雕塑作品呈现出一种稳定而轻盈的空间形态。或细长或丰盈的构件在空间中相互支撑，形成一种向上延展的结构秩序。然而这些作品真正的核心并不在于材料或结构本身，而在于结构所围合与指向的空间。雕塑在视觉上似乎由木材构成，但在体验中却更像是一种由“空”所形成的存在状态。

在中国传统思想中，“空”并不是缺失，而是一种使万物得以生成与流动的条件。结构并不是为了填满空间，而是为“虚”创造边界。正是在这种虚与实之间的关系中，空间获得了呼吸般的节奏，也使这些雕塑呈现出一种沉静而开放的气质。如果说雕塑通过结构构建空间，那么绘画则在图像层面展开另一种探索。新的绘画系列延续了此前作品中关于未知世界的想象，同时将这种想象转化为更加流动的视觉语言。画面中的形象往往处于生成与消散之间，既像来自远古文明的遗迹，又仿佛是尚未到来的未来图像。许多作品的标题来自 Jorge Luis Borges 的文学世界，在那里，无数想象的生物构成了一部介于现实与幻想之间的百科全书。然而在卢志荣的画面中，这些形象不再具有怪诞或恐惧的意味，而逐渐转化为一种沉静而内省的存在。

在后图像时代，这样的图像经验显得尤为重要。当视觉系统越来越倾向于生产清晰、快速与可识别的图像时，艺术反而在创造一种更为缓慢的观看方式。图像在这里并不是明确叙事的终点，而是一种持续生成的感知空间，使观看者在熟悉与陌生之间不断移动。

展览标题“象罔与观看”提供了理解这一实践的重要哲学线索。“象罔”出自中国古代庄子的“象罔得珠”，象征一种摆脱既定知识框架的感知状态。当人暂时放下分析、方法与概念时，世界反而能够以更为开放的方式显现。这种状态并不是对知识的否定，而是一种使感知重新获得自由的可能。在高度系统化的当代社会，这种观看方式显得尤为重要。当技术不断提高效率与可预测性时，艺术仍然在维护另一种认知路径：一种允许直觉、想象与未知存在的感知方式。

因此，本次展览并不是一个封闭的叙事，而更像是一种关于观看的实验，让结构与图像、理性与直觉、历史与未来不断相互折射。作品并不试图给出明确答案，而是创造出一种开放的观看环境，使观众能够重新思考视觉经验本身。

让我们像象罔那样稍稍退后一步，重新理解我们自己与这个世界。

Xiangwang and Seeing

——Perception in the Post-Image Era

By Bao Yu

In the rapid transformation of contemporary visual culture, the status of the image is being redefined. With the expansion of generative technologies, digital media and the global visual network, the visual environment we inhabit has gradually shifted from a simple “world of images” to what may be called the Post-Image Era. In this phase, images are no longer merely records of reality, nor do they exist only as objects of viewing. Instead, they increasingly become part of the very perceptual field that surrounds us. Images are not only what we see; they also shape the way we see the world.

Against such a background, the task of contemporary art has also changed. If art in the past was constantly creating new images, the question today has gradually moved to another level: in an age where images are everywhere, how does one relearn to see?

This exhibition revolves around this question.

In the practice of Chi Wing Lo, architecture, sculpture and painting are not separate mediums, but different phases within a single system of thought. As an architect, he has long worked in a field that demands precision and structural logic. An architectural idea must gradually take concrete form through materials, structures and techniques, and be continuously revised and refined in the process of construction. Yet, as he has pointed out, architecture is not merely a product of rational systems. Within the choices of proportion, rhythm, spatial sequence and the relationship between light and shadow, there always exists a dimension that cannot be fully derived from logic. This dimension comes from intuition, experience and aesthetic judgment, transforming architecture from a purely technical exercise into an artistic and poetic act.

It is at this level that sculpture and painting enter his creative system. They offer a freer and more speculative terrain for the imagination, allowing art to explore beyond the immediate constraints of physical construction.

Chi Wing Lo’s early sculptural works, created in wood with mortise-and-tenon structures, present a spatial form that is at once stable and ethereal. Components, whether slender or voluminous, support one another in space, forming an upward-extending structural order. Yet the true core of these works lies not in the material or structure itself, but in the space enclosed and suggested by the structure. Visually, the sculptures appear to be made of wood, yet experientially, they are more like a state of being shaped by emptiness.

This spatial consciousness resonates deeply with ideas in Eastern philosophy. In traditional Chinese thought, “emptiness” is not absence, but a condition through which all things come into being and flow. Structure is not meant to fill space, but to create boundaries for the void. It is within this relationship between the void and the solid that space acquires a rhythm like breathing, lending the sculptures a calm and open temperament.

If sculpture constructs space through structure, painting embarks on another exploration at the level of the image. The new series of paintings continues the imagination of an unknown world from his earlier works, while translating such imagination into a more fluid visual language. Forms in the paintings often hover between emergence and dissolution, resembling relics from an ancient civilization or images of a future yet to come. Many works take their titles from the literary world of Jorge Luis Borges, where countless imaginary beings form an encyclopedia suspended between reality and fantasy. Yet in Chi Wing Lo’s paintings, these forms no longer carry grotesque or fearful connotations; they have gradually transformed into quiet and introspective presences.

In the Post-Image Era, such an experience of the image is particularly significant. As visual systems increasingly tend to produce clear, fast and recognizable images, art instead cultivates a slower way of seeing. Here, the image is not the end of a fixed narrative, but a continuously unfolding perceptual space, moving the viewer between the familiar and the unfamiliar.

The exhibition title “Xiangwang and Seeing” offers an important philosophical clue to understanding this practice. “Xiangwang” comes from the ancient Chinese classic Zhuangzi, the episode of Xiangwang retrieving the pearl, symbolizing a state of perception freed from established frameworks of knowledge. When one temporarily sets aside analysis, method and concepts, the world can reveal itself in a more open manner. This state is not a rejection of knowledge, but a possibility for perception to regain its freedom. In a highly systematized contemporary society, this way of seeing is particularly crucial. As technology continuously advances efficiency and predictability, art still upholds an alternative path of cognition: a mode of perception that makes room for intuition, imagination and the unknown.

This exhibition is therefore not a closed narrative, but rather an experiment in seeing, in which structure and image, reason and intuition, history and future continuously refract one another. The works do not attempt to provide clear answers, but create an open viewing environment that invites the audience to rethink visual experience itself.

Let us stay back and comprehend ourselves and the world like Xiangwang.

关于艺术家

​卢志荣，2015年「世界杰出华人设计师」得奖人。卢志荣的丰富创作涵盖了建筑、艺术、室内与家具设计等领域，他一直以对理念的净化、诗意的诠释、细节的关注，备受意大利及国际设计界推崇。

卢志荣创作了一系列反映他的建筑和设计理念的雕塑和画作，他的艺术个展包括2011年在意大利圣塞维罗阿尔托·塔佛利埃博物馆举办的物的灵与光、2012年在中国台北仪画廊的奇幻旅程、2013及2015年在中国香港季丰轩画廊的文明愿景及建隆一零五五年、2014年在意大利米兰三年展博物馆的无时之域、2015年在中国杭州西泠印社美术馆的文房新语、2017年在中国香港理工大学艺术廊的逸舍、2017年在中国北京达美艺术中心的合一：宏观与微观世界的缄默、2018年在泰国曼谷塞林迪亚美术馆的灵气、2019年在中国国际设计博物馆的无华、2022及2024年在中国香港大馆季丰沙龙和中国北京SIMPLEONE画廊的惊鸿远客和2026年在中国北京共同艺术中心的象罔之境。在2021至2023年期间，卢志荣创作并展出了三项用于冥想和身心焕发的大型空间艺术装置：2021年的憧憬、2023年的雨后和插曲。他的作品广受国际收藏家青睐。

卢志荣在中国香港长大，于1988年以最佳论文奖取得哈佛大学建筑系硕士学位，他曾任教于纽约锡拉丘兹大学，曾经是德国斯图加特的索利突艺术学院的成员。他还经常出席设计和文化的讲座及论坛，并在不同大学担任主讲和客座评论，他的创作涵盖了艺术、建筑、室内、家具等设计领域，作品遍及米兰、雅典、伦敦、伊斯坦布尔、迪拜、上海，北京和香港等地。