“艺术不仅于此，生活不仅如此。”

SHU Projects是SHU GALLERY的全新尝试，灵感来自于青年艺术家的独特魅力，以轻盈的个性探讨当代美学的不同形式，将独立的品味融入生活的细节。希望你我能够从新的角度，与艺术家一起延续艺术生活化的态度。

全新展览「惜物，观者，第二自然。」有别于过往的独立个展或群展，将展厅分为三个独立空间，同时呈现三位青年艺术家的个展。

惜物 ，

观者 ，

第二自然 。

Fetishism,

Spectator,

Second Nature.

艺术家：叶帆，梁廷玮，张业鸿

Artist: Fan Ye, Tingwei Liang, Yehong Zhang

开幕式：2021.05.02（周日）15:00-18:00

Opening: 2021.05.02（周日）15:00-18:00

展期：2021.05.02-2021.06.15

Duration: 2021.05.02-2021.06.15

展览地点：SHU GALLERY（深圳市宝安区新安三路一巷10号SHU空间5楼）

Venue: SHU GALLERY, 5F SHU SPACE, No. 10, 1st Lane,

Xin'an 3rd Rd, Baoan District, Shenzhen, China

策展执行：SHU Projects

Curation Executor: SHU Projects

主办方：SHU空间

Sponsor: SHU SPACE

展览前言

一个关于未来的故事，为什么非要从猴子说起？这是关于库布里克《2001:太空漫游》的问题。

猴子是人类的祖先——身处于进化论发表一百多年后的时代，这似乎是一个无可反驳的常识了。尽管对比漫长的进化过程，从猴子到人的距离不过一瞬，但我们已习惯把这个物种当作异己的“他者”，像对小猫小狗一样看待曾经的同类。作为直立行走的动物，我们先是解放了双手，因此得以制造工具，把自身从动物性中分离出来。在电影里的飞船诗意地遨游宇宙之前，有一只猿猴曾狠狠挥下骨棒。它一次次敲击，一次次进化，最终被扔向闪耀的苍穹。

物，象征着人类智慧的曙光，同时也是一个人欲望的形象。因此，所有的物品都有两个功能：或是为人所实际运用，或是为人所拥有。而在消费社会中，对物品的使用转变为对欲望的陈列。当一个物体剥除了功能价值，或是从它的用途中被抽象出来，它就成为了纯粹的对象。最终，物与人的关系在占有的激情和符号的价值中被颠倒，我们也由物品的主人变成了物品的奴隶。

诚然，在森严的物体系中，物本身已变得比物体和人之间的行为更为复杂。这时，自然成了掩盖人与物的结构失序的牌坊。比如汽车尾翼的仿生学，归于自然；车库也消隐于表面生活，退居花园深处；燃油煤气管线隐藏于腔内或地下。或许不得不承认的是，我们所面对的是一个技术世界下的现实：它是自然，却不是人们所想像的自然。它是人工产物，却不再单单只是人工制品。人类、环境与其他物种在各种媒体科技急速发展下已然模糊的界线，甚至混杂成一种后人类的想像。

二十一世纪可谓是迈入一个“改造”的纪元，基因工程所牵动的生物科技、自动化的物品所催生的AI机器人、征服自然生态的人类意志……展览中三位艺术家分别从几个不同的角度阐释他们对生活世界的想像，就像是一次从未来向过往回望的考古学，试图以旁观者的态度，来理解人类目前的处境。

文/张业鸿

Preface

Why does a story about the future start with monkeys? This is a question about Kubrick's "2001: A Space Odyssey".

To Monkeys are the ancestors of human beings-in an era more than a hundred years after the publication of the theory of evolution, this seems to be an irrefutable common sense. Although the distance from monkey to human is only a moment in comparison with the long evolutionary process, we have become accustomed to treating this species as an alien "other", and treating the same kind as cats and puppies. As animals that walk upright, we first liberated our hands, so we were able to make tools to separate ourselves from animality. Before the spaceship in the movie travels poetically into the universe, an ape has swung down his bone stick fiercely. It knocked and evolved again and again, and finally was thrown into the shining sky.

Objects symbolize the dawn of human wisdom and are also an image of a person's desires. Therefore, all objects have two functions: either they are actually used by people, or they are owned by people. In a consumer society, the use of objects is transformed into a display of desires. When an object is stripped of its functional value or abstracted from its use, it becomes a pure object. In the end, the relationship between objects and people is reversed in the passion of possession and the value of symbols, and we have also become slaves of objects from the owners of objects. To It is true that in the strict system of objects, the objects themselves have become more complicated than the behavior between objects and people. At this time, it naturally became an archway that concealed the disorder of the structure of people and things. For example, the bionics of the rear wing of a car is attributed to nature; the garage hides itself from the surface and retreats to the depths of the garden; the fuel gas pipeline is hidden in the cavity or underground. Perhaps what we have to admit is that what we are facing is a reality in a technological world: it is nature, but it is not the nature that people imagine. It is an artifact, but it is no longer just an artifact. With the rapid development of various media technologies, the boundaries between human beings, the environment and other species have become blurred, and even mixed into a post-human imagination.

The 21st century can be said to have entered an era of "reconstruction." The biotechnology affected by genetic engineering, the AI robots spawned by automated objects, and the human will to conquer the natural ecology... The three artists in the exhibition are different from each other. Interpreting their imagination of the world of life from the perspective of this is like an archeology looking back from the future to the past, trying to understand the current situation of mankind with the attitude of a bystander.

By Yehong Zhang

惜物 Fetishism

叶帆   Fan Ye

云雾系列 Mist

太空泡棉 Space foam

45cm x 45cm x 45cm

2020

借生 Jie sheng

太空泡棉 Space foam

多个尺寸 Several Sizes

2018

座作系列 Memories of old streets

5+2studio合作

太空泡棉 Space foam

多个尺寸 Several Sizes

2020

观者Spectator

梁廷玮  Tingwei Liang

耶稣受难图 Crucifixion of Jesus

综合材料绘画 Comprehensive material painting

30cm x 40cm x 3cm

2019

三个火枪手 The tree musketeers

综合材料雕塑 Comprehensive material sculpture

300cm x 120cm

2021

第二自然 Second Nature

张业鸿  Yehong Zhang

破碎风景手册 Broken landscape manual

定制墙纸、单频录像、收藏级艺术微喷、异形画框装裱

Customized wallpaper, Single-channel video, Collection-grade digital print, Special-shaped frame

多种尺寸 Several Sizes

2020

日落笔记 Sunset notes

定制窗帘、彩色打印、单频录像、挂衣杆、T恤

Customized curtains, C-print, Single-channel video, Clothes rail, T-shirt

尺寸可变 Variable Sizes

2019

关于艺术家

叶帆

毕业于中国美术学院，不断探索艺术家、设计师、科学家、哲学家身份的融合。希望通过借物抒情的方式，在当下西方艺术史主导的思潮中，能够演绎不一样的、年轻的、诗意的亚洲文化。创作涉及绘画、家具、装置不同的载体形式。

梁廷玮

毕业于中央圣马丁艺术与设计学院纯艺术专业，自2015年以来，其作品致力于探讨人类本身的动物性与神性之间的关系，以及高于物体本体以上的“意义”价值观。作品大多数以油画、雕塑及交互装置艺术为主。

张业鸿

毕业于中国美术学院，近期关注自然作为一种意识形态在当代情境下的遭遇，以及地理与心理的联结维度；通过使用拾得名词/图片生产的意像，揉合绘画、视频、装置和文本等媒介-形式，揭示诗意表象背后的感知断层和权力话语。同时，他以策展建立更广泛的集合和讨论，也以写作和运营艺术平台，寻找展览之外的行动方式。

更多作品将于5月2日在SHU空间揭幕，展览将持续开放至6月15日（五一期间正常开放）。购买展览门票即可在SHU空间一楼SHU CAFE兑换艺术家联名咖啡一杯（三选一）！

云雾 / 叶帆

猴MANKEY / 梁廷玮

日落笔记 / 张业鸿

「惜物，观者，第二自然。」