《临界构形》
上海狮語画廊
Critical Configuration
Leo Gallery Shanghai
艺术家:付佳妮 郎粲 马婧 张敬唯
Artists: Fu Jiani, Lang Can, Ma Jing, Sophie Zhang
策展人:李易纹
Curator: Li Yiwen
展览开幕Opening Time：2020.6.13 4-6PM
展期 Duration：2020.6.14-7.26

临界构形
临界，通常是指由一种状态或物理量转变为另一种状态或物理量的最低转化条件，界之两端在这里可以看做是对绘画中形象与意象、具象与抽象、感官与逻辑等对立而又相互作用共生的要素，而作品则是这些复杂要素纠缠互搏的遗迹。
构形，象形文字（汉字）构造字形的方法，这里借用这一概念来阐述绘画里形象、意义、意识、图像、形式等多样多重又有迹可循的结构关系。文字和语言总是内嵌在人的思维方式中的，中国的象形文字半抽象化的构造特点同样也内化在中国人对艺术的理解与实践模式之中，在这个关于绘画的展览里，我们借助汉字造字的方法——构形法（“象形”、“指事”、“会意”等）来借指和展现四位年轻的艺术家作品建构的方式以及生成逻辑。

与职业评论家、策展人基于艺术史逻辑或社会层面的切入立场不同，我从绘画实践者的角度出发，用对艺术史的兴趣和意识去理解绘画的时候，我更想强调的是绘画没有被知识化、理论化的感性的一面，我更愿意相信：视觉艺术必须始于观看（属于感知的观看），终于观看（关于认知的观看）。始于感知的观看要求我们充分打开自己的感官通道，用眼耳鼻舌身意去体会面对作品时与作者精神的相互作用。这一刻，所有关于绘画的文本和知识都不能替代感受，也都应该隐藏在感受之下，被感觉统摄。而体悟到感知之下的意识与观念却是欣赏过程的终点。
李易纹

Critical Configuration

Borderline usually refers to the minimum conversion condition to switch one state or physical quantity to another. The two ends of the boundary here could refer to image and imago, concrete and abstract, sense and logic and such opposite but interactional and symbiotic elements in painting, while the artwork could be taken as the relics of these tangled elements.

Configuration is the method of constructing glyphs in hieroglyphs (Chinese characters). This concept is borrowed here to illustrate the complex, multiple and traceable structural relationships among figure, meaning, consciousness, image, and form in paintings. Text and language are always embedded in human’s way of thinking. Meanwhile the semi-abstract construction features of hieroglyphics in China is also embedded in Chinese people’s way of understanding and practice of art. In this exhibition which is related to painting, we use the method of creating Chinese characters – Formbuilding (“Pictograms” “Ideograms” “Ideogrammic compounds”, etc.) – to refer to and demonstrate the ways of constructions and logics of creating of the four artists.
Unlike professional theorists and curators who take the logic of art history as basis, I start from the perspective of practitioners of