“无边”是一种翘首，是一种眺望，是对于未来时空的无限描述，同时，也印证了个人处于时空交织的“点”上的一种虚空感。“无边”内在的价值，并非为了凸出一种僭越边界的快感，纠正了把个人置于宏大叙事及高度诗化的真空的错误看法。“无边”不是一种侵掠式的扩张，而是一种向内的自省——因渺小、恐惧及当下挤压于个人生活的压迫造成的虚空感。因此，“无边”作为王璜生展览的命名是充满反讽性的——展览站在了无限与永恒的英雄主义情绪与精英情结的对立面，站在抒情的对立面。“无边”展所呈现的是王璜生的现实，关于天赋的、关于教育、关于常识、关于经验、关于个人所理解的时代以及时代对于个人的显性或隐性的控制和怂恿。从具象至抽象，王璜生把个人带向矛盾的迷宫，在古典和当下重复的精神显影中寻求一种需要被确认的存在感的旁证——作品以及被第三者所转述的作品——个人的意识形态的阶段性投射，是一种处于现实压迫中的精神的再现。

　　冯博一在《无边的抽离》一文中指出：“王璜生的实验艺术创作，针对的是个人诗意与现实处境的无限冲突，而他在这一扣连的依存关系里，通过多媒介的方式寻求着一种视觉转化和间离效果。”这一论调中，不妨拆分其中的两种对应关系——“个人艺术诗意与现实处境”以及“视觉转化和间离效果”。其中“个人诗意和现实处境”构成的是一种相互渗透与共同生长的矛盾关系。“个人诗意”来自王璜生的内心，是一种启蒙，同时也是一种对自身文人血液的确认，是一种文化根性的自我认识，同时也保证自己的创作不至于偏离立场，保持对现世生活的真实痛感，以及对生存压力的反弹和反应。不断确认和强化的文人（知识分子）身份的自觉及对改变现实、解构矛盾的深层诉求，得了对于现实处境的参与并构想出一种理论逻辑之后的乌托邦幻想——现实是可以改变的，现实必须改变——用什么武器——批判，再批判——文人性（知识分子性）放大了自我的使命感、匡时济世的担当感，“现实处境”经已发生的事件和事实成为“文人诗意”的源生地和假想敌，同时成为释放“文人诗意”的最大障碍，成为实现乌托邦理想所要搬走的最未来的绊脚石，因此“现实处境”的缺陷感（自我不公、不平、不安等）升华了“个人诗意”对于个人生存的意义并达致一种自我审美的高度和历史书写幻觉的催眠之中。当“现实处境”一而再、再而三地解构“个人诗意”的时候，“个人诗意”必然面临着重组，整合及转换修辞的重重任务。

　　“视觉转换与间离效果”构成了一种递进式的因果关系，“视觉转换”作为手段，而“间离效果”则是作为结果，即“视觉转换”所要的效果。“视觉转换”显然是来自教育与经验的，它是一种处于时空所在地的应对性策略，是抵达结果最有效，最直接的手段。多媒体的选择显然是技巧性的，作为一名资深的美术馆从业者和策展人，他很明确一个展览应该怎样做才能成为最佳效果，这是一种专业的敏感。当王璜生回到艺术家立场的时候，努力地寻求思想定势的对抗力量，通过对媒介的借用来改变绘画行动限定的身份，同时也标明了一种明确的去绘画性的立场。“视觉转换”一方面拓展了关于作品的阅读方式，一方面也强化了作品在进入记忆库中时的冲击力度，对主题的形式转换实现了展览的丰富性和多维度的主体感的同时也阐明了创作中的不确定性和未来的可能性，即是说，一种开放的未知值的期待。被提示的不确定性和开放性使“间离效果”获得了最大限度的呈现，从而为“个人诗意和现实处境”的矛盾寻找到回旋余地和弹性空间，附加性地把各人最需要的答案推向各个个体，当答案可以从不同的出入口获得的时候，展览回到自身的呈现，提供了一种仅供参考的意见，摆脱了教唆的嫌疑之后使作品前的阅读行为变成充满参与感，从而打通了艺术家，作品，观众之间的边界，在行动上实现了“无边”的事实。

　　线条成为王璜生作品的主体形象，线条恰恰是边界的象征，那些疾走飞旋的线条，像是一种剧烈运动着错乱的边界线，当这种边界线失去规范与契约的意义，即是线条其中的权力意志被消解的时候，线条只能回归线条，只能回返至一种零度意义的“线条”之中，王璜生卸去了线条的造型与边界划定的能力之后，一方面解构了线条在水墨画中的历史性地位，进而废弃了具象中的抒情性，再则赋予线条自身的虚无感，打乱了审美规范与阅读步骤，实现了用线条解构“线条”的目的，从而使作品的观念性得以被确认下来，从具象的形到最后的线，王璜生自身的创作中确立了一个属于个人的参照系统。个人诗意与个人现实被不露痕迹地缝合进具有当下针对性与意义的观念立场之中。近期的边界问题在日本和中国各执己见的论调中，从各自的立场出发展开历史的现实的边界解读，使边界线成为一种动态的弹力运动，形成了一种虚实线的交集，深层地触及到对于国际关系的新解读及国际势力重新整合的未来趋势的前期想象，这是一根线条的论争，同时也是历史佐证与现实势力的角力，所以，王璜生的线条因当下事件的反向介入而生成了新的解读可能。

　　“无边”即是消解与商洽，即是“个人诗意与现实处境”的当下和解和弥合，即是对抗衡性矛盾的个人化平衡。

孙晓枫 批评家

2013年5月15日

　　Notes on Boundless
　　"Boundless" is a kind of lookout, a kind of survey, and endless description of space and time in the future, confirms a sense of void from personal 'point' in the interleaving of time and space. The inner value of "Boundless" is not to protrude a pleasant sensation of arrogating the border, and to correct misunderstandings of individuals stood in grand narrative and highly poetic vacuum. Boundless is not an aggressive expansion, but an inward self-reflection: the sense of void caused by fear and pressure of personal life. Therefore, as the title of Wang Huangsheng's exhibition, is full of irony: this exhibition stands on the opposite of infinite and eternal heroism emotion and elite complex, as well as the antithesis of lyrics. Boundless exhibition presents Wang Huangsheng's own reality, about talent, education, common sense, experience, and personal understanding of time, dominant or recessive control or abetting of time on individuals. From the concrete to the abstract, Wang Huangsheng brings a person to a maze of contradictions, seeking for a kind of collateral evidence needed to be confirmed in classical and present spiritual circumstances: works and those works had been retold by the third party, a staged projection of personal ideology, a kind of representation of spirit under real oppression.

　　In the essay Boundless Detachment, Feng Boyi pointed out, "Wang Huangsheng's experimental art creation involves with endless conflict between personal poetry and real situation, while in such attached dependency; he was seeking for a visual transformation and defamiliarization effect by means of multi-media experiment." In this argument, we can split two corresponding relationship: personal poetry and real situation via visual transformation and defamiliarization effect. Personal poetry and reality constitute a contradictory relationship of mutual penetration and growing up together. Personal poetry comes from Wang Huangsheng'' inner heart, is a kind of enlightenment, recognition of his own literati blood, and self-awareness of cultural root, ensures that his own art creation will not deviate from its position, and keeps a real pain of real life as well rebound and response under survival pressures. Continuing confirmed and strengthened consciousness of identity of literati (the intellectual), and deep aspiration to change the reality and to deconstruct the contradictions, results to a participation into real situation and devises a utopian fantasy after following a theory logic: reality can be changed, and reality must be changed; with what kinds of weapons; critique, re-critique; sense of literati (the intelligent) enlarges one's own sense of mission, and sense of undertaking to save the world. Events and facts had happened in real situation become source and imaginary enemy of literati poetry, meanwhile the biggest obstacle to release literati poetry, and the future stumbling block needed to be removed for utopian ideals, therefore, inadequacy of real situation (self-injustice, inequality, anxiety, etc) sublimates the meaning of personal poetry on individual life, and achieves a height of self-aesthetic and hypnosis of history writing hallucinations. When real situation deconstructs personal poetry again and again, personal poetry has to confront with heavy task to reconstruct, integrate and transform the rhetoric.

　　Visual transformation and defamiliarization effect constitute a progressive cause-effect relationship, that is, visual transformation as a means, and defamiliarization effect a result, a result desired by visual transformation. Obviously, visual transformation comes from education and experience, is a strategy in location of space and time, a most effective and direct means to result. Choice of multimedia is obviously skillful; as an experienced director and curator, he is very clear that what should be done in an exhibition in order to get the best result, which is a professional sensitivity. When Wang Huangsheng returns to the artist's position, he struggles to find forces of thoughts, to change identity limited by painting actions with borrowing of medium, to mark an obvious position of de-painting. On the one hand, visual transformation expands the way of reading about artworks, on the other hand, it strengthens impact when works come into memory; while formal conversion of subject results to richness of a show and three-dimension effect, it also illustrates the uncertainty and future possibilities of creation, that is, an open expectation of unknown values. Suggestive uncertainty and openness is to maximize the presentation, thus finds room and flexible space for defamiliarization effect, additionally pushes the most desired answers back to individuals; when answers can be obtained from different entrances and exits, the exhibition returns back to its own presentation, provides just a view of reference, gets rid of suspicion of abetting, and makes the reading action in the front of works a sense of participation, so opens up the boundary between the artist, the artworks and viewers, realizes a boundless fact in action.

　　The lines become the main image of Wang Huangsheng's works; it is a symbol of the boundary lines, and those swirling lines seem like disordered boundary lines with strenuous exercise, and when the boundary line lost the meaning of the specification and contract, that is, when power will of lines has been cleared up, lines can only return to the lines, to lines with zero degree of meaning. After Wang Huangsheng takes away the power of lines to shape, on the one hand, he reconstructs the historical position of lines in ink and wash paintings, thus abandons the figurative lyricism, and moreover, gives lines a sense of emptiness, disrupts aesthetic norms and read steps to achieve the purpose of deconstruction of the lines with lines, so that the concept of the work to be confirmed; from figurative lines to the last line, Wang Huangsheng's own creation establishes a personal reference system. Personal poetic and personal reality is stitched seamlessly into concept and position dealt with current relevance and significance. Among the different opinions between Japan and China about the issue of boundary, interpretation of boundary from respective own positions makes the boundary line become a dynamic elastic movement, become the intersection of broken and solid lines, deeply effect new interpretation of international relations and pre-imagination for future trends of international forces integration. It is a line of the controversy, but also wrestling between historical evidences and reality. So Wang Huangsheng's lines generate a new possibility of reading due to reversed intervention.

　　"Boundless" means destruction and negotiation, that is, present reconciliation and bridge between personal poetry and real situation, and personalized balance of antagonistic contradictions.

Sun Xiaofeng Critic

May 15, 2013

作者：孙晓枫