（策展人：鲍栋）

　　姜吉安的艺术可以概述为在再现（representation）中思辨再现系统本身，把再现的方式作为再现的内容再现出来。从九十年代初开始，他的艺术实践不断延展至今，但在每一个阶段都是把“再现”问题举隅于特定的例子中，在直观体验中生成出思辨维度。因此，他的艺术是一种感官内省的、思想自指的艺术，是把“现实”理解为一种既定秩序，因而只是一种待定状态的艺术。

　　《两居室》是他在2007——2009年间完成的装置作品，他用明暗素描的方式把绘画的光影法覆盖到了一套两居室的空间和所有的物品上，用绘画中的视错觉再现把“现实”同化，而有意为之的错乱光影关系又在不断地使观者怀疑这个被再现化了的“现实”。姜吉安的绘画作品则把我们带入了一种媒材、图像与物品的互衍关系中，例如：丝绢被制作成墨，墨被用来在丝绢上描绘出一张绢本绘画，而制墨所剩的残渣则被用来制作所绘事物的模型，构成了一种诗学中的回文体。

　　在他最近的绘画作品中，这种“再现的诗学”则引入了更为丰富的“词汇”，鹤迹、树影、虫形这些传统中国画题材的形象以剪影方式被描绘在一张被描绘出的起伏不平的绢面上，这些剪影同时也被用来形成绢面上下重叠的视错觉，它们既是传统图像，也是画中物形，亦是再现手法。

　　这个展览所强调的即是姜吉安对事物与其再现之间，或者说，对“物”与“影”之间关系的把握：“物”并不是“影”的依据，“影”也不是“物”的替代，人们以为看到的是真实，却只是遇到了影子——我们可以“应物”（correspond to object），却只能“会影”（encounter with shadow）。

　　In-between Object and Shadow

　　-Solo Exhibiton of Jiang Ji'an

　　Jiang Ji'an's art can be summed up as representation in which he engages upon systems of representation. His artworks present modes of re-presentation as re-presentational content. In each phase of his art practice, which has gradually expanded its scope from the beginning of the 90's all the way to the present, the artist highlights the issue of re-presentation synecdochially through specific examples. He generates a cogitative dimension through intuitive visual experience. Hence, the art he makes is characterized by sensory introspection and self-referential reflection. It regards "reality" as a pre-established order. Therefore he treats the "real" as a kind of art whose status is pending.

　　Two Room Flat was an installation made by the artist between 2007 and 2009. Using black-and-white drawing technique he covered a two-room space and everything in it with shading effects commonly seen in painting. He assimilates "reality" to his painterly, trompe l'oeuil re-presentation, yet his purposefully disordered relations between light and shadow continuously cause the spectator to doubt this re-presentation of "reality". Jiang Ji'an's paintings transport us into the mutually derived relations among medium, image and object. For example: silk fiber is rendered into colored ink; this ink, in turn, is used to depict a silk-scroll painting upon silk fabric; the residue of the silk from ink-making is then used to make a miniature model of the depicted object, constituting a poetics of palindromes.

　　In his most recent paintings, this kind of "re-presentational poetics" has introduced an even richer vocabulary. Footprints of cranes, shadows of trees, shapes of bugs—all these visualizations of traditional Chinese pictorial themes are depicted as silhouettes across a wrinkled piece of silk cloth, which is itself a depiction. At the same time, these silhouettes help give form to a trompe l'oeuil effect whereby one piece of silk fabric seems to overlap another. Not only do they constitute traditional images, but they're also shapes of objects in the painting, as well as a re-presentational means.

　　This exhibition emphasizes Jiang Ji'an's grasp of the relationship between objects and their re-presentation, that is to say, between the object and its "shadow". The object isn't the basis for the shadow, and the shadow is not a substitute for the "object". People think they're looking at the truth, whereas they've only encountered a shadow: we can "correspond to the object" (yingwu), yet can only engage in an"encounter with its shadow" (huiying).