在半个迷宫中，意味着一场不合理的追踪。

迷宫并不试图完全困住访者，它的本质表现为没有实体内容的部分：道路。但它所容许的行走，让我们面对的始终只是局部。 

局部并非意味着不能反映或者遮蔽整体。在目击的发光的碎片中，猜测、追寻，试图合成一个完形。在没有光线的地方，不被光照的气息存在。

不管我们是否相信每个碎片都在隐藏也在联系，一些碎片确实折射了另一些碎片。碎片最美妙的地方在于，它留下了多种补白的可能，以供想象完形的不同版本。

补白的可能性会叠加：一个碎片所提示的可能性与另一个碎片所提示的和再一个……这无疑是一个极大量级的开放的乘积，并且无法举一隅而反三，只存在无数个微小的起承转合。而恰恰是所有试图逃离与求解的步伐，踩实了迷宫的道路。

于是有些人放弃了，或者保持于漫游。又由于这种状态，在面对迷宫的时候，它愈发成为了永恒的半个。

这种永恒的观看姿态经过处处风景，没有中心，没有出口，没有完形。但并不混乱。困难之处恰恰在于，它往往仅呈现为一个个正常的房间。

如果你有能力俯视一个迷宫，会很自然发现它确实是半个。但即便来自天空的视角让它一览无余，当你望向平面图时，已经再次陷入。

这一次，你将看到精准的几何规划师，拼合历史残骸的搜救员，你将看到遗书与火山在游戏或梦境中相互点亮，你将看到在迷宫中长大最后又吞下迷宫的人。

这还是那个古老的隐喻，世界是半个迷宫，观众和行者分有另外半个。

所以或许从不存在完整的迷宫，迷宫总是半个的。正如无穷大无法成为一个确定的数值。将无穷裁掉一半后，依然是无穷，而大脑内的困惑令它倍增后，也依然是。

每个人或强或弱都假设自己是世界的中心之王，这证明了世界的无限。身在局中人，唯有坚信自己是独特的出走者，事实上，却是终归无名的建造者之一。

在脑中，在眼中，在手中，在行走中，在半个迷宫中。无解的缠绕和疏导，是艺术家的咒语也是谜底。迷恋是赖以前进但又需要克服的症候群。一如弓与琴有着通用的弦。正如这并非前言，而是一份和声。

曾有朋友蘸水写下即逝的赠语：开放迷宫，将军引弓，厌倦山中，好风相从。

文/刘畑

Be in a Half of Maze means a improbable chase.

A maze is not really trying completely strand the visitor. Its essence manifests itself as parts in an intangible substance: Roads. Nevertheless, by the walking it allows, we can always face only part of it.

Parts do not mean that it cannot reflect or shield the whole. Among the glowing fragments witnessed: guessing, searching, trying to synthesize a gestalt. Where there is no light there exists unilluminated breath.

Does not matter whether or not we believe that each fragment is connected while hidden, some fragments do reflect others. The most wonderful thing about fragment is that it leaves a variety of filler possibilities, to imagine different versions of the whole.

There will be the superposition of possibilities: the possibility from one fragment leaves versus that of another one and another... This is no doubt an open product of enormous magnitude, from which no other inferences can be drawn, only means just countless tiny twists and turns. It is precisely all attempts of escaping and solving that pave the path of the maze.

Therefore some give up, some stay roaming. Owing to this state, when facing the maze, it becomes more and more of an eternal half.

This eternal gesture of viewing comes through sceneries. It has no center, no exit and no perfection. However, it is not confusing. The difficulty is precisely that the maze tends to appear as a number of common rooms.

If you are able to look down at a maze, you will naturally find it is indeed a half. But even if the perspective from the sky makes it clear, when you look at the ground plan, you are already trapped by it again.

This time, you'll meet geometric planners of preciseness, the researcher rescuing for historical debris, you'll see suicide notes and volcanoes lighting up each other in games or dreams, and will see people who grow up in a maze and in the end devour it.

It is still the ancient metaphor. The world is half a maze, the viewers and walkers participate in the other.

So there may not be a complete maze at all; the maze is always half, just as infinity cannot be a certain value. When infinity is halved, it is still infinite; and even after the perplexity in the mind doubles it, it is still the same.

Everyone, whether strong or weak, assumes he/she to be the King at the center of the world, which proves the infinity of the world. An insider can only believe that he/she is a unique running away one; in fact, ends up to be one of the anonymous constructors.

In the brain, in the eyes, in the hands, in walking, in half a maze. The unsolvable intertwinement and disentanglement are spells and keys of artists. Obsession is a symptom that rely on but need to overcome. Just like bows and lyres share the same strings. Like this is not a Foreword but a Chord.

Once a friend wrote, dipped in the water, a promptly fleeting sentence as a gift: In an open maze, the general draws the bow; weary in the mountains, the zephyr follows.

Text / Liu Tian

中国美术学院美术馆青年艺术家扶持项目

Young Artist Project of CAA Art Museum

开幕 | Opening：2019.12.3 14:00

展期 | Duration：2019.12.4- 2020.1.3, 9:00-17:00

地点：杭州市南山路218号 中国美术学院美术馆实验展厅（-1F）

Address：Basement of the Gallery, CAA Art Museum, 218 Nanshan Rd., Hangzhou

艺术家：冯冰伊 唐潮 吴鼎 郑源

Artist: Feng Bingyi, Tang Chao, Wu Ding, Zheng Yuan

策展人：刘畑

Curator: Liu Tian

展览总监：余旭鸿

Project Director: Yu Xuhong

学术主持：杨福东

Academic Director: Yang Fudong

执行策展人：冯宇纯 冯均桥 陈天琪 黄利红 梅之险

Executive Curator: Feng Yuchun, Feng Junqiao, Chen Tianqi, Huang Lihong, Mei Zhixian

展览统筹：夏商周 蔡可成

Exhibition Coordination: Xia Shangzhou, Cai Kecheng

主办：中国美术学院美术馆

Organizer: CAA Art Museum

协办：中国美术学院跨媒体艺术学院 中国美术学院视觉中国协同创新中心 中国美术学院校友会

Co-Organizer: School of Intermedia Art, The Institute for Collaborative Innovation in Chinese Visual Studies, China Academy of Art Alumni Association

特别资助：新世纪当代艺术基金会 上海河路文化传播有限公司 清影艺术空间

Special Support: New Century Art Foundation, Shanghai HELU Culture Communication, Inna Art Space

视觉设计：非白工作室

Visual Design: Transwhite Studio

艺术频道 | Art Channel

开幕座谈 | Opening Discussion：

时间 | Time：2019.12.3 16:00

地点：中国美术学院美术馆2号学术报告厅（南苑拉姆咖啡馆旁）

Venue：Academic Lecture Hall No.2, CAA Art Museum (next to the Lamour Untitled in Nanyuan)

嘉宾：艺术家、策展团队及现场嘉宾等

Guest：Artists, Curatorial Team & Visiting Guests

讲座＋对谈：吴鼎 (12月7日）、唐潮 (12月14日）、冯冰伊 (12月21日）、郑源 (12月28日）

Lecture＋Talk：Wu Ding (Dec.7th), Tang Chao (Dec.14th), Feng Bingyi (Dec.21st), Zheng Yuan (Dec.28th)

时间 | Time：14：00

地点 | Venue：缪斯咖啡 | Muse Coffee（中国美术学院美术馆旁 | next to the CAA Art Museum)

2009年进入中国美术学院跨媒体艺术学院。

2011年进入实验影像工作室。

2013年毕业于中国美术学院跨媒体艺术学院并取得优秀毕业作品金奖荣誉。

2015年毕业于英国伦敦艺术大学切尔西艺术学院并取得一等荣誉硕士（MA with Distinction）学位。2019 获得第十三届AAC艺术中国年度青年艺术家提名奖；2018年获得华宇青年奖提名。

个展《愚者黄金》《冷事实》（千高原艺术空间），《你一生的故事II》（剩余空间）。主要群展《你一生的故事I》（长征空间，北京），《太平广记》（红砖美术馆，北京），《可善的陌生》（UnArt中心，上海），《天涯芳草》（特拉华当代艺术馆，美国），《退浪》（赫尔辛基影像艺术节，芬兰）等。

Feng Bingyi was born in Ningbo in 1991 and is currently based in Shanghai.

2009-2013 School of Intermedia Art (SIMA), China Academy of Arts, China, Bachelor of Art 2014-2015 Chelsea college of Arts, University of Arts London, UK, Master of Art: Distinction.

Solo Exhibition "Fool's Gold" "Cold Truth" (A Thousand Plateaus Art Space), "The Story of Your Life II" (Surplus Space). Selected group exhibitions, "The Story of Your Life I" (Long March Space, Beijing), The Tale of Taiping Era (Red Brick Art Museum, Beijing), "The King Stranger" (UnArt Center, Shanghai), " Splendor in the Grass, Plenty Fish in the Sea" (The Delaware Contemporary, USA), "The Undertow" (Helsinki Festival，Here out There, Helsinki, Finland), etc.

1990年生于湖南，2014年毕业于中国美术学院实验影像工作室，现工作生活于上海。

[从匮乏变成轻] (Vanguard画廊，上海，2017); 

[马照跑，舞照跳] (时代美术馆，广州，2019)、[剩余的时间-房间6号] (歌德学院灰盒子空间，北京，2018)、[一幅不包含乌托邦的世界地图甚至都不值一瞥] (北京公社，北京，2017)、[LOOP Barcelona] (巴塞罗那，2017)、[抵抗的涌现] (泰康空间，北京，2016)、

[展览的噩梦(下) ]

(上海当代艺术博物馆，上海，2015)等。

华宇青年奖提名，三亚；

集美·阿尔勒发现奖提名，厦门。

Tang Chao was born in Hunan in 1990, graduated from School of Inter-Media Art of Academy of Fine Arts, now works and lives in Shanghai. 

“FROM LACK TO LIGHT“ (Vanguard Gallery, Shanghai, 2017).

"THE RACING WILL CONTINUE, THE DANCING WILL STAY" ( Time Museum, Guangzhou, 2019 )、"THE TIME THAT REMAINS - ROOM NO. 6" ( Grey Cube, Goethe Institut China, Beijing, 2018 )、"A MAP OF THE WORLD THAT DOES NOT INCLUDE UTOPIA IS NOT WORTH GLANCING AT" ( Beijing Commune, Beijing, 2017 )、"LOOP BARCELONA" ( Barcelona, 2017 )、"TOWARD THE EMERGENCE OF RESISTANCE" ( Talkang Space, Beijing, 2016 )、"NIGHTMARE OF EXHIBITION ( 2nd – half )" ( Power Station of Art, Shanghai, 2015 ) etc. 

HuaYu Youth Award, nominated artist, Sanya, 2017 ;

JIMEI·ARLES Discovery Award, nominated artist, Xiamen, 2016. 

（生于1982年）现生活工作于上海。2017年毕业于中国美术学院跨媒体学院，主要研究当代影像创作。他关注形成于时间与空间中的“秩序”，希望探讨隐藏在这个世界中那些只能被感知而无法被言说的“内在的秩序”。吴鼎的作品在中国美术学院美术馆（杭州，2019年）、今日美术馆（北京，2018年）、安仁双年展（成都，2017年）、泰康空间（北京，2016年）、上海二十一世纪民生美术馆（上海，2015年）等众多艺术机构展出。他最近的个展包括“关于圆的历史1”（集美阿尔勒国际摄影节，厦门，2019年）、“极限的节奏II”（东画廊，上海，2017年）、“极限的节奏I”（上海民生现代美术馆，上海，2016年）与“实在的维度III”（M50艺术空间，上海，2015年）。其作品还出现在集美阿尔勒国际摄影节，连周国际摄影年展，並入围阿尔勒国际摄影节“发现奖”（2019）和华宇青年奖（2014）。同時，他也是2015年曼彻斯特华人艺术中心的驻地艺术家。

Wu Ding was born in 1982, lives and works in Shanghai. He graduated from the school of Intermedia Art at The China Academy of Art (2017) where he studied contemporary video production. Concerned with the order within time and space, he aspires to explore the perceptible but indescribable inner order hidden in the world. WU’s works have been widely exhibited in different art institutions, including Art Museum of CAA (Hangzhou, 2019), Today Museum(Beijing, 2018), Anren Biennial(Chengdu,2017), Taikang Space (Beijing, 2016), Shanghai 21st Century Minsheng Art Museum (Shanghai, 2015), etc. His recent solo exhibitions include ”On The History of The Circle I” (Jimei Arles Photo Festival, Xiamen, 2019) “The Rhythm of Ultimate II” (Don Gallery, Shanghai, 2017) “The Rhythm of Ultimate I” (Shanghai Minsheng Art Museum, Shanghai, 2016) and “The Reality of the Dimension III” (M50 Art Space, Shanghai, 2015). He was the artist-in-residence at the Center for Chinese Contemporary Art in Manchester in 2015.

郑源1988年出生于兰州，2015年毕业于芝加哥艺术学院，获电影、录像及新媒体艺术硕士。现生活工作于北京。他的作品以运动影像为主要媒介，近期个展包括：“悬而未决”，泰康空间，北京，2017；AnOpenStudio,PRACTICE,NewYork，2016。近期参与的群展包括：“生活应用”，昊美术馆，上海，2019，离线浏览：第六届台北国际录像双年展，台北凤甲美术馆，台北，2018；成都·蓬皮杜：“全球都市”国际艺术双年展，成都，2018；“新冶金者”，JuliaStoschekCollection,杜塞尔多夫，2018；“长征计划：违章建筑三—特区”，长征空间，北京，2018，”时间的狂喜“，何香凝美术馆，深圳，2017；一张没有乌托邦的地图甚至都不值得一瞥，北京公社，北京，2017；他的作品同时在各国影展有所放映，包括：第三十六届卡塞尔Dokfest（2019），25FPSFestival，2019,第65届德国奥伯豪森国际短片电影节，2019；第55届安娜堡电影节，安娜堡，2017；郑源于2017年围第五届三亚艺术季“华宇青年奖”。

Zheng Yuan was born in Lanzhou in 1988, lives and works in Beijing. Zheng received his MFA in Film, Video, New Media and Animation at the School of the Art Institute of Chicago in 2015.

His work addresses questions about image-based representations that embody the state of contemporary visual culture, history, and technology. His recent solo project includes “Up in the Air”, Taikang Space, Beijing, 2017; “An Open Studio”, PRACTICE Space, New York, 2016. He recently participated in group shows including “HOW NOW: THE LIFE APP”, HOW Museum, Shanghai, 2019; “Cosmopolis #1.5: Enlarged Intelligence”, Chengdu Pompidou Biennale, Chengdu, 2018; “OFFLINE BROWSER”, The 6th Taiwan International Video Art Exhibition, Hong-gah Museum, Taipei, 2018; “New Metallurgists”, Julia Stoschek Collection, Düsseldorf, 2018; “Long March Project ：Building Code Violations III Special Economic Zone”, Long March Space, Beijing, 2018; “The Ecstasy of Time”, He Xiangning Art Museum, Shenzhen, 2017; “A Map of the World that does not include Utopia is not Worth Glancing at”, Beijing Commune, Beijing, 2017. His works are also screened at film festivals including the 36th Kassel Dokfest, Kassel, 2019, the 65th International Short Film Festival Oberhausen, Oberhausen, 2019; 55th Ann Arbor Film Festival, Ann Arbor, 2017; European Media Arts Festival, Osnabrueck, 2016; Gene Siskel Film Center, Chicago, 2016, etc. He was nominated at the Art Sanya for the Young Chinese Artists Award in 2017.

（特邀翻译 | Translator：Halina，徐子涵，黄兆铜）