中央美术学院美术馆为备受关注的艺术家雷安德罗·埃利希（Leandro Erlich）举办继2015年德国卡尔斯鲁厄艺术与媒体中心和2017年日本东京森美术馆个展之后,又一次重要的个人展览“雷安德罗·埃利希：太虚之境”。

CAFA Art Museum is proud to present an important solo exhibition for artist Leandro Erlich entitled “Leandro Erlich: The Confines of the Great Void,” following his solo exhibitions at ZKM in Germany in 2015 and Mori Art Museum in Japan in 2017.

展览现场

在此之前，雷安的作品已经吸引了全世界范围内许多观众的参与和体验，并且经由互联网和社交媒体的发酵，而被更广泛的观众群体所了解，激发了世界各地观众源源不断的灵感，产生了无数的社交媒体照片和互动参与。某种意义上，雷安的艺术正是通过观众参与到创作的最终环节，成就了其作品观念的最终彰显。也让人们意识到，艺术的形态正以如此深入公共空间的存在，被观众和艺术家共同改变，我想这正是雷安德罗·埃利希的作品所具有的独特魅力。借由雷安德罗·埃利希的作品，让我们有机会思考当代艺术及其展览，如何在新媒体文化的催化下，与观众形成全新的观看关系。

Prior to this show, Erlich has drawn visitors from all over the world into participating in and experiencing his work. With the internet and social media and a wider audience learning about his work,he activated inspiration in audiences all over the world, which produced even moreinteractive participation and endless pictures on social media. In a sense, Erlich’s art is the final presentation of a work created with the viewer’s participation or the final manifestation of the concept behind the work.Through his art, people realize that artistic forms can penetratepublic space and be collectively changed by visitors and the artist.This is the unique charm of Erlich’s work. He gives us the opportunity to consider contemporary art and its exhibition, and ways of creating all-new viewing relationships with visitors, catalyzed by new media culture.

迷失、模糊、感知的困惑——这些都是艺术家雷安德罗·埃利希作品常常带给观者的感觉，正如雷安所说，在看见与相信之间存在着一个富饶的实验领域，雷安以空间位移、建筑错觉等对寻常空间的心理颠覆为手段，探讨了存在现实与意识模糊边界的错置问题，创造真实与虚幻叠合的情境，引发了对感知及其多样性的重新思考。

Loss, ambiguity, and confusion are emotions that Leandro Erlich’s work often inspires in viewers. As he has said, there is fertile experimental ground between seeing and believing. Through spatial dislocations, architectural illusions, and other psychological subversions of ordinary spaces, Erlich explores displacements that exist in the blurred boundary between reality and fantasy. Creating scenes that layer reality and fantasy make us rethink perception and appreciate its diversity.

为了最恰当的表达他所要阐述的观念，装置、现成品、雕塑、视频，甚至绘画等媒介和视觉形式都进入了雷安的创作视野，并且成功制造了众多挑战我们感知惯性的文化景观。在中国的俗语中，有句话叫“眼见为实”，而这位出生在南美大陆的视觉艺术家，让我们很自然联想到南美大陆上魔幻现实主义文化基因是否深深影响了他，他的作品提供了一种眼见之物也许并非真实的可能。雷安德罗·埃利希的作品中创造了诸多无明确边界的场所，一座好似从天而降的《游泳池》、从地面《连根拔起》的房子、一扇门缝里露出光亮的紧闭的《门》、几只漂浮在如镜水面上的小船……经由这些唤起观者现实感的日常场景，就像一个个“异托邦”入口，与老子所言的“恍兮惚兮，其中有物，窈兮冥兮，其中有精”的太虚境界隔着文化的时空两相契合，现实和表象彼此交融给观众带来虚幻之感，恍惚了人类眼睛这一感官系统的直接感知，进入镜像世界的想象视域。

In order to appropriately present the ideas that his works want to convey, Erlich has incorporated the mediums and visual forms of installations, ready-mades, sculpture, video, and even paintinginto his creative world. He has successfully created many cultural landscapes that challenge our perceptual habits. There is a Chinese phrase that is akin to “seeing is believing,” and because he is a visual artist born in South America, we may naturally wonder whether he was deeply influenced by the magical realist DNAof the continent. His works present a visible object thatmay not really be possible. In his works, Erlich creates many sites without clear boundaries—a Swimming Poolthat seems to be falling from the sky, a house that has been Pulled by the Roots, a tightly closed Door with light shining through the crack in it, and several small boats floating on mirror-like water. These ordinary scenes that feel real for the viewer are like entrances to dystopias. As Laozi once wrote, “Eluding touch, eluding sight, / There are their semblances, all right. / Profound it is, dark and obscure; / Things’ essences all there endure.” The realm of the great void prevents the friendly meeting of time and space in a culture. The fusion of the reality and the appearance createsa sense of fantasy, distracting the direct perceptions of the human eye and leading us into the visual realm of a mirror world.

雷安德罗·埃利希的作品所到之处，总会带来一场拥抱视觉艺术的狂欢，而狂欢的下一站，雷安的幽默是犀利的，惊奇只是前奏，在故事慢慢展开的过程中，他埋下的多条伏笔值得我们细微品味。

Wherever Leandro Erlich’s work goes, it always creates a visual carnival. At the next stop in the carnival, Erlich brings a keen sense of humor. Wonder is just a prelude, and he has buried some foreshadowing that is worth savoring as the story slowly unfolds.

展览现场

编/吴靖

图/李标

展览详情

这个虚幻、解构、颠覆性的视觉艺术世界

“太虚之境”等你来看！

展览时间：2019年7月11日—8月25日

（展期内周一不闭馆）

日场开放时间：9:30-17:30

日场最晚入场时间：17:00

夜场开放时间：18:30-21:00（周一不开放）

夜场最晚入场时间：20:30

温馨提示

因学院临时工作安排，7月22日（周一）当天白天闭馆，加开夜场，开放时间为17:00-21:00（最晚入场时间20:30）。其他日期观展时间不变，请您合理安排参观时间！