窗外--2022

OUT OF THE WINDOW

　　2022，北京，这座城市即将步入仲夏，大家的身心仿佛缓存在“时间的虫洞”里，依旧是乍暖还寒的初春。当下的生活与生命活力被严重局限，窗口作为放飞自由的野境，目光所不能及的总是令人神往。或许因为人类活动的减少，大自然变得分明与闪耀。与之相对应的社会中的人以直面自身的方式，或快，或缓，或躺平，以命运实践者这一既定角色与当下的时空互为关系，渴求突破生命有限的存在……

　　本次展览呈现了崔明非、邓称文、胡尹萍、史文轩、吴小欢、谢德庆、左岩峰、张雨曈，张文钦共9位艺术家的优秀作品。艺术家们通过自身个体的感知，抽离荒诞与虚无的表象，以自省的表达方式讲述作品背后的观念，通过与观者的互动呈现出一种质朴的真实。

崔明非，《劳动者》，布面油画，250×150cm，2020

　　“历史中劳动者的形象很是奇幻，背后隐性的布满了各种戏剧性的词汇修饰，例如掠夺、抗争、被掠夺、侵占、权力等。同时也充满了古典主义，浪漫主义和现实主义等诸多的历险、苦难、挣扎、扭打、收获等各种复杂的画面叙事。戏剧性场面和多人叙事的野心只是一方面；而利用常规的传统绘画性（不是为了差异而差异）和对记忆图像资源”挪用的刻意“（拆解各种引导性的镜头，重新组合，避免好莱坞式的视觉语言）为平衡不断重复造成”出离与偏差“使其不自觉的变异；不躲闪，不下结论，只是展现头脑意识中的矛盾。反向进入”强度“的体现。其兴趣在于戏谑，龃龉与不和谐音”。-- 崔明非自述

邓称文，《2021.03.12》，布面油画，120×100cm，2021

　　每天，都会自觉或不自觉的看向窗外，从感观上体会周遭不同的真实，窗外特殊天气的景象尤其吸引人，那种弥漫着的虚无感很难言说。艺术家邓称文似乎想以一种冷静的态度来诠释自然，这使得其作品能够传达出内心更为真实的东西。作品《2021.03.12》画面之中可以探寻到某种与印象派画家相同的目标，其明暗对照有力的传达了“某种心理”活动的介入，具有戏剧性情感。艺术家这种诚实和冷静恰到好处，没有华丽，没有“润饰”，这是一种及其平常的观察，却不是毫无想象力的表达。

胡尹萍，《身份》，无限，事情，Event 视频，1920x1080，16：9，彩色，立体声，图片c-print，服装，尺寸可变，2012（作品由魔金石空间提供）

　　在参展作品《身份》的创作中，艺术家胡尹萍以自我为材料，历经几年时间改变自己的身体造型，进行了一次“身份转换”的行为实践。在胡尹萍的眼中“人可以是任何人”，人生道路上的抉择并不一定是自主意识的选择。《身份》源于其朋友发过来的一张陌生女人的照片，认为照片中的人与她本人具有某种程度上的相似，于是胡尹萍便在极度厌恶的心态下开始审视这位陌生人，并用自己的方式着手创作，使陌生人的形象在自己的现实生活里进行了更替。艺术家通过与他者身份的置换，对个体身份的社会化制度提出质疑，以简单另类的方式带给观者新的思考和自我审视。

史文轩，《春响》，布面丙烯，200×300cm，2022

　　《春响》是史文轩以春天的变化为灵感创作的绘画作品。画面以绘画的行动节奏，挥洒出色彩的无限张力，传达出丰富的视觉意蕴，使春的盎然生机跃然于画面。在这温暖的意蕴之中，我们仿佛聆听出跌宕而温婉的音乐，这是艺术家内心无限生机的自在勃发。虽不以叙事布白，但画面灵动的笔触能使人沉浸在无限宽广的宇宙中，塑造了一种目光不停游动、思绪不断闪烁的美学体验。

吴小欢，《酒神》，布面丙烯，40×50cm，2017

　　吴小欢是一位极具“自由流浪”气质的艺术家，不会任由“风格”和“流派”这样的条条框框束缚其艺术创作的自由表达。他对绘画始终怀有少年般的热情与梦想，在探索创作的多种可能性上醉心于冒险与尝试，这是一位始终“在路上”的艺术探索者。吴小欢的绘画语言率性直白，象是他现实世界中的自我写照，作品《酒神》是他在南方生活中的视觉经验，湖泊或水沟里总会漂浮着各种……瓶瓶罐罐，这些瓶瓶罐罐多与酒精相关，像极了流浪者酒醉后的随意安放。《酒神》、《狄奥尼索斯》这两件作品画面色彩浓郁，构图在自由和随性中，使观者窥见其独特的绘画才情。在吴小欢自由的绘画世界里，苛求他外在描绘的真实反而会令他的内心情感变得失真，同时也会失去某种率真的天赋。

谢德庆，1361一年行为表演1978-1979《笼子》，纸本海报，83.8×121.5cm，1980

　　《一年行为表演》系列之《笼子》是谢德庆的重要行为艺术作品，从1978年9月30日到1979年9月29日，谢德庆将自身囚禁于一个由自己亲手制造的木笼内，木笼的门由公证人贴上封条，确保他在一年的时间内不会踏足笼外。其作品在极致的生命体验中去探讨人性的各种状态，带给人们关于自身存在的哲学性思考，并使其行为表达成为艺术。该作品指向了整个人类社会存在的荒诞与虚无，人们制造生产出矛盾与分歧，并做出与时间的关联性，消费自我。谢德庆在笼中所面对的其实就是我们日常所面对的，也是我们所习以为常的。

左岩峰，《冷火》，布面油画，80×100cm，2022

　　艺术家左岩峰的新作《冷火》是其“火”系列作品的延续。画面潜藏关于具象物质的叙事，带有超现实主义的视觉倾向，但最终是以抽象表现主义的方式呈现对于火不确定性形态的关注。艺术家把绘画视作自我体验、表达、实现自由的过程，并以旺盛的激情将火的流动性和似型非型的内容结合起来，用多变的色彩、肌理，以及流线的造型来传递深层的情感信息。

张文钦，《被雪覆盖的苹果树6》，布面油画，150×130cm，2022

　　艺术家张文钦的创作存在于生活的逻辑中，围绕日常观察的相互关系而展开，其画面情感细腻又具有视觉的张力。下雪预示着寒冬的到来，同时也是一年的尾末或者是新一年的开始，人们总是对雪有各种浪漫的期许。当白雪真正降临时，又要思考如何抵御寒冷，如何面对当下生活的窘迫。这些问题会变得越来具体，越来越现实，对白雪的浪漫想象在这时也会与具体情境发生关系。《雪》系列表现了雪对物体的覆盖和淹埋，对繁琐细节的归纳导致物体的形态发生变化，从而诞生出新的视觉趣味，使正在流逝的时间表达出诗性的画面。

文 / 谢天

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　　In history， the image of laborers is fantastic. Behind it， there are all kinds of dramatic lexical modifications. For example， plunder/struggle， plunder， occupation， power， etc. At the same time， it is full of classicalism， romanticism， realism and many other complicated picture narratives， such as adventures， sufferings， struggles， scuffles and gains. Dramatic scenes and multi-personal narrative ambitions are only one aspect. However， using conventional painting （not for the sake of differences） and deliberate “misappropriation” of memory image resources （disassembling all kinds of guiding lenses， regrouping， and avoiding Hollywood visual language） to balance the repetition causes “detachment and deviation”， which makes it unconsciously mutate； Don‘t dodge， don’t draw conclusions， just show the contradictions in the mind. Enter the embodiment of reverse “intensity”. My interest lies in banter， discord and disharmony. - by Cui Mingfei

　　Every day， people will consciously or unconsciously look out of the window， from the sensory experience of different reality， the scene of special weather outside the window is particularly attractive， that kind of diffuse and nothingness is difficult to describe. Deng Chengwen seems to want to interpret nature with a calm attitude， which enables his works to convey more realistic things. The painting “2021.03.12” shows the same goal as the Impressionists. The contrast between light and shade in the established sense of the picture effectively conveys the dramatic emotion and the involvement of “psychological” activities. Deng chengwen applies this honesty and coolness just right， no pomp， no “embellishment，” no elegance， no inelegance. It was a perfectly ordinary observation， but not an unimaginative expression.

　　In the creation of “Identity”， Hu Yinping took herself as the material， changed her body shape after several years， and carried out a behavioral experiment of “identity transformation”. As Hu Yinping said， “a person can be anyone”， and the choice on the road of life is not necessarily the choice of independent consciousness. Friends send her an unknown woman photo， think the people in the photo is similar to her to a certain extent， so Hu Yinping under the mentality of extreme aversion to begin to look at the stranger， and working in their own way， made the image of the stranger in his real life. Hu Yinping using a simple and direct way to present a complex thinking and examine itself， to complete the work is also adjust their own state， the process of gradually getting close to a stranger， because in the process， the artist came back on childhood special type of education for individual cognition， identity and social relations of dislocation and misreading， found the true inner self.

　　The Sound of Spring is a work inspired by the perception of seasons. In the painting， Shi Wenxuan tries to depict the rich rhythm of spring with different color and rhythm blocks， presenting his own perception of temperature in the season. In a hubbub of color， close to music， ups and downs， melodious， both internal rhythm， and visual impact. This is exactly the charm of Wenxuan‘s works， which are vivid and constantly changing without any concrete or narrative strokes， allowing viewers to immerse themselves in the infinite and broad dimensional universe created by the artist， and also keeping people in an aesthetic experience of constant observation and continuous thinking.

　　Wu Xiaohuan is an artist with the temperament of “free wandering”. He will not allow the restrictions of “style” and “school” to restrict the freedom and development of his personal art. Always with youthful enthusiasm and dream， always exploring various possibilities of artistic creation， obsessed with various attempts， always happy and determined， always exploring artistic expression “on the road”. Wu Xiaohuan’s works have the casual straightness of the times， and look at himself and the world with the truth of feeling. His painting depicts his life experience in south China， where there are always floating or half-submerged jars in lakes or ditches， mostly related to alcohol. More creative elements in his works are inspired by the outside world， while the creative intention is free and casual. In his world， demanding the external truth will make the inner emotion become false， thus losing the fun of creation.

　　From September 30， 1978 to September 29， 1979， Xie Deqing imprisoned himself in a wooden cage made by himself. The door of the cage was sealed by a notary to ensure that he would not set foot outside the cage for one year. His works explore various states of human nature in the ultimate life experience， bring people philosophical thinking about their own existence， and make their behavior expression into art. This work points to the absurdity and nihilism of the whole human society. People produce contradictions and differences， and make correlation with time to consume themselves. What Xie Deqing faces in the cage is actually what we face every day， and what we take for granted.

　　Zuo Yanfeng‘s new works are the continuation of “the Fire” series. This work is a hidden narrative about concrete matter， with a visual tendency of surrealism， but ultimately presents the concern about the uncertain form of fire in the way of abstract expressionism. Artists regard painting as a process of self-experience， expression and realization of freedom， and combine the fluidity of fire with the similar and irregular content with exuberant passion. They convey deep emotional information with varied colors， textures and streamline modeling.

　　In addition to the “Portrait” series， Zhang Yutong also created parallel “crowd” series， one is the state of human beings in the external environment， the other is the self-projection of internal spirit， using two ways to explore its research motif - “People”. The work “See Me” is derived from the poster images with sexual connotations. The artist blurred the gender of the characters through composition and modeling， creating a Michelangelo’s sculpture aesthetic picture， and replaced the shining halo of commercial images with flat curve elements. “Round and round” also have similar source， in the artist‘s works present a visual aesthetic feeling， like sisters ancient painting images of women under the perspective of color and form， made it difficult for the audience to choose a single point of view to look at it， as the crystallization of civilization development to precipitate out， in a seemingly frivolous things.

　　Zhang Wenqin’s works exist in the logic of life， centering on exploring the relationship of daily observation. They are delicate and have visual tension. Herald the arrival of winter snow， is also the end of the year or the beginning of a New Year， people always have a romantic imagination and expectation to the snow， but when the snow really came， the people need to think how to face the life distress， these problems become more concrete， more realistic. The romantic imagination and expectation of snow is also related to the specific situation. The Snow series shows how snow covers and inundates objects when covering them， and the complex details lead to changes in the shapes of objects.

　　Author：Xie Tian

　　仚东堂2021年成立于北京，是一家独立的艺术项目空间和收藏空间，立足中国当代艺术的发展，致力于中西方当代艺术的交流与推广。Xian Dong Tang（仚东堂）was founded in Beijing， 2021. As a independent space of art programs and contemporary art collections， Xian Dong Tang bases itself on the development of Chinese contemporary art and will be devoted to the communication and promotion of Chinese and western contemporary art.

　　文章转自：仚东堂