剧情无处不在，剧场却又是无形的。眼盲、感知障碍、身体隔离意味着人体机能以及内外互动遭遇的困境；而药则是对生命体的介入和调适。

“无形的剧场”

疫情作为全球性事件已经深刻地影响到人们的生存与互动方式，艺术家亦处于这一“危机时刻”的语境之中，经历着感知与精神的冲击。

▲ 《如影》，范勃，热感应装置实时成像、投影，2020

"Thermal Shadow"，Fan Bo, 
Thermal induction device, Projection, 2020

对知觉及其背后的认知与心理系统非常敏感，且有着深入探讨的艺术家范勃，其艺术实验在先前的基础上有了进一步的拓展。这种拓展不是基于事件的条件性反射，而是对经由事件而加剧的身体的痛感、价值观的撕裂、社会的奇观等现象的再认识，以及从艺术想象力出发的对于社会的疗愈。

▲ Emmanuel，范勃，家具、生活用品、药粉，2020

 "Emmanuel"，Fan Bo, 
Furniture, Daily necessities, Powder, 2020

▲ Emmanuel，范勃，家具、生活用品，2020

"Emmanuel"，Fan Bo, 
Furniture, Daily necessities, 2020

“无形的剧场”即是一个关于多种感知体验的集合，它正对应我们当下这场因为隐形的侵蚀力量而上演的社会大剧，剧情无处不在，然而，剧场却又是无形的，充满着不可预知和突如其来的因素，因而也具有某种无边的想象力。

▲ 《终有乌篷船吱吱哑哑》，范勃，影像，2019

"The Sound of Rowing Remind Me

the Coming of Wupeng Boat", 

Fan Bo, Image, 2019

▲ 《终有乌篷船吱吱哑哑》，范勃，布面综合材料，2019

 "The Sound of Rowing Remind Me

the Coming of Wupeng Boat", Fan Bo,

Comprehensive materials on Canvas, 2019

在这仍然持续的剧目当中，“体温”和“隔离”成为与身体如影相随的关键词，它造成与以往日常生活经验不同的某种“例外状态”的恐惧和臆想。

▲ 《重返现场》，范勃，药丸、药粉、量瓶等实验器皿，2019

"Back to the Origin", Fan Bo, Pills, Powder, Measuring Bottle and other labware, 2019

范勃的感知体验和研究表达，也由视觉、触觉、听觉的交叠与转换，被遮蔽的经验世界的唤醒，连接中枢神经的沉浸式实验，延展到有关体感、心理疗愈以及弥散的隐性气氛的观照，从而试图建构起另一幅更为整体和具有某种神启般力量的感知图景。

▲ 《重返现场》，范勃，药丸、药粉、量瓶等实验器皿，2019

"Back to the Origin",  Fan Bo, Pills, Powder, Measuring Bottle and other labware, 2019

关于艺术家 Artist

▲ 艺术家  范勃

Artist Fan Bo

范勃，1966年生于天津，知名艺术家，现为广州美术学院副院长，教授、博士生导师。作为一个艺术家，范勃以各种切身的题材、媒介和文本探求人的内心世界和不同社会角色的置换。

Fan Bo, born in Tianjin in 1966, is a well-known artist, currently working as the Vice President, professor, and doctoral tutor at Guangzhou Academy of Fine Arts. As an artist, Fan Bo pursues the world of human mind and the subsequent exchange of different social characters through various personal-related topics, mediums, and contexts.

关于策展人 Curator

▲ 策展人  胡斌

Curator Hu Bin

胡斌，出生于湖南长沙。现为广州美术学院美术馆常务副馆长、艺术管理学系教授。专注的研究方向有中国革命美术史、中国现当代艺术展览史，长期从事当代艺术的批评与策展。

Hu Bin, born in Changsha, Hunan, currently works as the executive deputy director of the Art Museum of Guangzhou Academy of Fine Arts and a professor of art management department. His research interests include the history of Chinese revolutionary art and the history of modern and contemporary Chinese art exhibitions. He has long been engaged in the criticism and curatorial pracrtice in contemporary art.

“The Formless Theater”

As a global event, the epidemic has profoundly affected the way people live and interact with each other, the artists are also in the context of this "time of crisis", experiencing the impact on perception and spirit.

The artist Fan Bo, being sensitive to perception and the cognitive and psychological systems behind it, has in-depth discussion on them. The expansion of his artistic experiments based on previous ones is not the conditioned reflex of events, but the re-understanding of physical pain, tear of values, social spectacle and other phenomena aggravated by events, as well as the healing for the society from the perspective of artistic imagination.

As a collection of multiple perceptual experiences, "The Formless theater" corresponds to the present play in society as a result of the invisible forces of erosion. The scenario is everywhere, however, the theater is formless, full of unpredictable and unexpected factors, and therefore it has a kind of boundless imagination.

In this continuing play, "temperature" and "quarantine" has become the key words that are inseparable from body, creating fears and surmises of an "state of exception" that differs from the experience of everyday life.

From the overlapping and transformation of sight, touch and hearing, the awakening of the shaded experiential world, and the immersive experiment connecting the central nervous system, the perceptual experience and research expression of Fan Bo are extended to the observations of physical perception, psychological healing and diffuse implicit atmosphere, resulting in an atempt to construct a more holistic perceptional landscape with some power inspired by the gods.

展讯 Exhibition Info