一灘鷗鷺 A Shoal of Waterfowl
一灘鷗鷺
A Shoal of Waterfowl
項目總監：柳力
Project Director：Liu Li
策展人：何雨澄
Curator：He Yucheng
藝術家：布萊斯·施瓦茨、劉穎聰、宣琛昊、徐新武、吳雨桑、袁簫
Artist：Blaise Schwartz、Vito Lau、Xuan Chenhao、Xu Xinwu、Wu Yusang、Yuan Xiao
開幕 | Opening：2018.04.21（周六）,18:00
展期 | Duration：2018.04.21—2018.06.02（周二至周日）
上海市楊浦區周家牌路301號C3棟4樓
C3,4F, 301 Zhoujiapai Road.Yangpu District,Shanghai
前言 | Introduction
「一灘鷗鷺」取自宋代詞人李清照《如夢令》中「沉醉不知歸路...爭渡，爭渡，驚起一灘鷗鷺」，這段詞的原意描述的是划船的人忘記了來時的路線，而當船的速度過快，划過一個水點的時候，驚起了水中的飛鳥，有意料之外的驚喜或刺激感。在這裡，「一灘鷗鷺」被用來代指藝術家在創作中途停頓並通過對未完成的畫面進行觀想所獲得的新的領悟，它將直接影響創作者的下一步動作——這種充滿著不確定性與神秘性的中途自悟正是繪畫性產生的源泉。
「A shoal of waterfowl」 was taken from the poem 「Like a Dream」 by Li Qingzhao, a poetess of Song Dynasty: 「... I was so drunk I couldn"t tell the way home... How to get through? how to get through? And I startled to flight a whole shoal of egrets and gulls. 」 It describes how a rower forgot the road he came from, and when the boat went faster through the water, startled the birds that were on water, creating an unexpected surprise or a feeling of excitement. In this exhibition, 「A shoal of waterfowl. 」 refers to artist paused in the midst of his/her creation and gaining new insights from the unfinished picture. It will directly affect the artist』s next move. This kind of midway self-enhancement, full of uncertainty and mystery, is the source of pictorial creation.
（文/柳力 譯/何雨澄xBlaise Schwartz）
ABOUT ARTISTS
布萊斯·施瓦茨 Blaise Schwartz
我不用繪畫去想像一個不同的世界，也不會用它來表達現在的世界。我停留在兩者之間，兩種形象之間：想像力和知覺。也就是說，它既不是圖示也不是概念。
房屋、街道、橋的輪廓和塔的圖標。當我閉上眼睛，試圖用想像力去修復這些東西的時候，就像我可以在紙上看到它們一樣。然而它們並非是靜止的畫面，他們在移動、在顫抖。在我的「之間」里，幾乎沒有什麼東西能夠讓它們安定下來。
I do not use painting to imagine a different world, nor to represent the present world. I stay in between. Between two forms of visions: imagination and perception. That is, it is neither representation nor concepts.
Icons of houses and street, silhouette of a bridge, towers. When I close my eyes and try to fix these things in imagination, as I could see them on paper, they do not fix themselves. They move, they quiver. Few things are capable of immobility in this in-between.
Two Times 布面油畫 100x80cm Blaise Schwartz 2017年
劉穎聰 Vito Lau
畫畫的時候有一種被祝福的感覺，無法自控的被操控的身體...停下來之後一方面回憶這個過程，想要重新獲得這種愉悅感，但是無法感同身受啦，進一步思考為什麼會這樣，當時發生了什麼，是什麼在試圖和我交流，然後就入定了。
When Painting, There is a feeling of being blessed, unable to control the manipulated body… When everything is back to normal, I try to recall this process and I want to regain this sense of pleasure, but I can』t really feel it. Let』s think more about why did this happen? What happened at the time? What was trying to communicate with me? And then I settled.
城市廣場 銀板 28x22cm 劉穎聰 2018年
宣琛昊 Xuan Chenhao
我試圖描述我的工作，從最微小的化學分子模型到大自然中生命的衍進，其形態同現代都市人需要快捷表達在網路聊天或者廣告中被濫用的表情符號之間譜系學上的關聯。壓縮後簡潔明確的圖像是一種更為快捷的語言，我的創作需要打破這種單調的傳遞。我試圖做出直觀感受上的判斷而非不加批判地消耗。這些被壓縮的卡通形象是非常專橫的存在，迫使人們欣然接受它們，遊戲中的「假體」讓我在繪製他們時變得興奮，我摘錄這些形象，構建和摧毀並置，這是類似於一個象徵性的寫作。
I tried to describe my work, from the evolution in the tiniest chemical molecular modeling to life in nature. Its morphology is closely related to the pedigree of modern people who use emoji to express emotions in advertising and online chatting. The compact and clear compression image is a faster language, and my creation would like to break this monotonous transfer. I try to make intuitive judgments rather than consume it uncritically. These compressed cartoons are very tyrannical, forcing people to embrace them. The "prostheses" in the game made me excited when drawing them. I extracted, built and destroyed these images. This is similar to A symbolic writing.
耳朵里的肉 50x40cm 紙本水彩 宣琛昊 2017年
徐新武 Xu Xinwu
我的作品一直以來都是圍繞對能量的理解和想像為主線。是在具象和抽象之間，靜態和動態之間，宏觀和微觀之間以及真實和夢境之間做的一系列的研究和想像，并力圖以此挖掘出更多的視覺可能。
成長給我的認知是，我們的視線所及，其實只是一部分有限的「真實」，而在那冰山一角的背後，似乎還隱藏著更多的真相和可能。我相信世間萬物是一個守恆的整體，能量無時無刻在運行、轉化，現實也無時無刻在以自身的方式追逐著某種平衡。在我看來，能量的轉化是一個多維並發的過程，消逝也是另一種形式的開始，它只轉換了形式，或者只是轉移了寄託而已。
The perception and imagination of energy has been the principle line of my works all this time. They are based upon an array of research and creation I have done between concrete and abstract, static and dynamic state, macroscope and microscope, as well as between reality and fantasy. From this I attempt to develop more visual possibilities.
I have learnt from my life experience that what we see is actually a very limited portion of 「the reality」, and besides the tip of the iceberg, there seems to be hidden truth and possibility. I believe in the fact that all the beings in the world constitute integrity of conservation, and that energy is in constant operation and transformation while the reality is searching for a certain balance in its own way at any moment. For me, the transformation of energy is a multi-dimensional process, and disappearance another form of birth, only that it takes a different form or changes its sustenance.
Sublime 220x710cm 布面丙烯 徐新武 2015年
吳雨桑 Wu Yusang
我的繪畫徘徊在現實生活的平常事物與夢境一般的虛構圖像之間。我像是被情緒與夢境綁架的少年，真實的情緒、虛構的形象、荒誕的情節總會塞在同一畫面里，相互對立又傳遞戲劇意味的暗示，雖然是我造卻不由我控制，望著它們，我也往往墜入沉思。
My paintings always linger between ordinary things in real life and fictional images in dreams. I was like being kidnapped by emotions and dreams. Real emotions, fictional images, and absurd plots are opposite to each other in my picture and convey the implications of drama. Although they are made by me, they are not controlled by me. I often fall into meditation when watching them.
SAVE YOUR MOTHER OR SAVE YOURSELF 180x180cm 布面油畫 吳雨桑 2017年
袁簫 Yuan Xiao
我的作品是對情緒的對話，我將對待情緒如同發現真理一般去理解。因為就像放下謊言則是真理一般，情緒是直接可見的，也是可直面體會的。我看見情緒，我觀想情緒，我進入情緒。我在區分與不區分各個念頭間，發現每個情緒轉變的一點點空隙，而那空隙就是我要進入的情緒的真理。
My works is a dialogue with my emotion, I try to understand my emotion like finding some truth. Because emotion is directive and visible, just like the truth behind the lie. I saw the emotion, observe and into the emotion. To distinguish or blend every idea, I find the gap between the emotion transformation. And the gap is the truth of emotion that I am going into.
河 100x120cm 布面油畫 袁簫 2018年
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