穿越红海

当中国导演张艺谋招纳美国名角来剿杀中国长城上的外星来兵时，刘广隶仍站在法方瞭望台上权衡当代艺术的战场中文化帝国间的力量。也许没有比身处他乡更好的位置来细细估量文化市场上的主导影响；同时也正因客居他乡的经历，广隶决意凝固住他所观察到的文化同化运动。正如尼古拉·普桑 1633 至 1637 年间在罗马绘制的《穿越红海》: 经由多次研究，广隶想出用 3d 动画的形式去再现延伸出画中后景远山外的风景，最终完成了一件允许观众在这个虚构风景中随意移动与观看的互动作品，—— 借此探索了一处西土伪名胜的画外空间。

如广隶设法得到的大量中国游客拍摄巴黎圣母院的数码照片，这庞大的数量使得广隶得以从三百六十度恢复建筑物的几乎全部面貌，其后绘制于一个大圆筒形画布上。尽管广隶在中国已经习得学院派绘画的技法，却更多的在新科技中寻求视觉驱动的新拓展，且并不认同仅将绘画用于合成效果的转化。这位艺术家并没有去试图花样调解全球化进程中的纷杂文化，而是用大量的创造力，清醒地、准确地同时对强势方与弱势方的进行去身份化处理(正如我们说的哀悼的工作)。

约瑟夫·穆顿

At the time when Zhang Yimou has to recruit American A-listers to crush the extraterrestrial attackers on his Great wall of China, Guangli Liu continued measuring the balance of power between culturalempires on the contemporary art scene, from the French observatory where hesettled. There is probably no situation more privileged than that of exile toappreciate finely the effects of domination in the cultural market. And it is with these stories of exile that Guangli had decided to crystallize the movements of acculturation that he observed. Either the Crossing of the Red Sea, painted by Nicolas Poussin in Rome between 1633 and 1637: after having proposeda number of pertinent studies, Guangli imagined to represent this landscape extending behind the mountains of the background in animation 3D. He finally accomplished an interactive work which allows the spectator to move around andwatch ad libitum in this invented landscape — thus exploring the out-field of aprestigious pseudo-site of the western territory.

Idem with the digital photographs of NotreDame de Paris taken by Chinese tourists: Guangli managed to collect such an amount of photos which allowed him to reconstruct almost entirely the edifice 360 degrees, which he later restored in the form of painting on a largecy linder of hard papers. Although Guangli has already acquired the techniques of academic painting in China, he's always looking for new extensions of scopic drive in new technologies, and wouldn’t agree to return to painting only fortransposing synthetic effects. Instead of proposing a gaudy reconciliation forcultures undergoing globalization, this artist follows the work of identify loss ( known as mourning work ) in dominant positions as well as dominated ones, —with lucidity, accuracy and lots of invention.

JOSEPH MOUTON

穿越红海_七木空间_拔掉楔子_展览现场_2019

The Passage of the Red Sea_Qi Mu Space_Pull out the stake_Exhibition View_2019

穿越红海_七木空间_拔掉楔子_展览现场_2019

The Passage of the Red Sea_Qi Mu Space_Pull out the stake_Exhibition View_2019

作品试图通过对法国古典画家尼古拉·普桑（NicolasPoussin）的名作《穿越红海》（The Passage of the Red Sea）进行解构和重组，来探讨在一个信息爆炸且“阿卡狄亚”消失不见的时代中，想象、命名与地点之间有着如何复杂的联系。

普桑在罗马想象着以色列人跨越红海后所见到的“风景”，艺术家将真实地理模型进行修改后对普桑的“想象”进行了一次补充，并通过360度数字视频的方式进行展出。与投影并行陈列在墙上的，是《穿越红海》图像的不同物质形态：来自墨尔本维多利亚国家画廊的画册（收藏有《穿越红海》的原作）以及广州画家对画面风景的重新诠释（《广州的红海》，去除了原作中的人物与事件），这些带有不同地理标签的元素看似不急不缓地提出疑问：在今天一个地点如何被集体想象和观看？

而与墙面部分被“放置”的图像有所不同的是，地面的展示部分则尝试强调语言和命名如何决定性地影响着想象世界的方式，铺陈在地上的可视化关系研究《画家、城市和旅行》呈现了普桑所在的时代不同地点所诞生的艺术-权力叙事模式具有怎样结构上的异同，然而在表现某种语词构成法正在成为历史叙述主体的同时，艺术家也仍然妄图通过其他的个体和想象碎片来揭示世界正在如何被正当化地曲解。正如《锡矿山的锑和没有英文名字的中国人之间的临时关系》的作品名已明确指向了历史叙事中命名的不准确性和偶然性。《胡若望看到的海》中，艺术家利用计算机图像制作技术得到了某一特定时间和地理位置下的“风景”（根据《胡若望的疑问》），在观看无所不在的今天，新的技术是将想象推向了更远方，又或是拉到了更深邃的虚无中？

也许，想象的两端联结着必然的虚妄，只有想象的动作还能真实发生（《写给菲利普却未曾寄到的信》象征了交流的不可完成）。

作品1 ：

红海边的尼古拉_墙面投影动画_8分08秒_2017_截屏

Nicolas on the cost of the Red Sea_projection of 3D animation_(8'08 '') _2017_Screen Shot

尼古拉·普桑的风景绘画提供了一个油画的经典范式。而《穿越红海》更是记录了《圣经》中一个著名的故事：摩西率领着子民逃到了红海边上，在面对埃军队的穷追不舍时，神迹发生了——这也是这幅画最巧妙的地方，这个故事里最骇人听闻的部分——红海一分为二——是缺席的，画家并没有绘制。三维场景的最初模型来自于真实的猜测，艺术家从谷歌上获得了该地区的地形图，而后再将其改造至《穿越红海》中普桑所描绘的模样——真实与虚构在这个新的“地点”碰撞。地点，是多个个体对一个物理空间共同想象。不同物质对该图像的阐释，将普桑的“想象之地”拖拽向了真实。

Nicolas Poussin’s landscape painting is the classical demonstration in oil painting. The Crossing of the Red Sea tells people a famous story in Bible: Moses and his people fled to Red Sea. In the face of the hot pursuit by Egyptian army, happened the miracle—the most wonderful part in this painting, also the most astonishing part in this story—the Red Sea is divided into two parts—that is absent and is not painted. The initial model of the 3D scene is originated from conjecture of truth. Artists obtained the relief map in this area with the help of Google, then modified it into the scene as described by Nicolas Poussin in The Crossing of the Red Sea. In this method, artists realized the clash of truth and imagination in this new "location". The painting belongs to the mutual imagination of one physical space by several individuals. Explanation of this image by different subjects is able to drag "Land of Imagination" of Poussin to reality.

作品2：

维多利亚及尼古拉_书籍_尺寸不一_2018

Victoria and Nicolas_Books in different sizes, 2018 

Masterpieces from the National Gallery of Victoria

Published by the National Gallery of Victoria, Melbourne, Australia, 1996

The National Gallery of Victoria

1973 THAMES AND HUDSON LTD, LODON Printedin Switzerland by Rotosadag, Geneva Reprinted 1979

两本来自于收藏普桑《穿越红海》的墨尔本的维多利亚国家美术馆的画册，分别出版于不同年份，展出收录《穿越红海》的页面，不同纸张和打印技术为图像赋予不同的存在状态。巧合的是，这幅画作在历史上也留下了多个版本。而“维多利亚”这个名字，和画作现存的地理坐标，都在指涉一段与《穿越红海》中回到“应许之地”性质截然不同的殖民航海史。

The three painting albums come from National Gallery of Victoria, Melbourne, where The Crossing of the Red Sea of Poussin is collected. The three albums were published in different years with the exhibition of their collection of The Crossing of the Red Sea. Different kinds of paper and different printing technologies in these albums endowed different states of existence to this image. Coincidentally, this painting has three versions in history. Nevertheless, both the name of “Victoria” and the painting’s current geographic coordinates are linked with the colonial historyof navigation, which is totally different from “Land of Promise” in The Crossing of the Red Sea.

作品3 ：

广州的红海_油画_40x60cm_2018 

Red Sea of Guangzhou_Oil Painting_40x60cm_2018 

广州行画画家临摹的《穿越红海》，将画面中人物去除，只留下背景，被人物遮蔽的部分由画家的想象力来填充。广州地区是西方油画最早在中国登陆的地点之一，在中国历史上也曾一度是唯一合法的对外通商口岸，比如著名的广州十三行时期。通过不停的图像交换，这里也承载了不计其数中西方对彼此的想象。

In The Crossing of the Red Sea copied by painters in Guangzhou, there is only background but no figures in the painting.The painters filled in the parts hidden by figures with imagination. Guangzhou was the earliest location when western oil paintings landed in China and it was once the only legitimate foreign trade port in history such as the famous Period of Guangzhou SHISANHANG (Thirteen famous Business Companies in Guangzhou). The constant exchanges of images exhibited numerous impressions left by each other between China and western world.

作品4：

画家、城市和旅行_地贴打印_300x613cm_2019

Painter, City and Travel_Ground Printing_300x613cm_2019

图表描绘了16-18世纪，艺术家与权力之间的关系是如何被一种地理化、坐标化的方式联系起来的。欧洲资本主义的出现和民族化进程的加快，在推动了远行和交流的基础上也建立了对外扩张和攫取的野心——艺术的发展同样也被囊括其中（艺术体制化和学院化），这一情况在中国却大相径庭。图表同样试图在用可视化的数据来解释中西方构建起的不同的艺术-权力叙事逻辑。

The chart exhibits the image of how relationship between artists and authorities was linked in the geography-basedand coordinates-oriented method from the 16th century to the 18th century. Appearance of capitalism and acceleration of nationalization process in Europe not only pushed the long journeys and exchanges, but also built the ambition of foreign expansion and seizure—artistic development was also involved in this process (system-based and institution-oriented art development), but the situation was quite different in China. The chart uses visualized data to explain the narrative logic between arts and authorities in China differentfrom that in the western world.

作品5：

Temporary Relationship between Antimony in Tin Mine and A Chinese Man with Only English Name

锡矿山的锑与只有英文名字的中国人之间的临时关系

Antimony Slab, Tin Mine of Lengshuijiang City, 2018

锑锭，冷水江锡矿山

The Question of Hu, Jonathan D. Spence First Edition. Published in the United States, New York, 1988

《胡若望的疑问》，史景迁，英文原版

艺术家的家乡拥有世界上最大的锑矿矿床，却被命名为锡矿山。

There is the world’s largest antimony deposit in the artist’s hometown but it is named Tin Mine.

18世纪一位中国天主教徒前往法国后发生的故事，他的名字和故事存在且仅存在于外语叙述中。

It was a story happened to a Chinese Catholics after he visited France in the 18th century. His name and his story existed only in the narrative in foreign languages.

逻辑错误的命名与失去母语名字的个体组成了一段稳定的临时关系，类似的误解和被动叙事构成了我们所能接触到的绝大多数“世界”。

Naming as a result of logic mistakes and an individual losing the name in mother tongue constituted the stable but temporary relationship. Similar misunderstandings and passive narratives formed most “worlds” we were able to contact.

作品6：

Sea in the Eyes of HU

胡若望看到的海

3D-rendered ocean view, date originated from The Question of Hu, 2018

三维渲染海景，《胡若望的疑问》中剪出来的日期，2018

现代科技能轻松计算出过去任一时间里太阳和地球的关系，有了这样的光照信息，1722年某一天某一刻某人在某处看到的是怎样的阳光，成为已可证明的想象。那是否有了更强大的计算能力，我们可以进行更庞大地想象呢？而这二者不应该是彼此对立的吗？联结想象两端的是必然的虚幻，唯有想象这一动作蕴含着真实。

Modern technologies make it possible to calculate the relationship between sun and earth at any time in history.Therefore, illumination information makes it a provable imagination how the sunlight was observed by someone in some place on some day in 1722. Does powerful calculating ability equal enormous imagination? Are the two matters supposed to be against each other? It is the illusion of necessity that links both ends of imagination and only imagination contains truth.

作品7：

An Unsent Letter to Phillip

写给菲利普却未曾寄到的信

The Letter and envelope were returned by a French post office. A publication in chinese, a USB drive imprinted with thename of "Phillips". 2018

被法国邮局退回来的信件和信封，信件内容的中文出版物，印有“菲利普”名字的u盘，2018

被官方退回的信件意味着必定有地方出了错，人的名字或者地点的名字。未完成的交流里只剩下自我表达，信件的内容不仅对作品创作背景有阐述，同时讲述了几个个体以及他们与名字之间的故事。

There must be mistakes, wrong name of the person or wrong name of the place, in the returned letter. The unfinished communication contained only self expression. The letter not only demonstrated the background of writing, but also told the story between several individuals and their names.

刘广隶，1990年出生于世界锑都湖南冷水江。

硕士毕业于法国尼斯国立美术学院-阿尔松别墅（école nationale supérieure de la villa arson à Nice），现就读于法国国立当代艺术中心（LeFresnoy）。作品多处理跨文化情境中由翻译行为所制造的拓扑空间中新关系创造的可能性。

拔掉楔子

Pull Up the Stake

范久鹏、冯至炫、江芳、刘广隶、马秋莎、娜布其、齐星、王长存

FAN Jiupeng, FENG Zhixuan, JIANG Fang, LIU Guangli, MA Qiusha, NA Buqi, QI Xing, WANG Changcun 

2019年1月19日－2019年3月24日

展厅开放：周六｜周日上午11时至下午六时（需预约）

Appointment Only : 13501007444

info@qimuspace.com

www.qimuspace.com

七木空间

QI MU SPACE

中国北京通州区宋庄镇小堡艺术区中坝河旁

By Zhongba River, Xiao Pu Art Zone, Song Zhuang, Tongzhou Dst. Beijing, China