我在 · 艺空间新展 | 这就对了：程广峰个展7月27日开幕

这就对了（Just Right）| 程广峰个展

是艺术家程广峰在我在·艺空间继2017年“旅程顺利”后举办的第二次个展。从2016年的“浓洋泾浜”，2017年的“旅程顺利”，到2018年的“当处境不当“，再到2019年的“这就对了”，艺术家程广峰作品从平面纸本到绢本结合再到立体装置结合多媒体艺术，不断地在探讨、履新自我的艺术创作。本次展览将展出他最新创作的绘画作品：处境不当、竹林、桃子、狮子等系列外，还将展出雕塑和动画作品，共计30件。

The ability to create a peach that’s not a peach, a bamboo that’s not a bamboo becomes a cotton swab that Cheng Guangfeng is using to tease the vision, a cotton swab that can apply ointment to wounds and scratch your inner ears. When everyone believes the life-saving, ointment-applying swab has more significance than the self-entertaining, ear-scratching swab, the question whether ultimately art is for entertaining oneself or saving the others becomes an endless topic.

Lin Shuchuan

The relationship between object, language, and imagery is a key clue to understanding how Cheng Guangfeng’s makes, experiments with, and executes art. Cheng is clever at creating little schemes in his art-making. He is always capable of humorously manipulating and reconstructing objects and vocabularies to convey messages in his own style.   

Wang  Lin

丁 成

处境不当，就是不恰当的发生。这里两个核心要素，一个是不恰当，处境可以理解为相对于时间或空间的位置，甚至是时间和空间双重同构的不恰当。另一个是发生，原来没有的，原来不存在的，突然就出现了。宋代的欧阳修讲：“乾坤有信如符契，草木无知但发生。”在这些作品里，我们不仅看到了时间空间双重合谋的不恰当，而且我们也看到了原来不存在的原来没有的出现了，程广峰是这“发生”的幕后黑手。换句话说，真正的艺术家，就应该深入到事物的内部去，洞悉天地间万事万物的内在玄机，进而如乾坤有信一般，与之达成默契，而好的艺术作品不正是欧阳修所谓的“符契”么，草木无知，但草木出现了，狮子无知，但两只狮子跑到一起去了，竹笛无知，但竹笛合体了，桃竹无知，但桃竹长到一起去了……

An unsuitable situation occurs when things happen unsuitably. There are two key elements in the occurrence of such situation. One is the “unsuitability,” which could be interpreted as an unsuitable time, an unsuitable space, or maybe even both. The other one is the “happening,” what wasn’t there suddenly is, and what didn’t exist suddenly does exist. Song poet Ouyang Xiu once wrote that “the universe obeys its order and follows a certain synchronicity so that the plants grow year after year even being unconscious.” In Cheng Guangfeng’s artworks, not only can we witness the unsuitability of both time and space, we can also notice that those that weren’t there appeared, and Cheng is indeed the backstage manipulator behind such “happening.” In other words, a true artist is supposed to dig inside the everyday matter and discern the inner logic within everything in this universe, even further, to create a synchronicity with the universe, and good artworks are the reflection of such synchronicity. Plants are unconscious, but they appeared; lions are unconscious, but two lions got together; bamboos and flutes are unconscious, but they became one; peaches and bamboos are unconscious, but they grew together…

其实，程广峰创造了一个程广峰式的方法论。他自觉地把自己放到幕后黑手的位置上，进而对世间琳琅物象，进行肆意的处置、安排、杂然罗列，进而迸生出全新的意义。这个意义就是作品的意义，这个意义在某种程度上就是让万事万物“无知”但“发生”的意义。作品中每一个具象的符号、物象，都是无辜的，它们恍然不觉地被安排到远房亲戚旁边，甚至像竹子和桃子连亲戚都算不上，它们至多算是远房陌生人，它们就这样在程广峰的安排下和谐地同处一局，它们吃了作者吃观众，吃了观众吃时间，它们一直就在那里墨守着自己。

In fact, Cheng Guangfeng has created a Cheng-style methodology. He consciously puts himself in the position of a backstage manipulator, and arrange and rearrange the objects in this vast universe freely according to his own will to create new meaning. That new meaning is the meaning of the artworks, the meaning of the unconscious happenings. Every concrete symbol and imagery in the artworks is completely innocent, they were assigned next to their distant relatives while they themselves were unconscious. Peaches and bamboos aren’t even relatives, but more like distant strangers, still, they are harmoniously arranged together by Cheng. They’ll then start consuming the artist, the audiences, and then even time, while still clinging on to themselves.

     在另一个维度上，程广峰对骷髅、宝塔、障碍、石狮这些物象的安排上，还带着清晰的时差意味。这种对时差的敏锐捕捉，经过艺术的转化，进入到作品中，呈现出来的面貌，深度契合了处境不当这个观念的主体。艺术家在事物之间打了一个历史的时间差，他的《等待》这件作品可以看着是幕后黑手非常充分的呈堂证供，更是经过他自我确证之后的签字画押。程广峰在一句供词中讲得非常到位——这么多年你去哪了——这多像笛子长在竹子身上对风说的话，多像宝塔蹲在骷髅手上对时间说的话，多像两只狮子拥挤在一个底座上对球讲的话。

In another dimension, Cheng Guangfeng’s arrangement of the imageries such as skeletons, pagodas, barrier cones, stone lions shows a clear sense of time difference. This sensitive capture of time difference is artistically transformed in the artworks to reflect the idea of an “unsuitable situation.” The artist manipulated the historical time difference among his imageries. His work Waiting could be seen as the perfect evidence to prove that he indeed is a backstage manipulator, or even his signed confession. In his confession, Cheng asked, “where have you been during all these years?” Does it not sound like what the flutes trapped inside the bamboos would say to the wind? Does it not sound like what the pagoda sitting on the hand of a skeleton would say to time? Does it not sound like what the two lions on the same pedestal would say to the stone ball.

这个展览中显豁出来的程广峰，更像是另一个程广峰，一个不存在的，无知的，但发生着的程广峰，一个深谙乾坤有信，进而黑手操作“符契”的程广峰，一个与他本人有着深刻时差的程广峰，一个网速不够原地转圈的程广峰，一个在时间的进度条上猝不及防被自己反看一眼的程广峰。当全部的基于时间、基于空间、基于位置的不恰当都集合完毕了，当另一个程广峰和这一个程广峰，猝不及防的撞在一起了，当所有不存在的，原来没有的，都一一出现了，于是，这一切也就对了。

The Cheng Guangfeng revealed in this exhibition is more like a different Cheng Guangfeng: a non-existent, unconscious, yet happened Cheng; a Cheng who’s fully aware of the order of the universe and knows how to manipulate its synchronicity; a Cheng in a different time zone from his real self; a Cheng who lost his internet connection and has to run around in circle; a Cheng who was unexpectedly seen by himself while loading the progress bar of time. When all the unsuitabilities based on time, space, and location are gathered together, when this Cheng Guangfeng and that Cheng Guangfeng unexpectedly met, when all that never existed suddenly appear, then, everything would be just right.

Ding Cheng

本次展览同时还将展出艺术家程广峰坚持记录生活片段的每日一画系列作品《两箱情愿》，他每天不管走到哪里都用随身携带的iPad进行日常化的行走创作，这些小画画面轻松戏谑，作品题目诙谐有趣。

这次在“我在·艺空间”展出的100余幅《两箱情愿》系列作品是程广峰从2019年4月1日——7月18日期间的创作。

以下作品名称从左到右：

长大后才知道什么是伤害 

撑着 一切都靠撑着 

让我们荡起双桨  

谈钱的时候特别自然 

不得已燃这把豆萁 

观音很忙 

程 广 峰

 Cheng  Guangfeng

1983年  出生于辽宁沈阳

毕业于新加坡南洋艺术学院

现工作生活于上海