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展讯 I 《越是切近越是遥远》影像群展10月10日即将开幕

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展讯 I 《越是切近越是遥远》影像群展10月10日即将开幕影像展讯北京画廊文化创意园德国艺术家布克哈德哈德西班牙崇真艺客

北京在3画廊，将于2021年10月10日，在塑三文化创意园内，携德国艺术家布克哈德·冯·哈德Burkhard von harder、西班牙艺术家米格尔·索勒·罗伊格Miguel Soler-Roig、国内艺术家大志、欢岛、雎安奇、刘韵菡、任泠霏、王屿星，在工业风格的教堂空间内，呈现《越是切近越是遥远》影像群展。

越是切近越是遥远

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策展：王敏

Curator：Loar Wang

参展艺术家 | Artists：

(按姓氏拼音顺序排序/ in alphebetical order)

布克哈德·冯·哈德 Burkhard von harder、

米格尔·索勒·罗伊格 Miguel Soler-Roig、

大志 DAZHI、欢岛 Joy Island、

雎安奇 Ju Anqi、刘韵菡 Liu Yunhan、

任泠霏 Ren Lingfei、王屿星 Wang Yuxing。

开幕：2021.10.10／周日

Openning：10th Oct.(Sun.).2021

展期：2021.10.10 - 2021.10.30

Duration：10th Oct.2021 - 30th Oct.2021

地点：北京市朝阳区南皋路129号塑料三厂文化创意园内。

Location：No.3 Plastic Factory Cultural and Creactive Park, 129 Nangao Road, Chaoyang District, Beijing.

越是切近越是遥远

文 / 王敏

“ 世界上存在着事物本身，和除它之外的另一个东西，那就是反射光线，它和事物有一定的对应，所以有两个由因果关系从外面把它们联系起来的个体。”

—— 梅洛·庞蒂《眼与心》

不确定的情感和确定的呈现方式，组成了我们所看到的世界模本，所以首先，你不需要有负担，认为必须看懂一副摄影或一段影像，或者说，试图强行理解一件作品有多幼稚。

艺术家的观察、理解或占有，它可以是封闭的、微观的、幻觉的，这种极简有力的记录方式，所传达出的日常使人感到陌生，放置在观念影像的语境中释义时，是视觉相互嵌套的错觉状态。这些作品并是作为表述的形式结果，而是作为一种介入的开始，因为有“介入”才有切近或遥远，有了对“距离”的干预，才有了视觉意识，这也是现实和想象之间所能勾勒出的模糊凝视，梅洛庞蒂在《眼与心》中写道：视觉是一种有条件制约的思维，她产生于“偶然”在身体里发生的一件事，身体“促使”它去想。这种带有隐性的意图，是情感的相度，也是意义的建基，或者说是创作者与观众之间因为介质所产生的“狂热”。

现实就是我们聚集起来的过渡性结果，从视觉经验的角度，我们更喜欢从虚构的东西中来理解世界，这种虚构反而会导致可靠的产生。这也让我们感受到，越是较“真”反而越不知“真”为何物，越是切近问题越是遥远的问题，也是影像作品的展示价值和使用价值之间缓和的批判性所在。

影像的精髓，应该回到原始人听见节奏手舞足蹈的通感状态，在这种状态里谁也不需要标榜知识水平，你只需要用本能让视觉进入图像的场域和信息叠层的情境中去感受。

一首电子音乐表现什么，如果听没有什么节奏感的电子乐也能够有种沉浸感，那么就算是理解电子乐的精髓了，至于它讲的到底是什么，有的时候连作曲者自己都没有一个准确的定义。

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by Loar Wang

“There is a thing in the world, and another thing besides it, that is reflected light, it has a certain correspondence with things, so there are two individuals who are connected from the outside by causality.”

—— Merleau Ponti 《Eye and Heart》

The images we can see in the world are combinations of undefined feelings and definite ways of presentation. So first of all, you don’t need to burden yourself with the preconception that, a photograph or a video must be understood. In other words, how naïve it is to force oneself to figure out the meanings of a work.

The record method of artists—their observation, interpretation or possession—is enclosed, micro and illusory, to the degree that it becomes minimalistic and powerful. The daily life it depicts appears strange in the eyes of audience, and such a state can be described as an illusion created by the nested visons, when put in the context of conceptual images. I don’t take these works as formal results of certain expressions. Instead, I see them as the beginning of intervention. Intervention gives life to distance, or the sense of closeness or remoteness, and the intervention in distance gives life to the sense of space. Intervention means, one can always gaze at somewhere between the reality and the imagination. The obscurity like this is implicitly intentional, it is the malleability of emotion, the base of meaning-generation, or the mutual respect rising between the creator and the audience because of the medium.

Reality is the transitional result aggregated by us. Our visual experience suggests that we prefer to understand the world in figments, which can in turn bring reliability. This makes us feel that, the more we want to see it as “what it is”, the more we get confused, or the closer we are to the question, the farther away we are from it. In such a contradiction there lies the moderate criticism for the display value and use value of a video work.

We must have already caught the essence of a video when we react intuitively like the primitive people who danced immediately on hearing rhythms. In such a synesthetic state, no one needs to advertise his know-how, what in need is only the intuition that can ride sight into the field of an image and the situation of information layers.

What a piece of electronic music wants to convey? If a listener can get a sense of immersion out of a rhythmless electronic piece, he must have already caught the essence of the music. As for what it wanted to tell, sometimes even the composer himself can’t tell definitely.

展讯 I 《越是切近越是遥远》影像群展10月10日即将开幕影像展讯北京画廊文化创意园德国艺术家布克哈德哈德西班牙崇真艺客

在3画廊是北京新河谷文化艺术有限公司的注册商标和核心业务，公司成立于2006年11月，地处于当代艺术画廊活跃区域草场地东北侧，北京塑三文化园区内,展览面积达1000平米。作为业内知名的老牌国际化当代艺术画廊，通过持续挖掘和发展杰出的中外艺术家，形成了美术史范畴的艺术家群体：德系表现主义和意大利贫穷艺术；新工笔及抽象水墨；实验电影；青年艺术家。在3画廊通过自身倡导的：“艺术、生活、新知”的哲学，在跨文化的多元交互语境中,为专业藏家及美术馆收藏提供了美术史样本。近些年来，深耕全球蓝筹股艺术家资源，代理弗朗西斯·培根（Francis Bacon），卢乔·丰塔纳（Lucio Fontana），翁贝托·薄邱尼(Umberto Boccioni)等杰作。

Being 3 Gallery was established in November 2006 as abrand and the core busniess of Beijing New Valley Culture and Art Company,located in Beijing No.3 Plastic Factory Cultural Park, northeast of Caochangdi,with a total exhibition area of 1000 sq. meters. As a well-known internationalcontemporary art gallery, we have formed a group of artists specializing in arthistory by continuously excavating and developing outstanding Chinese andforeign artists: New Gongbi and Abstract Ink Wash Painting; experimentalfilm;German Expressionism and Italy Arte Povera. Being 3 Gallry is alsodedicated in discovering young artist and promotes our core beliefe of"Art, Life, New Knowledge" across culture and language, by providingpieces of art history for museum and private collections alike. In recentyears, we 've been collaborating with blue chip artists extensively and havebeen the official agency for masterpieces from Francis Bacon, Lucio Fontana,Umberto Boccioni and many more.

联系我们：

在3画廊/ 中国・北京

地址：北京市南皋路129号塑料三厂文化园内

邮编：100015

联系电话：+(86) 135 0132 0072

电子邮件：wangmin@being3.cn

官方网站：www.being3.com

展讯 I 《越是切近越是遥远》影像群展10月10日即将开幕影像展讯北京画廊文化创意园德国艺术家布克哈德哈德西班牙崇真艺客