东画廊 | Frieze London Booth G21

该作品出自常陵《大玄玄社会》系列。“大玄玄社会” 延续了常陵对社会现实的关照，但这类现实更加内化而深入，是常陵用情感和记忆堆砌而成的时代幻像。在“大玄玄社会”系列的创作中，常陵提出并践行艺术的 “恰恰” 精神。他鼓励创作者摒弃逻辑的束缚，仅仅将作品看做是自身情感的流露和精神世界的外化。

This piece of work is from CHANG Ling’s Illusion Society series.  Illusion Society is a continuation of CHANG Ling’s preoccupation with society’s realities, while also representing a deepening of exploration into such realities – an epochal illusion borne of CHANG Ling’s accumulated emotions and memories. Through the Illusion Society series, CHANG Ling raises and practices “precision” in art. He encourages creators to abandon the constraints of logic, to view art as an externalization of the spiritual and an unveiling of emotion. 

在这个系列中，刘任将草纸打成纸浆再重新塑形成厚如砖块的纸砖，当表面被压平与晾干后，再用丝网印刷的方式把颜色深浅不一的“Panta Rhei”字样描摹成海浪起伏的视觉形态，并且最终用金箔嵌入纸砖自然风干过程遗留下的裂隙。刘任动用众多反差性对峙的元素。譬如在直观的视觉感受上，用干枯的草纸去表现潮湿的洋流；在物质形态上，则是作为廉价快消品的草纸被转译为试图指向永恒的艺术品；而在至关重要的主题学范畴内，则是凝固的海与绵延的时间所形成的、互为隐喻的关系。

LIU Ren uses roughly textured straw toilet paper to create a mulch, and then presses the mulch into bricks of paper. After preparing a flat and dry surface on the straw paper bricks, LIU screen prints the words “Panta Rhei” in various shades to evoke the visual form of undulating waves. Lastly, he uses gold leaf to limn the cracks in the paper bricks which are left behind by the air-drying process. In terms of form, this process is like yet unlike painting. In this series, LIU often places elements in direct confrontation with each other. Visually speaking, dry paper is used to evoke the liquid currents of the ocean. While straw toilet paper -- one of the cheapest and most disposable consumer products -- is the chief material used in a work of art which strives at timelessness. In the crucial category of thematics, we find contrast in the mutually metaphorical relationship between the solidified sea and elongated time.

空地系列旨在通过强调已知与未知的关系使不确定的因素可视、可感。而对于被遮蔽的真相，观众只能通过不完整的形象和它们之间的关系作出推测。在空地 #23中，画面被分成上中下三部分，最下方相对具象的叶子形态似乎是中间部分的一个特写，而通常当肉眼聚焦至一点时，背景则为双影重叠，吕松用这个现象暗示中下两部分的虚实关系。相对于这两部分，最上面的单色则似乎暗示出完全虚焦的、毫无形态的未知因素。

Empty Space aims to make uncertain factors visible and sensible by emphasizing the relationship between the known and the unknown. As for the obscured truth, the audience can only speculate through the incomplete images and the relationship between them. In Empty Space #23, the picture is divided into three parts, the upper, middle and lower parts. The relatively concrete leaf shape at the bottom seems to be a close-up of the middle part. Usually when the naked eye focuse to one point, the image on the background is overlapped. LU Song uses this visual phenomenon to imply the relationship between the real and the virtual in the middle and lower parts. The monochrome seems to imply a completely defocused and shapeless unknown factor.

“有形之光“是将一张完整的照片分割、计算、压缩和裁切，直立之后碎片的影子叠加还原成一张完整照片的影子图像，这个动作过程至关重要，所以也可以把它看成是一种过程的记录结果，它让我们联想到今天“碎片化”的生活和图景。一幅照片里拍摄的无论是什么，终究只是一些光化反应，即使你相信它是可以替代对象本身，那个对象也已经不存在，或者改变了。王宁德的作品向观众呈现图像的同时，提示自身的虚幻，质疑我们对世界认知的正确性。

WANG Ningde uses photographic processes without creating photographs by definition. The effect is closer to that of a camera obscura, an image or representation of reality hovering over reality itself. Furthermore, the gridded images, composed of hundreds of units, subvert the tendency of traditional photography towards the lone cropped image which we refer to as a photograph. WANG's method of composing these works eschews the chemical process of fixing an image to a surface, relying instead on an organized fragmentation of a singular image on a series of transparencies, which when exposed to a specific lighting, creates a composite shadow image. The end result is the artist quite literally drawing with light, creating ghostly images through a process that relies on both computers and the human hand. 

《暗色之物》通过再现建筑基建的手段，将空间体验调换，试图让日常局部和城市结构完成会面，保留沉默的瞬间。张如怡的雕塑和装置从日常生活中的物品和材料汲取灵感，参考它们面临着变化的环境表现出的力量和脆弱性。

Matte Substance displaces spatial experience through means of reproducing construction infrastructure materials. The pieces attempt to preserve an instant of silent encounter between the components of daily life and urban structures.  ZHANG Ruyi draw on materials and objects from daily life, referencing their simultaneous strength and vulnerability in the face of a changing environment.

选择毛毡作为画布，从起点处就决定了张云垚所必须“履行”的一种不可逆的绘画方式，以及对每一处细节的严格执行和强力控制。在其作品中身体在物理空间上是个人所占据的位置，在隐喻空间上又为自我认同与社会关系的互涉提供地方；更关键的是，身体是建构情感本体的场所。艺术家捏造各种虚假的姿态，以此显示对其解剖构造的深入见地，身体在快感的规训下具有了政治性。毛毡的雕塑质感通过对肉身、躯干和肢体的召唤得以实现，终结了强加于身体的压制与漠视。

Ghost Image (鬼影)是一种绘画的幻象，它被绘制或复制到纸面上，使艺术家能够在纸上精确地绘制颜色，以创建最终的彩色艺术演示。在许多情况下，鬼影在完成的艺术品中将不再可见（它实际存在但却无法被看到）。

Working with felt as a canvas, ZHANG Yunyao is “voluntarily forced” into an irreversible method of painting, which demands rigorous execution and an ironfisted grasp of every detail. Whereas body is the location occupied by an individual in physical space, it provides a place for the interplay between self-identifications and social relationships; more importantly, body situates itself as a site for the construction of sentimental noumenon. By fabricating highly stylized poses, the artist is showing an advanced understanding of anatomy, among which the body is disciplined by pleasure and thus becomes politicized. The sculptural appearance of felt is concreted by the powerful evocation of the mortal flesh, which ends the ignorance and suppression on body. 

A "ghost‐image" is a feint drawing that is drawn or copied onto art‐paper to enable the artist to precisely paint colors on the paper in order to create the final color art presentation. In many cases the ghost‐image will no longer be visible in the finished artwork (it's actually there but can't be seen).