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展讯 | 「界 · 光」Limite Lumière —— 戈子馀个展

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界 · 光

Limite Lumière

戈子馀 GE Ziyu

展览时间 | Duration

2021.12.9（周四）- 2022.2.22（周二）

（11：00 - 19：00，周一闭馆 Closed on Monday）

展览开幕 | Opening

2021.12.9 （周四） 4pm-7pm

熏依社画廊 · Shun Art Gallery

地址 | Address

200031 上海市徐汇区复兴中路1363弄3号108室

Room 108, No.3, Lane 1363, Middle Fuxing Road, Xuhui District, Shanghai, China 200031

戈子馀 GE Ziyu | 光素·空间 h016 Pixel of light·Dimension of space h016 | Mix Media | 75×65cm | 2017

无为之境

文 / 张平杰

在二十一世纪的第二个十年，一批在中国出生的艺术新星正在冉冉升起，他们有的已在国际上初露头角，有的正在向我们走来。

与上一代不同的是，他们一出手就具有了国际范，并以各自的方式嵌入了当代艺术的潮流。戈子馀就是其中之一员，从安徽农村走出来的他，幸运的是生长在这个互联网年代，等他能够抬头远眺时，他已经能看到整个世界。当艺术的时空不再隔离，艺术家的素质就成为了艺术品的支撑点。

戈子馀 GE Ziyu | 光素 h06 Pixel of light h06 | Mix Media | 120×60cm | 2018

我曾经在一篇文章中说过；今天一个人的成功是综合因素的结晶，但执着，视野，知识结构这几点缺一不可。戈子馀在接触当代艺术之前，对传统书法已具备了相当深的功力，这使得他能够静心感悟，探寻虚、空的真谛。修炼书法，养成人对形式与材料之间轻重缓急的细微体察。

静谧的深邃，虚空的妙境，书法为它打开了一扇门，如细雨滋润渗透到后来作品的方方面面。

序列艺术是基于几何算数为前提的工业化的产物，分动感序列与光感序列，动感序列注重体积运动的纵横交错；光感序列则展示光晕的灼度与深度。属于冷抽象。在欧普艺术年代，光的呈现完全是一种机械物理的形态，而今天对于光序列作品，重要的不在于光的炫目，不是它的物理性，而是它蕴含的虚空之境，在戈子馀的作品里，其独到性在于恰如其分地对材料的使用，让媒材本身成为光与色的载体，光不是描绘对象，而是物理现象。光不仅仅停留在一个平面，它洒落在一行行起伏的空间，深浅不一的沟槽犹如被按下的琴键，同时散发出悠远的和声。光影与材料空间之间的微妙转化，交织成轻柔而幽雅的旋律。在庄重和静谧的光晕里，有一种超越尘世的清澈。

戈子馀 GE Ziyu | 光素 h010 Pixel of light h010 | Mix Media | 75×65cm | 2017

西方文化用物来度量空间，东方文化是用心来体测空间。所以，东方审美重境界，境界是由心而生，是心的映像。

戈子馀的所有探索都是在追寻内心的维度，他曾尝试多种形式与材料；水墨、装置、综合材料等，从笔墨纵横的热抽象到序列有致的冷抽象，从二维到三维空间，无不是印证虚空之境，最终在综合材料的光序列中他获得体悟。当虚空作为主题时，其作品无不显示艺术家的“格”，光影则是表象，是呈现的媒介，艺术家所展示的是对无尽虚空的终极关怀。

凿槽划线，光影为界；

何处心安，无为有相。

这个“相”，就是其作品呈相。

——2021.12 於纽约

戈子馀 GE Ziyu | 光素 h09 Pixel of light h09 | Mix Media | 80×80cm | 2021

The Realm of Non-Action

by ZHANG Pingjie

In the second decade of the 21st century, a number of new art stars born in China are on the rise. Some of them have made their debut in the world, and some are coming to us.

Different from the previous generation, they had an international style as soon as they shot to fame, and they have embedded themselves in the trend of contemporary art in their way. Ge Ziyu is one of them. He came out of rural Anhui. Fortunately, he grew up in this Internet age. When he can look up, he can already see the whole world. When the space and time of art are no longer isolated, the quality of the artist becomes the supporting point of the artwork.

戈子馀 GE Ziyu | 光素 h017 Pixel of light h017 | Mineral powder, Medium | 60×60cm | 2021

I once said in an article: Today a person’s success is the crystallization of comprehensive factors, but persistence, vision, and knowledge structure are indispensable. Before Ge Ziyu came into contact with contemporary art, he already had a considerable skill in traditional calligraphy, which enabled him to calmly sense and explore the true meaning of emptiness. Practicing calligraphy, cultivate a subtle understanding of the priorities between form and material.

The tranquil profoundness, the spiritual realm of emptiness, calligraphy opened a door for him, as drizzle, nourishing and permeating all aspects of his later works.

Order art is a product of industrialization based on the premise of geometric arithmetic. It is divided into dynamic order and light order. The dynamic order focuses on the crisscross of the movements of some volume; the light order shows the burning degree and depth of the halo. It belongs to cold abstraction. In the Op Art era, the presentation of light was entirely a form of mechanical physics, but for light order works today, what is important is not the dazzling of light, not physical issue, but the emptiness contained in it, in Ge Ziyu's works, the uniqueness lies in the proper use of materials, allowing the medium itself to become a carrier of light and color, light is not an object of depiction, but a physical phenomenon. The light doesn't just stay on a flat surface, it spills on the rows of undulating spaces, and the grooves of different depths, as if the keys of a piano are being pressed, it exudes long-distance harmony at the same time. The subtle transformations between light and shadow, materials and space are intertwined into a soft and elegant melody. In the solemn and quiet halo, there is a kind of clarity that transcends the world.

戈子馀 GE Ziyu | 光素 h020 Pixel of light h020 | Mineral powder, Medium | 60×60cm | 2021

Western culture uses the object to measure space, while Eastern culture uses the heart to measure space. Therefore, Eastern aesthetics emphasizes the spiritual realm, and the realm arises from the heart and is the reflection of the heart.

All of Ge Ziyu's explorations are in pursuit of the inner dimension. He has tried various forms and materials; ink, installation, comprehensive materials, etc., from the vertical and horizontal hot abstraction to the cold abstraction of order, from two-dimensional to three-dimensional space, that all confirm the realm of the emptiness, and finally, he gains insight into the light order of the comprehensive material. When emptiness is the theme, all his works show the artist's " investigation ", light and shadow are the appearances, the medium of presentation, and what the artist shows is the ultimate concern for the endless emptiness.

Gouge grooves and draw lines, light and shadow are the boundaries;

Where is the peace of mind, and no action with the phenomenon.

This "phenomenon" is the appearance of his works.

—— 2021.12 In New York

戈子馀 GE Ziyu | 光素 h013 Pixel of light h013 | Mix Media | 55×55cm | 2019

艺术家自述

我的作品并非平面绘画，而是一个承载光的装置：给流浪的光造很多房子请它们住进来。

或模刻空间，或自制粘合剂混合矿物粉、松烟粉、甚至植物花粉叶粉、尘土等不同媒介，用自制工具一遍遍刮塑出一道道不同深浅的槽，同一色彩在不同深浅的空间中呈现不同变化，同而不同，以此改变绘画颜料历来被艺术家奴役的宿命，让色彩在空间中自在呈现其物性，格空致色。

在我的每件作品中您所见到的丰富色彩变化只是一种颜色，无意中打破了“眼见为实”的思维定式，这正与金刚经：“凡所有相皆是虚妄”意合。

——戈子馀

My work is not a two-dimensional painting, but a light-carrying installation: build many houses for the wandering light and invite them to live in.

By molding space, or mixing self-made adhesive with mineral powder, pine-soot ink powder, even plant pollen, leaf powder, dust, and other different media, and using self-made tools to scrape out grooves of different depths over and over, the same color will appear in different shades of space, the same but different. In this way, the fate of painting pigments that have always been enslaved by artists is changed, so that colors can freely present their materiality in the space, and the colors themselves can be released by investigating the space.

The rich color changes you see in each of my works are just one color, which unintentionally breaks the thinking pattern of "seeing is believing", which coincides with the Diamond Sutra: "Every phenomenon is virtual".

——GE Ziyu

关于艺术家

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戈子馀 | GE Ziyu

中国安徽滁州人，先后毕业于东华大学、中央美术学院。现工作生活于北京、无锡。戈子馀通过刻画光与空间之间的微妙关系以及他近乎严苛的几何构图探究绘画的物性、抽象性以及视觉感知。

其作品曾在美国沃克艺术中心、新加坡当代艺术馆、K11美术馆、华人当代美术馆、喜玛拉雅美术馆、EGG画廊、林大艺术中心、偏锋新艺术空间、蜂巢艺术中心等机构展出。2018年中国收藏家协会-当代艺术收藏委员会在鸟巢授予艺术家“中国最具市场潜力当代艺术家”荣誉奖。

其作品被美国、意大利、英国、日本、新加坡、韩国、香港、澳门、台湾等国家和地区的机构及私人藏家收藏：戴德梁行中国区总部，福斯特建筑事务所 (Foster + Partners)，文和友美术馆，木星美术馆，台北当代艺术协会理事，Max Mara股东，上海K11执行总监及经理，中国资深专业藏家刘刚等。

Ge Ziyu (b. in Anhui Province, China) graduated from the Department of Art of Donghua University and Central Academy of Fine Arts (CAFA). He currently lives and works in Beijing and Wuxi. Ge Ziyu investigates materiality, abstraction, and perception through the subtle relation between light and space and precisely geometric paintings that he made.

Ge’s works have been featured in exhibitions at multiple galleries and art institutions including Walker Art Center, Singapore Contemporary Art Museum, Chi K11 Art Museum, Overseas Chinese Contemporary Art Gallery in Chongqing, Himalaya Art Museum, EGG Gallery, Linda Art Center, PIFO Gallery, Hive Art Center, etc. In 2018, the China Collectors Association-Contemporary Art Collection Committee conferred the artist the honorary award of "The Most Market Potential Contemporary Artist in China" in the Bird's Nest in Beijing.

His works are collected by institutions and private collectors in the United States, Italy, Britain, Japan, Singapore, South Korea, Hong Kong, Macau, Taiwan, and other countries and regions: Cushman & Wakefield headquarters in China, Foster + Partners: Architectural Design and Engineering Firm, Wenheyou Art Museum, Jupiter Museum of Art, Major Shareholder of Max Mara, Director of Taipei Contemporary Art Association, K11 Shanghai Executive Director, Senior Chinese Art Collector Liu Gang, etc.

关于策展人

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张婷 | ZHANG Ting

自2001年起任教于中国美术学院。艺术学理论专业博物馆学研究方向博士，独立策展人，上海市美术家协会实验与科学艺术委员会委员。

张婷长期关注于国际语境下的跨文化生态和当代艺术表达，以及基于地缘关系比较的研究型创作，从事当代艺术策展、项目管理和艺术评论工作。她曾策划“间有小憩—不同世界的时间表达”（上海刘海粟美术馆）、“一以贯之•王智一”（上海金桥碧云美术馆）、“赛博格考古实验室”（德国驻上海总领事馆文教处“歌德开放空间”项目）、“一个寻常的春天”（上海梧桐美术馆）、“自然魔法物语--新格林童话历险记”（设计互联上海DS+空间）、“间有小憩--快闪！”（上海刘海粟美术馆）、“24/24公司”（上海明当代美术馆）、“材料的后果--中挪丹加陶瓷艺术巡展挪威站”（挪威卑尔根车库艺术馆）、“墙，不墙”（武汉合美术馆）、“艺术家不在场，艺术在现场”（吴作人国际美术基金会）、“狂野的心--20世纪60年代起的德国新表现主义艺术展”（中华艺术宫）、“琳琅满天--20世纪下半叶意大利表现性艺术展”（中华艺术宫）、“伸出你的拳头--厄瓜多尔绘画大师奥斯瓦尔多·瓜亚萨明画展”（中华艺术宫）等展览；曾联合策划“几近天堂：错识/亚太地区的闲暇和劳作”“远南之递--来自大洋洲的当代影像艺术”（上海多伦现代美术馆）、“中国直达--新世代青年影像艺术展”（奥克兰艺博会学术项目）、“第四届美术文献展\应力场”（湖北美术馆）、“科隆青年艺术家双年展”（德国科隆）、“来自世界的祝贺--国际美术珍品展”（中华艺术宫）、“阅人--第三届上海国际版画展”（中华艺术宫）等专业展览。曾获德国歌德学院邀请参加“Hu互Tan探--德中文化管理交流项目”；曾以国际策展人身份获挪威驻沪总领事馆邀请参访奥斯陆开放艺术节；曾以中国策展人身份获德国歌德学院邀请参访卡塞尔文献展和明斯特雕塑项目；曾获挪威驻沪总领事馆项目基金，赴奥斯陆调研挪威当代艺术。为《艺术当代》《典藏》《画刊》《上海艺术评论》《艺术世界》《公共艺术》“艺术中国”、香格纳画廊等艺术媒体和机构撰稿。张婷曾借调任2010年上海世博局活动策划部亚洲片区主管，筹备和管理亚洲参展国官方文化活动。

Zhang Ting is a lecturer in the China Academy of Art since 2001. She holds PhD diploma in Museology, also an independent curator and committee member of Experimental and Technological Art of Shanghai Artist Association.

Exhibitions curated and co-curated by Zhang Ting have been national and international, such as Inclusive Break—Time Beside Many Others, Liu Haisu Art Museum; Consistence • Wang Zhiyi, Jinqiao Being Art Museum; Cyborg Archaeological Laboratory, 2020 Goethe Institut Space, German Consulate Shanghai; Magical Nature: Reimagining the Brothers Grimm, Inaugural exhibition of Design Society DS+ SH; Inclusive Break--Pop-Up, Shanghai Liu Haisu Art Museum; 24/24 Company, Shanghai Ming Contemporary Art Museum; Southern Transmissions: Contemporary Video Art from Oceania / Almost Paradise: Mis/perceptions of Leisure and Labor in the Asia-Pacific, Shanghai Duolun Museum of Modern Art; China Direct Import-collateral exhibition of Auckland Art Fair, New Zealand; Material Consequences--Ceramic Art from China, Norway, Denmark and Canada, Kunstgarasjen-Bergen Norway; 4th Documentary Exhibition of Fine Arts\STRESS FIELD, Hubei Museum of Art; new talents-biennale cologne in Cologne, Germany; Wall, No Walls, United Art Museum, Wuhan; The Artist is not Present, Art is Present, Wu Zuoren International Art Foundation; Wild Heart- -An Art Exhibition of German Neo-Expressionism since 1960s, Congratulations from the World--Exhibition for the World Art Treasure, China Art Museum, Shanghai. Zhang has also been invited as an international curator to participate in numerous cultural exchange programs, including the research programme on Norwegian contemporary art scene by Norwegian Consulate Shanghai; Curator Exchange Programme of documenta and Sculpture Project Münster organized by Goethe Institut; Oslo Open Art Festival by Norwegian Consulate Shanghai; HuTan-Chinese Exchange Programme in Cultural Management by Goethe Institute. Zhang is a writer for art media such as Art China, ArtCo China, Art Monthly, Public Art, Art.China.com and also art institution like ShanghART Gallery. Zhang was the supervisor of Shanghai Word Expo Bureau, responsible for National Day Events from Asian Division at 2010 World Expo.

关于学术主持

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张平杰 | ZHANG Pingjie

批评家，策展人。

出生于上海，现工作生活于纽约和上海。

1985年-1989年，任85’艺术新潮喉舌《中国美术报》特约记者。1992年--1994年，就读于比利时皇家艺术学院。1995年--1996年，他是纽约约翰•凯奇基金会的研究员。

1991年曾主编完成《中国当代艺术双年鉴》；1995年-1999年主要研究当代中国艺术家的海外之旅，完成并发表论文《并不孤独的抗衡——海外中国艺术家的丝路之旅》；2001年在纽约策划“中国行为艺术1986-2000”大型文献纪录片展；同时策划与创立（与人合作）“REELCHINA-当代中国纪录片展”，2004-2012年定为双年展。并任纽约莱克基金会总策划。

2008年-2012年他被聘为同济大学新媒体艺术专业客座教授，2012-2015任上海喜马拉雅美术馆和北京当代艺术馆策展人。

从2001年至2019年，他在中国，美国，欧洲的博物馆、艺术中心、大学、画廊策划举办了超过30场当代艺术展览。编辑与出版了10本艺术专著。其中“墨测高深”2013中英文版在美国亚马逊网上售罄。

作为艺术家，他曾于上世纪80年代与90年代初在海内外一些博物馆、画廊与艺术中心举办过艺术作品展，其中包括上海美术馆与香港、加拿大、澳洲等大学美术馆。

ZHANG Pingjie， critic and curator.

Born in Shanghai, currently lives and works in New York and Shanghai

1985 to 1989, he served as a special correspondent for the 85' new wave art "China Fine Arts Weekly". 1992 to 1994, he studied at the Royal Academy of Art in Belgium. 1995 to 1996, he was a researcher at the John Cage Trust in New York.

In 1991, he was the editor-in-chief and completed the "Dual Yearbook of Chinese Contemporary Art"; From 1995 to 1999, he mainly studied the overseas journey of contemporary Chinese artists, and completed and published a paper" Not alone against -the silk road journey of overseas Chinese artists";

In 2001, he had curated the "Chinese Performance Art 1986-2000" documentary exhibition in New York; and founded (cooperated with others) the "REEL CHINA -Contemporary Chinese Documentary Film Exhibition" at the same time, which was scheduled to be a biennial exhibition from 2004 to 2012. he served as the chief curator of the REC Foundation New York.

2008-2012 He was also a visiting professor of New Media Art Department at Tongji University, as a curator of Shanghai Himalayas Museum and Beijing Museum of Contemporary Art from 2012-2015.

2001-2019, he had curated more than 30 contemporary art exhibitions in museums, art centers, universities, and galleries in China, the United States and Europe. Edited and published 10 monographs."A New Spirit in Ink" (Chinese & English /2013) has been sold out on Amazon online .

As an artist, he held art exhibitions in museums, galleries, art centers at the China and abroad in the 1980s and early 1990s, including Shanghai Art Museum and University Art Museums in Hong Kong ,Canada, Australia.

熏依社画廊

Shun Art Gallery

· 东京空间 Tokyo Space ·

即将展出 | Upcoming Exhibition