东画廊 | 香港巴塞尔 | 展位1B32

曹再飞现生活并工作于上海。专注于在图像呈现之物的背后探寻对应的语词与意义。相比于政治性逐渐浓厚的当代艺术实践，曹再飞的图像言说彰显着不同的面貌——与其说是批判，毋宁说是调侃；并非严肃地直击，而是幽默地消解。

曹再飞说：“生活中我是个简单随和的人，常常会迁就、妥协，甚至与世无争，但在艺术上喜欢自我死磕，甚至不在意他人的眼光。长期单兵作战，游离于各个圈层之外，形成了自己独特的视角与思考，既保持理性克制，又喜欢神秘主义，在正经与不正经之间寻找平衡。题材内容都是大家熟知的雕像、名画和日常事物，用一个不经意的动作改变了他们原有的含义，形成了我个人的语法。对我来说绘画语言越简单质朴越好，甚至夹杂着生硬、笨拙，有点范伟式的土味，并自带喜感。”

CAO Zaifei said, "In my life, I am a simple and easy-going person, often accommodating, compromising, and even incompetent with the world, but in art, I like to smash myself and even don't care about the eyes of others. I have been fighting alone for a long time. Formed my unique perspective and thinking; not only am I maintaining rational restraint but also being fond of mysticism, looking for a balance between seriousness and irregularity. The subject matters in my works are well-known statues, famous paintings, and everyday things. With a casual movement, they changed their original meaning and formed my artistic language. For me, the simpler the painting language is, the better, even mixed with blunt and clumsy, a bit of FanWei's rustic humor style, and also with a sense of joy."

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.

剧场系列作品受启于罗伯特威尔逊的舞台剧场“（戏剧）是时间和空间里的建筑构造。”吕松将画面按建筑结构般叠加、组合，游移于具象与抽象之间。植物、人物、几何形体、空间交错并置，作品探索着画面生成的不确定性，寻找并感受着视觉碎片带来的奇特快感，在图像的解构与重构中传递一种复杂的官能体验。其中风景与表情，两层毫不相干的画面通过叠加产生了奇特的视觉体验，它们就像给风景加上一个表情，或者用风景作为形容词修饰一张脸。

The Theater series is inspired by Robert Wilson's experimental theatre, "[Theatre] is an architectural construction in time and space." LU Song overlays and combines images according to architectural structures, and the images moving between the figurative and the abstract. Plants, figures, geometric forms, and spaces are interlaced and juxtaposed; the work explores the uncertainty of image production, searching for and feeling the strange pleasure of visual fragments and conveying a complex sensory experience in deconstructing and reconstructing images. Among them are landscape and expression, two layers of unrelated images that produce a peculiar visual experience, like adding an indication to a landscape or using landscape as an adjective to modify a face.

物影成像系列作品是艺术家王宁德仍在进行创作的一个项目。王宁德在中国东北部的家乡收集了一座山上的植物和种子，用自己创造的成像方法以1:1的比例描绘了这座山的植被，并考察了植物和周边人文生态之间的关系。

王宁德使用自己调配的墨水和爱普生防水相纸，用当下最主流的新材料回应并重新发明了摄影史上“物影成像”这门古老的技艺，让它呈现出新的可能性。在这个系列中，除了植物的痕迹，墨水还记录了成像过程中的声音（震动），湿度，空气中的微尘等等，这些偶然元素不仅影响了画面的空白处，也让被墨水浸泡的相纸在干燥的过程中呈现难以预料的效果，从而扩展了这一媒介的可能性，让抽象的描绘成为可能。

张如怡在装饰物系列平面作品中提供了一连串有关跨越与游移的经验以及复杂感受。她针对城市中的建筑、雕塑与场所展开临床分析，通过工业材料进行标本制作，着手公共空间的形态研究。因此，她提取其中的几何结构与节奏表达，同时抓住特定对象的表皮特征，满足装饰的需要。装饰并非独自存在而被强加于其他事物的东西，而是用于自我展现。

在最新的装饰物系列作品中张如怡所使用的材料愈加丰富，从工业材料到日常用品，用具的实用性与功能性被彻底抽离、消解，多件材料在自然状态下所侵占的物质空间被张如怡压制于由高透玻璃（或亚克力）与背衬板间构成的二维平面内，并于此沦为装饰之物。如生物学标本般印制于锡纸表面的仙人掌图像，如都市建筑标本般被裁切、折叠、堆叠的材料提示了张如怡两条交织的创作线索，亦暗示着张如怡对人与人、人与生存环境间关于纠缠、压制、隔绝与规训等意象与议题的探讨。

In Decoration series, two-dimensional artwork, ZHANG Ruyi offers a coherent cluster of experiences and mixed feelings about crossing and in-betweeness. She conducts a clinical analysis of architecture, sculpture, and site in the city for the preparation of specimen by industrial materials, commencing on the anatomy of public space. For this reason, she abstracts the geometric construction and rhythmic utterance from within, meanwhile seizing the skin features of specific objects to satisfy the need of ornament. Ornament is not primarily something by itself that is later applied to something else but belongs to self-presentation.