艺博会 | 天线空间参加ART021 （上篇）| 展位 W22

崔洁 Cui Jie

银端镇 Silver End Village, 2021

布面丙烯 Acrylic on canvas

110 x 150 cm

艺术家崔洁回望并重新审视集体生活和身体边界。通过在方格草稿纸上绘画，崔洁仿佛在复刻自己绘画中铺陈“摩尔纹”和“指纹”的行为，从而转录并反思对于电子媒介和信息信号对城市规划、建筑设计以及社交韧性与关系弹性的影响。两件纸本作品分别从公众和私人两个语境展现了那个年代集体主义思想对社会建筑和家庭单位的影响。不论是电影院还是公共雕塑，都呈现了工业集体生活下乌托邦式的家庭构想，这种构想仿佛摩尔纹在图像中的隐喻——周期性存在于底色中，却不总是可见而明晰的。与此呼应的《银端镇》（2021）和《底吞图 #52》（2022）则通过模糊生命与物体的视觉边界分别处理社会背景对个体行为姿态的改造以及记忆中典型的乌托邦社区建设场景。

In the oscillating rhythm of life, akin to a Newton’s cradle, artist Cui Jie finds inspiration to revisit and scrutinize the collective existence and physical boundaries. Through her sketches on grid paper, she appears to mimic the creation of moiré patterns and fingerprints in her artwork. This process serves as a reflection on the influence of electronic media, information flow, and signals on urban planning and architectural design, as well as the resilience of social interactions and relationships. Her works on paper reveal the impact of the era’s collectivist ideology on architecture and familial structures in both public and private spheres. Whether it’s a cinema or a public sculpture, they present a utopian vision of family life within the context of industrial collectivism. This is metaphorically akin to a moiré—a recurring existence that subtly underlies our reality, not always visible or clear. In resonance with this theme, Silver End Village, 2021, and Ground Invading Figure #52, 2022, explore the transformation of individual behaviors influenced by societal backdrops and typical utopian community-building scenes from memory. They achieve this by visually blurring the boundaries between beings and objects.

崔洁 Cui Jie

底吞图 #52 Ground Invading Figure #52, 2022

布面丙烯 Acrylic on canvas

60 x 40 cm

关小把绘画中的基本要素拆分开来，艺术家按照自己的方式建立对绘画的理解：以聚酯油灰为基底模拟了绘画中的笔刷，在这个凹凸的平面上，强调颜料的流动性和绘画过程中动作的停顿造成的痕迹，并结合图像中光线和颜色之制造的冲突，以此作为对印象派的继承和发展。

In her palette paintings, Guan Xiao continues her exploration of duality and breaks down the basic elements of painting to expand her understanding of the medium. She returns to the shape of the artist's palette and further abstracts it by increasing its scale and puncturing holes in its surface. She uses a poly-putty base to simulate brushstrokes, and she emphasizes the fluidity of paint and patterns, textures, and marks that result from each stroke and each pause during the process of its creation. The rippled texture along the concave-convex surface and the contrasting qualities in light and color showcase the influence of Impressionist techniques that Guan Xiao is further developing further with.

关小 Guan Xiao

天鹅绒，大江户，池塘里的莲叶

Velvet, Oedo, Lily pads in the pond, 2023

木板，原子灰，颜料 Wood panel, poly-putty base, paint

164(L) x 120(W) x 7.5(D) cm

“平衡术笨笨坤”是快手平台上的一名民间艺人，粉丝237.9万，获赞数2793.6万。2018年，李明关注到“平衡术笨笨坤”日常发布的平衡术作品与艺术家组合彼得·菲茨利和大卫·威斯（Peter Fischli & David Weiss）的作品《寂静午后》系列极为相似。李明随后与笨笨坤私信交流，却得知他对于彼得·菲茨利和大卫·威斯一无所知。这位出生和成长在河南的70后曾经是一名电焊工，只因从小对物件之间的摆放平衡颇有兴趣才开展了这一系列的实践。在李明看来，笨笨坤与彼得·菲茨利和大卫·威斯像是互不知晓的两条平行线，但因为地球引力，使得平行线最终相交了。

Pingheng shu benben kun 平衡术笨笨坤, referred to as B.B.K., is a popular folk artist on the video platform Kuaishou, boasting apporximately 2 million 400 thousand followers and receiving almost 40 thousand likes. In 2018, Li Ming observed that B.B.K.'s daily videos, which showcased objects in delicate balance, bore a striking resemblance to the "Quiet Afternoon" series by artist duo Peter Fischli and David Weiss. Intrigued, Li Ming reached out to B.B.K., only to discover that he was unaware of Fischli and Weiss. B.B.K., a native of Henan born in the 1970s, had previously worked as a welder. His fascination with the equilibrium between objects, a passion that began in his childhood, inspired him to start this series. From Li Ming’s perspective, B.B.K. and the artist duo Peter Fischli & David Weiss are like two parallel lines, unaware of each other’s existence. However, due to the universal force of gravity, these seemingly parallel paths have converged in a fascinating intersection of art.

李明 Li Ming

≠:“最后!平行线相交了!” #3 

≠ : "Finally! Parallel lines meet!"#3, 2023

录像、雕塑、黄铜(黄铜上色) iPhone8P、Video, sculpture、Brass (colored brass), iPhone8P

《三生缘》（2023）似乎回应着清代纪昀的诗，悲剧性的爱恋充斥着画面——黢黑的底色和晦暗的烛光显得丝丝银线幽怨沉沦，右上角的圈点光晕难说是幽冥心兽紧盯的眼眸还是逐步逼近的黑洞深渊。《麦克白》中的念白：“熄灭吧，灭了短促的烛光吧。人生不过是一个行走的影子，是一个在台上比手画脚的拙劣演员，之后便无声无息悄然退下。”像是火苗倏然闪动的光影，映现出“Owen Fu”这个由艺术家创造的形象，致使英文标题“You are my destiny”仿佛成了一种讽刺与嘲弄，一段孽缘。在这组作品中，Owen回到了自己的祖国，与长时间分离后再次与父母团聚，并重新融入家庭生活。欧文以第三人称的视角分别描绘了父亲和母亲，捕捉了许多人都能理解的疏离感，家庭成员之间熟悉但有时让人不悦的亲密关系，其中斑斑点点的是痣，也是生活琐碎的遗留的痕迹，同时也代表了佛家所说之烦恼念头. 看似轻薄的油彩和简易的线条下是错综复杂的思绪，一幕幕生活场景正片叠底，从中诞生出“表象”。

Owen Fu's artwork You are my Destiny, 2023, carries a Chinese title that translates to “the fate from generations to generations,” echoing a poem by Ji Yun from the Qing Dynasty. The painting is imbued with a sense of tragedy and romance. Its pitch-black background and dim candlelight evoke feelings of bitterness and degradation. A halo in the upper right corner could represent the watchful eyes of a hidden beast or an encroaching abyss, symbolizing a black hole of desires. Quoting lines from Macbeth, “Out. Out, brief candle. Life’s but a walking shadow. A poor player that struts and frets his hour upon the stage and then is heard no more,” is similar to the flickering flame of a fire, reflecting the characters crafted by the artist. This lends the title an air of irony and mockery, similar to karma. In this piece, Owen returns to their home country, reuniting with their parents after a prolonged separation, and reengages in family life. Owen portrays their father and mother from a third-person perspective, capturing the sense of detachment that many can relate to—the familiar yet sometimes irksome intimacy among family members. Throughout the painting, you can spot moles and traces of life's trivialities, to some extent, akin to residue ash. Simultaneously, these symbols represent the afflictive thoughts found in Buddhism. Beneath the thin layers of oil and simple lines lie intricate thoughts and emotions. Scenes of life multiply, giving birth to various "appearances."

Owen Fu

三生缘 You are my destiny, 2023

布面油彩 Oil on canvas

150 x 90 cm

图片致谢艺术家与天线空间