TCCA新展｜三个单元计划——“流动的本能”陈镜宇 李世公 杨陆峰

三个单元计划——“流动的本能”

陈镜宇 李世公 杨陆峰

展期：2024年7月9日-9月8日

The state of mobility is embodied in "reshaping" rather than "replacing" the established order and old structure. The reason for choosing "flow" is not only because the volatile and fast-moving characteristics of liquid, such as oozing and gushing, more intuitively and vividly reflect the essence and transformation of the current relationship between time and space, but also it appropriately points to the instinctive flowing state of the creative subject's consciousness and action in the process of moving from the creative intention to the visual presentation.

Take a close look at Chen Jingyu's artworks, which delicacy and roughness are parallel, color and blurring coexist, and order and disorder are intertwined. Brush strokes that vary in weight and urgency, lines that roam freely in a spontaneous way, oils that separate and merge in splashes and flows, they intersect, overlap, alienate, and perish from each other; unrelated elements cover the empty canvas in layers, and improvisational rhythms erupt from unrestrained energy. Chen Jingyu's paintings create randomness and exile in a way seemingly purposeless, blurring rigid barriers with disordered order, and responding to the absurdity of reality with moderate skepticism. They do not deliberately broaden the boundaries of a certain understanding and agreement, but rather an inner burst of self-exile drives the sensory experience to the extreme. The seemingly disordered and even absurd images on the canvas, narrate the journey of searching for oneself in the midst of disorder and emptiness. Brushstrokes rise and fall boldly and unrestrainedly, colors wander in the frenzy and tightness; from high-density stacking to release, just like the return of emotions from exhilaration to the calmness before the storm. The process of overthrowing, building up and overthrowing again is like a flowing struggle and confrontation, with no result and no winning or losing. Let countless elements in the picture move without being trapped, from birth to extinction, and eventually return to their respective destinies.

The grassy slope, the swan, the toys, the fruits, the roses, the monsters ... figurative forms are absurd and childlike, cheerful elements build an undisturbed utopia on a limited scale. Li Shigong 's artworks, with such a kind of loose and unintentional creation, combination and seemingly contradictory juxtaposition, outline the spiritual solace for him. It can be a na?ve compromise or a long premeditated rebellion. But such solace does not belong to artist Li Shigong personally, it is still open to the sight and gaze of all audiences who stop in front of his pictures. Dazzling and cyclic brush strokes are stacked layer by layer like graffiti in the direction of circles, and contrasting color blocks collide, penetrate, and merge into each other's colors without any inconsistency; the sharp strokes are clearly visible, and the ablative boundaries are still traceable. The sense of strangeness dissolved in the continuous flow of paint, and the colors, which are free from the constraints of traditional visual experience, occupy the hidden corners of the innermost senses without any hesitation. Li Shigong's paintings are like a record of the splashes and leaps of personal experience, spreading from the center in a fluid state of free flow, solidifying until bursting, let individual will roaming freely, and dense with the artist's perception and thinking about pop culture. It is spontaneous thought, improvisation and freedom; it is intuition flowing in the negation of negation; it is a rhapsody that could not be manipulated.

Yang Lufeng's creations can be seen as a microcosm of the current information age, responding to the symbols of digital codes. In the logic of calmness and restraint, the segmented area and magnified image experience generate a more microscopic creative result. The visual experience brought by childhood toys triggers such a "confusion" between images and paintings: defocused red and blue channels, offset and image overlap effects, visual effects like blue or green screen are filled in and left blank ... in the flowing of the boundary of real and unreal, actual and virtual, how could painting reproduce the virtual image under the domination of data and the real view with digital visual attributes? Stripping away the representation of things that objective exist, how to capture the hidden "reality" behind things are also an urgent task for Yang Lufeng. Yang Lufeng's paintings offsett and blur the boundaries, and when the "Tiktok-like" images create a visual game experience, the frame no longer becomes a limit or obstacle; in a purely personalized action, the spirit and the flesh are searching for the reasonableness of the world's operation and self-existence with a specific language and the best way of elaboration. From the emotionless painting to the restoration of the painting language itself, the chaos and blurring be deliberately created, and the visual error caused by the layers of colors covering the painting, relationship between "something" and "nothing" and the state of "representation" and "reality" in the flow of thoughts, more and more give a reasonable explanation to the state of de-subjectivity. It is the "definite ambiguity", and also the "indistinct clarity".

此次三个单元区别于以往，首次打通展陈空间物理层面的阻隔，打破分隔叙事的常规，指向观看状态的流动。正如鲍曼在《流动的现代性》中所言，流动的状态就像液体一般流动和变形，它无法建立起一套权威的秩序体系，只是在“自我超越”中不断否定。正是在这种条件下，产生了不可靠性、不确定性和不安全感的困境。更新与迭代预示着流动无处不在，流动的本能是前提，艺术家们的创作在某种程度上是一种绵延，也是一种敞开。

展览将于7月13日开幕，展出持续至2024年9月8日，欢迎前来观展。

Different from the past, this is the first time that "Three Unit Plan" will be displayed in a way of breaking through the physical barrier of each exhibiton hall, abandoning the conventional separated narratives, and pointing to mobile viewing. As Baumann said in Liquid modernity, the state of mobility is like a flows and deforms liquid, it is unable to establish a set of authoritative order system, but only keep continuous negation in the "self-transcendence". It is under these conditions that the dilemmas of unreliability, uncertainty and insecurity arise. Renewal and iteration signify the ubiquity of mobility, and the instinct of mobility is the prerequisite. To some extent, artists' creations are a kind of extension and a kind of openness.

The exhibition will open on Jul. 13th and continue until Sep. 8th, 2024. Welcome to come and watch the exhibition.

「 三个单元计划—“流动的本能”

陈镜宇 李世公 杨陆峰 」

展期：2024.7.9-9.8

开放时间：周二至周日 9:00-18:00

展览地点：红顶当代艺术中心·B展厅

主办方：TCCA红顶当代艺术中心

发起人：陈丹妮、申晨

执行策展人：方思梦、刘云西子

策展执行：赵欣怡

展览执行：黄维

平面设计：石祥甫

扫码预约观展

[ 蒋晟：樂将至 ]

2024.7.13-10.13