【赛森 | 展览】“光丝” ——杨淞个展
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光 丝
LIGHT
杨 淞
Yang Song
展期 | Exhibition Duration
2024.11.03—12.03 周一至周六 9:00-18:00
地点 | Location
上海市普陀区莫干山路 50 号 6 号楼 4 楼
4F, Building no.6, 50 Moganshan Rd,Shanghai
观展需预约
请扫描以下二维码
赛森开幕现场
利用非物质的光、空间和运动形式，杨淞以创新方式在光学绘画中，使用平行排列的金属丝开辟新的视网膜宇宙和领域。杨淞不受任何形式语言或科学公式束缚，以开放心态创作，以包容的、非二元的方式诠释自己的光学发现，他的金属丝可以与消色差的黑色抽象画，以及新表现主义的厚涂风景画结合。事实上，他将自己的视觉发现用作光学艺术和概念绘画，除了他自己对解构速度和光的创新探索之外，没有表明对任何美学范式的偏好。
IN an immaterial form of light, space and movement Yang Song's optical paintings use parallel arrays of metal wire to open up retinal universes and territories of a new and innovative kind. Unencumbered by any formal language or scientific formula, Yang Song operates with an open mind, articulating his optical discoveries in an inclusive, non-dualist approach, where his metal wire can be composed against an achromatic black abstract painting, as well as against a neo-expressionist impasto painted landscape. In fact, he uses his retinal discoveries as both optical art and conceptual painting, without declaring a preference for any aesthetic paradigm, other than his own innovative exploration of the deconstruction of speed and light.
很明显，重要的不仅仅是所用形式语言，而是其作为视觉和情感意符的有效性。在视觉和情感上，观众的身体运动触发动态的视觉效果。杨淞的感性绘画以其解构速度而出名。金属丝阵列、光投影和光学运动的天才组合使速度肉眼可见，让观众有一种雀跃眩目的体验。显然，杨淞感兴趣的是方式、手段、实验本身、对新领域的探索，以及寻找新的解决方案和形式，从而发展视觉语言并不断前进，同时引领我们一起探索。It is clearthat what matters is not only the formal language used, but its effectivenessas a visual and emotional signifier, where the viewer's own body movementtriggers the kinetic optical effect. Yang Song's Perceptual Paintings arestriking in their deconstruction of speed, made visible through the intelligentconstellation of metal wire arrays, light projections and optical movement,engaging the viewer in a dance and a dazzling experience. What Yang Song isobviously interested in is the way, the means, the experiment itself, theexploration of new territories, the search for new solutions and forms, inorder to develop a visual language with which he can move forward and take uswith him.
赛森开幕现场
字典的意义在于列举词语的用途，而非含义。因此“无定形”不仅是具有特定含义的形容词，也是用于降级的术语，通常暗示万事皆需有形式。其所指之物从任何意义上讲都没有权利，而且从各方面都受到抑制……[1]
A dictionary beginswhen it no longer gives the meaning of words, but their tasks. Thus formless isnot only an adjective having a given meaning, but a term that serves todowngrade, generally requiring that each thing have its form. What itdesignates has no rights in any sense and gets itself squashed everywhere…[1] Georges Bataille，《无定形》，文献杂志7（1929年12月）：382页杨淞是不断求变的艺术家，也是为数不多的，将速度作为形式视觉元素来探索的艺术家，他致力于演变、实验、不断探究新艺术领域以构建新视觉世界。他的愿景明确，不囿于特定形式语言或美学理论，而是志在探索他自己丰富的想象力。杨淞把形式和材料结合在概念和视觉作品中，拒绝或接受自己的发现，根据自己的感性目标和视觉研究结果，改变视角和过程。
Yang Song is an artist in constant movement, one of a few who explores speed as a formal visual element, evolving, experimenting, incessantly researching new artistic territories to construct new visual worlds. His vision is clear and not tied to a specific formal language or aesthetic doctrine but explores the powerful potential of his own imagination. Yang Song combines forms and materials in conceptual and visual compositions, rejects or embraces his findings, changes his perspective and procedure following his perceptual objective and visual research result.他灵活的思路和丰富的表现力超越主流逻辑，诠释了基于实践的、扩展的、进化的、概念性的工作体系，并借此不断前进、超越自我。他以逻辑缜密且直观的方式、敢于解决问题的精神和开放的态度展示了自己使用的形式和材料，就像视觉科学家探索速度的自然现象以及光、物质和运动、光学现象学和感知心理学一样。His flexible mind and versatile execution transcend any mainstream logic, articulating a practice based expansive and evolutionary yet conceptual body of work that constantly goes further and beyond. He reveals his forms and materials with logic and intuitive method, with a problem-solving spirit and open approach that resembles that of a visual scientist exploring the natural phenomena of speed as well as light, matter and motion, optical phenomenology and the psychology of perception.杨淞的许多作品都表达了概念、视觉和物质上的“无定形”，通过符号和物质，探索“不可察觉的转变”和“解构速度”这两个概念。从停滞的水到快速的工业车床，杨淞在非物质和主观层面解构速度——不是通过物质或机器，而是通过光，或者更准确地说，通过我们对磁辐射的光学体验表达。In many of his works Yang Song articulates a conceptual, visual and material formlessness that explores, through symbol and matter, the two notions of imperceptible transformation and the deconstruction of speed.From the physical slow inactivity of water to fast industrial slathes, Yang Song articulates also a deconstruction of speed, that is immaterial and subjective, articulated not by matter or machines, but by light, or more precisely by our optical experience of magnetic radiation.离心力肖像装置_2021_金属 3D打印 木 灯 感应装置横贯展厅的围栏网就像一堵透明的墙，将观众与两尊面对面的大型肖像和头骨雕塑隔开。这两尊雕塑夹在由坚固工业结构支撑的高速车床之间，由“白纸黑字”的普通报纸制成的色彩鲜艳的纸粘土塑成。这是模糊行为促成的色彩转换，也是关键潜力的有力象征。A full fencing net acts as a transparent wall separating the viewer from two large sculpted heads facing each other, sandwiched between high-speed lathes supported by vice-like industrial structures. The heads are sculpted in brightly coloured paper clay made from ordinary black and white newspaper, a colourful transformation in an ambiguous act and a powerful signifier of critical potential.两尊雕塑在绝对静止和难以察觉的旋转这两种状态间切换。这种速度形式肉眼不可见， 只能借助轻飘飘的细碎彩色纸屑才能察觉—— 旋转时，纸屑会克服重力， 猛地飞向观众和四周。机械旋转将具有象征意义的彩纸分散在无定形的空间中， 而这个空间好像一个陌生的宇宙。The two heads stand in intervals of absolute stillness and imperceptible rotation, an invisible form of speed that is only made perceptible by the small, light pieces of coloured paper, which the spin in its struggle with gravity, hurls violently towards the viewer and the immediate surroundings. The mechanical rotation scatters pieces of coloured paper with all their symbolic signification in an all over spatial pattern of formlessness, like a universe that resembles nothing.杨淞的早期作品之一《蜕》（2014）为其后期众多作品奠定了概念基础。我们看到的粘土头像淹没在水中，表达了土元素被水元素溶解的理念，同时也呈现了有形之雕塑转化为无定形之泥土的过程。作品通过概念诠释元素间的对抗，象征人工赋形与自然之无形间的较量。作为一个极具智慧和直觉的作品，它富有深刻的情感意义，阐明了“存在”的问题，以两种元素的基本形式，诠释变化、物质与时间、生与死，存在与消失，以及有和无的概念。一如老子、让-保罗·萨特和加斯东·巴舍拉关于存在主义哲学和物质想象之间的对话。One of Yang Song's early works, Die (2014), is a conceptual key to many of his later pieces. What we see is a face, a head, sculpted in clay, submerged into water, articulating a transformation, a dissolution of earth by water, matter by matter, dissolving the sculpted portrait into formless mud. A conceptual showcase of a confrontation between the elements and, symbolically, between the form given by man and the formlessness of nature. It is a highly intelligent and intuitive work, with profound conceptual levels of emotional meaning, articulating existential issues, not only in relation to change, matter and time, life and death, presence and disappearance, but also to the notion of being and nothingness, in the basic form of two elements. Like an existential whisper from Laozi to Jean-Paul Sartre and Gaston Bachelard on existential philosophy and the imagination of matter.
杨淞《蜕》
杨淞将泥塑头像这一特定意象浸入水中，作为雕塑史上最常见的主题，它指代人类身份和智慧，是具有广泛概念意义的象征符号。在《蜕》中，静水慢慢渗透、溶解人脸，通过解构速度，将难以察觉的变化概念可视化，象征性地将存在的表象转化为虚无和无形之泥。杨淞在完成“去形”的任务时，将人的形体转化或解密为无形状态，一种只受自然影响的物质状态。在特定场域中，泥塑头像在一池静止清澈的水中的倒影被放大，成为“道”之化身。In submerging this particular signifier into water, a sculpted face, a head made of earth, depicting the most recurrent subject in the history of sculpture to represent human identity and intellect, Yang Song performs a symbolic gesture with an expansive conceptual meaning. Visualising the notion of imperceptible change through the deconstruction of speed in the form of still water slowly absorbing and dissolving the human face, Die transformssymbolically the representation of being into nothingness, into formless mud. Performing this task of formlessness, Yang Song converts or declassifies the human given form into a state of non-form, of matter untouched except by nature. Which in this site-specific version furthermore is amplified in its reflection in a pool of still and clear water, as an embodiment of the Dao.通过彩色报纸制成的人头塑像的象征性主题对速度进行概念和材料方面的解构， 作为“ 无定形” 和新闻的双重隐喻， 在此被转化为纸屑构成的抽象无定形宇宙， 象征人与自然、精神与物质、新闻与存在的异化。这种持续张力实际上以难以察觉的旋转速度摧毁了人头塑像， 只有击中我们时，我们才能感觉到， 它象征性地将人类智力转化为无定形的物质和虚无。The conceptual and material deconstruction of speed through the symbolic motif of a human head made of coloured newspaper, as a double metaphor of formlessness and news, is here transformed into an abstract formless universe of small pieces of paper symbolising the alienation of man and nature, spirit and matter, news and being. This constant tension literally destroys the human head, in an imperceptible spin of speed that we can only feel when it hits us, symbolically transforming the human intellect into formless matter, into nothingness.在大型沉浸式作品《光塔》中，杨淞利用了他强大的光学探索成果：吸收和反射光的平行金属线阵列。杨淞对光学的系统探索及独到发现开辟了新的形式领域和视网膜宇宙。像奥拉维尔·埃利亚松一样，杨淞超越了纳姆·加博、安东尼·佩夫斯纳、欧普艺术家苏·富勒等早期现代艺术大师，找到了对非物质、速度、光和空间进行视觉探究的解决方案。他以伟大的方法、敏锐的直觉和想象力探索如何通过光和运动解构速度。In his large-scale Immersion Light Tower, Yang Song employs the powerfuloptical exploration for which he has become famous: parallel arrays of metalwires that absorb and reflect projected light. Yang Song's methodicalexploration of optics, his unique discoveries open up new formal territoriesand retinal universes. Like Olafur Eliasson, Yang Song goes beyond theinventions of the early masters of modern art, such as Naum Gabo and AntoinePevsner, or for that matter the Op artist Sue Fuller, to find new solutions tothe visual interrogation of the immaterial, of speed, light and space. Exploreswith great method, intuitive genius and imagination how to deconstruct speedthrough light and movement.杨淞《光塔》
《光塔》以双金字塔的形式展现了杨淞的雕塑天赋。该作品让人想起沙漏——通过重力测量时间的装置，以及沙子从顶部到底部的可调节流动。沙漏的物质、功能和概念被空气和光取代，时间的象征引发了我们的疑问和想象。观众受邀围着《光塔》漫步，从各种不同的角度观察它。这就是沉浸感：通过边走边看的自然动作与作品对话，体验光和空间的光学奇观。Light Tower articulates Yang Song's sculptural talent in the form of adouble pyramid that evokes the form of an hourglass, a device that measurestime through gravity, and the regulated flow of sand from the top to thebottom. The hourglass’s substance, function and concept, are replaced by airand light, with the symbol of time triggering our own questions andimagination. Light Tower invites the viewer to walk around it and look at itfrom different angles, from the outside and from below, as well as from above.It is an immersion that dialogues through the natural movement of walking witheyes open, in an experience of the optical wonders of light and space.798 艺术区公共项目2023.03-2023.06（北京）2022 如天涯，若比邻-Nord Art 2022，卡尔舒特艺术工厂， HK(X,@)，Tong Gallery + Projects, 北京 穿越时空的调色板--2022 草场地青年艺术家群展，2021 第4 届行走的艺术：北京——贵州阿西里西，2015 中国艺术家邀请展，泰勒基?会，巴黎，法国乔纳斯·斯坦普（Jonas Stampe），艺术史学家、艺评家、国际策展人。1965年出生于瑞典哥德堡市，他曾在法国巴黎高等社会科学院和瑞典隆德大学学习当代艺术史和理论，并定居法国25年。他从2001年起就在欧美不同国家组织策划了近60个行为艺术节与展览，包括来自59个国家的400多位艺术家。2017年，他加盟北京红砖美术馆，任高级策展人及资深研究员。2019年起，他与肖戈成立策展组合，策划了 CHAO 艺术中心年度大展“观看之道”，并获得《罗博报告》年度策展人奖。2020年，他与肖戈再度合作策划“从屏幕到观念—50 年的历史”“当速度成为形式—在屏幕里生活”等展览。肖 戈 艺术家、策展人、媒体人?，现任凤凰艺术总编辑、副总裁、凤凰中心馆长。出生于艺术世家，毕业于中央美术学院、法国巴黎国立高等美术学院等多所高校，2009年归国定居北京?。作为策展人，曾任第九届上海双年展“中山公园计划”策展人；2013年第55届威尼斯双年展平行展“大运河”策展人，以艺术之举推动中国大运河成功申遗；2019 年，与乔纳斯·斯坦普（Jonas Stampe）成立策展组合，策划CHAO艺术中心年度大展“观看之道”等。2014年加盟凤凰卫视集团，作为联合创始人，与团队一起将“凤凰艺术”打造成为国内最具影响力的艺术媒体之一，并策划了很多极具影响力的展览与活动。赛森致力于中国当代艺术的收藏、品鉴与推广，通过构建多元化的商业合作模式，长期支持中国一线及新锐艺术家的创作及发展。早在2005年，赛森首先将艺术作品运用到商业空间，为中国当代艺术开拓出更广泛的受众群。全新的赛森艺术空间将作为一个独特的展示平台，与艺术家、私人收藏家、公共机构以及商业品牌等密切合作，提供艺术沙龙式的咨询服务。SAISEN ART is committed to collecting, showcasing and promoting the Chinese contemporary art. Founded in 2005, SAISEN ART has developed diversified and innovative business models in order to support both established and emerging artists in a long run. Pioneer of inserting art into commercial space, SAISEN ART seeks to bring the Chinese contemporary art to a broader audience. The inaugurated SAISEN ART Space will work closely with artists, private collectors, institutions, and corporate organizations, establishing art advisory office and unique exhibition programs.E-mail:saisen@saisenart.com
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