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新展预告 | 万里不挑一 Vol.4 陈量

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#万一展览#万里不挑一#倪有鱼


新展预告 | 万里不挑一 Vol.4 陈量 崇真艺客


新展预告 | 万里不挑一 Vol.4 陈量 崇真艺客



里不挑VOL.4」

Unparalleled collection Vol.4


陈量

Chen Liang

展期 Duration

01/10/2025-03/24/2025

地址 Venue
深圳市南山区海上世界文化艺术中心2层202
NO.202, 2nd Floor, Sea World Culture & Arts Center, Shenzhen
新展预告 | 万里不挑一 Vol.4 陈量 崇真艺客


* Please scroll down for the English version


新展预告 | 万里不挑一 Vol.4 陈量 崇真艺客

万一空间欣然于2024年首展呈现“万里不挑一”系列企划的第四期,并荣幸邀请艺术家陈量作为本期主展人。

作为一个弥合古今和纷繁艺术形态的独特场域,万一空间得以邀请不同的艺术从业人士,向大家展示一个并不从“单一视角”来审视的自己,以及个人独特的审美趣味。在“万里不挑一”项目中,所有的作品和收藏没有主次,不言优劣,我们期待该项目能让观者真情实感地理解参展人的生活习惯如何影响创作,而创作又如何与生活融合——借由一个“真实发生”的场景,抛开对当代艺术、古代艺术和任何其他艺术形式冗余的解释,以一个能够亲身感知的角度,去观看艺术背后的故事。
新展预告 | 万里不挑一 Vol.4 陈量 崇真艺客

《渡庐集》其一 One of the Duluji collection

截断 Jieduan

陈量 Chen Liang

老框、宣纸、墨 Old frame, rice paper, ink

尺寸可变 Size variable

2018-2024

?艺术家及其工作室 Image courtesy of the artist and artist‘s studio

此次展览聚焦于陈量作为艺术家十余年的研究撷英以及他对禅宗与民间艺术的收集与梳理。展厅内将展出艺术家以虚堂智愚、寒山、拾得等高僧的诗偈为主题,以禅宗与民艺思想的交融互动为媒介的一系列艺术书写作品、学术研究书目,以及他在田野调研中从各地收集而来的民俗物件。这些物品、书籍和创作共同构成了他在研究与创作中所依据的知识框架。同时,展厅将作为“神圣空间”与民俗集成叠合的意象载体,邀请观者跟随艺术家的社会学研究路径,从“照壁”、“庙会”与“禅窟”三个展区逐步探索规整有度的文字的内意表达与溯源、观摩民俗语境下的自然主义创作,并试图从人类学理论中理解,如何将这些“背离”于主流文化的视觉产物置于一种特定的社会情境里

诚然,谈及书写,必然绕不开书法这一艺术创作形式。
陈量虽在创作中常以书法作为媒介,却一直着眼于拓展“书写的边界”这一当代议题,并延伸讨论何为生命化书写以及如何阅读禅宗文本的机锋。在田野调研中,他试图从剪纸、刺绣、写帐、陶符等不以毛笔作为主要创作工具的民间活动里,探寻人类“集体无意识”创作下的信息传达、书写过程,以及呈现结果。当书写诗文不按照“传统规定”下的章法显现时,是形式上的扶乩与信息片段转述,技术则变为身外之物,甚至是某种意义上的掣肘,书写和描画就变得自由。肉身是灵知书写的载体,而身上绘制的刺青与图腾则是人类原始经验中最直接的表达方式。另一方面,陈量对于禅宗的理解也并非仅仅关注时下对“枯禅”的片面判述,而是重视其融于日常生活中的禅宗修习——处处是禅机,俗雅的界定辩证地存在着,这一点也从他收藏的栋方志功的《寒山与拾得》版画(1903-1975)中自然显现
新展预告 | 万里不挑一 Vol.4 陈量 崇真艺客
艺术家工作室一隅 A corner of the artist's studio

集物之趣上,陈量认为“我藏民艺,不嗜老旧,唯在触动。”对于民间艺术品收藏,他并非出于娱乐化或猎奇化民俗的心态,而是切身实地进行田野考察、梳理与研究民俗中的体系和逻辑,旨在呈现民俗的智慧体系。其一,民艺的偶发状态。从镌刻于木石表面上的痕迹,可以看出手工艺人在学习雕刻中的一种从“不会”走向“会”的探索过程。物品作为见证者,保留了一个人在最自然和无意识状态下的“不会的历史”,是一种在艺术家看来无相观下的完美。其二,民艺在非展览时代的空间运用。在最重要的节日里,观者远离当下的白盒子展示空间,转而贴近民众自发搭建并聚集的“展览现场”。社火、庙会、摩崖作为宗教仪式与民众创作的载体,以地方性的民俗仪式呈现出各类游艺活动。这些仪式与当地神话传说紧密结合,从一系列唱词、面具、舞蹈等行为中逐步创建一种赫胥黎称之为“仪式化”的沟通行为,而这一临时的仪式世界又由一场纯想象力表演中的演员与观众共同构建。

新展预告 | 万里不挑一 Vol.4 陈量 崇真艺客
艺术家的民艺收藏 Artist's folk art collection
在田野进行实地考察的过程中,陈量实际上采用了一种“像农民一样在田地里工作”的方式,这也是他当下作为艺术家、学者与教师所遵循的独特工作方法论。他试图以接近原初书写的方式在田野中工作,在这样的过程中,文字、图形、文意的边界趋于模糊;他深深融入当地的文化语境,从而转化和自洽为直至明心见性的自我书写形式,并构建起个人修习的民艺与禅僧行迹的归真法门。



海报设计:

周嘉


Unparalleled collection series Vol.4

Chen Liang



W.ONESPACE is delighted to present the fourth edition of the Unparalleled Collection Series, and we are honored to have artist Chen Liang as our distinguished host this time.


As a field that bridges the past and the present of the complex art forms, W.ONESPACE provides a unique platform and invites art practitioners in different areas, jointly present an image containing unique personalities, aesthetic interests of multi-perspective. Exhibited works and collections in the project have no priority, nor distinction. We expect the project to give the audience a realistic understanding of how the artists' habits influence their works, and how they relate to artists’ lives. Through a "real-life" scenario, we can put aside redundant interpretations of any art form, just offering an angle that could be perceived to see the story behind. 


This exhibition focuses on Chen Liang’s research and his collection and study of Zen Buddhism and folk art over more than a decade of his artistic practice. The exhibition will showcase a series of artworks inspired by Zen monks' gathas, works that use daily Zen practices as a medium for artistic expression, academic research bibliographies, and folk objects collected during field research from various regions. These objects, books, and artworks together form the knowledge framework on which Chen Liang’s research and creation are based. The exhibition space will function as a “sacred space”, integrating the imagery of folk traditions, inviting viewers to follow the artist’s sociological research path through three distinct sections: “Zhaobi” (Screen Wall), “Temple Fair,” and “Meditatiion Cave”. This progressive exploration will delve into the nuanced expression of structured writing, the origins of meaning, the study of naturalistic creations within the context of folk traditions, and an attempt to understand from an anthropological perspective how these visual artifacts, which deviate from mainstream culture, can be placed within specific social contexts.


Indeed, when talking about writing, it is impossible to overlook the artistic form of calligraphy.


Although Chen Liang frequently uses calligraphy as a medium in his creations, he focuses on expanding the “boundaries of writing” as a contemporary issue. He also extends the discussion on what constitutes life-like writing and how to read the nuances of Zen Buddhist texts. During his field research, he explores how folk art practices such as paper cutting, embroidery, ledger writing, and ceramic inscriptions—activities not primarily involving the brush—can convey information, the process of writing, and the results of these creative acts. When the writing of poetry and prose does not conform to the “traditional rules”, it transforms into a form of automatic writing and fragmented communication. In this case, technique becomes extraneous, even a constraint, and writing and drawing become liberated. The body becomes the carrier of spiritual writing, while tattoos and totems etched on the body serve as the most direct forms of expression in human primitive experience. Additionally, Chen Liang’s understanding of Zen Buddhism is not merely concerned with the current superficial interpretations of “empty Zen”, but focuses on Zen practice as it merges into daily life—Zen is present everywhere, and the boundaries between the secular and the elegant dialectically exist. This understanding naturally emerges from his collection of woodblock prints of Zen monks image by Shiko Munakata(1903-1975).


In terms of his collection of folk art, Chen Liang says, “I collect folk art not for the sake of antiquities, but because I am moved by it.” His collection of folk artworks is not motivated by a desire to entertain or to indulge in the exoticism of folk customs. Rather, he engages in fieldwork, sorting, and studying the systems and logic embedded in folk traditions. His goal is to present the wisdom inherent in these customs. Firstly, he sees the spontaneous nature of folk art as significant. The traces carved on wood and stone surfaces reveal the craftsman’s process of moving from “inability” to “ability” in their learning of carving. Objects, as witnesses, preserve the “history of inability” of a person in their most natural and unconscious state, which, from the artist’s perspective, reflects a perfect state without form. Secondly, folk art’s use in non-exhibition spaces is significant. During major festivals, the audience steps away from the contemporary white-box gallery spaces and instead engages with the “exhibition” created spontaneously by the public—such as the processions, temple fairs, and cliff grarvings sutruas and figures that serve as carriers for religious rituals and community creativity. These folk rituals are closely tied to local myths and legends, and through performances such as songs, masks, and dances, they create a “ritualized” communication process, as described by Aldous Huxley. This temporary ritual world is jointly constructed by the actors and audience in an imaginative performance.


During his fieldwork, Chen Liang adopts an approach he describes as “working like a farmer in the fields”. This method has become his unique working methodology as an artist, scholar, and teacher. He seeks to work in the field in a way that is close to the original form of writing. In this process, the boundaries between words, images, and meanings become increasingly blurred. By deeply integrating into the local cultural context, he transforms and harmonizes into a form of self-writing that leads to enlightenment. Through this practice, he constructs a personal path of self-cultivation rooted in folk art and Zen Buddhist practice.


请向下滑动文字  Please swipe down the text




陈量
??

Chen Liang



新展预告 | 万里不挑一 Vol.4 陈量 崇真艺客
陈量,1987年生于陕西宝鸡,现生活、工作于杭州。幼时跟随村里画庙师傅学习书法和神像绘制,成年后在陕西科技大学学习无机非金属材料工程专业,后于中央美术学院实验艺术学院和中国美术学院书法学院就读,并获得博士学位。自2012年成为职业艺术家以来,他的创作和研究基于对地方知识的田野考察、古代仪式、文字起源和人类书写的传统,并始终朝着挖掘被隐藏的历史和书写普遍性的状态前进。由于受到民间仪式、神秘主义和长青哲学的启发,常使他思考如何将零碎、混杂的民间思想以书写的方式重建。这使其工作包括以图像学和文献收集、出版、田野、纪录片、写作、诗歌、剧场、书法和绘画等各种方式展开,构建了其复杂的诗意视野。他还对理论研究、民间亚文化、艺术乡建、以及地方传说和信仰充满热情,并于2020年创立仪式民众剧团(CPT)。他的工作执着于挖掘、重新发现和解释呈现那些曾经迷失、未闻和被掩埋的痕迹和声音。

Chen Liang, born in Baoji, Shaanxi in 1987, currently lives and works in Hangzhou. As a child, he studied calligraphy and the painting of deities under a local temple artist. As an adult, he pursued a degree in Inorganic Non-Metallic Materials Engineering at Shaanxi University of Science and Technology, and later studied at the School of Experimental Art at the Central Academy of Fine Arts and the School of Calligraphy at the China Academy of Art, earning a PhD. Since becoming a professional artist in 2012, his work and research have been based on field studies of local knowledge, ancient rituals, the origins of writing, and the traditions of human script. He consistently strives to unearth hidden histories and explore the universality of writing.Inspired by folk rituals, mysticism, and perennial philosophy, Chen often contemplates how to reconstruct fragmented and mixed folk ideas through writing. This approach has led him to work across various mediums, including iconography, document collection, publishing, fieldwork, documentary filmmaking, writing, poetry, theater, calligraphy, and painting, all of which contribute to his complex poetic vision. He is also passionate about theoretical research, folk subcultures, rural art initiatives, and local legends and beliefs. In 2020, he founded the Ritual Popular Theater (CPT). His work is dedicated to uncovering, rediscovering, and reinterpreting the traces and voices that have been lost, unheard, or buried.

?不挑?」系列企划
Unparalleled collection
古往今来,艺术总与生活方式串联在一起,而且往往并非以阳春白雪、“生人勿近”的方式呈现。这些作品、物件或是非实体的存在,互相交织互相反应,一并构成了一张完整的线索网络,将主人交游、审美情趣、以及其对于艺术与生活的态度全方位地展露。
Vol.1 在“万里不挑一”第一期项目中,艺术家周力首次对公众展出其横跨多学科的丰富收藏,呈现她的审美与意识世界。这些藏品和展厅中心的绘画作品有上下互文的关系,引导着观众逐步从“窗外世界”探入艺术家的“窗内世界”,周力的“艺术家形象”在日常且细微的叙事之中变得更为丰富立体,而在这个过程中,其自身也以“观众”的身份再次感受到了自我。

新展预告 | 万里不挑一 Vol.4 陈量 崇真艺客

?万一空间 Copyright?W.ONESPACE
Vol.2展出了艺术家洪浩近年来不同系列的作品,并通过直观呈现其工作室部分原始状态,借以探寻艺术家在创作背后对于人文、材料、物质、收集、消费等的观念和考量。若真需要提到“收藏”这个词,那洪浩比较像在收藏自己的人生。从最初的《藏经》到最具代表性的《我的东西》,以及逐渐演变至今的《万相》,《往复》,《物境》等系列,洪浩发展出了一种特殊的,对于下信息与个人日常使用的物品收集和排列的形式,并始终保持着这种对既定客观存在的观察与反思。但从艺术家的角度来说,收集并不是他的目的,这些行为更像是自己生活流水账般的记录,艺术家仅试图去呈现一种证据感,一种客观的还原。

新展预告 | 万里不挑一 Vol.4 陈量 崇真艺客

?万一空间 Copyright?W.ONESPACE

Vol.3旨在呈现和展示艺术家倪有鱼的作品和收藏,探寻艺术家构建下独特的古今艺术交融的独特美学体系。倪有鱼的作品深受其中国画背景和父亲建筑绘图影响,注重“手的执念”和“严谨精度”,其创作过程与古代写经的精神相似,追求“静修”而非“顿悟”。展览通过倪有鱼的创作和收藏,探讨了艺术与生活的融合,以及艺术家如何在日常中寻找并展现新的面貌。

新展预告 | 万里不挑一 Vol.4 陈量 崇真艺客

?万一空间 Copyright?W.ONESPACE




里不挑
Unparalleled collection

·


“万里不挑一”为万一空间推出的系列特别企划,每期将邀请不同角色的艺术从业人士,为观众带来自己的艺术作品以及横跨多学科的收藏。该项目旨在通过万一空间这一弥合古今和多元艺术形态的特殊平台,使主展人在展厅内还原一个艺术与生活的平衡点,以此让观者真情实感地理解收藏如何与生活融合。借由一个“真实发生”的场景,抛开对艺术种类的冗余界定,以一个能够亲身感知的角度,去体味艺术背后的故事与丰富的意识世界。


The unparalleled collection series “n.one in a million” is a new project held by W.ONESPACE. In each episode, we invite different art practitioners, jointly showing an image that contains unique personalities and aesthetic interests of multi-perspective. As a field that bridges the past and present of the complex art forms, W.ONESPACE provides a unique platform to the host, letting them reveal the balances between art the lives, therefore enabling the audiences to truly understand how the host's collections affect their works and how they relate to their life. Through re-presenting and re-constructing the real living scene, we want to put aside the redundant interpretation of any art form, just offering an angle that could be perceived to see the story and the spiritual world behind the works.





万一空间是由三位90后艺术从业者在深圳创立的艺术空间。其诞生于疫情席卷全球的2020年,在后疫情时代涌现对艺术与生命的全新思考。空间致力于消解当代与古代的边界,融合美学研究逻辑下的现当代与古代艺术,构建一个不同国家、时期和形式的艺术在同一语境下共容的场域。

W.ONESPACE is an art gallery founded in Shenzhen by three Generation Y art practitioners. It was established in 2020 during the outbreak of the COVID-19 pandemic. New perspectives on art and life have emerged in this post-pandemic era. W.ONESPACE aims to melt the boundaries between present, future and the past by mixing contemporary and ancient art under the logic of aesthetic research, thus bringing together arts of different countries, different periods and different forms to interact and express in unity as ONE.


新展预告 | 万里不挑一 Vol.4 陈量 崇真艺客


新展预告 | 万里不挑一 Vol.4 陈量 崇真艺客


万一空间平行时空分支????

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新展预告 | 万里不挑一 Vol.4 陈量 崇真艺客

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