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REFLEXION回声｜灵石、赤天与铜炉 Nature Through a Glass｜艺术家作品

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REFLEXION回声｜灵石、赤天与铜炉 Nature Through a Glass｜艺术家作品崇真艺客

请点击图片，阅读展览新闻稿｜Please click on the image to read the exhibition press release

灵石、赤天与铜炉

Nature Through a Glass

策展人：戴西云

Curator: DAI Xiyun

艺术家：唐菡、解群、颜达夫、张华

Artists: TANG Han, XIE Qun, YAN Dafu, ZHANG Hua

2025.3.8 - 2025.4.12

唐菡｜TANG Han

这部作品重复着将类似矿物形象放置装箱的过程影像，当中的过程是小心翼翼的，并且用木箱保护即将运输的对象。一方面可以联想，知识的形成往往出自于想要触摸、充满好奇，这种欲望也往往带着保护的心情。但随着时间过去，与自然的关系成为一种知识的客体，主导人类的意识型态变成了将自然视为可以被分门别类的资源使用。另一方面，影像当中的背景与被当作客体的收藏都不断地变换，说明这种剥削往往在不同的时间、地点、历史脉络下，反复地发生。

This work repeats the footage of a process that puts something resembling minerals into a container. The object is carefully handled in the process and protected with a wooden container for transport. On one hand, it can be associated with the formation of knowledge, which usually stems from the desire for touch, filled with curiosity, as such desire often comes with the wish to protect. Nevertheless, as time goes by, the relationship with nature becomes an object of knowledge, as the ideology that dominates humanity turns to treat nature as a resource that can be sorted for use. On the other hand, both the background in the video and the collected objects are constantly shifting, illustrating that such exploitation takes place in different time, locations, and historical contexts time and again.

“银杏小姐”是一个短视频系列，它使用了解释视频的美学同时超越了对银杏的一般性介绍，通过易于理解的小故事来重新解读人和银杏之间的文化历史关系。这段视频探讨了银杏的拉丁文名称“Ginkgo”的起源和它的误译，以及这个物种是如何被一位欧洲博物学家从东亚带到欧洲的，还有一些有关这个命名背后的轶事。

"MISS GINKGO" is a video series that utilizes the aesthetics of an explainer video to delve beyond a general introduction to the ginkgo, exploring the cultural and historical relationship between ginkgo and humans through easily understandable short stories. This video examines the origin and mistranslation of the Latin name "Ginkgo", how the tree was brought over from East Asia by a European naturalist, and a few tidbits about the naming process.

解群｜XIE Qun

“滚诗”是我在2022年初开始的个人项目，项目进行的场所是微信朋友圈，把它当作一个展厅或平台，每月会不定时发表诗歌和与他对应的画作，记录我流淌的创作，生活状态。这个过程是无意识的东西逐渐清晰的过程，我的创作用的是感觉逻辑，会慢慢在纸上显现画面和文字。

使用这种日常化的创作方式，建立诗和画（或图）之间相互发明的关系。有时候也可能在户外完成一张“图”的制作。

因为在手机上大家看到的都是图文关系，挺像传统诗画的，我就一首诗和一张画一起完成，通常是一天完成，但不是天天写。

每天不同的变化，可以让我一直坚持“滚”下去。

滚的意思，可能是不想停，也可能是屁滚尿流，捉襟见肘的状态。朋友圈是随时更新，用手滑，往前滚，没人看很久以前的。我也想参与到这样的信息洪流中，就选择了这样的方式去表达。

西西弗滚石，我只能滚诗。

"Rolling Poem" is a personal project I started in early 2022, the place where the project is carried out is the WeChat Moments, as a showroom or platform, I will publish poems and corresponding paintings from time to time every month, to record the flow of my creation and the state of my life. This process is a gradual clarification of the unconscious, and my creations use the logic of feeling, which will slowly reveal images and words on paper.

I use this everyday way of creation to establish a relationship of mutual invention between poetry and painting (or drawing). Sometimes, I can also make a "picture" outdoors.

Because what you see on your cell phone is a graphic relationship, which is quite similar to traditional poetry and painting, I complete a poem and a painting together, usually in one day, but not every day.

I usually finish a poem and a drawing together, usually in one day, but not every day. The different changes every day allow me to keep on "rolling".

Rolling may mean I don't want to stop, but it may also mean I'm pissing my pants, and I'm stretched to the limit. The WeChat Moments are always up to date, with a swipe of the hand, scrolling forward, no one to see what was there a long time ago. I wanted to be a part of such a deluge of information and chose to express it that way.

Sisyphus rolls rocks, I can only roll poetry.

- 解群 XIE Qun

颜达夫｜YAN Dafu

方形地台中心的电机向四周发力，拉扯轨道上的滑块并带动钢带变形运动。在地图符号中，一圈圈的环线标志着海拔的变化，在陆地区域被称作等高线，在水体中，则为等深线。活动的地图所记录的便也是流转的地理，其所对应的亦是洋山深水港复杂的水文与多变的形势。悬吊其上的鱼竿如同东海大桥牢牢摸着孤悬海外的饵钓。

The motor in the center of the square platform exertsforce around it, pulling the slider on the track and drivingthe steel strip to deform and move. In map symbolsmulti-layer loops indicate changes in altitude, referred toas contour lines in land areas and isobaths in water areasThe map of movement records the geography of circula-tion, which corresponds to the complex hydrology and ev-er-changing situation of Yangshan Deepwater Port.Thefishing rod hanging above it is like the East Sea Bridgefirmly grasping the bait fshing that hangs alone overseas.

两组由虎钳夹持的铝板油画，表象与内在互相假借，踩住尾巴，仔细观瞧，是狐还是虎?

Two sets of oil paintings on an aluminum plate held invises, with the appearance and interior borrowed fromeach other. Step on the tail and carefully observe. is it afox or a tiger?

张华｜ZHANG Hua

张华 ZHANG Hua | 像生 Objects, 2021 | 15 x 20 x 10 cm x 10 pic | 装置｜铜 Installation｜Copper | 请向左滑动查看作品图｜Swipe left to view the artwork

张华 ZHANG Hua | 果实 Fruit, 2023 | 尺寸可变 Variable size | 装置｜铜 Installation｜Copper | 请向左滑动查看作品图｜Swipe left to view the artwork

艺术家张华的作品《松林》以铜铁铝作为作品的创作媒介，同时以中国剪纸的方式将传统民族神话符号的固定意义进行“修剪”，打破其原有的神话功能，使之呈现出一种更为多元、开放的视觉空间，将原本蕴含着原始力量和集体记忆的符号转化为当代审美语境下的艺术语言。在这一过程中，生活物质材料得到了全新的叙事功能，使得原有的民间文化符号呈现出新的活力。艺术不再只是对传统的再现，而是借助物质与符号的转化，探讨人与自然、历史与当下之间不断变化的关系。这种转换并非简单的复制，而是一种“解构－重组”的过程。从传统神话符号到日常生活符号的转变，是一个从“定型”到“流动”、从“神圣专制”到“日常对话”的动态过程。艺术创作不再仅仅是对过去的复述，而是一次次对生活与神话边界的再探索和再定义。

铜作为云南生活中重要的物质材料，既见证了地域历史和民间信仰，也承载了日常生活的经验。通过对铜的再造，张华将当地的民间文化、风俗习惯与神性符号进行重构，打破了原有的神话固有框架，构建出全新的叙事系统，从而反映出当代文化语境下个体与群体、传统与现代之间的张力和对话。这种材料由原本的日常生活物质转变为艺术创作的媒介，正如“爪”在“旧”与“新”之间经历了功能与符号的转变一样。在传统语境下，铜是承载着力量和神性的物质载体；而在张华的艺术中，铜经过艺术创作，既保留了其历史记忆，也被赋予了当代的审美和叙事功能，从而打破了原有物质的单一属性，形成了新的文化叙事。张华的创作灵感往往源自身边最细微的生活现象，普通的生活空间被艺术家转变为充满隐喻和象征的“后院”，日常的工具和材料也变成了诉说历史、传递集体记忆的符号。

Artist Zhang Hua's work "Pine Forest" uses copper, iron and aluminum as the medium of creation, and at the same time "trims" the fixed meaning of traditional national mythological symbols by using Chinese paper-cutting, breaking their original mythological function and presenting a more diversified and open visual space, transforming symbols originally containing primitive power and collective memory into an artistic language in a contemporary aesthetic context. The symbols that originally contained primitive power and collective memory are transformed into artistic language in contemporary aesthetic context. In this process, the living material has been given a new narrative function, making the original folk culture symbols show new vitality. Art is no longer just a reproduction of tradition, but an exploration of the ever-changing relationship between man and nature, history and the present through the transformation of materials and symbols. This transformation is not a simple copy, but a process of "deconstruction and reorganization". The transformation from traditional mythological symbols to symbols of daily life is a dynamic process from "stereotyping" to "mobility", from "sacred authoritarianism" to "daily dialog". It is a dynamic process from "stereotype" to "flow", from "sacred authoritarianism" to "everyday dialog". Artistic creation is no longer just a retelling of the past, but a re-exploration and redefinition of the boundaries between life and myth.

Copper, as an important material in Yunnan life, bears witness to regional history and folk beliefs, as well as the experience of daily life. By recreating copper, Zhang Hua reconstructs local folk culture, customs and divine symbols, breaking the inherent framework of the original myths and constructing a brand new narrative system, thus reflecting the tension and dialogues between the individual and the group, the traditional and the modern in the contemporary cultural context. This material has been transformed from an everyday substance into a medium for artistic creation, just as the "claw" undergoes a functional and symbolic transformation between the "old" and the "new". In the traditional context, copper is a material carrier that carries power and divinity; but in Zhang Hua's art, copper has been transformed into a contemporary aesthetic and narrative function through artistic creation that not only preserves its historical memory, but also breaks down the original single attribute of materiality to form a new cultural narrative. Zhang Hua's creative inspiration often comes from the most subtle phenomena of life around him. Ordinary living spaces are transformed by the artist into "backyards" full of metaphors and symbols, and everyday tools and materials are transformed into symbols that tell history and convey collective memory.

- 黄静岚 HUANG Jinglan