GM导览 ｜ “爱的新知识”观展指南（上）

塞浦路斯的Salamiou举办了乡村动画电影节，这是一个静谧的小村庄，和很多中国的边陲小镇一样，年轻人都搬到了大城市谋生，留下来的则是独居的老人和另外一些需要被照料的人。Vrionis是这里的村秘书，也是这个村里仅有的年轻人，此次前来的第一个驻地艺术家由他负责招待，艺术家对这里的一切都饶有兴趣，他也带着艺术家四处查看。艺术家的镜头所展现的是绵延往复着的当地风貌和生活方式，简单而平缓的情节描绘了小村子里的普通人和寻常之事。

The village of Salamiou in Cyprus hosted a rural animation film festival. This is a tranquil small village, much like many border towns in China, where the young people have moved to big cities to make a living, leaving behind elderly residents living alone and others in need of care. Vrionis is the village secretary and the only young person in this village. He is in charge of hosting the first visiting artist to this village. The artist is quite interested in everything here, and Vrionis shows him around. Through the artis's lens, the film presents the local scenery and way of life, with simple and gentle storytelling that depicts the ordinary people and everyday events of the small village.

“家族政治”是陈彧君2018、2019期间创作的一个系列，出生于70年代的他，从自身成长的地域文化中获得诸多跟莆田宗族传统相关的创作线索，在图像转化上借鉴了地理地图色域划分的视觉逻辑，并注入抽象的情感色彩，加上艺术家工作室特制的，从上海石库门拆迁中收来的，不同家庭的门窗老木板构建的外框，呈现出一个介于物质与情感间似是而非的关于家族的社会版图。

"Family Politics" is a series created by Chen Yujun during the period of 2018 and 2019. Born in the 1970s, he derived many creative clues related to the traditional clan culture of Putian from the regional culture in which he grew up. In terms of image configuration, he drew inspiration from the visual logic of geographic map's color division and infused it with abstract, emotionally charged colors. Additionally, the outer frame was specially designed in the artist's studio, constructed from old wooden boards of doors and windows from different families which he collected during the demolition of Shikumen in Shanghai. This resulted in a ambiguous social map about the family that sits between the material and emotional realms.

2012年，艺术家小组“组织”（李牧、赵骏园、陶轶、徐喆）创作了一套“向孩子介绍当代艺术”的艺术家出版物《好玩的艺术》。该出版物一共四册，李牧创作了其中的一册《你是艺术家》。他选择了艺术史里参与性比较强的观念和行为艺术作为范本，让孩子按照说明和指示去实施这些行为，以获得自己的体验和认知。

该系列水彩画是李牧为《你是艺术家》创造的插图手稿，大部分被使用在书里。

In 2012, the artist group ZU ZHI (Li Mu, Zhao Junyuan, Tao Yi, Xu Zhe) created a set of artist publications titled "Funny Art" to introduce contemporary art to children. The publication consists of four volumes, one of which, "You Are an Artist" was created by Li Mu. He chose participatory concepts and performance art from art history as models, instructing children to follow the provided guidelines to engage in these activities, thereby encouraging them to gain their own experiences and understanding.

This series of watercolors is an illustrated manuscript created by Li Mu for "You Are an Artist" with most of them used in the book.

施勇用铅笔在同一张纸上逐字抄写詹姆斯·乔伊斯的经典巨著《尤利西斯》，抄满后便用橡皮将所写笔记尽数擦除，随后再次开启抄写。抄写与擦除，如此循环往复一百余次。在此过程中，随着不断地抄写与擦除，纸张开始随着灰屑一点点剥落。而这些灰屑、纸张碎片被施勇一遍遍收集，它们最终与抄写的纸张一同构成了作品的一部分。另一部分由LED显示屏呈现艺术家抄、擦著作的整个过程。

原本以为，抄写等同于阅读。即使抄写得再慢，也因为过于关注纸张的变化，使得抄写、擦除的动作严重干扰了施勇对书籍内容的记忆，导致出现「一边抄一边忘」的情况，甚至有时候情节都衔接不上。这一独特的创作体验，也就成为这件作品《遗忘比记忆更久远》名称的由来。

文字在抄写中传播，在擦除中逐渐变为灰烬。施勇通过作品揭示了文字背后的哲学思考：作为文明基石的文字，既构建认知又因其模糊性与局限性束缚思想，阻碍人类对世界的自由探索和体验。

Shi Yong repeatedly copied James Joyce's classic masterpiece, "Ulysses," word for word onto the same sheet of paper using a pencil. After filling the paper, he erased all the notes with an eraser and then began copying again, and repeated the cycle over a hundred times. Throughout this process, the paper started to deteriorate with flakes of paper debris gradually falling away as the artist was moving deeper into the process. These debris and paper fragments were meticulously collected by Shi Yong, ultimately becoming part of the artwork along with the copied paper. Another part of the work is presented by an LED display screen, showcasing the artist's entire process of copying and erasing.

Initially, it was assumed that copying equated to reading. However, even with slow copying, the excessive focus on the paper's changes severely interfered with Shi Yong's memory of the book's content, leading to a situation of "forgetting as he copied," and sometimes even disjointed plot lines. This unique creative experience became the inspiration for the work's title, "Forgetting Lasts Longer Than Memory."

Words are disseminated through copying and gradually reduced to ashes through erasure. Shi Yong uses his work to reveal the philosophical reflection behind words: as the cornerstone of civilization, words both construct cognition and, through their ambiguity and limitations, restrict thought, hindering humanity's free exploration and experience of the world.

创作于1983年的作品《抽象 198301-1》，是余友涵对汉代墓室壁画的抽象再现，在时隔34年后的2017年，余友涵又将这件作品放大尺寸重绘为《轮回图》。余友涵之子余宇曾回忆到“《轮回图》一方面是对过往创作的再探索，另一方面也是对于母亲和生命纪念，”画面中央靠左下方的文字原本来自余友涵母亲之手，在后来的再创作中，他加上了“友涵摹”的字样，而在这位艺术家后来的许多创作中，将文字入画也延续了对家人的怀念。1983年第一版的图像源自汉代墓室壁画，是对于先人的纪念，2017年的第二版是艺术家对于母亲的纪念，这是跨越了将近二千年的对于亲人纪念的轮回。

Created in 1983, the work "Abstract 198301-1" was an abstract representation of Han Dynasty tomb murals by Yu Youhan. In 2017, 34 years later, he revisited and expanded upon this work, resulting in "The Wheel of Life". According to Yu Yu, the son of Yu Youhan, this later piece was not only a re-exploration of past creations but also a tribute to his mother and life itself. The text in the center and bottom left of the painting originated from his mother's handwriting, to which Yu Youhan added the inscription "copied by Yu Youhan." In many of his later works, the incorporation of text reflects his nostalgia for family. The 1983 version commemorated ancestors through Han Dynasty imagery, while the 2017 rendition served as a personal homage to his mother, creating a cycle of remembrance spanning nearly two millennia.

苏予昕在全新系列“或旦或暝”中融?了过去?年间建?的???粉系统，她?期收集天然和合成物质，包括台北?区硫磺制成的???、花莲海边所搜集?来的?壳所研制成的各种??、上海?作室外的?樟树、海南的蓝珊瑚、?城残骸的颜料粉末和美国?产的?氧化钛。在这些颜料搜集、制作所涵括混杂的地理锚点与繁琐的制作劳动经验之中，艺术家以历史档案和??照?为参考，串联起跨越各?洲的重要地点所唤起的个?与集体记忆。《或旦或瞑（苏澳-花莲公路）》(2021) 呈现的就是艺术家的家乡——紧邻太平洋?岸的花莲。

Su considers painting a place where multiple disciplines and various perceptual capacities intersect, and places particular emphasis on the medium of painting as reflecting the discovery and re-invention of the material world.

The railroads and volcanoes serve as prominent motifs in Su's paintings, each represents a specific landscape. Movement and migration are not only the threads connecting the subjects, but are also manifested as momentum and kinetic energy in the pictures: seemingly static landscapes swirling with mist and clouds, abstract color blocks compressing the morphing of skylight, and brushstrokes depicting the cliffs are sometimes sharp like blades, sometimes sleek like fluids.

“胡小芳”是艺术家胡尹萍在2015 年创立的一个“艺术品牌”。胡尹萍利用公司制度和社会既有的生产交换逻辑，以“小芳”和“胡小芳”品牌的名义，定购故乡小镇的家庭妇女们缝制的毛线织物，从而在某种程度上改变了小镇的经济和日常生活结构。该作品从“小芳”收购母亲的毛线帽开始，继而拓展到小镇妇女的群体性参与。胡尹萍根据自身遭遇来同理阿姨们现实中的处境，制定不同阶段的织制主题。这些遭遇所具备的现实性、社会性和时代性最终使整个作品呈现出深刻而丰富的面貌。

作品“胡小芳”目前已开展五个阶段。“小芳”阶段（2015-2017）收购的对象主要是母亲的毛线帽。在“雪白的鸽子”阶段（2017-2019），胡尹萍通过发布收购毛线比基尼的公告，让四川盆地的阿姨们通过想象沙滩和海洋，使她们的意识得以超越身体的距离。“安全感”阶段（2018- 至今）源于艺术家工作室被房东强拆，通过将该遭遇转述为“当我或我的家人面临危险，如何保护自己和家人不受伤害”这一问题，引导阿姨们创作了“防护武器”系列和“坏人”系列。第四阶段以“联合国”命名（2018- 至今），通过观察自己家族内部所具有的强烈差异性，胡尹萍让阿姨们为各自家庭缝制一面家旗，组成“联合国”。在“标准配置“阶段（2020- 至今），胡尹萍让阿姨们织制构成自己理想生活的标准配置，希望讨论人在不同制度、文化、宗教等社会背景下，理想生活的形态之不同与相同。该阶段正试图邀请更多地域和国家的人群参与。

“胡小芳”作为一种“社会间隙”（interstice）嵌入到社会组织当中，试图在社会中真切地发挥作用。它利用了既有的社会规则和艺术系统，但通过制定和执行新的生产目标，而得以在现有的社会生产和交换结构外，为劳动与生活之关系提供新的可能。

“Hu Xiaofang” is an “artistic brand”established by artist Hu Yinping in 2015. Applying the logic of production and trade which is inherent in corporate systems and societies, Hu Yinping, under the brand name “Xiaofang” and “Hu Xiaofang”, places bulk orders of woolen textiles made by domestic women who live in a small village of her hometown. Her practices, to some extent, have changed the local economic and lifestyle structure of the entire town. The work starts with “Xiaofang” making purchases of beanie hats made by her mother, and then extends to collective participation of women in the town. Based on her own experience, Hu Yinping emphasizes with the plight of these elder women, which inspires her to design multiple knitting themes during different time periods. Her experience calls for reflections on the realistic, social and present-day situation, adding a trenchant profoundity and richness to her work.

The work Hu Xiaofang has developed five stages thus far. Phase “Xiaofang”(2015- present) focuses on the acquisition of her mother's beanie hats. In phase “Snow-white Doves”(2017-2019), Hu Yinping, by releasing a public service announcement of acquiring woolen bikinis, evoked a vivid imagination of beach and sea among elder women who live in the landlocked Sichuan Basin, allowing their consciousness to be unfettered from the limitations of physical distance. Phase “Sense of Security” (2018-present) takes inspiration from the forced dismantlement of the artist's studio by her landlord, transforming a personal experience into a question that applies to all, “How to protect my family and myself when we are under danger?” and thus guiding the elder women to create two work series Weapons and Bad Guys. The fourth phase, titled as “The United Nations” (2018-present), encourages these women to each stitch a family crest flag after a close observation of the contrasting individual differences within their own families. Together, these flags eventually formed a “United Nation”. Lastly, in phase “Standard Configuration” (2020-present) , Hu Yinping asks them to use knitting and visualize a standard configuration of their ideal life, hoping to discuss the similarities and disparities of each other's ideal life against the background of different institutions, cultures and religions. Right now, this project is aiming to invite more participants from various regions and countries.

Presented as a social interstice, Hu Xiaofang embeds itself into the social organizations, attempting to play an actual role in the society. It takes advantage of existing societal rules and art systems, but by formulating and implementing new production goals, it is capable of escaping from such existing production and trading structure in the society and offering new possibilities for the relationship between labor and life.

这件作品是一座大体量的螺旋形金属装置，其造型灵感源自巴别塔，以及弗拉基米尔·塔特林的《第三国际纪念碑》，作品的形态象征着对未来的希望。然而，与传统纪念碑所蕴含的坚定与宏伟不同，这件装置作品展现出一种手工制作的质感，轻盈而脆弱，打破了混凝土建筑常见的刚硬与永久特性，从而形成了一种微妙的对比。

"Whirling" is a monumental spiral-shaped metallic structure, drawing inspiration from the Tower of Babel and Tatlin's Tower, also known as the Monument to the Third International. Its spiral form symbolizes aspirations for the future. However, unlike the solidity and permanence typically associated with monuments, "Whirling" evokes a sense of fragility. Its handcrafted quality imbues the piece with a delicate, almost vulnerable essence, setting it apart from the traditional concrete monument's imposing and enduring nature, which created a subtle contrast.

李维伊在2019年秋天做了一个可以携带的装置作品“梦”,于2020年又尝试做了一个巨大的、沉重的梦给自己即将搬入的新家。

Back in the autumn of 2019. Li Weiyi made a carriable installation work Dream. And when the time came to 2020, she re-created a large and heavy version of Dream for her new home that she was about to move in.

创作这组作品时，艺术家回到了自己最初的媒介——摄影，在每一次专注的观看里，重新发现那些与生命体验始终相随的、公开的秘密：月提醒了太阳，做梦提醒了清醒，皮肤提醒了?骼，卵提醒了祖先，前进着的提醒了未抵达的，最中央的提醒了最自由的......恰应明代诗人所言，“莫怪书生偏善幻，何人不是幻中来。”此系列照片见证了我们从来都既生活在彼此转瞬即逝的时间里，也存在于宇宙卷土重来的时间中。

In this series, the artist returns to her original medium–photography–and rediscovers the value of seeing by identifying open secrets that have had profound, eternal influence on life: The moon reminds of the sun, dreaming reminds of awakening, skins remind of bones, embryos remind of ancestors, the advancing reminds of the unarrived, the midmost reminds of the freest... As a Ming poet says, “don't blame the pupil for indulging in fantasies and illusions, since we all depart from ephemera.” The photographs in this series are proof that we have always been living in each other's finite times, and in the recursive time of the cosmos.

在名为“声海”的迷人海洋之旅中，我们被带到了北极罗弗敦群岛。在这里，一位科学家深入研究了声学生态学领域，探索了海洋的奥秘，并建立了跨物种的联系。这部电影的诗意描绘邀请我们思考海洋隐藏的交响乐——充满了新生的生命形式、富有想象力的相互联系和行星生态系统的演变。通过这个科幻镜头，艺术家揭开了将生命束缚在海浪之下的错综复杂的面纱。

In the enthralling oceanic journey titled "Acoustic Ocean," we are transported to the Arctic Islands of Lofoten. Here, a scientist delves into the realm of acoustic ecology, probing the mysteries of the oceans and forging connections across species. The film's poetic portrayal invites us to contemplate the ocean's hidden symphony—replete with nascent life forms, imaginative interconnections, and the evolution of the planetary ecosystem. Through this science-fictional lens, Ursula Biemann unveils the intricate tapestry that binds life beneath the waves.

亚历山大·涛伯格(Alexander Tovborg)在构成绘画時以不同體系的宏大原型为主题，将神秘主义、神话、占星术和植物学的符号无缝串联。没有时间顺序、时间性、科学或自然主义的约束， 涛伯格得以在这些迥异的象征领域之间自由穿梭。

在其系列作品中，涛伯格将他的创作探究集中在他最亲近的人身上：他的家人。纵观这些作品， 观众可以一窥艺术家的家庭经历，而涛伯格对特定媒介的使用更进一步强化了这一主题。他热衷于在床单上作画，从字面和象征层面增添了作品的私密性。画作以轻盈的特质与白亮的配色为主 轴，好似用双眸注视这些作品时，恰有月光洒入其间。这种调色为作品注入了一种摇曳不定的半透明感，同时也使作品中的形象微微震动，让观者目眩。这柔軟的光芒散发着艺术家对其家人无尽的温柔、宠爱与关怀。借用历史上对神灵的描述，艺术家不遗余力地构建着以家庭为中心的意识形态语汇。

Alexander Tovborg expounds on the morphology of the great archetypes derived from various fields such as mysticism, mythology, astrology, and botany. Without the constrains of chronology, temporality, science, or naturalism, Tovborg is able to move freely between these disparate, symbolic realms.

In this body of work, Tovborg has focused his creative inquiries on the people closest to him: his family. Viewing these works provides a glimpse into the artist's familial experience, one that is further enhanced by Tovborg's use of medium. He avidly paints on bed linen, adding both a literal and allegorical layer of intimacy to his practice. The lightness and white colors that characterize many of these paintings allude to the sensation of looking at the figures with moonlight in your eyes. This palette imbues the work with a sense of destabilizing translucency and adds a sense of vibration to the figures, so that they themselves appear to be blinding the beholder. This soft light is intended to symbolize the unending tenderness, grace, and care that the artist feels for his family. Borrowed from historical depictions of the divine, the artist continues to build an ideological vernacular centered around his family.

《晨雾》为2023年艺术家为上海外滩美术馆创作的作品，围绕王伊芙龄韬程艺术剧本里的两位主要化身展开：艺术家阿格妮丝·马丁（1912-2004）和作家张爱玲（1920-1995）。艺术家并非简单地挪用或临摹两位的作品，而是以讽刺、风趣或荒诞的语调将它们作为现成品（readymade）引用，表现自己独特的风格。她的作品深入探讨个体性，真实性和自我表达等古老的哲学问题。

Morning Mist is a work which created for the Rockbund Art Museum (RAM) in 2023, it builds upon two key themes in Wang's repertoire—her embodiment of artist Agnes Martin (1912–2004) and writer Eileen Chang (1920–1995). Rather than appropriating their work, Wang adopts a readymade citation approach using irony, wit, or absurdism to imbue her own unique voice. Her work delves into the age-old philosophical question of individuality, authenticity, and self-representation, exploring what it is to be oneself, at one with oneself, or truly representing one's self.

“我与父亲面对面站立着，我们两个人中间放着一张镜面纸，隔开我们。我选择有着微微透明度的镜面纸。我们在镜面纸中看到清晰的自己的同时，也会影影绰绰地看到模糊不清的对方的脸。我将这张薄薄的镜面纸点燃，镜面纸开始扭曲，改变着我们在镜面中的形象，我们在镜中的形象随着?焰的蔓延而融化消失，随着镜面纸的燃尽，我们父子得以真面相?。我将这个过程分别从双方的视角拍摄成录像，并分别把录像做成正放和倒放两个?段，首尾相连循环播放，使?焰烧镜子的过程周而复始，形成一个无始无终的闭环的录像文件。这样有了两个闭环文件：《父子照镜子》之父亲镜中录像和儿子镜中录像。我在展场中放置两面“圆形立镜”，将这两个录像分别投射到两个“圆形立镜”上。这两面“圆形立镜”实际上是有着一层薄纱的透明玻璃，影像投射其上会留住影像，也会透过去影像，并投射到圆镜后的墙上。这样，“圆形立镜”上的影像与墙面上的影像是互为镜像的影像，墙面与立镜之间成为了一个互为镜像的空间。两个“圆形立镜”面对面，立镜也会反射影像到对面的墙上。这样形成了三个空间，多层次的影像方式：投射、透射、反射。父子照镜子的过程呈现在这个多层次的空间中，父子不断地转换着位置。”

                               ——艺术家自述

Artist's Self-statement:

"I stood face to face with my father, with a mirror paper placed between us to separate us. I chose mirror paper with slight transparency. While we saw ourselves clearly in the mirror paper, we also vaguely saw the blurry face of the other. I ignited this thin mirror paper, and it began to twist, altering our images in the mirror. Our reflections melted and disappeared with the spread of the flames. As the mirror paper burned out, father and son were able to see each other's true face. I recorded this process from both perspectives, dividing it into two parts: forward playback and reverse playback. The video played in a continuous loop, with the flame repeatedly burning the mirror, creating a closed-loop video file with no beginning or end. This resulted in two closed-loop files: the father's mirror recording and the son's mirror recording in "Father and Son Looking in the Mirror".

In the exhibition hall, I placed two “round standing mirrors” and projected these two videos onto them respectively. These “round standing mirrors” were actually transparent glass with a thin layer of gauze. When images were projected onto them, they were retained and transmitted, then projected onto the wall behind the mirrors. In this way, the image on the “round mirror” and the image on the wall were mirror images of each other, and the space between the wall and the mirror became a mirrored space. The two “round standing mirrors” faced each other, reflecting the image onto the opposite wall. This created three interconnected spaces through multi-level imaging methods: projection, transmission, and reflection. The process of father and son looking in the mirror is presented in this multi-layered space, with the father and son constantly shifting positions."

将个?放置在历史变迁中进?不断的?我?新，是梁远苇?直以来的?作?法。作为她绘画中常?的主题，“花”往往不是?然界中具象的花，?是在?业?产的布料上被压平的花的图案，是在社会?产中被赋予了多重含义的?造物。在对这?现成品的引?和编辑中，艺术家不断引入个?经验，推演与扩展着主题的表现形式和其语义本身。在其新近开辟的线索中，梁远苇开凿出?套更为果敢?强烈的语?—是身体性的，也是社会性的；是私隐的，也是袒露的。当“花”的单体被放?到纪念碑的尺度，当绘画的材料被减少到极限，当笃定的笔法造型短暂替代了细微的笔触，艺术家揭开层层修饰与幻象，逼迫着??和观者去直?艺术中更为纯粹与残酷的本质。

To continually adapt to social and historical movements by immersing oneself within them has always been Liang Yuanwei's priority. As an everyday object often seen in her paintings, the flower is not so much seen as a natural object but rather as the pattern widely printed on fabrics as the products of industrialization and consumerism, and as artificial objects given with multiple layers of social contexts.

Throughout the progress of re-appropriating such found objects, Liang Yuanwei constantly practices with and further expands both its original forms and their connotations. In her recently developed path, Liang Yuanwei has applied a much more intuitive and impressive visual language that is both carnal and social, shedding light upon private experiences as well as shared ones. The more the scale of the flower is enlarged, the less mediums are utilized, and the less modifications Liang Yuanwei applies. As the artist uses brutal and structural brushstrokes to gradually replace the subtle lines, she also unravels the fantasies by encouraging both herself and the spectators to confront the cruelty that lies at the core of art.