阿拉里奥首尔｜布恩·卡路拜恩个展「日之气息：游戏与劳作的韵律」｜展期至4月12日

画出你的脸庞，擦去地面，反之亦然 2 

Draw your face to erase the land, and vice versa 2 

2025

布面上粉彩与丙烯

Pastel and acrylic on canvas

91 × 76 cm

?阿拉里奥画廊及艺术家

Buen CALUBAYAN is a Manila-based artist whose practice unfolds at the intersection of art, labor, and education. His work critically examines institutional frameworks such as painting, landscape, and linear perspective, drawing from them various strategies and practices that explore bodily rhythm, movement, and sensory capacities. By doing so, he challenges traditional models of power and oppression, reconstructing the relationship between the body and the world. Ultimately, his work focuses on the systems that govern everyday life and the institutions that shape and control our existence. Through painting, drawing, video, and installation, CALUBAYAN questions the imposed Western visual systems and offers alternative perspectives.

"The smell of the sun, traces of movement". It is a phrase that evokes the lingering traces of movement—the rhythmic imprints—left on the bodies of children playing outdoors or laborers after a day’s work. The concept of "rhythm," which runs through CALUBAYAN’s recent works, refers to the rhythm of light, bodily movement, shifts in the environment and landscape, and the fundamental forces that enable the creation and transmission of knowledge. This exhibition invites audiences to engage with a diverse range of works that explore these dynamic rhythms, which serve as the foundation for learning, memory, and communal experience.

卡路拜恩的艺术创作基于长期深入的跨学科研究。在"批判教育学"的宏观框架下，他探究风景画、教育实践及原住民土地抗争的历史，将艺术史与社会文化议题相交融，由此探索感知、知识与政治之间不可分割的动态关系。艺术家视"运动"与"韵律"为习得的本质，他主张超越固有的认知范式，重新发现我们本真的身体与感官。作为"根基性"概念的一部分，卡路拜恩的创作实践既包含对传统认知的解构，也倡导以再学习与集体学习重构认知。

CALUBAYAN’s artistic universe is grounded in long-term, in-depth research. Under the broad framework of “critical pedagogy,” he investigates the history of landscape painting, educational practices, and indigenous land struggles and integrates art history with socio-cultural issues to explore the inseparable dynamics of the senses, knowledge, and politics through the language of art. He considers “movement” and “rhythm” to be the essence of learning, urging a rediscovery of one’s body and senses beyond fixed conventional viewpoints. As part of the concept of “grounding”, he deconstructs traditional learning and advocates for relearning and collective study.

展览现场，2025，阿拉里奥画廊首尔空间

（如何欣赏）过早的日落 (How to enjoy) a premature sunset

2025

两个单频影像装置

Two single-channel video installation

尺寸可变 Dimensions variable

L: 14'00", R: 28'49"

?阿拉里奥画廊及艺术家

本次展览也呈现卡路拜恩对教育学的长期研究：他既揭示传统线性感知与殖民视角如何限制我们的感官认知，也探索突破这些认知桎梏的可能性。卡路拜恩批判将学生异化为劳动力商品的新自由主义教育体系，也反思将视觉经验平面化的透视法艺术遗产。他转而提出以根植于游戏与劳动的原住民社区经验，作为替代性的知识生产体系。通过拓展感官认知维度，展览展示了以身体与感知为中心的学习模式如何培育人们的社会议题意识及共情能力，也邀请观者超越固有视角，重新发现自己的身体和感官，去探索拓宽感知方式的另一种可能性。

This exhibition is based on CALUBAYAN's longstanding research on pedagogy, examining how conventional linear perception and colonial perspectives have constrained our senses and knowledge while exploring new possibilities to overcome these limitations. The artist critiques the neoliberal education system, which operates like a factory converting students into mere labor forces, as well as the historical legacy of perspective in art that has flattened our vision. Instead, he proposes Indigenous communities’ experiential learning methods—rooted in play and labor—as an alternative knowledge system. By expanding sensory perception, the exhibition demonstrates how body- and sensation-centered learning can foster awareness of social issues and communal empathy. Inviting audiences to rediscover their own bodies and senses beyond fixed viewpoints, this exhibition explores alternative possibilities for broadening our ways of perception.

展览现场，2025，阿拉里奥画廊首尔空间