展览预告 | 特奥多拉·阿克森特个展：第二张桌
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海报设计：郭令怡
NO.202, 2nd Floor, Sea World Culture & Arts Center, Shenzhen
* Please scroll down for the English version万一空间荣幸呈现罗马尼亚艺术家特奥多拉·阿克森特（Teodora Axente）的中国首次个展「第二张桌」（The Other Table）。延续其2023年双个展「金色狮子」的超现实主义道路，展览汇集了艺术家近一年全新的绘画实践。此次创作的核心主题“蜕变”（metamorphosis），以静物、风景与身体转化的三重视角，构建出一个游移于现实与精神之间的图像世界，而这一世界的隐秘源点来自她所设立的“第二张桌”。 桌子作为日常家具，其形制源自古代的“高坐”传统。随着高坐形式逐渐世俗化，桌子演变为一种承载仪式与社交行为的器具，并划分出一处容纳仪式、共享、协商与知识生成的社交场所。从祭坛到餐桌，从谈判桌到书写台，它不断参与人类对秩序与权力、他者与自我的构筑。在阿克森特笔下，她舍弃了日常的社交主体，刻意剥离第一张桌上觥筹交错的沟通对象，使抽象的“第二张桌”成为指向另一种秩序的隐喻，从而为蜕变留位。 在诸多新作中，桌面延伸至地平线之外，成为现实边界外不可抵达处的入口。在不可见之处，席位被重新分配。阿克森特的绘画里，黑景白布托举着向生命体转化的金属餐具：圣杯口沿绽放百合、勺柄化作莲苞、剪刀双刃延伸为两尾鱼；这些变形是宗教寓言体系中接近神的步骤，构成一场隐藏在“第二张桌”上的仪式，致敬着《最后的晚餐》（The Last Supper）这一圣餐母题。艺术家试图通过餐桌上的交流唤起共融、对话与团结的理念。 同时，阿克森特大胆采用横向构图，将桌面水平线延展为风景前线，如同从传统卷轴中截取的视野碎片。但与“移步换景”的延续性视线引导不同，阿克森特并不寻求构建逻辑叙事，而是将白日梦世界的一隅撕开，显露出山峰、光线与物象正在经历的缓慢变形。多重地平线铺开于画布，而与山势相对的水域则被她以闪亮的锡箔取代。这片金属般的“海面”吸纳了生物的忧虑与纷扰，揉皱的纹理犹如被扰动的镜面，映照出生活的暗面与欲望的轮廓。在这一奇幻的超现实景观里，昼与夜、生与死、已知与未知不断交叠，形成无尽的过渡状态。 画作中，个体的转化与蜕变发生于桌面，而自然界中昆虫的完全变态（Complete Metamorphosis）过程为艺术家提供了新的形象转译参考，她将此前对“人与动物”关系的探讨转向“人与昆虫”的隐性变相。在画作《圣餐礼》（Eucharistic）和《祷告》（In Pray）中，主体在领受圣餐与祈祷的过程中获得灵魂的食粮，逐步迈向更高的精神存在，这一转化之路成为桌面延续的隐形道标。艺术家将象征傲慢之罪的毒蘑菇与雕像置于前景予以警戒；鱼、百合、剪刀象征味觉、视觉、嗅觉三重感官，它们分别居于中远景，以俯瞰全局的视角指向祂的临在。 当代绘画语境下，圣餐礼中原始的献祭化为日常桌面上的“礼物”与“共享”，而重构这一经典题材不仅关乎食物的分配，更指向位置、边界与角色关系的再度确认。阿克森特的“第二张桌”标示出并行的两种世界，以第一张桌书写现实的秩序，而第二张桌指向想象、迷思、信念与内在的转化。艺术家将被忽略之物置于第二张桌的中央，并试图重构一种世界秩序。在这张无人就坐的桌上，人得以再次关注桌面未完成的仪式。也正是在这些人物失语的空隙中，蜕变悄然发生。
W.ONESPACE is honored to present “The Other Table”, the first solo exhibition in China of Romanian artist Teodora Axente. Continuing the surrealist trajectory of her dual exhibition Scène Noire in 2023, this presentation gathers nearly a year of her latest painterly explorations. Centered on the theme “metamorphosis”, the works unfold through three intertwined perspectives - still life, landscape, and bodily transformation, constructing a visual realm suspended between the material and the spiritual. At the hidden origin of this world lies the conceptual threshold named “the other table”.As a piece of domestic furniture, table has its structural origin in ancient traditions of elevated seating. Over time, as this format gradually became secularized, the table evolved into a tool mediating ritual and social behavior—delineating a spatial site where ceremony, sharing, negotiation and knowledge formation take place. From altar to dining table, from negotiation table to writing desk, it continually participates in humanity’s construction of order and power, of self and other. In Axente’s practice, she deliberately removes the social bodies seated at the “one table”, erasing the human interlocutors once engaged in exchange. Through this absence, the abstracted “the other table” emerges as a metaphor for another order, an opening where metamorphosis becomes possible.In new works, the tabletop extends beyond the horizon, becoming an entry point into a realm unreachable from reality’s edge. Somewhere beyond the visible frame, the seating is redistributed. In Axente’s paintings, white cloths and dark backgrounds elevate metallic utensils as they begin their transformation into living forms: a chalice blossoms into lilies, a spoon handle becomes a lotus bud, and the twin blades of a pair of scissors elongate into two fish. These mutations echo symbolic steps toward the divine within religious allegorical systems, forming a concealed ritual unfolding atopthe second table—a gesture of homage to the sacred motif of The Last Supper. Through the language of the table, Axente evokes the ideals of communion, dialogue, and unity.At the same time, Axente adopts elongated horizontal compositions, extending the tabletop’s line into the foreground of the landscape, like a fragment torn from a traditional scroll. Yet unlike the continuous shifting perspective of classical panoramic vision, her intent is not to construct narrative logic. Instead, she tears open a fragment of a daydream, revealing mountains, light, and objects caught in a slow state of transformation. Multiple horizons unfold across the canvas. Opposite the mountains, the water’s surface is rendered in shining metallic foil—a restless sea absorbing the anxieties and tensions of living beings. Its crumpled texture resembles a disturbed mirror reflecting the shadows of life and the outlines of desire. Within this fantastical, surreal terrain, day and night, life and death, the known and the unknown overlap endlessly, forming a perpetual state of transition.Within the paintings, transformation occurs at the table, the process of complete metamorphosis in insects becomes a new reference pathway for Axente’s visual translation. Her earlier exploration of the relationship between humans and animals shifts subtly toward the relationship between humans and insects. In works such as Eucharistic and In Pray, the figures receive spiritual nourishment through communion and prayer, advancing gradually toward a heightened state of being. This passage becomes an invisible axis extending from the tabletop. Symbols of pride and spiritual danger—poisonous mushrooms and statues occupy the foreground as warnings. Fish, lilies, and scissors correspond to taste, sight, and smell: three senses that occupy the middle and distant ground, surveying the scene and pointing toward the presence of the sacred.In the context of contemporary painting, the ancient sacrifice embedded in Eucharistic ritual becomes a gesture of offering and sharing upon an everyday table. To reconstruct this classical motif is not merely to redistribute food - it is to reexamine position, boundary, and relational structure. Axente’s the other tablemarks the coexistence of two worlds: one table inscribes the order of reality, while the other directs us toward imagination, myth, belief, and inner transformation. By placing overlooked objects at the center of “the other table”, artist attempts to reorder the world. Upon this unoccupied table, unfinished rituals resurface. It is precisely within these silent intervals - in the absence of human voices, metamorphosis takes place quietly.This exhibition is on until January 18, 2026.请向下滑动文字 Please swipe down the text
特奥多拉 · 阿克森特(Teodora Axente) 1984年出生于罗马尼亚锡比乌，硕博毕业于克卢日艺术学院，现工作生活于克卢日-纳波卡市。她的媒介以布面油画为主，而她的创作主题较多涉及当代存在的问题和对人性发展的社会调查。她于2011年获得埃斯尔艺术奖（Essl Art Award）并参加奥地利维也纳埃斯尔博物馆群展，同时于2013年土耳其伊斯坦布尔现代艺术馆参展等，被称为罗马尼亚最受人瞩目的艺术家之一。 艺术家在一系列装置和材料限制下的异化人物绘画中，探索了内部危机的状态。阿克森特以独特的具象语言为标志，将她的主题设定为一个超现实环境，创造了属于自己的对立世界，即世界一侧是有形的物质，另一侧则处于难以捉摸的内部精神中。作为克卢日学院的一员，阿克森特与罗马尼亚先锋派画家团体一同探讨了幽深而迷人的物质性对现代社会人们精神层面所带来的实质颠覆性转变。Teodora Axente is an emerging Romanian artist descending from the Cluj School of Art, working and living in Cluj Napoca city. Her practice of painting includes classical support of oil on canvas, while her subject and manner addresses existential contemporary issues and social inquires regarding nowadays humanity . During 2011 Teodora Axente was the recipient of the Essl Art Award resulting in a group exhibition at Essl Museum in Vienna, her work was also presented at Contemporary Istanbul 2013, Turkey, along with works by other emerging. Romanian artists. She has also been described as one of the most promising young artists in Romania.
In eerie paintings of human figures constricted by an array of devices and materials, Teodora Axente explores states of internal crisis. Marked by a distinctive figurative language, Axente depicts her subjects in a surreal setting creating a world of her own, having one foot in the tangible or the material world and the other foot in the spiritual or the elusive. A member of the Cluj School, Axente shares with this young group of Romanian painters her dark, sultry colour palette and preoccupation with the uncertainty of the individual in modern society.
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.
weonspice为一个灵感、冲动和际遇碰撞交错的实验场，这里有灵机一动、不切实际或偶尔严肃的思考和行动。
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