作品鉴赏｜很高兴在这遇见你——GDMoA第二届公共艺术展

“很高兴在这遇见你——

GDMoA 第二届公共艺术展”

以广东美术馆新馆开阔的公共空间为场域，

持续探索

公共艺术在当代社会语境中的可能性。

该展览汇集二十余位来自不同文化背景的当代艺术家作品，涵盖广东美术馆重要馆藏、艺术家借展作品，以及来自高校研究机构的前沿艺术实践，在广东美术馆新馆中央大厅集中呈现。不同于传统“白盒子”式的展陈方式，展览将作品置于观众必经的公共流线之中，使艺术不再是被动观看的对象，而成为可被“相遇”的存在。

Nice to Meet You Here — The 2nd GDMoA  Public Art Exhibition takes the expansive public spaces of the Guangdong Museum of Art (BAIETAN) as its site, continuing to explore the possibilities of public art within contemporary social contexts. 

The exhibition brings together works by more than twenty contemporary artists from diverse cultural backgrounds, featuring key collections from the Guangdong Museum of Art, loaned works by invited artists, and cutting-edge artistic practices from academic research institutions, all presented within the museum’s central hall. Departing from the conventional “white cube” exhibition model, the artworks are embedded within the museum’s main circulation routes, allowing art to be encountered rather than merely observed. 

作品鉴赏

Works Appreciation

大圣  Dasheng

李象群（中国）Li Xiangqun (CHN)

玻璃钢材质  Fiberglass reinforced plastic, colored

高3.75米  Height 375cm

2024 

作品由艺术家提供  Courtesy of the Artist

作品《大圣》是对中国古典文学名著《西游记》中孙悟空的独特演绎，以京戏武生经典亮相的反手握棒姿势，尽显孙悟空的英雄气派。这件雕塑作品不只是对这一经典文学形象的再造，更是对中华传统文化的致敬，艺术家借这一形象，传递了对传统文化精神的自豪与自信。

The Dasheng offers a distinctive reinterpretation of Sun Wukong, the legendary protagonist of Journey to the West, one of the Chinese literary classics. Capturing the iconic reverse-grip cudgel stance of Peking Opera martial performers, the piece radiates the mythic hero's indomitable bearing. More than a mere recreation of this literary icon, this work stands as a homage to traditional Chinese culture. Through this figure, the artist conveys a profound sense of pride and confidence in the enduring spirit of cultural tradition.

紫气东来一一老子出关

Purple Qi Coming from the East: Laozi Departure

from the Hangu Pass

吴为山（中国）Wu Weishan (CHN)

青铜 Bronze

199 cm x 150cm  x  55 cm 

2024

广东美术馆藏 Collection of Guangdong Museum of Art

作品取意于中国传统文化中“老子出关”的典故。雕塑中的“老子”身姿飘逸，恍若乘青牛徐行的隐者，尽显高古奇崛之态。在舒展而富有动势的形体中呈现出超然物外的精神气度。吴为山以其标志性的写意雕塑语言，将人物形象从具象再现中解放出来，通过虚实相生、动静互融的造型方式，凝练出东方哲思的内在气韵。

“紫气东来”在中国文化中象征吉祥与启示，作品以此命名，既是对先贤老子的致敬，也寄托着中华文化与当代社会持续对话的美好愿望。在公共空间中，宛如一位静默的智者，无声地传递着东方美学的深邃意蕴，以及写意精神所蕴含的开放性与生命力。

The work draws inspiration from the traditional Chinese cultural allusion “Laozi Leaving the Hangu Pass”.This sculpture captures Laozi in a graceful bearing, evoking the image of a hermit taking a slow ride on an ox; it exudes a lofty, ancient and unconventional demeanor. His stretched, dynamic form exudes a spiritual detachment from worldly concerns. With his iconic freehand sculptural language, Wu Weishan breaks free from the constraints of literal representation. Through the interplay of emptiness and solidity, and the integration of motion and stillness, he istills the intrinsic essence of Eastern philosophy.

“Purple Qi Coming from the East" symbolizes auspiciousness and enlightenment in Chinese culture. Naming the work serves as both a heartfelt homage to the revered sage Laozi and a poignant testament to the enduring aspiration for dialogue between Chinese culture and contemporary society. Placed in a public space,it stands as a silent sage, quietly imparting the profound connotations of Chinese aesthetics and the vivid charm of the freehand spirit.

新世纪不再忧伤  New Century, No More Sorrow

黄永玉(中国）Huang Yongyu (CHN)

铜  Bronze

193cm × 148cm  ×  80cm

2000

广东美术馆藏 Collection of Guangdong Museum of Art

《新世纪不再忧伤》完成于世纪交替之际，是黄永玉1999年在广州筹备“黄永玉跨世纪艺术展”期间的重要创作。作品以生动而开放的形态，寄托着艺术家对新世纪的情感与期许。作品曾长期陈列于广东美术馆本馆南门广场，作为公共空间中的艺术存在，与城市日常持续对话，也成为广东美术馆馆藏中承载时代记忆与地域情感的重要作品之一。本次公共艺术展中，作品移展至广东美术馆新馆，与馆内同期举办的“如此漫长，如此浓郁：黄永玉新作展”形成跨越时间的呼应：一端指向世纪之交的精神凝视，一端展现艺术家晚年阶段焕发的新创造力，共同勾勒出黄永玉艺术生命中延续而更新的轨迹。

New Century, No More Sorrow was created around the turn of the millennium during Huang Yongyu's preparation for the exhibition Trans-Century Artistic Exhibition by Huang Yongyu in Guangzhou in 1999. With its vivid and open form, the work conveys the artist's emotional response to, and aspirations for, the new century. The sculpture was long installed at the South Gate Plaza of the Guangdong Museum of Art (Ersha Island), where it functioned as a work of public art in continuous dialogue with the rhythms of everyday urban life. It has since become one of the museum's representative collection works that carry both the memory of an era and a strong sense of regional affection.In this public art exhibition, the work is relocated to the Guangdong Museum of Art (Baietan), forming a temporal dialogue with the concurrently presented exhibition So Long, So Profound: Huang Yongyu's New Paintings. While one reflects upon the spiritual sensibility at the turn of the century, the other reveals the renewed creative vitality of the artist in hislater years, together tracing a trajectory of continuity and renewal in Huang Yongyu's artistic life.

天工?七合  Heavenly Craft: Sevenfold Convergence

王绍强（中国）Wang Shaoqiang (CHN)

青铜镀漆  Bronze with black lacquer finish 

尺寸可变 Dimensions variable

一组7件 set of 7 pieces

2021

33美术馆藏  Courtesy of 33 Art Museum

作品延续艺术家对于人文地理的研究课题，以实地考察取样的方式，将源于黄河上游的实物样本采集回来进行创作。构思的元素始于华夏文明之源，原地采样后进行样本研究、造型放大、材料加工，赋黑漆予青铜，亦欲还原每块灵石的经纬度定位。作为金属冶铸史上最早的合金，青铜具有其重要性和特殊的历史意义。青铜将文明的象征和礼乐精神融合在一起，除了工艺精湛的典范，创作将微观个体做体量上的转变，从微观到宏观，天然之石到精工之铜，媒介、经纬、时空的转化在七块岩石的组合中熔于一炉。“天工”既指自然形成的技巧，也蕴含着人工巧物的意味。观象通物，我们的当代人文地理研究从二维平面拓展到三维立体空间，我们试图将历史与岁月以一种新的面貌转换在天地间，崇尚文化之根，湖源文明之始，在雕塑与大地组建的这个新的动态语境中深化传承与创新、人文地理和图像学的研究题。

This work builds on the artist's ongoing research into human geography and cultural landscapes. Through field surveys and sample collection, tangible samples sourced from the upper reaches of the Yellow River are integrated into the creation process. The conceptual elements trace back to the origins of Chinese civilization. After on-site sampling, the artist studies the specimens, scales up their forms, and refines the materials一applying black lacquer to bronze while pinpointing the latitude and longitude coordinates of each stone.As the earliest alloy in the history of metal smelting, bronze carries profound importance and special historical significance. It embodies the symbols of civilization and the spirit of ritual and music. Beyond showcasing masterful craftsmanship, the work translates microcosmic individual specimens into large-scale installations. From the micro to the macro, from raw natural stone to meticulously forged bronze, the interplay of media, coordinates, time, and space is woven into the composition of the seven stone forms.“Heavenly Craft" refers not only to the ingenuity of nature but also to the artistry of human creation. By observing phenomena to comprehend essence, contemporary research on human geography expands from two-dimensional planes to three-dimensional space. The work strives to reinterpret history and time in a new form between heaven and earth, honoring cultural roots and tracing the origins of civilization. Within this dynamic dialogue between sculpture and the land, the research themes of inheritance and innovation, human geography and iconology are further deepened.

?的微笑 The Smile of Water

高少康（中国香港）Hong Ko (HKG)

不锈钢、毛绒、人造皮革

Stainless steel, plush, synthetic leather

尺寸可变 Dimensions variable

2023年

作品由艺术家提供 Courtesy of the Artist

《水的微笑》属于艺术家持续进行的“眼前一亮”创作系列。系列中标志性的星星眼睛笑面，源自当代高度信息化与即时性的视觉语境，是一种被不断消费、却又难以忽视的时代表情。艺术家借由这一表情符号，回应我们所处时代的感知方式与情绪状态。装置由不同尺度的毛绒球体与不锈钢球体组合而成，既像图腾，也仿佛某种正在生成的生物形态；它们在平面与立体之间转换，既是泡沫，也是柱体。球体的分裂与聚合，暗示细胞、能量与想象力的循环，象征从最微小的存在到最宏大的结构之间的连结。作品置于白鹅潭广东美术馆的中央大厅之中，与建筑的高度、自然光线及窗外的滨江水域形成对话。水的意态与天空的倒影被引入作品的观看经验，使装置不再是一个孤立的物件，而成为空间、环境与观者之间流动关系的一部分。在行走与凝视之间，作品留下片刻轻盈而短暂的一一“水的微笑”。

The Smile of Water is part of the artist's ongoing Blinkeyes series. The series' signature star-shaped smiling eyes originate from the visual culture of an era defined by information overload and instant communication一an expression constantly consumed, yet impossible to ignore. Through this emblematic visual language, the artist reflects on the ways perception and emotion are shaped in our time.The installation is composed of plush and stainless-steel spheres of varying scales. Resembling totems or emerging life forms, the elements shift between planar and three-dimensional states一at once bubbles and columns. Their processes of division and aggregation evoke cycles of cells, energy, and imagination, suggesting a continuum that connects the smallest units of existence to the most expansive structures. Installed in the central hall of the Guangdong Museum of Art (Baietan), the work enters into dialogue with the building's vertical scale, natural light, and the riverscape beyond the windows. The presence of water and the reflections of the sky are drawn into the viewing experience, transforming the installation from an isolated object into a fluid relationship among space, environment, and viewers. Between walking and looking, the work leaves behind a light, fleeting moment一the smile of water.

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郭达麟（中国香港）Dylan Kwok (HKG)

PVC，水，亚克力  PVC, Water, Acrylic

160cm ×  160cm  ×  220cm  ×  2

2020

由艺术家提供  Courtesy of the Artist

作品呈现猴子静坐，低头凝注手中物件，这一形象很容易勾连起不同时代的生活切片一一既如上世纪六十年代上班族候车读报的状态，又恰似当下的人们在路途中刷着手机、接收实时信息的日常。无论时代如何变迁，人们在等待与行程之间的时刻，往往在不知不觉中持续地接收讯息。从纸媒到互联网，科技不仅重构了信息节奏，也改变了新一代对世界认知方式：一切趋于“实时”。透过社交平台，我们看似更迅速、更紧密地联系他人，却仍然难以获得真正关注。艺术家借这组作品提出疑问：在信息无处不在的当下，我们真的比以往更紧密相连？还是只是孤独地在一起？

The installation captures monkeys seated in a quiet pose, heads bowed and gaze fixed on the objects held in their hands. It weaves together snapshots of life across eras: it calls to mind an earlier generation of office workers lingering over newspapers while waiting for buses, and equally mirrors our habit of scrolling through smartphones for updates while on the 90. No matter how society evolves, people find themselves unconsciously consuming information in the liminal moments between waiting and moving about. From print media to the digital age, technology has not only reshaped the pace of information dissemination, but also redefined how the people engage with the world， with everything now revolving around “real-time*". Social platforms may seem to link us to one another more swiftly and closely, yet genuine, meaningful connection continues to elude us. Through this series, the artist poses a poignant question: in an age where information is ubiquitous, are we truly more interconnected than ever? Or are we merely alone together?

摘星 Reaching for the Stars

赖俊杰（中国）Lai Junjie (CHN)

不锈钢Stainless steell 

180cm  ×  98.5cm  ×  300 cm 

2024

广东美术馆藏 Collection of Guangdong Museum of Art

《摘星》以艺术家赖俊杰标志性的鸭子IP形象为载体，七个人物相互托举，憨态中藏着灵动，使作品兼具鲜明的个人符号与情感温度。作品整体采用C形构图，纵向的托举关系形成清晰的视觉上升力，横向延展则拓展了雕塑的空间张力，共同传递了协作奋进的精神状态。不锈钢的镜面质感，使周遭环境被纳入作品之中，人物轮廓在光影变化中愈发鲜明，也隐含着“以协作攀高峰，以奋进探苍穹”的炽热信念。无论置于何种空间语境，《摘星》都以七人协作的姿态，凝聚个体与集体的关系，传递出务实进取、协同创新的价值指向。作为一件公共艺术空间当中的雕塑作品，《摘星》串联馆内外艺术场域，通过开放的构图与亲和的形象语言，拉近艺术与观众之间的距离，使“协作、奋进、逐梦”的主题在当代语境中获得持续的感知与回应。

Reaching for the Stars centers on the artist Lai Junjie's signature duck figure. Seven figures lift and bolster one another,blending endearing charm with lively wit to imbue the work with distinct personal symbolism and heartfelt warmth. Framed by an elegant C-shaped composition, the piece generates a powerful visual upward thrust through its vertical stacking of forms,while its horizontal expanse enhances spatial dynamism,together encapsulating a spirit of unity and striving. The stainless steel's mirror-like finish merges the surrounding environment into the sculpture itself. As light and shadow shift, the figures' outlines grow increasingly defined, subtly echoing the ardent belief that “collaboration lifts us to new heights; striving carries us toward the firmament”. No matter the spatial context it inhabits, Reaching for the Stars, through its collective tableau of seven figures in tandem, articulates the intrinsic bond between individual aspiration and collective endeavor, embodying the values of pragmatic progress and collaborative innovation.Designed for public art spaces, this sculpture bridges the artistic realms inside and outside the venue. With its open, inclusive composition and approachable visual language, it closes the gap between art and audience, ensuring that the timeless themes of “collaboration, perseverance and dream-chasing" continue to strike a chord and resonate deeply in the contemporary context.

粼光之柱 The Column of Rippling Light

赫利顿?希夏（意大利）Helidon Xhixha (ITA)

不锈钢，局部抛光 

 Stainless stee，artially polished and brushed

80cm  ×  80cm  ×  750 cm

2025

广东美术馆藏 Collection of Guangdong Museum of Art

这件7.5米高的正方形柱状雕塑，以其独特的造型和材质运用,构建出光线、环境与空间之间的持续对话，成为珠江畔一道引人注目的艺术风景。雕塑局部凹陷呈水浪起伏的造型，暗合珠江的流动意象，此部分采用镜面不锈钢，可折射珠江的波光??粼、天空的变幻色彩以及周围的建筑，随着光影流转形成动态画卷，与珠江水脉自然呼应。柱体其余平面部分则采用麻面不锈钢，质感沉稳厚重，喻指珠江流域的历史文化的积淀，与镜面的灵动光影形成材质反差，两种材质在同一垂直体量中并置，构建出丰富的视觉层次。《粼光之柱》更是艺术家对珠江文化、光与环境关系的凝练表达。它矗立在广东省美术馆新馆门口，正对珠江，既是场馆标志性景观，也为珠江沿岸添注现代艺术气息，让观众在观赏中感知材质、光线与自然环境相互交融的独特魅力。

This 7.5-meter-tall square columnar sculpture, with its distinctive form and material application, forges an ongoing dialogue between light, environment and space, cementing its status as a striking artistic landmark along the Pearl River waterfront. Partially concave with fluid wave-like contours,the piece echoes the meandering flow of the Pearl River; this curved section,finished in mirror-polished stainless steel, captures the river's shimmering ripples, the sky's shifting hues and the surrounding architecture. As light dances across its surface, the sculpture transforms into a dynamic panorama that resonates in perfect harmony with the Pearl River's watercourse. The column's remaining flat planes are crafted from brushed stainless steel，whose muted, solid texture embodies the profound historical and cultural legacy of the Pearl River Basin.Juxtaposed within a single vertical volume, these two contrasting materials create a richly layered visual experience.The Column of Rippling Light distills the artist's meditations on the Pearl River culture and the interplay of light and environment. Standing sentinel at the entrance of the Guangdong Museum of Art (Baietan), directly facing the Pearl River, it functions as both a defining landmark for the venue and a vivid infusion of modern artistry into the riverside landscape. Through this work, audiences are invited to immerse themselves in the unique allure of materials, light and nature converging as one.

功夫·一指 Kung Fu?One Finger

谢远清（中国）Xie Yuanqing (CHN)

不锈钢抛光 Xie Yuanqing (CHN)

1275cm  ×  80cm   ×  80cm 

2019

由艺术家提供 Courtesy of the Artist

此作品通过漫画式的变形处理，让作品呈现下大上小的强烈透视感，同时稳定了作品的重心，完成了传说中不可能的“一指独立”。作品中人物形体的塑造，延续了艺术家一贯浑厚饱满的艺术语言，厚重中内含幽默，富有情趣和互动性，在形成强烈的视觉与空间效果的同时，也传递出一种积极的精神力量。

Through cartoon-style dlistortion, the sculpture presents a pronounced perspective effect, with a broad base and tapers towards the top. The design simultaneously stabilizes the sculpture's center of gravity, achieving the seemingly impossible, legendary "one-finger stand" The figure's form embodies the artist's signature artistic anguage of robust fullness, balancing gravitas with whimsical humor. Brimming with charm and interactive appeal, the piece creates a striking visual and spatial impact while conveying a vibrant sense of positive energy.

水磨石-12 Terrazzo-12

戴耘（中国）Dai Yun (CHN)

水泥、钢条、钢筋

Concrete, steel bars, steel reinforcement 

直径 150cm 

150cm in diameter

2023

由艺术家提供 Courtesy of the Artist

经历浇筑、喷水、打磨而形成的水磨石，呈现着艺术家对“物”的研究和创造，也蕴含着身体介入“物”其中的感知和动态。这一过程弱化了对雕塑空间、造型、技法的介入，通过细腻的打磨，在金、石、水、人合力的共同作用中，使看起来坚硬和冰冷的水磨石，被赋予了一层深沉而内敛的温情。在冰冷和温度的交织之中，身体通过触觉、知觉与物共显，与物共鸣，引发出介于禅思与诗意之间的体验。此中的主体是物与人的合体，观看亦是相互的，此刻的场域具有瞬时而开放的感知状态。所有的形体归于本体的意义，开阔如海的水泥世界因铜条的介入而有了界定与秩序。行走在物与物之间的观众，会以碳基的形式改变着这一空间的属性，使作品在时间中不断生成新的关系。

Crafted through the processes of pouring, water-spraying and polishing, this terrazzo piece embodies the artist's exploration and reimagining of the “object", as well as the sensory perception and dynamic interactions between the human body and the material during creation. This method downplays deliberate interventions in sculptural space, form, and technique. Through meticulous polishing and the combined action of copper, stone, water and human endeavor, the seemingly hard and frigid terrazzo is infused with a quiet, profound warmth. Amid the interplay of cold materiality and human warmth, the body connects and resonates with the object through tactile and sensory experience, creating a state that lies at the intersection of meditative reflection and poetic resonance. Here, the subject is a unity of object and human; viewing becomes a reciprocal dialogue, and the immediate site assumes: transient, open state of perception. All forms return to their inherent essence. The boundless, ocean-like expanse of concrete acquires definition and order with the insertion of copper bars. As viewers traverse between the objects, their physical presence transforms the space's very nature, enabling the piece to evolve and forge new relational narratives over time.

佛罗伦萨百合 II giglio di Firenze

阿尔弗雷德?米拉希?米洛特（意大利）

Alfred Mirash Milot (ITA)

不锈钢 Stainless steel

214cm  ×  193cm   ×  200cm 

2025

广东美术馆藏 Collection of Guangdong Museum of Art

米洛特长期聚焦“钥匙”符号创作。其作品中的钥匙常以弯曲且“扭曲”的形态，传递全新解读视角。本次创作中，他将这一探索与佛罗伦萨的标志性符号 一一 佛罗伦萨百合相融合，这一程式化的花朵是托斯卡纳城市集体想象的载体，遍布佛罗伦萨的宫殿与街巷角落。艺术家以独特的艺术语言重新诠释这一符号：通过解构并重塑形态，让佛罗伦萨百合蜕变为全新视觉形态，同时完整保留其符号本源的核心意涵。作品成为传统与创新的对话场域：一边锚定佛罗伦萨承载历史的城市身份，另一边是艺术家立足当下的视野，为时代符号进行的全新创造。此作品通过漫画式的变形处理，让作品呈现下大上小的强烈透视感，同时稳定了作品的重心，完成了传说中不可能的“一指独立”。作品中人物形体的塑造，延续了艺术家一贯浑厚饱满的艺术语言，厚重中内含幽默，富有情趣和互动性，在形成强烈的视觉与空间效果的同时，也传递出一种积极的精神力量。

Milot has long anchored his artistic practice in the symbol of the “key" The keys in his oeuvre often assume curved, distorted forms that invite fresh interpretations. For this creation, he fuses this enduring exploration with Florence's most iconic emblem-the lily of Florence (ll giglio di Firenze). This stylized floral motif, an embodiment of the collective imagination of the Tuscan cities, appears throughout the palaces and aalleyways of Florence. The artist reinterprets this symbol with his unique artistic language: by deconstructing and reshaping its form, he transforms the lily of Florence （1l giglio di Firenze) into a striking new visual entity,while preserving the core symbolic essence that defines its legacy. The work stands as a vibrant dialogue between tradition and innovation: while it anchors Florence in its storied urban identity, it simultaneously reflects the artist's forward-looking vision, reinterpreting a cultural symbolin a contemporary context.

蛙塘 Frog Pond

劳硕维（中国）LOW Sek-vai(CHN)

玻璃贴，UV彩白彩印刷 UV-printed glass film

尺寸可变 Dimension variable

2025年

作品由艺术家提供  Courtesy of the Artist

形不是由部分叠加而成,而是在感知中被“突然认出”。1869年，克劳德?莫奈与皮埃尔．奥古斯特．雷诺阿同时站在塞纳河畔的 La Grenouillere（蛙塘）。他们面对的是同一片水面、同样的光、同一群人类与动物的混合噪声。但画面分裂了。不是风景的分裂，而是感知系统的分裂。在此，蛙塘不是地点，而是一种结构。

Form is not assembled from parts,but is suddenly recognized in perception. In 1869, Claude Monet and Pierre-Auguste Renoir stood at the same time on the banks of the Seine at La Grenouillere (“the Frog Pond”).

They faced the same stretch of water, the same light, the same mingled noise of humans and animals. Yet the images split. Not a split of landscape, but a split of perceptual systems. Here, the Frog Pond is not a place，a but a structure.

很高兴认识你 Nice to meet you

陈文亮(中国)  Chen Wenliang (CHN)

玻璃贴，UV彩白彩喷绘 UV-printed glass film

尺寸可变  Dimension Variable

2026

作品由艺术家提供 Courtesy of the Artist

十几年前，初次接触美术的我从画这些几何石膏开始。顺其自然地我至今还在美术设计行业里工作。十几年后，我用现在的身份、手法和感受，重新画了这些几何形体。它们都是被简化到极致的造型，个性十足，放在一起既是最简单的一幅静物画，同时又仿佛具有意识般形成了一个生态场景。我很庆幸自己当初遇见了它们，也希望遇见它们的你们，能喜欢上它们。Nice to meet you!

More than a decade ago, I first encountered fine art by drawing geometric plaster forms. Naturally, Ihave

continued working in the field of art and design ever since.Now, I revisit these shapes, reinterpreting them with my current identity, techniques, and sensibilities. Distilled to their essential forms, each shape carries a distinct character. Together, they form the simplest still life, yet also create an ecological scene that seems almost conscious.I feel fortunate to have encountered these shapes back then, and hope that viewers who meet them now will come to appreciate them as well.

Nice to meet you!