展訊 | 白日夢 ????????????????

MAYAO 欣然呈現藝術家王紫旭與蘭青雙個展 ???????????????? 白日夢，邀請您於 9 月 19 日下午 4: 30 出席開幕酒會，在擬像的廢墟中喚回現實的支點。

MAYAO is pleased to present ????????????????, a dual exhibition by WANG Zixu and LAN Qing. Join us at the opening on September 19 at 4:30 PM, to evoke the fulcrum of reality amid the debris of simulacra.

弗洛伊德在《夢的解析》中，將夜間的夢境視為通往潛意識的皇家大道。然而，在意識警醒的白晝，人們同樣高頻地墜入另一種夢境——白日夢。

白日夢是意識防禦機制上的縫隙，它是無目的的放空、突如其來的失神、是被壓抑的慾望在現實秩序中撕開的一道感性缺口，在這一瞬間，線性流逝的物理時間被主觀經驗拉長變異，周遭堅固的現實開始坍塌，童年的記憶碎片、對現實的焦慮與狂想，逐漸重組為另?個「現實」。白日夢同時也是日常秩序的短暫失控，在高度理性，數字信息超載的當代社會，白日夢是現代人的「精神出逃」與抵抗。手機屏幕，社交媒體組成的半虛擬現實成就了當代人的巨型白日夢工廠，不斷被異化的日常，讓人們無法面對物理現實，反而更依賴由網絡組成的虛擬世界。

Willy-Brandt-Stra?e 67. ,   2026

Fine Art Print, American Black Walnut

26x31x3 cm each

紫旭這次利用數字媒介（電腦軟件）解構了消費社會中的商品符號，將日常的「食慾」與「節日景觀」轉化為純粹又陌生的異端：水果、麵包、聖誕老人巧克力——這些都是消費社會中熟悉並帶有強烈催眠性質的日常符號，藝術家利用?種「數字化的暴力」剝離了它們的物質表徵，使得這些現成品被徹底的「去功能化」。直至原有的物性完全隱沒於無法辨認的抽象異形之中。這也許是藝術家對物質化現實的暴力反抗，但作為?個浪漫的人，他還是沒忍住將豔麗和甜軟的顏色賦予這些被異化的物件，此時的色彩反而是對消費主義「景觀外皮」的極度放大，過度消費與極端的數字化享受引發了視覺宿醉——它們以最斑斕的姿態宣告：在當代白日夢中，現實的物質早已被算法與慾望重新編碼。

蘭青和紫旭的創作在形式上風馬牛不相及，但對日常現實的異化，兩個?有著異曲同工的默契。我第一次看到蘭青的展覽現場是在漢堡美術學院，她挪移了不同的時空和場景，同時將它們塞入同一個物理空間，把人類從她的創作中全部剔除，還原了一種世紀末的安寧：但那些靜止的空間卻總讓我覺得即將發生什麼。藝術家更像是這個世界的旁觀者：不參與、不評論、只記錄，但是有些對作品的「處理」還是暴露了她的意圖：那些不合時宜的、錯亂的窗戶。窗戶通常是日常生活中用於「凝視外部」的穩定媒介。蘭青對它們進行了解構，不規則的帶有侵略性的邊框顛覆了人類熟悉的幾何秩序與頑固經驗：使得原本平整堅固的牆體發生了不可逆的扭曲與傾斜。牆體在此刻不再是真空的物理背景，而是變成?種可塑的、隨時可以被顛覆的精神表皮。同時也打破了人們對「標準」的迷戀。

x:122.3  y:260.6  z:193.1,  2026

Acrylic, Dibond, UV Print

70×72 cm

Rathausmarkt 1. ,  2026

Fine Art Print, American Black Walnut

3D Printed Sandstone

此次的展廳不是?間作品的標本室，是一場集體催眠。我們邀請每?位觀者卸下現實的鎧甲，允許自己目光游離、心智失焦。此時的白日夢並非無意義的逃避，而是我們向現實奪回個體感知力、重構生活的起點。願大家在日光下，看見那些唯有閉上眼才存在的真實。

Alter Wall 4. ,   2026

Fine Art Print, American Black Walnut

3D Printed Sandstone

109x95x4.5 cm

In The Interpretation of Dreams, Freud described the dreams of the night as the royal road to the unconscious. Yet even in daylight, with consciousness fully awake, we fall just as frequently into another kind of dream: the daydream.

A daydream is a fissure in the mind's defensive mechanisms. It is an aimless drifting, a sudden lapse of attention, a sensuous opening torn in the order of reality by repressed desire. In that instant, the linear passage of physical time is stretched and altered by subjective experience. The solid reality around us begins to collapse; fragments of childhood memory, anxieties about the present, and fantasies gradually reassemble into another "reality." A daydream is also a brief loss of control within the order of everyday life. In a contemporary society defined by extreme rationality and digital information overload, it becomes a form of mental escape and resistance. Phone screens and social media together create a semi-virtual reality: a vast daydream factory for contemporary life. As the everyday grows ever more alienated, people become less able to confront physical reality and increasingly dependent on the virtual world constructed by networks.

x:849.2 y:1053.8 z:405.5, 2026

Acrylic, Dibond, UV Print

150x105 cm

For this exhibition, WANG Zixu uses digital media - computer software – to dismantle the commodity signs of consumer society, transforming everyday "appetite" and the "spectacle of the festive" into forms that are at once pure, strange, and aberrant: fruit, bread, and chocolate Santas. These familiar signs of daily life, saturated with consumer society's powerful hypnotic pull, are stripped of their material appearance through a kind of "digital violence" and rendered completely "dis-functionalized". Their original materiality finally disappears into unrecognisable abstract mutants. This may be the artist's forceful rebellion against a materialised reality. Yet, as a romantic, he cannot resist giving these alienated objects colours that are vivid, sweet, and soft. Here, colour becomes an extreme magnification of consumerism's " spectacular veneer." Excessive consumption and intense digital gratification produce a visual hangover. In their most dazzling form, these objects proclaim that, within the contemporary daydream, reality's material substance has long since been recoded by algorithms and desire.

Though the practices of LAN Qing and WANG Zixu could hardly be further apart in form, the two artists share an uncanny affinity in face of the alienated reality. The first time I encountered an exhibition by LAN Qing was at the University of Fine Arts Hamburg. She displaced different times, spaces, and scenes, compressing them into a single physical environment. She removed the human presence entirely from her work, recreating a certain fin-de-siècle calm. Yet those still spaces always made me feel that something was about to happen. The artist seems more like an observer of this world: she neither participates nor comments; she simply records. Yet some of the ways she "treats" her works still betray her intention, above all those anachronistic, disordered windows. Windows usually provide a stable medium through which we "gaze outward" in everyday life. LAN Qing deconstructs them. Their irregular, aggressive frames overturn familiar geometric order and deeply ingrained habits of perception, causing walls that once seemed flat and solid to undergo irreversible twists and tilts. At this point, the wall is no longer an empty physical backdrop. It becomes a malleable psychic skin, open to subversion at any moment, while also breaking our fixation on the "standard."

Alter Wall  22. ,  2026

Fine Art Print, American Black Walnut

109x95x5 cm

This show is not a specimen room for artworks; it is a site of collective hypnosis. We invite every viewer to lay down the armour of reality, to let the gaze wander and the mind slip out of focus. Here, the daydream is not a meaningless escape, but a starting point from which to reclaim individual perception from reality and reconstruct life. May we see, in daylight, those truths that exist only when our eyes are closed.

???????????????? 白日夢

香港黃竹坑道49號得力工業大廈10樓E單位

開幕酒會：2026 年 9 月 19 日

4: 30 - 6: 30 PM

策展人：黎薇

諮詢作品请联络：

Email: tanya@mayao.art 

Mobile: +852 53095214

藝術家簡介

王紫旭的創作遵循一套機械化流程，而他持續嘗試以人為介入去干擾它。王紫旭憑直覺引導建模軟體，製造出機械化生產與人力勞動彼此錯位的狀態，從而生出一種異化的時空維度。操作機械化程式帶給人以安全感，然而將其推至極限之外，卻像踏入一個令人不安的異質空間——那是一種帶有罪惡感的愉悅。

蘭青解構了窗戶這一日常日活中用於「凝視外部」的穩定媒介。不規則的帶有侵略性的邊框顛覆了?類熟悉的幾何秩序與頑固經驗：使得原本平整堅固的牆體發生了不可逆的扭曲與傾斜。她挪移了不同的時空和場景，同時將它們塞入同一個物理空間，把?類從她的創作中全部剔除，還原了一種世紀末的安寧。

WANG Zixu's work follows a mechanised process that he continually attempts to disrupt through human intervention. Using modeling software guided by intuition, Zixu creates situations where misalignment between mechanised production and human labour generates an alienated temporal and spatial dimension. Working with mechanical programs provides a sense of security, yet pushing beyond their limits feels like stepping into an unsettling alternate space—an experience of guilty pleasure.

LAN Qing deconstructs windows that usually provide a stable medium through which we "gaze outward" in everyday life. Their irregular, aggressive frames overturn familiar geometric order and deeply ingrained habits of perception, causing walls that once seemed flat and solid to undergo irreversible twists and tilts. She displaced different times, spaces, and scenes, compressing them into a single physical environment, removing the human presence entirely from her work, recreating a certain fin-de-siècle calm.