Slide

可言

Exhibition

可言

艺术家:戈子馀、郭梦垚、黄佳、Ingrid Ledent(比利时)、李迪、刘可、柳溪、庞海龙、王智一、王满
策展人:张婷

2019.10.01-2019.12.01

無同空间荣幸推出以抽象艺术为主题的群展 《可言》(To Speak)。参展的十位艺术家在抽象艺术的长期研习创作的道路上,实践出具有视觉能量的点、线、面、形状和色彩的图像符号,这批符号将在展览现场相互碰撞交织,呈现出多元的视觉感受,带给大家不同的精神体验。

关于展览主题,《可言》来自《庄子·天道》中提到的 “意之所随者,不可以言传也”。策展人张婷认为此中的“不言”并不是彻底的缄默,而是一种平和自然的言说方式,以避免语虚玄枉。

对于抽象艺术来说,“无言”只是它的表达方式,它用它的语言诉说着人类的美学感受,所以抽象艺术非但可言,并且还可以从不同的逻辑维度去解读。

“可言”的现场将会从视觉、形式、情感等方面,在無同空间900余平的场地中分割、组合成一个个空间。在这里,“看懂”不是必要条件,你只需要顺从自己的内心,享受艺术带来的触动,感受与作品产生的共鸣。

Exhibitions

过往展览

2024.3.10

Arched Wave: Beyond the Boundaries of Geography

Artists: Mutian Chen, Longing Hu, Xiaoliang Huang, Ying Li, Mingjun Luo, Bing Ma, Jianping Zou
Curator: Xinyu Wong

Arched wave: Throwing the hidden string in the discontinuity

Artists: Qiushi Chen, Yujian Guo, Mingjun Luo, Lijun Wang, Li Zhou, Wei Zhou
Producer: Wenjing

Flower For Algernon

Artists: Jing Wang/ Yiwen Zhao
Curator: Xinyu Wong

Perceptual Track

Artists: Haiqiang Guo、Hang Su、Sibo Wu、Wei Zhou
Curator: Yu Xie

Art Channel

艺术频道

ARCH REVIEW | Making Complicity

When the painting is really close to us, the first thing that appears to our eyes is this Le cimetière marin[1] written by Valéry in 1922. The curators Hu Yihang and Zhang Tingzhi, together with artist Guo Yujian, divided the exhibition “Dangerous Complicity” in the gallery into three chapters with words and symbols: imagination, a plateau, and a theatre.

ARCH REVIEW | Guo Yujian :Dangerous Complicitiy

When looking at Guo Yujian’s works, what have been depicted is always in a state of flow, and the secret words that are related to each other become images that avoid us and approach us. The work that takes shape on the canvas in our sight is yet to come, in transition, about to embrace change, and it will not push us away until the feeling is fulfil.

ARCH INTERVIEW | Guo Yujian

Since then, I have tried to let daydream-like imagination seep into the picture, and those earlier, more symbolic images have also been naturally diluted. Perhaps, it is precisely because of the temperament that seems to be infiltrated by the picture and some image contents that are contrary to reality that cause the association like a dream.

ARCH 采访 | 谢燚

他的作品长期以来从“劳动”这个常用的词汇出发,不断向现实世界里以“语言”为基础的权利追问。“我只希望我认为重要的东西能被大家知道,那就是”具体的劳动“在现实世界中是如何”做功“的。”

ARCH 采访 | 周轶伦

周轶伦的作品本质上只指向物本身,观众如何去理解其作品取决于一个时代所赋予大众的经验与记忆。“我喜欢试验失败,每次失败的剩余痕迹都是完美的新作品局部。”

ARCH REVIEW | 在倦意来临时服药

恍惚是我们长时间被某种思维或事物压制后常常落入的状态。在这个状态中,时间如流体般被我们任意搬运、搅动,又或是尽兴逐流。而林舒的作品常常通过对空间的加工让我们对影像中的实体逐渐疏远,以至于被送入一个被剥去嘈杂的心理状态,意识取代了被记忆包裹的身体,从而任意涌动。

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410000 Changsha

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