拱形画廊
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.
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.
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。”
当画作真切地逼近我们双眼，首先出现的是这首瓦雷里1922年所写的《海滨墓园》。机构策展人胡奕航、张汀芷与艺术家郭宇剑一起，将这次拱形画廊名为《危险同谋》的展览，用文字或符号分成了几大篇章：臆想、一座高原、剧场。许是有意为之，又或是无心之举，开篇选取的这段文字，饱含着诗人瓦雷里对家乡赛特港的深沉眷念。
“绘画没有办法不诚恳，这是一种无法伪装的媒介。我对绘画的诚恳和机械的、拾得的图像产生的化学反应感兴趣，尤其是当网络图像和铜板线腐蚀这种必须要经过转化才能成型的绘制方式相遇，就形成了有意思的关系。”
Tuesday – Sunday
10.00am – 6.00pm
ARCH Gallery
Yinjiachong Rd, Tianxin District
410000 Changsha
星期二 – 星期日
上午10.00 – 下午6.00
湖南省长沙市天心区殷家冲路
1123文创园一楼
ARCH GALLERY
