移形换影

康蕾、杜海军双人展

SHIFT

Joint Show of Kang Lei and Du Haijun

Shift是电脑键盘上的切换功能键，象征着现代社会迅捷的变革与更新。两位年轻的艺术探索者康蕾与杜海军，突破绘画这一传统艺术语言的边界，在图式与隐喻之间自由转换，以形式图像去触碰时间、空间、哲学、情感、现实，从而生发出无限的可能性。

Shift is the key on computer keyboards to modify functions， symbolizing the rapid change and renewal in the modern society. The two young art explorers Kang Lei and Du Haijun switch freely from schema to metaphor and feel the time， space， philosophy， emotions and reality through forms and images to raise infinite possibilities beyond the bounds of painting， the traditional art language.

亚洲文化愈加呈现多极化的时代，社会的急剧变化不断激荡着艺术观念的更新和应对。相对于西方现代艺术、当代艺术那种美学理念与社会时代并行不悖、甚至“传承有序”的线性发展逻辑，以及丹托（Arthur Danto）、迪基（George Dickie）等艺术理论家提出的相对完整闭合、自律循环的“艺术世界”机制，亚洲艺术可以说是外力与内力共同作用、多种因素叠加、彼此接近却结构松散、因相互作用力而形状不规则的“星团”（stellar cluster）式存在。

移动互联网、人工智能的飞跃式发展，媒体的碎片化传播以及娱乐化的舆论导向（Neil Postman， Amusing Ourselves to Death），二次元平面虚拟世界对三次元现实世界的占据和冲击，宏大叙事的崩塌瓦解，社会文化的层级分化以及相互间的渐行渐远，人性的脆弱和自我禁锢？？这些层层叠叠的文化现象使得艺术家不得不重新审视我们所处的时代，重新定义艺术的方位，以自身的艺术实践给出问题或是答案，试图将艺术置于新的境地。本次展览所呈现的两位艺术家康蕾、杜海军，即是以各自的经历和方式重装出发，探寻着当代文化语境下的艺术新路径。

In an era when Asian culture is more and more polarized， the rapid changes in society continue to stir up updates and response in the concept of art. Compared with the aesthetic concept parallel to the social era in the Western modern art and contemporary art， and even the linear development logic of “orderly inheritance”and the relative complete closeness， self-disciplined cycle mechanism of the “art world”of the art theorists such as Arthur Danto and George Dickie， Asian art can be said to be a stellar cluster existence of irregular shape due to the interaction that the external force and internal force act together， with a variety of factors superimposed， close to each other but loose in structure.

The rapid development of mobile Internet and artificial intelligence， the fragmentation of the media and the recreational evolution of the public opinion （Neil Postman， Amusing Ourselves to death）， the occupation and impact of two-dimensional plane virtual world on the three-dimensional real world， collapse and disintegration of grand narrative， social and cultural stratification and the gradual drift away between each other， the fragility of human nature and self-imprisonment... these layers of cultural phenomena force artists to re-examine our era， redefine the direction of art， to give questions or answers from their own artistic practice， trying to put art in a new position. The exhibition presents the two artists Kang Lei and Du Haijun reinstalling themselves with their own experiences and ways to explore the new path of art in the contemporary cultural context.

康蕾将古老的欧洲坦培拉技法与中国传统书法绘画中的书写性巧妙融合，赋予作品距离感与陌生感。其作品表面上看坦率而热情，饱和鲜明的色彩，跌宕起伏的构图，锋芒毕露的笔触以及纯熟流畅的材料技法，似乎一览无余，然而其中意蕴丰富，颇值得细细体味。她从二十世纪西方文学作品中汲取灵感，探索内心世界与外在处境之间的纷繁状态，跳脱于现实与梦境，存在与虚构，处处充满了象征与隐喻，表层的“现”宛如冰山一角，指向深层的“隐”。

Kang Lei‘s ingenious integration of the ancient European tempera technique and the artistic calligraphy feature in traditional Chinese painting endows the paintings with senses of distance and strangeness. Her works seem straightforward and passionate on the surface， with full bright colors， ups and downs in composition； her hard-edged brush strokes and pure and smooth material techniques seem to reveal everything at a glance， though that is rich in meaning， rather worth savoring. She draws inspiration from the works of literature of the 20th century， explores the complexity of inner world and external situation， jumps from reality and dreams， existence and fiction， full of symbols and metaphors everywhere， and the “significant” on the surface is like a tip of the iceberg pointing to the deep “hidden.”

杜海军是一位生活在上海的年轻艺术家，都市生活的浮华忙碌、现代高效甚至重重压力都带给他切身的感触。在绘画中，他采用扁平化的视角将写字楼、高铁列车、建筑街景、芸芸众生等都市元素进行平面化处理，将其转化成为一个个几何形体与色块的组合，对画面构图进行大胆的重构重组，将立体的物象铺展成配比和谐的形状与明亮纯粹的色彩。而在这些抽象的平面构成中，却仍然有星星点点的生命力闪烁其中，仿佛现代城市生存状态的隐喻，张扬而渺小，现实却诗意。此外，他也将摩天大楼的景象画在消防栓这样的现成品上，利用物体原有的三维造型、质感、底色以及功能意义，巧妙地做成装置作品，以都市中司空见惯的安全设施，暗示现代社会中人们内心的压力、焦虑与危机感。

Du Haijun is a young artist living in Shanghai； the flashy busy city life， modern and efficient or even heavy pressure has brought him personal feelings. In painting， the office buildings， high-speed trains， street scenes， the crowd and other urban elements in a flat perspective， transformed into a combination of geometric forms and color blocks in bold reconstruction of the picture composition， so that the three-dimensional objects spread into a harmonious shape and bright and pure color. And in these abstract plane compositions， we still have stars of vitality twinkling which are， so to speak， the metaphor of modern urban life， ostensible but small， realistic but poetic. In addition， he also paints skyscrapers on such ready-made products as a fire hydrant， using the original three-dimensional modeling， texture， background and functional significance of objects to cleverly make them into installation works， suggesting the pressure， anxiety and crisis of people in modern society with commonplace security facilities.

两位艺术家皆在一定程度上通过对艺术符号的重置与转换，创造出新的信息与内涵。虽然借鉴了后现代艺术的创作方法，并运用了当代艺术介入社会、引入哲学观念的思维模式，但他们从各自的教育背景、人生经历、思考角度、艺术抱负出发，分别给出了独到的答案和见解。出世与入世并存，表面形式的复杂性及感受力与思想的觉醒洞彻并置，每一位艺术家个体对时代地域、社会现实、人类终极命运的关心与思考都可以涓滴成河，从而定义描绘着艺术的未来走向。我们可以欣喜地看到，亚洲为全球的艺术云图（art climate image）贡献着独特的哲学思维、传统基因、文化态度、表达方式与解决方案，使之呈现更为包容、多元、动态的结构和面貌。

The two artists create new information and content to some extent through the replacement of art symbols. Although they draw on the creative method of post-modern art and use the contemporary art to intervene in the society and introduce the mode of thinking of philosophy， they give their unique answers and insights from their respective educational background， life experience， thinking perspective and artistic ambition. Seclusion and mundaneness are juxtaposed； the complexity of the surface forms and the awakening of perception and the thought reunited.Each individual artist’s concern and thinking on the era， region， social reality， the ultimate fate of human can trickle into a river， so as to define the future direction of art. We can see with delight that Asia contributes unique philosophical thinking， traditional genes， cultural attitudes， expressions and solutions to the global art climate image， to make it into more inclusive， diverse and dynamic structure and appearance

整理编辑：吾想