邵文歡

Recommendation for Shao Wenhuan

對“客觀世界”的觀看慾望，使邵文歡從繪畫轉(zhuǎn)向攝影。但他的攝影顯然不只是為了記錄外在世界的表像，而是通過一種介於客觀與主觀之間的媒介，在客觀與主觀之間尋找和把握一種更為合理的尺度。所以，從他最初拍攝江南風(fēng)物時起，就是帶著一種研究、探討的態(tài)度和方式來進(jìn)行的——素描、草稿、數(shù)字技術(shù)的加工、暗房沖洗……。

Shao Wenhuan turns from painting to photography owing to his desire of looking into the “objective world”. But obviously, the aim of his photography is not just to record the appearance of the outer world, but also to find and seize a more reasonable dimension between the objectivity and subjectivity through a media between the objectivity and subjectivity. Therefore, when he started to photograph the scenery in the south of the Yangtze River at the very first, he did it with an attitude and method of research and exploration, including sketch, draft, processing of digital technology and development in the darkroom, etc..

從這些最初的“攝影”開始，之後的一系列作品，包括《國際旅遊者》系列，其深層動力都是想探尋一種確定的精神支點，或者想確定“是否有一種確定的精神支點”。在通過《國際旅遊者》來呈現(xiàn)或營造出全球性的精神低迷之後，邵文歡的關(guān)注點又由西方返回到了中國本土，而且是他成長于斯的江南。

The deeper motive of a series of works after the first “photos”, including the series of International Travelers is to explore an assured spiritual fulcrum, or to make sure “if there is an assured spiritual fulcrum”. After presenting or constructing a global spiritual depression through International Travelers, Shao Wenhuan’s focus comes back to China from the West, especially the south of the Yangtze River, the hometown where he was born and grew.

《明……》這一系列作品，可以視為邵文歡對以江南文化為表徵的漢文化的思索，而且主要從山水木石的視覺維度切入。從視覺語言層面，他融合了自己對繪畫與攝影的體會，使這些作品擁有一般攝影者所難以觸及到的領(lǐng)域和層面。

《不明……》中的樹木山石，來源於精心選擇的自然景物，散發(fā)著非常生動的喜樂之“氣韻”。這種喜樂讓人一睹即陶醉，進(jìn)而可能流連忘返。但茫茫天際的浩瀚與莫測，也呈現(xiàn)在“高遠(yuǎn)”的畫幅之中；類似黴斑、污漬、劃痕、噪點的痕跡經(jīng)由複雜的明室與暗房技巧被生成和浮現(xiàn)……這些都具有隱晦的不祥或不樂之氣，但又很含蓄，無心與此的觀者可以忽視它們。邵文歡在此基礎(chǔ)上又營造出突兀而強(qiáng)烈的不明痕跡，對具有形而下成分的喜樂氛圍進(jìn)行破壞或干擾。如同喜樂之人臉上被不明氣流劃傷，這種不明痕跡，似乎毫無道理，來去莫測，而且因其超驗、形而上的特徵而難以言説。個中意味，邵文歡自己可能也難以言表，但他又真切的感受得到，並揮之不去。

The series of Bright can be viewed as Shao Wenhuan’s meditation of the Chinese culture which is represented by the culture in the south of the Yangtze River, with the mountains, rivers, trees and stones as the main visual dimension. From the level of visual language, he merges his experience of painting and photography and makes his works attain the field and aspect that most of the ordinary photographers cannot achieve. While the trees, mountains and stones in his Not Bright come from the natural scenery that is carefully selected and radiates an extremely vivid and delightful “tone”. The delight enchants the viewers and makes them lost in the painting. The infinity and uncertainty of the sky are also represented in the “free and natural” paintings. The traces like mould stains, besmirches, scratches and error points are generated and emerged owing to the complicated skills in the bright room and dark room…All these traces show an obscure atmosphere of bad luck, but they are so obscure that the careless viewers may even overlook them. And based on these, Shao Wenhuan further creates other unidentified traces, both abrupt and strong, in order to destroy or disturb the above-mentioned delightful atmosphere with concrete elements. Just like a delightful person’s face is hurt by an unidentified airflow, the unidentified traces are too unreasonable and unfathomable too be expressed due to their characteristics of transcendence and metaphysics. Maybe even Shao Wenhuan himself cannot express exactly the meaning of his photos, but he can feel it clearly and the feeling is always lingering in his mind.

但這是否只是邵文歡作為一個差異性的個體的極其個人的感受甚至妄想？這種感受因何而來，如何消失？這是所有被觸動的觀者需要思考和解決的問題。就筆者個人而言，《不明……》中的不明痕跡，再溫暖些、再柔和些可能會更好。

—杜曦雲(yún)

But is it only an extremely individualized feeling or even deliria for Shao Wenhuan as a different individual? Why does the feeling emerge, and why does it disappear? These are questions that require all viewers touched by the photos to consider and to solve. As far as the author’s concerned, it will be better if the unidentified traces in Not Bright are even warmer and softer.

--Du Xiyun

王光樂

Recommendation for Wang Guangle

王光樂希望在各種集體性話語的籠罩中逃逸出來，於是，他最初通過創(chuàng)造各種觀看角度來尋找個體的精神支點。在此過程中所選擇的對象、操作方式等，是他在尋找過程中的衍生品，並繼而替代了“觀看”，成為尋找精神支點的新的途徑。雖然途徑在不斷演繹，但將一種日常的慵懶、無為詩意化，卻在他的尋找之途中一脈相承。

—杜曦雲(yún)

Wang Guangle wishes to escape from the cage of various discourses of collectivity, so that he tries to find spiritual fulcrum for individual by creating different viewing angles at first. And the objects and operation modes he chooses during the process are derivations of his searching, and then are substituted for “viewing” as a new way of finding spiritual fulcrum. Though the way is constantly changing, he always makes the ordinary indolent and inaction become poetic expression.

-- Du Xiyun

楊光南

Recommendation for Yang Guangnan

楊光南從傳統(tǒng)的雕塑語言入手，逐漸擴(kuò)展到裝置、行為等。她對自己的日常化切身體會進(jìn)行推究和演繹，轉(zhuǎn)化為具有動人力量的作品。這些作品關(guān)乎渺小個體在都市化空間中的生存狀況、身份認(rèn)同、情感糾結(jié)、時間意識等，看似隨感而發(fā)、信手拈來，但在所有作品中都散發(fā)著一種獨有的細(xì)膩而尖銳、剛硬、強(qiáng)韌的意識，以此形成她強(qiáng)烈的個人特質(zhì)。

—杜曦雲(yún)

Starting from the traditional sculpture language, Yang Guangnan gradually focuses on the devices and behaviors, etc. She examines and deducts her daily experience and turns them into touching and powerful works. The works are about the living situation, identify recognition, emotional conflicts and time consciousness of the nobodies in the urbanized space, which seem to be inspired by the ordinary incidents in ordinary life, but actually radiate a unique, subtle, sharp, firm and tough consciousness, thus forming a particular trait of her own.

--Du Xiyun

黃志瓊

Recommendation for Huang Zhiqiong

已經(jīng)很久沒有一張畫可以進(jìn)入我的內(nèi)心了，當(dāng)天深夜一回頭看到黃志瓊自己珍藏、掛在高墻之上的《人物》，心裏一驚：淚水都快要出來了。畫裏的人物為什麼掩面而泣呢？畫家畫她時是否也為之動容？雖然我還沒有跟黃志瓊交談過，但已經(jīng)能體會他的嚮往，畫家畫了一匹奔向遠(yuǎn)方的野馬，畫了一群振翅高飛的野鳥，畫家想要過自由的生活，想要無垠的空間。（宋）韓拙在《山水純?nèi)分姓h道：“有近岸廣水曠闊遙山者謂之闊遠(yuǎn)；有野霧暝漠，野水隔而仿佛不見者，謂之迷遠(yuǎn)；景物至絕而微?？~緲者，謂之幽遠(yuǎn)。”黃志瓊畫中的空間可謂迷遠(yuǎn)，又更近於幽遠(yuǎn)，但他並不想完全歸隱山林，理想的狀態(tài)是：不必完全逃避社會，身體和心靈依然能保持無拘無束。林語堂在《生活的藝術(shù)》中對理想人物狀態(tài)的描繪和追求，我感覺很適合黃志瓊參考：一半有名，一半無名；鋼琴也會彈彈，可是不十分高明，只可彈給知己的朋友聽聽，而最大的用處還是給自己消遣；古玩也收藏一點，可是只夠擺滿屋裏的壁爐櫥；書也讀讀，可是不很用功；學(xué)識頗廣博，可是不成為任何專家。

—段君

I haven’t been touched by one painting for a long time. But one night, when I turned around and saw The Character, which was treasured and hung on the wall by Huang Zhiqiong himself, I felt something happened in my heart and nearly burst into tears. Why are the character in the painting covering her face and weeping? Did the painter feel sorry for her when he was painting? Though I haven’t talked to Huang Zhiqong yet, I have already sensed his desire. He paints a wild horse running towards the distant, and a group of wild birds flying into the sky, which indicates that he wants a free life and an infinite space. Han Zhuo in Song Dynasty once described in A Complete Collection of Mountains and Rivers (Shan Shui Chun Quan Ji) that “when a space is near the bank and far away from the mountain, it makes people feel broad and profound; when a space is covered with fog and separated by a river, it makes people feel lost and profound; when the scenery is extremely wonderful while misty as well, it makes people feel peaceful and profound.” The space in Huang Zhiqiong’s painting can be called “l(fā)ost and profound”, or more close to “peaceful and profound”, but he does not want to live in seclusion. His ideal life is the one that needs not fully escape from the society and is able to remain the body and mind unconstraint as well. Lin Yutang once depicted in his The Importance of Living about the ideal living situation of ideal people that “a person is best to be neither too famous nor too obscure. And he can play the piano but is not good at it. Actually he will only play it for his best friends or most importantly, take it as a recreation for himself; he also collects some antiques, but not too many; he also reads books but not very industrially; he masters extensive knowledge but is not an expert on any field.” I think the above depiction can be viewed as an excellent reference to Huang Zhiqiong.

--Duan Jun