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時間：2009-3-20-2009-4-17 地區：上海其他
主辦機構：費歷尼畫廊（Fellini Gallery）
地點：上海長樂路339弄15號（近襄陽路）
馮方宇生於江南，長江三角洲以南地區。茶、絲綢、玉和大米都産于江南。今天這些事物幾乎就是中國的代名詞，證明了這僅佔全國5%的地域的巨大影響力。在他的《梅雨》系列中，藝術家頌揚了江南最吸引人的文化遺産——崑曲和傳統的園林設計，這兩者作為世界文明遺産，被列入聯合國教科文組織的傳統遺産基金會名單中。《梅雨》是馮方宇獻給他童年舊居逐漸消逝的藝術的情書。
主題闡述：
吳地多雨，梅雨之意境無不讓人思緒萬千，憶舊思遠，陰美與纖麗互見，宏觀與微觀俱陳。江南故園，細雨迷濛，春水盈野，一派浩渺，如夢如畫。
崑曲起源於吳地，肇興于廳堂，糜繁于盛世。是以曲藝園藝，自古同一，以其意趣相近也。窮極人工、曲盡形容，鉛華洗盡、觀之不足。“不入園林，怎知春色如許。良辰美景奈何天，賞心樂事誰家院。” 庶幾近之。雨是園之魂。跳出三界外，咫尺有大千。因為有雨的滋潤，平岡山丘、茂林修竹，始得濃縮于方寸之間，雖由人造，宛似天開。雨是曲之魄。一夕梨園春，百年舊山河。因為有雨的打磨，書劍飄零、鶯聲燕舞，皆化入紅牙檀板，任吳音流轉、淺吟低謳。
園林是可以看的崑曲，崑曲是可以聽的園林。園林和崑曲一起構成了中國人幾百年來共同擁有的精神家園。崑曲和蘇州園林可以如此精確的描繪江南，這個“家園”也許僅僅只是一份遺産，沉甸甸，輕飄飄，也許繼承光大，也許隨風湮滅。蘇州園林和崑曲先後被列為世界文化遺産之後，兩者卻早以疏遠了關係。
像是夢裏的一場遊園驚夢，夢中人高低各處，無所不能，任由精神放蕩，溢出複雜心緒。這綿綿細雨、翩翩水袖、玉面書生、臨風佳人……，只是刻意營造的靈境寶相而已，當真正靠近時，就燃燒化作煙雲吧。《牡丹亭》裏杜麗娘為夢憂鬱而死。然而，生活在水泥叢林中的現代人，我們丟失的，又豈只是夢裏江南！牡丹亭上三生路，但是相知莫相負。一團明晃晃的火，疑問和責難之聲四起，殊不知縱火者就是隔岸旁觀的大多數。
水與火，相伴相剋，矛盾卻曖昧。江南總是用雨和水滋潤著園中故人，一眷長袖，潺潺無盡，通天連心，而燃燒起來的也許是希望，也許是激情，可能更多是無奈。曾經興盛的江南文明，在水與火之間重復著興衰。當我們隔岸觀火時，也許一絲隱痛會牽動某一根敏感的神經，而不至於用可怕的麻木焚燬自己的故園。
Love Letter from a Young Artist
Feng Fangyu was born in Jiangnan, a region that lies just south of the Yangtze Delta. Tea, silk, jade, and rice are all produced in Jiangnan. Today these items are nearly synonymous with China, demonstrating immense influence by a region that comprises just 5% of its country. In his series May Rain, the artist celebrates two of the region''s most coveted forms of cultural heritage -- Kun Opera and traditional garden design, both listed as world treasures by the UNESCO World Heritage Foundation. May Rain is Feng Fangyu''s love letter to the dying arts of his childhood home.
Born after the Cultural Revolution, the artist is able to view the past through a romantic lens; Feng Fangyu is not burdened by the restless discontent evident in the art of the previous generation. Instead, he documents emotion, not politics. The atmospheric quality of imperial art forms is celebrated through the artist''s mise-en-scène works. While color and movement pay tribute to the dramatic style of Chinese opera performance, elegant garden settings serve as a poised backdrop to barely restrained moods. Within these emotional landscapes, flames can yield to softness or they can destroy. In Misguidance, we observe the protagonist on a rooftop as strong winds surround him. It''s difficult to say whether he stands in defiance or wonderment of the mischievous forces. The arrangement of ambiguous emotion suggests a story beyond the single moment revealed to us.
May Rain''s well-crafted images highlight the theatre of love -- its torment, sweetness, pleading, and capriciousness. An expert in photography and digital imaging, Feng Fangyu spent painstaking hours laboring over each scene. Ironically, such focus and desire for perfection has resulted in works that seemingly expose humankind''s impotence to exert influence over what matters most to us. Even in Love, an idealized lovers'' gaze is interrupted by the dangerous presence of fire. The series is an exercise in accepting one''s inability to control or create permanence.
Feng Fangyu won his first international award last June in Austria’s Trierenberg Super Circuit Show, after less than two years as a fine art photographer. His wistful images were published in 2 issues of PICS last year alone and featured on the visual arts website www.imagecn.cn. An interview with Hong Kong''s Photography Journal will be published this spring.
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