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從溫良的寒霜開始──11當代藝術邀請展
展覽時間：2008.06.07-07.08
展覽地點：彼岸畫廊 深圳市寶安區寶城公園路22藝術區1號5層
谷雪兒
既然是場生命和悲傷的較量，也就少不了男人和女人。也就少不了曉風小月的塵景。
流陽瀉盡的午後，大地開始聽雨聞心。
似乎如一間充滿潮濕的房子，把我們關進不是田埂、不是暮色、不是往事的表情裏。用松樹的挺拔，衰老的院落，褪色的撒嬌來還原自由和慵懶。
《糖》是苦澀的救藥，也是距離過程中極端的表達。只有“色”的張揚才體現了李暢具有唐吉柯德長矛般尖銳的話語，才有了對女人的悲憫情節。再艷麗的色彩也未能遮擋一致的女人背後艱難的孤獨。
有些男人站著只是一種姿勢，或叫直立，而劉港順畫的男人站著就是種力量，無需判斷和注解。男人有時一定要依靠他的柔軟來獲得女人的忠貞。無論《新小説家》還是《電影》都在陳述男人的脆弱，才如此炫耀他們對時代的遵從與實驗者的頹勢。如一場蒼老的春夢，荒草和余暉便是這場夢裏躲不過去的意圖，視野在消失，身份在消失。
我突然聞到有濃重的光陰味道，有黑夜狹窄的沉默。栗子的《阿修羅》和《愛比死更冷》之系列的自我悲傷的疼痛感，究竟是源於自由的迷失？還是堅守靈魂不被留白的纏綿？內心啊，內心只是一個拳頭大小的空間，它卻要承載一個朝代的聖歌與災難，經歷生活的閒言碎語，苦語悲音。我最怕滿含期盼的夭折，那是從內心怎麼也驅趕不散的哀嚎，若不是有愛情和明月的美景，那條通往生命的天路，早就破爛不堪。那些無可依傍飄蕩的靈魂，止于一場煙花散盡的深處。走在夜路的靈魂啊，還要尋找多久，從一個祭祀的鄉野到水的獨白？從冷死的愛裏沉迷到從容的大惑？然而，直覺在説，在某個角落或者另一條小巷，你終將會愛上死亡，無論是夢境還是寓言。
李磊的零亂早已在大海停止之處充滿慾望地迴圈，散落一地白色的花，儘管語境優美卻無法擺脫生命專場的遭遇。含蓄的淒美試圖想重返家園，看似冷靜的姿態，是在不停地驅趕內心的複雜，卻又塗抹著鬆散的術語。終歸是女人，眉清目秀，又不肯放棄深思。
與其他藝術家不同的是，王威覺悟的語境道出了人類的良知，《水世界，它們的夢想》無論借景還是借物，都在哲學範疇的領域裏反思與瓦解。至於説究竟是“它們”的夢想還是人類的夢想，都應慢慢清理。首先是身份的清理，其次才是精神的清理。夢想就是矛盾和邊界的敏感在某一個單元的開始，《秋柳雙鴉》、《寒雀》幾乎是許淩對限制和自由的宣戰。我曾看見過運河邊上的水草，試圖用自然之物咏懷，現吻大地與自然之恩。而許淩的錘鍊死亡的方式，不斷地徘徊在冥想的路上，對自由的渴望，對制約的抵抗，墮入地獄的天堂。以一種舒展的姿態有節奏地與人類進行著言意之辯，打破語境，似乎在與恐懼較量，這也是視覺生存裏最基本的體驗。
燕子的《顆粒》是完成整體途徑的終極表達。看上去很生硬，缺少柔美，然而，每一個組合而成的結構，構成了整體的所有的元素。對生活陰影裏自述性的訴求，仔細端詳並清晰地回憶記憶中的隱痛，無條件地推開視界裏混濁的實質，來歌頌純樸與自覺。
從溫良到寒霜，這是你們的遭遇，也是我們的遭遇。
From Mildness to Frost----11 Modern Arts Invitation Show
Gu Xuer
In the struggle between life and sadness, men and women both play important roles with the roses garden under moonlight as the background. Right after the golden sun sets, raindrops start to knock at the heart door of the vast land.
This is an old dank yard, with the pine tree standing tall and straight to the sky; the variegated walls of the house recalling remote memories. Laissez-aller and lentitude are the topic of the atmosphere.
《Sweets》of Li Chang is an antidote of bitterness, reflects the conflict between reality and imagination. The representation of ‘lust’ expresses his idea as sharp as the spear of Don Quijote and his sympathy toward women as tender as the smile of Mona Lisa. However, among the flamboyant colors, the hardship and loneliness inside the heart of a woman is unconsciously flowing out.
All ‘men’ in Liu Gangshun’s paintings stand in an arrogant pose, which might be called as erection. The power is permeating everywhere without even any special annotation and judgment. However, the great pity of them is that they neglect that men’s softness sometimes is more powerful to kill women. Under the bleak welkin, the visual field is becoming hazier and hazier; their identities dimmer and dimmer. As is like a faraway dream, in which ‘men’ are bound to be a failure; desolation and sunset glow are the unavoidable results.
From Lizi’s 《Pheonix》and 《Love is colder than death》, you can sense the flow of passing time, in the vast silent darkness；you can share the pain at the bottom of the artist’s inner heart, due to the loss of freedom or the lingering historical memory?! Man’s heart is no bigger than a fist, but carries the whole human being’s glory and tragedy, all his personal trivialities and sufferings. Death is a pre-determinate destination for everyone. If there were no love and moonlight, the path leading to heaven would be too vapid and rough. Your instinct might tell you that, somewhere in a corner or a turning on the road, you would become loving the end, because of the whole process.
The beauty of Li Lei lies in her simpleness and pureness. Even though they can not enjoy full stretch of life; even though they can not get rid of the fate of being discarded, they never give up the elegance of inner selves and the passion toward life. The significance of ‘to be’ is to record a woman’s dulcet story, to chase away her inner despondence. These white flowers are scattered and resting on the beach of the harbor, calmly and placidly; the visible and invisible imprints gained from the sub-celestial voyage make them nothing but more adorable. Now, you finally know what is woman, ---- fair and abstruse; straightforward and wise.
Wang Wei is distinct from other artists. He cares more about human’s conscience. His idea is an expression of philosophical reflection and disintegration. 《The World of Water ---- Their Dreams》 actually expresses the dream of human being, by the forms of ‘their’ dreams. Dreams start from the most sensitive part of the artist’s heart.
Xu Ling’s《The willow and crews in fall》and《The sparrow》are the challenge to liberty and the rebellion to bondage. In the bout with nature, the desire of freedom and the resistance against limitation are expressed in leisure and rhythmical way. This is a conversation between nature and human; this is the basic living situation in the visual world.
Yanzi’s 《Granule》is an extreme expression of the tag end of the whole. It looks rough and hard, but every bit in it is a necessary element of the whole. To look deep inside, to push away the disorder in the actual visual world, you will find out the nature of trueness and self-discipline.
The process from mildness to frost is part of your life, and part of my life as well.
畫廊簡介
彼岸畫廊座落于美麗年輕的海邊城市深圳,是一家充滿朝氣的當代畫廊,我們的畫廊致力於推廣全世界優秀的青年藝術家。同時彼岸畫廊是一間注重學術的畫廊, 與多家藝術機構及國內外活躍的策展人、批評家、藝術家保持著密切的聯繫，積極參加國際間的藝術交流活動。畫廊有優越的展示空間和完善的推介系統，有指定的VIP空間.
Gallery Profile Yonder gallary is located in a beatiful and young city by the sea—Shenzhen. It’s a modern gallary with full of vatality . we go in for promoting excellent youth artists from all over the world. Yonder gallary also stresses on academy. We keep in touch closely with many fine arts institutions and active curators, critists and artists. We also participate in international arts communication activities positively. The gallery has elegant show spaces ,complete introduction systems and designated VIP spaces.
畫廊網站：http://www.beyond-gallery.com/
聯繫電話：0755-27846166
聯繫人：陳貼
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