Curatorial Text | 展览前言

Arthur Schopenhauer mentioned two hundred years ago, “The world is my representation.” What is called representation? In brief, it is the reflection of substance and concept of the objective world from one’s subjective consciousness.

Comparing to Schopenhauer’s era, the present world sees entirely comprehension of the materiality of the objective world. Science has reconstructed human’s way of understanding the world. Mystique and imagination are increasingly fading, becoming “the wounds of reality”. As the most sensitive observers, how should artists build their perspectives?

Wu Ding explored the internal rules of the world through his “graphics” (People describe the world, yet the world remains as it is shown). He reconnected the fragments derived from different systems of logic, constructing new kinds of dimensions of the world.  

Ren Ri chose to get involved in another kind of species’ world,from the perspective of non-anthropocentrism. Applying the knowledge of bees’ habit, Ren created Yuansu II in collaboration with them., accompanied by the uncertainty of dicing.

Liu Guoqiang is accustomed to breaking in the objective world behind one’s sudden enlightenment using his sober and restrained language. He took the everyday stuff as the subject matter, to compare the subtle difference between the objectivity and the representation (the Corner); or to explore the essence——does function or material define things (the Window).

The three artists present abundant ways of composing the representation. Thus, we can see the reality itself will not destroy the imagination. The more important thing is to establish the new poetry while the old representation falls.

叔本华在两百年前写道，“世界是我的表象”。何为表象？简言之，就是主体的意识对于客体世界中各种物质和概念的感知。与叔本华所处的时代相比，当下的世界拥有对客体物质性的前所未有的清晰认知，科学重塑了人们对世界的理解方式，神秘性和想象力日渐萎缩，成为“真实之殇”。而艺术家们作为最敏感的观察者，应该如何去建立自己的视角。

吴鼎借助“图例”来探索世界简洁而优雅的内在秩序（《⼈们言说这个世界而这个世界如其所示》），他将不同系列的逻辑碎片交织勾连，来构建这个世界的维度。

任日选择介入另一个物种的世界。他使用非人类中心主义的视角，带着对蜂群习性的科学了解，以及伴随掷骰子而来的不确定性，与蜜蜂一同创作（《元塑II》）。

刘国强则擅长以冷静而克制的艺术语言，切入在瞬间感悟背后的客体世界。他将最平淡的日常事物作为题材，来比较客体和表象间的微妙差异（《墙角》）；抑或探究本质——究竟功能还是材料定义了事物（《窗子》）。

三位艺术家为我们展示了构建表象的丰富方式。由此，真实并不会抹杀想象力，重要的是在旧的表象崩塌之时，迅速寻找途径去建立新的诗意。

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