“流”——郭棚个展

展览策展 /  展示设计 /  视觉形象设计

2019

策展人语

自在无束、循环往复、以至无穷，是“流”这个字给予我的最初感受。哪怕现实中的我们在绝大多数时候都很难达到如此理想的姿态，我还是希望观众在这个展场中假借郭棚的作品能够去短暂地体验一次。不只是观众，艺术家本人的思想也会伴随着与观众和空间的频繁互动得以延展和扩散。我想，这也正是一场展览的意义所在——不为诠释“物”（艺术品）的含义，而是让“人”（艺术家和观众）的创见得以自在无束、循环往复、以至无穷。

经过与艺术家郭棚的充分沟通，我们大胆地假设：观众、展览空间都可以自由地参与到艺术家的创作过程和艺术作品的构建过程中。这也使我更加深信：艺术品只有观照到与其缔造者、体验者、展示空间的共生关系时才能称得上是真正意义的完整。

展览「流 Circulating」是郭棚在光之艺廊的首次个展，将呈现他的全新系列作品。他的图像装置作品以综合媒介为语境演绎影像空间，注重生活美学经验之于艺术实践的建构。展览以“流”为主题，结合光之艺廊的空间特色，涵盖三个版块：A、行深；B、微尘；C、彼岸。

在第一版块“行深”，展示的作品是《归去来兮》，共包含12组照片，这十二组照片将围绕“归”——回溯、留守、记忆的“隐匿之境”；“与间”——可进退、可取舍、可沉浮的“无为之境”；“来”——验证、重构、揭示的“现实之境”，三重语境展开。其中，“归”包含《森林》、《花园》、《午后》、《花瓶》四组；“与间”包含《穴》、《墙》、《布》、《沙》四组；“来”包含《重幕》、《灯》、《柱子》、《瓶子》四组。

第二版块“微尘”，包含两组“场域特定”的图像装置：1、《对影》；2、《万象》。这两组作品位于艺廊空间的中心地段，“黑-白（墙面背景色）相对、空-色（作品本身形式）相对”，利用对光影与色彩的处理去平衡记忆与当下、历史与现实、传统与当代的多重复杂关系。其中，《对影》旨在展示“看不见的比看得见的更重要”，影子的存在非但不是为了遮蔽，还恰恰昭然揭示着光线所及之处的事物原貌，与此同时，作品在观看视角上消解阶级：作者、读者、策展人都有阐释作品的权利。另外，在展示空间上与《对影》相呼应的作品《万象》，让众生绽放于墙面，让记忆席卷当下、历史对抗现实。正如郭棚自己所阐释的：“一切从黑洞喷涌而出又由黑洞完全吸入，黑洞将我们与已知和未知连接在了一起。”

第三个版块“彼岸”，展出的是单频有声影像《空明》。事实上，郭棚是一位身在乡野的“斫琴师”，通音律，擅古琴，他自认为正是古琴的传统与开放使他更加确信什么才是自己应该坚守的，也正是这样的哲匠信念让其影像作品能够自由地流淌在中国传统文化与西方当代艺术之间，并寻得一种平等的对话和平衡的姿态。于我而言，郭棚的自由在眼下或可谓空谷跫音，其可贵之处不止于机缘难得，还来自那份守拙归田园的气定神闲。

“皎皎白驹，在彼空谷。生刍一束，其人如玉。”这是郭棚和他的作品给予我的共鸣。在此，也希望这份共鸣能够继续传递给更多的观众：在这个场域中、在与艺术家的对话中、与作品的互动中，感受到时间的善意与艺术的真诚。

策展人 祖宇

光之艺廊艺术总监，博士，摄影史研究者

Circulating

Unrestrained, cyclical, and even infinite, is the initial feeling that the word “circulating“ gives me. Most of the time, it is very difficult to achieve this ideal state of freedom, however, I hope that the audience can have the chance to experience this state of freedom through Guo’s works in this exhibition. Not only the audience, but the artist’s own thoughts will continue to expand and spread along with the frequent interactions with the audience and space. I believe this is also the premise of an exhibition – not to interpret the meaning of “objects” (artworks), but to allow the creative viewpoint of a “human being” (artists and audiences) to be unrestrained, cyclical, and even infinite.

We formulated a hypothesis after the conversation with the artist, that the audience and the exhibition space are free to participate in the artist’s creative process and the construction of the artwork. This also makes me more convinced that art can only be regarded as the true meaning of completeness when it is observed in its symbiotic relationship with its founders, participants and displayed spaces. Based on what I have mentioned and the spatial characteristics of the Light Gallery, the theme of this exhibition is “Circulating”.”Circulating” is Guo Peng’s first solo exhibition in Light Gallery, a new series of works will be presented. His image installation works in the context of integrated media to interpret the image space, focusing on constructing the aesthetic experiences of life by means of contemporary art practices.The exhibition includs three sections: , “Festina Lente”, “Dust and Shadow” and “Nirvana”. There is no particular order among the three sections during the viewing of the artwork.

‘Homeward Bound’ is displayed in the first section of the “Festina Lente”, which contains 12 groups of photos. this series of work will be unfolded as three elements : return, in between, and come to presents the state of hidden, inaction and reality. “return” includes  “Forest”, “Garden”, “Afternoon” and “Vase”; “in-between ” includes “Cave”, “Wall”, “Cloth” and “Sand”; “come” Includes “Layers”, “Lamp”, “Pillar”and “Bottle”.

In the second section, “Dust and Shadow”, consists of two sets of “site-specific” image installation: “Shadow” and “Mix”. These two groups of works are located in the centre of the space, using the process of shadow and colour to keep the balance of multi relationship between memory and present, history and reality, tradition and contemporary. ”invisible is more important than visible” is what the work of “Shadow” aims to present. The existence of shadow is not to cover, but to reveal the original shape of where the light goes; and at the same time, the works can be viewed from different perspective individually. The artist, the reader, and the curator jointly exercise the right to interpret the work. Another work named “Mix”, not only allows the colour to overflow the wall, but also provides a possibility for memory to confront the present. As the creator himself explained: “Everything emerges out of the black hole (black door) and is completely inhaled by the black hole. The black hole connects us with the known and unknown.” However, we are powerless when we are confronted with past memories.

In the second section, “Dust and Shadow”, consists of two sets of “site-specific” image installation: “Shadow” and “Mix”. These two groups of works are located in the centre of the space, using the process of shadow and colour to keep the balance of multi relationship between memory and present, history and reality, tradition and contemporary. ”invisible is more important than visible” is what the work of “Shadow” aims to present. The existence of shadow is not to cover, but to reveal the original shape of where the light goes; and at the same time, the works can be viewed from different perspective individually. The artist, the reader, and the curator jointly exercise the right to interpret the work. Another work named “Mix”, not only allows the colour to overflow the wall, but also provides a possibility for memory to confront the present. As the creator himself explained: “Everything emerges out of the black hole (black door) and is completely inhaled by the black hole. The black hole connects us with the known and unknown.” However, we are powerless when we are confronted with past memories.

Here, I also hope that this resonance can continue to be passed on to more audiences: in this site, within the dialogue with the artist, in the interaction with artworks, feel the kindness of time and the sincerity of art.