展讯 | 「凹 凸」Another One 陈末 大风吹 冯依伦 施逸群 群展

凹 凸

Another One

陈末 CHEN Mo

大风吹 Gypsy

冯依伦 FENG Yilun

施逸群 SHI Yiqun

展览时间 | Duration

2022.2.26 - 2022.4.10

（11：00 - 19：00，周一闭馆 Closed on Monday）

展览开幕 | Opening

2022.2.26 （周六） 4pm-7pm

陈末 CHEN Mo | 有关个体与时间的边界关系 | Oil on Canvas, Metal | 100×150cm | 2021

「凹凸」这个展题来源于策展团队讨论时提及的Outsider，艺术家在疫情席卷之时，背对也面对着他们眼里的周遭，回到国内，而回的也是一个新的地域和状态。元气淋漓的创造力在他们的躯壳中呼之欲出，想要表达的欲望与渴望被认同的痛楚同样强烈，有意无意间，锋利而又柔软的正负空间，对撞的强烈色彩，无力与高亢的回响，有限与无限的时空探索，在他们的作品中以一种既矛盾又和谐的旋律演奏着。

大风吹 Gypsy | 无题 Untitled | White glue, Paper, Paint, Marker | 33×18cm | 2018

何谓圈内？又何为局外呢？词汇无形之下就构建了一个看不见的边界的区隔。这个世界和世界之外的边界、人和人之间的边界、物和物之间的边界、真实和虚拟之间的边界其实都没法一刀切的，有点像大风吹作品呈现齿轮状的语言…也好比陈末在时空间织网搭建，其实想说的是：是否真的有这个边界呢？

冯依伦 FENG Yilun | 云 | 哈姆勒纯棉硫化钡相纸 | 20×30cm Image size, 30×40cm Frame size, ED20 | 2019

不知何时起，在国内的不同年代的叫法变成60后，70后，80后，90后和00后。即10年为一个年代差之分单位。而在欧美的说法，通常以20年为一个节点，X世代指的是60～70年代生的人群，通常会以【个人主义】倾向为特征；Y世代是80～90年代生的人群，通常价值观更偏向【自由主义】；而Z世代是伴随着互联网世界成长的。日本的世代区分为团块世代，泡沫期世代（60年代出生），冰河期（70～80年代生），宽松世代（1987年～2004年生），Z世代（2005年以后生）。它的区分基准更倾向于以社会政治，经济的事态。

施逸群 SHI Yiqun | 她苏醒时 Awaking | Oil pastel on wood | 40×60cm | 2020

现在世界人口70亿中，Generation Z的人口为19亿，约占人口比例为三分之一。他们生来就与IT打交道，也叫电子IT一代。这群人的日常生活与微信，Instagram, YouTube, TikTok等为原风景，与互联网盘根错节生长的他们很难想象脱离互联网的生活。但人的复杂性，越多越快带来的反坠感，文化经济兴盛宏大的影子下总是带着诗意的空洞。不乏自我认知下慢下来的人，不乏甚至背离人群而驰往回走的人。最终可能也并无前后之分。

大风吹 Gypsy | 有光的世界 World with light | White glue, Shredded paper, Newspaper, Fiberglass mesh, toner, Acrylic | 77×133cm | 2020

即使皆处于快速消费，信息过载的时代，他们历经高大满足的游历，占有孤独者的欢呼声。他们在其中或是“不和谐，怪异，唐突”。要成为另一个自己，注意，注意言辞，注意行为，注意限度，注意道德，注意什么，还要注意什么，要求注意什么就得注意。凹凸亦别致，与外面没有关系。

冯依伦 FENG Yilun | 主人与狗 | 哈姆勒纯棉硫化钡相纸 | 20×30cm Image size, 30×40cm Frame size, ED20 | 2020

凹凸很简单且形象的像两块拼图，拼接起来无缝合为一体，其实原本就是一整块，而边界是分离心自我定义出来的，无论这个Another one呈现出什么模样，都是同一。就好比这次群展的四位年轻艺术家，每个人都有其独特的风貌，但作为一个整体群展呈现时，自我表达归宿到本源，其实是同一种语言。我们希望这个世界是你中有我，我中有你的。作为一个个体，我们面对的任何一个他人，何尝不是可以照见另一个自己。

施逸群 SHI Yiqun | 裸 NUDE Ⅵ | Watercolour on paper | 18×26cm | 2020

一个“漫游者”的状态，是现代城市的记叙者和观察者漫游，也是一种陈述内心声音的策略，也是现代城市的记叙者和观察者，他们是将城市景观，真实和虚拟世界作为乐园的人，带着享受乐园的单纯心性，一种无目标的无动机的，无因的反叛，仅受其感官所驱使。完美的漫游者也是一个热情的旁观者，人和人群是他们的重要元素，在人头窜动的浪潮中，在无休止的游离之中，他们建立了一个自我的栖息地。冯依伦的摄影里，那瞬间的光与影，人和环境，一种绝妙的诗意与失意。 而施逸群的作品的热烈浪漫下总是露出的微微狡黠是他探寻another one时的独有目光。

大风吹 Gypsy | 奇迹与向奇迹发问者 Wonder and Wonderer | White glue, Shredded paper, Newspaper, Fiberglass mesh, toner, Acrylic | 85×153cm | 202

如同流浪的灵魂寻觅寄居，漫游者亦会进入任何其意欲进入的他者躯壳，自我有时也是“他者”，是为寻找“another one” 也是为个人主义的”凹凸“。

对本雅明来说，现代城市的环境，激起了对过去岁月的回忆，并非单纯的怀旧，而是生成一种批判性知识。一个可共享的集体空间，意识与无意识，过去与现在，都在其中相遇，呈现于不断流动的现在和可见重压的过去之间。

陈末 CHEN Mo | 有关“时间，空间，人”的三联画｜Oil on Canvas | 95×65cm×3 | 2020

这是一个行为超前，制度滞后的时代。从互联网到数字货币，再到NFT和原宇宙，世界的变化在这个全世界被疫情席卷的时代悄悄地走进我们的生活里。在似懂非懂中，人们生怕自己赶不上这一波浪潮，急匆匆地赶赴这趟全新的列车，却不知列车会驶向何方。它也是一个滑稽的时代。它迷幻，矛盾，荒诞不已。我们却无法逃脱。而这些所有也尽兴任性地游移在他们的作品之中。

 陈末 CHEN Mo | 有关“分裂”的状态｜Oil on Canvas | 100×80cm | 2020

不知不觉，Z时代的人已经在旺盛的表达这个突如其来的大时代带给他们的困惑和迷茫，兴奋与沉静。原宇宙的世界里，真实的你和真实的我，阿巴塔的我和阿巴塔的你，可以交叉地交朋友吗？一切都刚刚开始，是恐惧，还是好玩，要看你如何面对它。

一个“凹凸”的空间与时间。

-完-

冯依伦 FENG Yilun | 罗马时代的教堂后门 | 哈姆勒纯棉硫化钡相纸 | 20×30cm Image size, 30×40cm Frame size, ED20 | 2020

The title of the exhibition “Another One" comes from the Outsider mentioned by the curatorial team during the discussion. When the epidemic swept through, the artists both facing and turning back to the surroundings, returned to China, and the brand new circle and state. The vibrant creativity is ready to emerge from their bodies, the desire to express is as strong as the pain of aspiring to be recognized, intentionally or spontaneously, the sharp and soft positive-negative spaces, the collision of strong colors, the powerless and high-pitched echoes, the exploration of time-space of the finite and the infinite, plays in a melody that is both contradictory and harmonious in their works.

施逸群 SHI Yiqun | 时时勤拂拭 | OIL PASTEL ON PAPER | 33×24cm | 2020

What is inside? What about outside? The vocabulary constructs an invisible boundary, which is between this world and out of the world, between peoples, between matters, and between the real and the virtual. In fact, we can split things with a boundary. It is a bit like the gear-like language of Gypsy, also like Chen Mo weaving time-space into a web. What they want to say is: Is there really such a boundary?

大风吹 Gypsy | 无题 Untitled | Mixed media on wood board | 70×45cm | 2018

Hard to say since when, the names of different generations in China are post-60s, post-70s, post-80s, post-90s, and post-00s. 10 years is a unit of different generations. In European and American terms, 20 years is usually used as a unit. Generation X refers to people born in the 1960s and 1970s, usually characterized by a tendency of individualism; Generation Y is a group of people born in the 1980s and 1990s, and their values are usually more inclined to liberalism; and Generation Z grew up with the Internet world. Generations in Japan are divided into the clump generation, the Bubble Generation (born in the 1960s), the Employment Ice Age Generation (born in the 1970s and 1980s), the Relaxed Education Generation (born from 1987 to 2004), and the Z generation (born after 2005). Japanese standard of division is inclined to the socio-political and economic backdrop.

陈末 CHEN Mo | 孔雀宫 · 春 | Oil on Wood | 60×45cm | 2019

Among the world's 7 billion people, Generation Z has 1.9 billion people, accounting for about one-third of the population. They are born with IT, also known as the electronic IT generation. The daily life of this generation is inseparable from WeChat, Instagram, YouTube, TikTok, etc., and it is difficult for them to imagine a life without the Internet. However, the complexity of human beings,  the sense of reversal brought by this getting faster and faster, the shadow of cultural and economic prosperity is always filled with poetic emptiness. There are many people who slow down under self-awareness, and there are people who even run away from the crowd and go back. In the end, there may be no distinction between before and after.

冯依伦 FENG Yilun | 暴风雨来临前的灯塔 | 哈姆勒纯棉硫化钡相纸 | 20×30cm Image size, 30×40cm Frame size, ED20 | 2020

Even in the era of rapid consumption and information overload, they have gone through satisfying journeys and possessed the cheers of lonely people. They are also "dissonant, weird, abrupt" in it. To become another self, pay attention to language, pay attention to behavior, pay attention to limit, pay attention to morality, pay attention to what you need to pay attention to. The “self and another self” is also unique and has nothing to do with the outside.

施逸群 SHI Yiqun | 天使 ANGEL | Oil Pastel on Paper | 30×21cm | 2021

The concave and convex are very simple and vivid images like two pieces of a jigsaw puzzle. When spliced together, they are seamlessly integrated into one. In fact, they are originally a whole piece, and the boundary is defined by self-definition. Just like the four young artists in this group exhibition, each of them has their own style, but when presented as a whole group exhibition, self-expression goes to its origin, which is actually the same language. We hope our world could be “You have me, I have you”. As an individual, when we face any other person, we can see another self.

大风吹 Gypsy | 缝合的伤口 Woven Wound | White glue, Shredded paper, Newspaper, Fiberglass mesh, Toner, Acrylic | 92×92cm | 2020

The state of "roamer" could be narrator and observer wandering in the modern city, a strategy for expressing inner voices. The narrator and observer take the urban landscape, and the real and virtual worlds as a paradise with a pure heart to enjoy it, which is purposeless, unmotivated, uncaused rebellion, driven only by his senses. The perfect roamer is also an enthusiastic bystander, crowds are their important element, in endless wandering, they establish their own habitat. In Feng Yilun's photography, the momentary light and shadow, people and environment, weave into wonderful poetry and disappointment. And Shi Yiqun's works always show a slight cunning under the warm romance, which is his unique look when he is looking for “another one”.

施逸群 SHI Yiqun | 裸 NUDE Ⅴ | Watercolour on paper | 26×18cm | 2020

Just as a wandering soul seeks a sojourn, roamer will also enter any other body that he wishes to enter. The self is sometimes the "other", seeking "another one”, It is also for individualistic "concave and convex”.

For Benjamin, the environment of the modern city evokes memories of the past, not simply nostalgia, but critical knowledge. A shared collective space in which the conscious and the unconscious, past and present, all meet, and present between the constantly flowing present and the visible and weighted past.

冯依伦 FENG Yilun | 远离海岸的船 | 哈姆勒纯棉硫化钡相纸 | 20×30cm Image size, 30×40cm Frame size, ED20 | 2021

This is an era in which behavior is ahead and the system lags behind. From the Internet to digital currency, to NFT and Metaverse, changes in the world quietly entered our lives when the whole world was swept by the epidemic. In the vague understanding, people are afraid that they will not be able to catch up with this wave, and rush to this brand-new train, but do not know where the train will go. It's also a ridiculous time. It's psychedelic, contradictory, and absurd. We cannot escape. And all of these also wander freely and willfully in artists’ works.

陈末 CHEN Mo | 有关“第0日”的三联画（no.2） | Oil on Canvas | 95×65cm×3 | 2020

- The End - 

大风吹 Gypsy | 无题 Untitled | Mixed media on wood board | 70×45cm | 2018

 ▼

陈末 | CHEN Mo（b.1994）

大风吹 | Gypsy（b.1996）

冯依伦 | FENG Yilun（b.1994）

施逸群 | SHI Yiqun（b.1994）

现生活工作于上海

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