物之边际The Edge of Being

作者: 崔彤cuitong | 来源:发表于2018-10-01 08:37 被阅读0次

物之边际The Edge of Being
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展览名称: 物之边际

Name of Art Show:The Edge of Being

展览时间: 2018年10月16日----11月15日

Exhibition Time: 2018年10月16日----11月15日

开幕时间: 2018年10月16日下午14:00

Opening Time: 2018年10月16日下午14:00

主办方: 半壁山房世逸文化上海崔彤艺术工作室

Sponsors: SHIYI Culture, BANBI SHANFANG,Shanghai CUI TONG Art Studio

展览地点：上海市奉贤区南桥镇环城西路2511号菱光大厦裙楼半壁山房

Locale:shanghai Fengxian District,SouthBridge Town, 2511 West Ring Road

策展人: 崔天琦

Show Planner: CUI TIANQI

学术主持: 张培成

Academic Director: ZHANG PEICHENG

艺术家: 季平余启平刘钻王犁海晓龙崔彤刘永涛阎盈汐李知弥宗锡涛郭彬彬李木十孙源李忠印黄方启郑元无马君崔雁王海宇代英伦苏宗辉

Artists attending the show (TBD): JI PING,YU QIPING, LIU ZUAN, WANG LI, HAI XIAOLONG, CUI TONG, LIU YONGTAO, YAN YINGXI,LI ZHIMI, ZONG XITAO, GUO BINBIN, LI MUSHI, SUN YUAN, LI ZHONGYIN, HUANGFANGQI, ZHENG YUANWU, MA jun, CUI YAN, WANG HAIYU, DAI YINGLUN, SU ZONGHUI

张璪有句名言，“外师造化，中得心源”。这句话得到了广泛的认可，并在之后以指导地位长期存在。放在今天，这句话是二元辩证思想在古代的朴素体现。然而之所以有“二元”这个概念，是因为还有以“一元”视角看待世界的方式。在认识客观世界的广度和深度得到空前发展的今天，我们渐渐学会以不同量级审视一切——“静”是特殊的“动”；“里”是相对的“外”；那么以往的矛盾对立也就获得了调和。

There is a famous saying from ZHANG ZAO, “art comes from life andnature, but also comes from inspiration and creation”. This saying is widelyaccepted, and has been existing for a long time by a dominant position. If thebackground of this saying is today, it’s a primitive reflection of the binarydialectical thought. However, the concept of “binary” comes from the manner ofviewing the world by a “unitary” perspective. Nowadays, unprecedenteddevelopment has been achieved in the breadth an depth of understanding theworld, so we have gradually learnt to look at every-thing with variousmagnitudes---“static” is a special “dynamic”; “inside” is the relative“outside”; then the previous contradictions have been harmonized.

我常在想，是什么支撑着水墨艺术穿越千年在今天仍旧存续？是天性中本然的描绘冲动和智慧溢出？是中华文明的绵延根脉？当然，问题比答案更重要。顺着这个问题，追索到认识这个世界最基本的态度和视角的变迁。这似乎是一条隐藏在水墨艺术形式形态流变之下的暗线。它是我们的土地上高于思想的“思维系统”运行的结果——以东方的、知行合一的、现实和浪漫的思考来体察世界，并不断迭代认识客体的方法——它得以升级，以至于认识到“心”与“物”的同一性。

I’m often thinking over what’s supporting the ink painting overthousands of years? Is it in-stinct portray inspiration and wisdom spur? Is itthe long-lasting roots of the Chinese civilization? Of course, the question ismore important than answers. I recourse the transitions to the mostfun-damental attitudes and perspectives in comprehending the world. It seems adarkline hidden in the dynamic transitions of ink painting on artistic formsand morphologies. It’s a result of operation from the “ideological system”above the earthy thought---experiencing and observing the world with theoriental, syncretic, realistic and romantic reflections, and continuouslyiterating the methods for recognizing the objects---it’s being updated and soas to realize the identity between “object” and “mind”.

同时，还可以从另一个角度出发：既然我们所得到的一切认知是源于我们的感官，感官从心出发，那么我们所指的“造化”无非就是我们的“心”告诉我们的“造化”。那么，“造化”是源于“心”的。

Meanwhile, from another perspective: since all our cognitions comefrom our sensation, which is obtained from mind, then the so-called “nature” isnothing but the “nature” conveyed by our “mind”. Therefore, “nature” comes from“mind”.

想到这里，我希望找到这个维度里能够自如创作的艺术家。

At that moment, I hope to find the artists who could create freelyin this dimension.

这个展览正是从这个基点出发，以契合“心”“物”同一的思想为前提汇集作品，作品中的描绘的正是自身本心的真实映射。小到一片叶子，大到整个社会群体的缩影。

This art show is just based on this starting point. Works arecollection under the prerequisite of unifying with “mind” and “object”, andwhat portrayed in the works is just true reflection of the instinct. As tiny asa piece of leaf, and as huge as miniature of the entire social group.

在承袭千年的文化长河中，从先民们的“物我对立”，“万物有灵”到今天的“我”的觉醒，是水墨的自觉，也是精神的自觉。

The transition from the “opposition in mind and object” and“animism” insisted by our ances-tors to our current awakening of “mind” is botha self-awareness of ink paintings and a self-awareness of our spirit.