從溫良的寒霜開(kāi)始――11當(dāng)代藝術(shù)邀請(qǐng)展
　　展覽時(shí)間：2008.06.07-07.08
　　展覽地點(diǎn)：彼岸畫(huà)廊 深圳市寶安區(qū)寶城公園路22藝術(shù)區(qū)1號(hào)5層

　　谷雪兒

　　既然是場(chǎng)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(fēng)小月的塵景。

　　流陽(yáng)瀉盡的午后，大地開(kāi)始聽(tīng)雨聞心。

　　似乎如一間充滿潮濕的房子，把我們關(guān)進(jìn)不是田埂、不是暮色、不是往事的表情里。用松樹(shù)的挺拔，衰老的院落，褪色的撒嬌來(lái)還原自由和慵懶。

　　《糖》是苦澀的救藥，也是距離過(guò)程中極端的表達(dá)。只有“色”的張揚(yáng)才體現(xiàn)了李暢具有唐吉柯德長(zhǎng)矛般尖銳的話語(yǔ)，才有了對(duì)女人的悲憫情節(jié)。再艷麗的色彩也未能遮擋一致的女人背后艱難的孤獨(dú)。

　　有些男人站著只是一種姿勢(shì)，或叫直立，而劉港順畫(huà)的男人站著就是種力量，無(wú)需判斷和注解。男人有時(shí)一定要依靠他的柔軟來(lái)獲得女人的忠貞。無(wú)論《新小說(shuō)家》還是《電影》都在陳述男人的脆弱，才如此炫耀他們對(duì)時(shí)代的遵從與實(shí)驗(yàn)者的頹勢(shì)。如一場(chǎng)蒼老的春夢(mèng)，荒草和余暉便是這場(chǎng)夢(mèng)里躲不過(guò)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(ài)比死更冷》之系列的自我悲傷的疼痛感，究竟是源于自由的迷失？還是堅(jiān)守靈魂不被留白的纏綿？?jī)?nèi)心啊，內(nèi)心只是一個(gè)拳頭大小的空間，它卻要承載一個(gè)朝代的圣歌與災(zāi)難，經(jīng)歷生活的閑言碎語(yǔ)，苦語(yǔ)悲音。我最怕滿含期盼的夭折，那是從內(nèi)心怎么也驅(qū)趕不散的哀嚎，若不是有愛(ài)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(wú)可依傍飄蕩的靈魂，止于一場(chǎng)煙花散盡的深處。走在夜路的靈魂啊，還要尋找多久，從一個(gè)祭祀的鄉(xiāng)野到水的獨(dú)白？從冷死的愛(ài)里沉迷到從容的大惑？然而，直覺(jué)在說(shuō)，在某個(gè)角落或者另一條小巷，你終將會(huì)愛(ài)上死亡，無(wú)論是夢(mèng)境還是寓言。

　　李磊的零亂早已在大海停止之處充滿欲望地循環(huán)，散落一地白色的花，盡管語(yǔ)境優(yōu)美卻無(wú)法擺脫生命專場(chǎng)的遭遇。含蓄的凄美試圖想重返家園，看似冷靜的姿態(tài)，是在不停地驅(qū)趕內(nèi)心的復(fù)雜，卻又涂抹著松散的術(shù)語(yǔ)。終歸是女人，眉清目秀，又不肯放棄深思。

　　與其他藝術(shù)家不同的是，王威覺(jué)悟的語(yǔ)境道出了人類的良知，《水世界，它們的夢(mèng)想》無(wú)論借景還是借物，都在哲學(xué)范疇的領(lǐng)域里反思與瓦解。至于說(shuō)究竟是“它們”的夢(mèng)想還是人類的夢(mèng)想，都應(yīng)慢慢清理。首先是身份的清理，其次才是精神的清理。夢(mèng)想就是矛盾和邊界的敏感在某一個(gè)單元的開(kāi)始，《秋柳雙鴉》、《寒雀》幾乎是許凌對(duì)限制和自由的宣戰(zhàn)。我曾看見(jiàn)過(guò)運(yùn)河邊上的水草，試圖用自然之物詠懷，現(xiàn)吻大地與自然之恩。而許凌的錘煉死亡的方式，不斷地徘徊在冥想的路上，對(duì)自由的渴望，對(duì)制約的抵抗，墮入地獄的天堂。以一種舒展的姿態(tài)有節(jié)奏地與人類進(jìn)行著言意之辯，打破語(yǔ)境，似乎在與恐懼較量，這也是視覺(jué)生存里最基本的體驗(yàn)。

　　燕子的《顆粒》是完成整體途徑的終極表達(dá)。看上去很生硬，缺少柔美，然而，每一個(gè)組合而成的結(jié)構(gòu)，構(gòu)成了整體的所有的元素。對(duì)生活陰影里自述性的訴求，仔細(xì)端詳并清晰地回憶記憶中的隱痛，無(wú)條件地推開(kāi)視界里混濁的實(shí)質(zhì)，來(lái)歌頌純樸與自覺(jué)。

　　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(huà)廊簡(jiǎn)介

　　彼岸畫(huà)廊座落于美麗年輕的海邊城市深圳,是一家充滿朝氣的當(dāng)代畫(huà)廊,我們的畫(huà)廊致力于推廣全世界優(yōu)秀的青年藝術(shù)家。同時(shí)彼岸畫(huà)廊是一間注重學(xué)術(shù)的畫(huà)廊, 與多家藝術(shù)機(jī)構(gòu)及國(guó)內(nèi)外活躍的策展人、批評(píng)家、藝術(shù)家保持著密切的聯(lián)系，積極參加國(guó)際間的藝術(shù)交流活動(dòng)。畫(huà)廊有優(yōu)越的展示空間和完善的推介系統(tǒng)，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(huà)廊網(wǎng)站：http://www.beyond-gallery.com/
　　聯(lián)系電話：0755-27846166
　　聯(lián)系人：陳貼