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时间：2009-3-20-2009-4-17 地区：上海其他
主办机构：费历尼画廊（Fellini Gallery）
地点：上海长乐路339弄15号（近襄阳路）
冯方宇生于江南，长江三角洲以南地区。茶、丝绸、玉和大米都产于江南。今天这些事物几乎就是中国的代名词，证明了这仅占全国5%的地域的巨大影响力。在他的《梅雨》系列中，艺术家颂扬了江南最吸引人的文化遗产——昆曲和传统的园林设计，这两者作为世界文明遗产，被列入联合国教科文组织的传统遗产基金会名单中。《梅雨》是冯方宇献给他童年旧居逐渐消逝的艺术的情书。
主题阐述：
吴地多雨，梅雨之意境无不让人思绪万千，忆旧思远，阴美与纤丽互见，宏观与微观俱陈。江南故园，细雨迷濛，春水盈野，一派浩渺，如梦如画。
昆曲起源于吴地，肇兴于厅堂，糜繁于盛世。是以曲艺园艺，自古同一，以其意趣相近也。穷极人工、曲尽形容，铅华洗尽、观之不足。“不入园林，怎知春色如许。良辰美景奈何天，赏心乐事谁家院。” 庶几近之。雨是园之魂。跳出三界外，咫尺有大千。因为有雨的滋润，平冈山丘、茂林修竹，始得浓缩于方寸之间，虽由人造，宛似天开。雨是曲之魄。一夕梨园春，百年旧山河。因为有雨的打磨，书剑飘零、莺声燕舞，皆化入红牙檀板，任吴音流转、浅吟低讴。
园林是可以看的昆曲，昆曲是可以听的园林。园林和昆曲一起构成了中国人几百年来共同拥有的精神家园。昆曲和苏州园林可以如此精确的描绘江南，这个“家园”也许仅仅只是一份遗产，沉甸甸，轻飘飘，也许继承光大，也许随风湮灭。苏州园林和昆曲先后被列为世界文化遗产之后，两者却早以疏远了关系。
像是梦里的一场游园惊梦，梦中人高低各处，无所不能，任由精神放荡，溢出复杂心绪。这绵绵细雨、翩翩水袖、玉面书生、临风佳人……，只是刻意营造的灵境宝相而已，当真正靠近时，就燃烧化作烟云吧。《牡丹亭》里杜丽娘为梦忧郁而死。然而，生活在水泥丛林中的现代人，我们丢失的，又岂只是梦里江南！牡丹亭上三生路，但是相知莫相负。一团明晃晃的火，疑问和责难之声四起，殊不知纵火者就是隔岸旁观的大多数。
水与火，相伴相克，矛盾却暧昧。江南总是用雨和水滋润着园中故人，一眷长袖，潺潺无尽，通天连心，而燃烧起来的也许是希望，也许是激情，可能更多是无奈。曾经兴盛的江南文明，在水与火之间重复着兴衰。当我们隔岸观火时，也许一丝隐痛会牵动某一根敏感的神经，而不至于用可怕的麻木焚毁自己的故园。
Love Letter from a Young Artist
Feng Fangyu was born in Jiangnan, a region that lies just south of the Yangtze Delta. Tea, silk, jade, and rice are all produced in Jiangnan. Today these items are nearly synonymous with China, demonstrating immense influence by a region that comprises just 5% of its country. In his series May Rain, the artist celebrates two of the region''s most coveted forms of cultural heritage -- Kun Opera and traditional garden design, both listed as world treasures by the UNESCO World Heritage Foundation. May Rain is Feng Fangyu''s love letter to the dying arts of his childhood home.
Born after the Cultural Revolution, the artist is able to view the past through a romantic lens; Feng Fangyu is not burdened by the restless discontent evident in the art of the previous generation. Instead, he documents emotion, not politics. The atmospheric quality of imperial art forms is celebrated through the artist''s mise-en-scène works. While color and movement pay tribute to the dramatic style of Chinese opera performance, elegant garden settings serve as a poised backdrop to barely restrained moods. Within these emotional landscapes, flames can yield to softness or they can destroy. In Misguidance, we observe the protagonist on a rooftop as strong winds surround him. It''s difficult to say whether he stands in defiance or wonderment of the mischievous forces. The arrangement of ambiguous emotion suggests a story beyond the single moment revealed to us.
May Rain''s well-crafted images highlight the theatre of love -- its torment, sweetness, pleading, and capriciousness. An expert in photography and digital imaging, Feng Fangyu spent painstaking hours laboring over each scene. Ironically, such focus and desire for perfection has resulted in works that seemingly expose humankind''s impotence to exert influence over what matters most to us. Even in Love, an idealized lovers'' gaze is interrupted by the dangerous presence of fire. The series is an exercise in accepting one''s inability to control or create permanence.
Feng Fangyu won his first international award last June in Austria’s Trierenberg Super Circuit Show, after less than two years as a fine art photographer. His wistful images were published in 2 issues of PICS last year alone and featured on the visual arts website www.imagecn.cn. An interview with Hong Kong''s Photography Journal will be published this spring.
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