邵文欢

Recommendation for Shao Wenhuan

对“客观世界”的观看欲望，使邵文欢从绘画转向摄影。但他的摄影显然不只是为了记录外在世界的表象，而是通过一种介于客观与主观之间的媒介，在客观与主观之间寻找和把握一种更为合理的尺度。所以，从他最初拍摄江南风物时起，就是带着一种研究、探讨的态度和方式来进行的——素描、草稿、数字技术的加工、暗房冲洗……。

Shao Wenhuan turns from painting to photography owing to his desire of looking into the “objective world”. But obviously, the aim of his photography is not just to record the appearance of the outer world, but also to find and seize a more reasonable dimension between the objectivity and subjectivity through a media between the objectivity and subjectivity. Therefore, when he started to photograph the scenery in the south of the Yangtze River at the very first, he did it with an attitude and method of research and exploration, including sketch, draft, processing of digital technology and development in the darkroom, etc..

从这些最初的“摄影”开始，之后的一系列作品，包括《国际旅游者》系列，其深层动力都是想探寻一种确定的精神支点，或者想确定“是否有一种确定的精神支点”。在通过《国际旅游者》来呈现或营造出全球性的精神低迷之后，邵文欢的关注点又由西方返回到了中国本土，而且是他成长于斯的江南。

The deeper motive of a series of works after the first “photos”, including the series of International Travelers is to explore an assured spiritual fulcrum, or to make sure “if there is an assured spiritual fulcrum”. After presenting or constructing a global spiritual depression through International Travelers, Shao Wenhuan’s focus comes back to China from the West, especially the south of the Yangtze River, the hometown where he was born and grew.

《明……》这一系列作品，可以视为邵文欢对以江南文化为表征的汉文化的思索，而且主要从山水木石的视觉维度切入。从视觉语言层面，他融合了自己对绘画与摄影的体会，使这些作品拥有一般摄影者所难以触及到的领域和层面。

《不明……》中的树木山石，来源于精心选择的自然景物，散发着非常生动的喜乐之“气韵”。这种喜乐让人一睹即陶醉，进而可能流连忘返。但茫茫天际的浩瀚与莫测，也呈现在“高远”的画幅之中；类似霉斑、污渍、划痕、噪点的痕迹经由复杂的明室与暗房技巧被生成和浮现……这些都具有隐晦的不祥或不乐之气，但又很含蓄，无心与此的观者可以忽视它们。邵文欢在此基础上又营造出突兀而强烈的不明痕迹，对具有形而下成分的喜乐氛围进行破坏或干扰。如同喜乐之人脸上被不明气流划伤，这种不明痕迹，似乎毫无道理，来去莫测，而且因其超验、形而上的特征而难以言说。个中意味，邵文欢自己可能也难以言表，但他又真切的感受得到，并挥之不去。

The series of Bright can be viewed as Shao Wenhuan’s meditation of the Chinese culture which is represented by the culture in the south of the Yangtze River, with the mountains, rivers, trees and stones as the main visual dimension. From the level of visual language, he merges his experience of painting and photography and makes his works attain the field and aspect that most of the ordinary photographers cannot achieve. While the trees, mountains and stones in his Not Bright come from the natural scenery that is carefully selected and radiates an extremely vivid and delightful “tone”. The delight enchants the viewers and makes them lost in the painting. The infinity and uncertainty of the sky are also represented in the “free and natural” paintings. The traces like mould stains, besmirches, scratches and error points are generated and emerged owing to the complicated skills in the bright room and dark room…All these traces show an obscure atmosphere of bad luck, but they are so obscure that the careless viewers may even overlook them. And based on these, Shao Wenhuan further creates other unidentified traces, both abrupt and strong, in order to destroy or disturb the above-mentioned delightful atmosphere with concrete elements. Just like a delightful person’s face is hurt by an unidentified airflow, the unidentified traces are too unreasonable and unfathomable too be expressed due to their characteristics of transcendence and metaphysics. Maybe even Shao Wenhuan himself cannot express exactly the meaning of his photos, but he can feel it clearly and the feeling is always lingering in his mind.

但这是否只是邵文欢作为一个差异性的个体的极其个人的感受甚至妄想？这种感受因何而来，如何消失？这是所有被触动的观者需要思考和解决的问题。就笔者个人而言，《不明……》中的不明痕迹，再温暖些、再柔和些可能会更好。

—杜曦云

But is it only an extremely individualized feeling or even deliria for Shao Wenhuan as a different individual? Why does the feeling emerge, and why does it disappear? These are questions that require all viewers touched by the photos to consider and to solve. As far as the author’s concerned, it will be better if the unidentified traces in Not Bright are even warmer and softer.

--Du Xiyun

王光乐

Recommendation for Wang Guangle

王光乐希望在各种集体性话语的笼罩中逃逸出来，于是，他最初通过创造各种观看角度来寻找个体的精神支点。在此过程中所选择的对象、操作方式等，是他在寻找过程中的衍生品，并继而替代了“观看”，成为寻找精神支点的新的途径。虽然途径在不断演绎，但将一种日常的慵懒、无为诗意化，却在他的寻找之途中一脉相承。

—杜曦云

Wang Guangle wishes to escape from the cage of various discourses of collectivity, so that he tries to find spiritual fulcrum for individual by creating different viewing angles at first. And the objects and operation modes he chooses during the process are derivations of his searching, and then are substituted for “viewing” as a new way of finding spiritual fulcrum. Though the way is constantly changing, he always makes the ordinary indolent and inaction become poetic expression.

-- Du Xiyun

杨光南

Recommendation for Yang Guangnan

杨光南从传统的雕塑语言入手，逐渐扩展到装置、行为等。她对自己的日常化切身体会进行推究和演绎，转化为具有动人力量的作品。这些作品关乎渺小个体在都市化空间中的生存状况、身份认同、情感纠结、时间意识等，看似随感而发、信手拈来，但在所有作品中都散发着一种独有的细腻而尖锐、刚硬、强韧的意识，以此形成她强烈的个人特质。

—杜曦云

Starting from the traditional sculpture language, Yang Guangnan gradually focuses on the devices and behaviors, etc. She examines and deducts her daily experience and turns them into touching and powerful works. The works are about the living situation, identify recognition, emotional conflicts and time consciousness of the nobodies in the urbanized space, which seem to be inspired by the ordinary incidents in ordinary life, but actually radiate a unique, subtle, sharp, firm and tough consciousness, thus forming a particular trait of her own.

--Du Xiyun

黄志琼

Recommendation for Huang Zhiqiong

已经很久没有一张画可以进入我的内心了，当天深夜一回头看到黄志琼自己珍藏、挂在高墙之上的《人物》，心里一惊：泪水都快要出来了。画里的人物为什么掩面而泣呢？画家画她时是否也为之动容？虽然我还没有跟黄志琼交谈过，但已经能体会他的向往，画家画了一匹奔向远方的野马，画了一群振翅高飞的野鸟，画家想要过自由的生活，想要无垠的空间。（宋）韩拙在《山水纯全集》中说道：“有近岸广水旷阔遥山者谓之阔远；有野雾暝漠，野水隔而仿佛不见者，谓之迷远；景物至绝而微茫缥缈者，谓之幽远。”黄志琼画中的空间可谓迷远，又更近于幽远，但他并不想完全归隐山林，理想的状态是：不必完全逃避社会，身体和心灵依然能保持无拘无束。林语堂在《生活的艺术》中对理想人物状态的描绘和追求，我感觉很适合黄志琼参考：一半有名，一半无名；钢琴也会弹弹，可是不十分高明，只可弹给知己的朋友听听，而最大的用处还是给自己消遣；古玩也收藏一点，可是只够摆满屋里的壁炉橱；书也读读，可是不很用功；学识颇广博，可是不成为任何专家。

—段君

I haven’t been touched by one painting for a long time. But one night, when I turned around and saw The Character, which was treasured and hung on the wall by Huang Zhiqiong himself, I felt something happened in my heart and nearly burst into tears. Why are the character in the painting covering her face and weeping? Did the painter feel sorry for her when he was painting? Though I haven’t talked to Huang Zhiqong yet, I have already sensed his desire. He paints a wild horse running towards the distant, and a group of wild birds flying into the sky, which indicates that he wants a free life and an infinite space. Han Zhuo in Song Dynasty once described in A Complete Collection of Mountains and Rivers (Shan Shui Chun Quan Ji) that “when a space is near the bank and far away from the mountain, it makes people feel broad and profound; when a space is covered with fog and separated by a river, it makes people feel lost and profound; when the scenery is extremely wonderful while misty as well, it makes people feel peaceful and profound.” The space in Huang Zhiqiong’s painting can be called “lost and profound”, or more close to “peaceful and profound”, but he does not want to live in seclusion. His ideal life is the one that needs not fully escape from the society and is able to remain the body and mind unconstraint as well. Lin Yutang once depicted in his The Importance of Living about the ideal living situation of ideal people that “a person is best to be neither too famous nor too obscure. And he can play the piano but is not good at it. Actually he will only play it for his best friends or most importantly, take it as a recreation for himself; he also collects some antiques, but not too many; he also reads books but not very industrially; he masters extensive knowledge but is not an expert on any field.” I think the above depiction can be viewed as an excellent reference to Huang Zhiqiong.

--Duan Jun