刘韡:幻影,幻真幻假LIU WEI: SHADOWS, SEEMING REAL AND VIRTUAL

刘韡:幻影,幻真幻假

Vantage Shanghai - - CONTENTS - 撰文:冯发韧 Feng Faren 编辑:陈溪 Cecilia Chan

在刘韡作品油彩绘制的暗处和光影之中,间杂了细微的色彩变化,颇像破晓或黄昏时,光与暗之间转换的临界点,似乎也区隔了展厅内外的世界。这不由得让人好奇,想得知其中一二,幸亏在进门前的展墙上,被命名为《洞穴》的两张油画所提醒,在并未目睹真相前,猜测他所制造的“洞穴”和它的起因。这个通道在此显示出空间的在场性,它阻挡了观众的直接观看,并且将刹那的诧异情绪积累到最终展厅被注目的那一刻。

“洞穴“的涵义不仅让人联想到陶渊明的《桃花源记》“:初极狭,才通人。复行数十步,豁然开朗”,也似乎与柏拉图所示的“洞穴之喻”有关,二者皆将人带领至密闭的空间,不管是精神的还是肉体的,臆测的或者是现实的。由此,刘韡所构建的“宇宙”(《周期》)在受到观看者惊叹之余也便成为顺理成章的事情,这件作品以形态和轨道运行模拟了宇宙中行星的逻辑,但是它似乎更加抽象和粗略,甚至暴露着材料原本的外貌。如果了解刘韡的以往作品,会发现一些创作思维仍被保留,《谜中谜》中对于体式和姿态的关照,以及其间暗藏的宇宙密码——数学逻

The shadow made by Liu Wei 's works using greasepaint, mixed with subtle color changes, is reminiscent of the critical point when light and dark meet at dawn or dusk, reflecting the area between the inside and outside of the exhibition hall and inciting a sense of curiosity. Two oil paintings named Cave on the exhibition wall before entering the door remind people of its subject, and encouraging the viewer to guess what kind of ‘cave' lies within.

The passageway blocks the audience from direct viewing, building anticipation for the moment when the exhibition hall is finally seen.

The meaning of Cave makes reference to Tao Yuanming's 412AD fable, The Story of the Peach Blossom Valley, which details the chance discovery of an isolated utopia where inhabitants live in harmony with each other and nature: "The beginning part is very narrow and can only fit one person. After walking dozens of steps, it suddenly enlightens." It also appears to suggest Plato's ‘Allegory of the Cave'. Both lead people to a confined space, whether spiritual or physical, speculative or realistic.

The work simulates the logic of planets in the universe in form and orbit, but it seems to be more abstract and cursory, even revealing the material's original appearance. If you know the past works of Liu Wei, you will find that some creative

艺术家刘韡在他的最新个展和同名作品《幻影》中,以弯曲的金属材料(铁、钢)制造了一个特殊的通道,层层穿越后,得以进入展厅,有“幻境梦占梦,畏途山复山。”的感觉。

In his latest solo exhibition and the work of the same name, Shadows, the artist Liu Wei constructed a passageway of curved iron and steel, and after passing through its layers, one enters the exhibition hall feeling transported.

辑,《颜色》中对于观看对象变幻的追查以及临界点的捕捉,《看见的就是我的》对观看方式的有形再现,当然,思维被最终以逻辑化和可视化的形态展示出来。

在《周期》的一侧,五个悬挂于顶部的球状水泥球和安装在地面的镜子组成了《气流》,水泥制成的球体在受到顶部旋转力和地心引力的情况下,旋转,表面被涂饰的纯色颜料在摩擦中散落于镜面,勾勒出它们的暗影。在展览中,刘韡作品之间的互相关照非常明显,此次也不例外。由机械力和自然力带动下的球体动态被形容成“气流”,与《周期》的运行暗合。包括气和影等如真似幻的概念充斥在现场,比起先前的作品,刘韡在此次展览中,降低了早先的物质性概念,让展厅呈现出一种剧场和表演气质。

thinking is still preserved: the care for pose and posture and the hidden cosmic code, mathematical logic in Mystery in Mystery, the pursuit of the changing objects and the capture of critical points in Colors, and a visible representation viewing in What’s Seen is Mine. Of course, the idea is eventually shown in a logical and visual form.

On one side of Period, five spherical cement balls hang from the top, and mirrors mounted on the ground are made up of the work Airflow. The cement spheres spin under the influence of rotary force and gravity, and pure pigments painted on the surface are scattered on the mirror, outlining their shadows. In the exhibition, the mutual care between Liu Wei's works is obvious, and this time is no exception. The dynamics of the sphere, driven by mechanical and natural forces, is described as "airflow", which is in conjunction with the operation of Period. Compared with his previous works, Liu Wei reduced the concept of material in this exhibition, instead presenting a kind of theater and acting temperament in the exhibition hall.

At the end of the show, the audience was brought into

而这一幕戏剧的结尾处,观众则被带入一则被称为《友谊》的作品,手持DV拍摄的道路光和交通灯亮暗闪烁不定,它们被播放在高悬的三面显示器中,在它正对着的地方,一张像是工作桌的地方摆放着一架地球仪。在经历如此幻影之后,观众又被带回到现实——城市的信号灯、作为教具的地球仪、书桌/工具桌,彷佛经历了一场梦境,在梦醒时分,只能借以一些片段回顾梦境中所至。在《桃花源记》中亦如此:“太守遣人随其往,寻向所志,遂迷,不复得路。南阳刘子骥,高尚士也,闻之,欣然规往。未果,寻病终。”

作为演职人员的各个作品,在履行了自己的职责后,也渐渐销声匿迹。如果没有观看过展览,只是凭借图片或文字,却是很难体会。想必,只有亲入桃花源的人,才能说道一二。“此中人语云:‘不足为外人道也。’” the world created by a work called Friendship. Road and traffic lights shot by handheld DV constantly blink, displayed hanging in three-sided display. Right across from this lies a globe on work table-like surface. After going through Shadows, the audience is brought back to reality - the lights of the city, a globe as a teaching aid, and the desk/tool table. It was like a dream, and when you wake from a dream, one can only use some fragments to review it. It's same in The Story of the Peach Blossom Valley: “The prefecture chief immediately sent people along with him to search for the marks he had made, but he got lost and could not find his way to the Peach Blossom Valley. Liu Ziji, a lofty hermit in Nanyang, heard the news and was interested in going to the Peach Blossom Valley. It didn't happen, and soon he died of illness.”

As cast members, the works also disappeared after performing their responsibilities. Presumably, only those who personally enter the Peach Blossom Valley can speak about the place. “The men in the Peach Blossom Valley told him, ‘it's not worth speaking about this place to the outside world.'”

从左图起FROM LEFTPeriod《周期》

《幻影》Shadows《洞穴》Cave

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