庞明璇
未知
张大千
米振雄
康蕾
陆阳彬
15 / 16 SOLO WANG PENGPENG
- 展览时间：2016-01-01 - 2016-01-20
- 展览城市：北京-东城
- 展览地点：JU ER SPACE居菊矩聚 （菊儿胡同八号）
- 策 展 人：安煜
- 参展人员：
展览介绍
观众总是无法自控的地试图揣测作品，苦思冥想，他在画什么。画布上看起来想泪珠一样的晶莹的材料，就是眼泪。同其他人看过朱塞佩•托纳多雷三部曲的流过的眼 泪一样，也有着相似的流泪的缘由，没有任何特别。这一次不必苦思冥想，你会不会很失望。艺术家，对这种偶发的伤感穷追不舍。人们有时会机敏地嘲笑，那些被 放大了的情绪，其实无异于常人。没有一种情欲应该是伟大的。某时簸动的记忆终将会同蒸发的眼泪一样无迹可寻。艺术提供了一种合理的方式，暴露这种伤逝，赤 裸的表达着无能为力，从而获得了快感和慰藉。
密集恐惧症在这里被直接和暴力地冒犯。并非物本身的样子不禁凝视，而是我们的视觉体验禁不起距离的挑战。这些日常的食材，被抱怨，被嫌弃，被必要的需要着。 它们从不以个体出现，也从不以个体被认同。区别彼此的，除了标准和等级，却并没有差异和不同。俯视地看，我们同这些豆子并无异。拥挤且荒诞。那些我们引以 为豪的喜怒哀愁和被放大的眼泪，无非是豆子或者米粒上的疤痕。艺术家并没有改变任何一物的性状，只是拉近了焦距。你便不那么喜欢它了。
膨胀，自恋，崇高，挤压，渺小，无力——在反复的再现与移情中，2015年过去了，我很怀念它。
The audience always cannot help mulling over the work and meditating upon what is painted. The glittering, tear-like materials on the canvas are actually teardrops. Shed for the same reasons as anyone who has cried over the Giuseppe Tonatore‘s trilogy, nothing special. Would you feel upset because you don't have to think hard this time? Artists are always after such occasional melancholy sentiments. People ridicule, yet the amplified sentiments are no different from those of commoners. None of the emotions or desires can be considered great. The jittering memory of a time will eventually vanish like evaporated tears. Arts offer a rational way to expose this lamentable departure. Consolation and pleasure is thus gained in the unadorned expression of helplessness.
Trypophobia sufferers are directly and violently offended here. Not that the objects themselves don’t deserve stare, but our visual experience cannot take the challenge of distance. These ordinary food ingredients are complained about, despised, or regarded as necessary. They never show up as individuals; nor are they recognized by individuals. What differentiates them from one another is standard and class, rather than discrepancy and distinction. Overlooking them, we will find little difference between the beans and ourselves -- crowded and absurd. The emotions we take pride in and the tears we have zoomed in are invariably scars on the beans or grains. All the artist did was to zoom in, instead of changing the shape of anything. That's why you don't like it so much as before.
Inflated narcissism, sublime, squeezed, insignificant, and weak ---in repeated representation and empathy, gone is 2015, and I miss it.