【OCAT 上海馆 | 展览预告】邵文欢：万境之眼
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关于展览
OCAT上海馆将于8月20日起荣幸呈现艺术家邵文欢的个人展览“万境之眼”。展览主题引申于——西方——古希腊神话人物阿耳戈斯的典故，空间被改造成一座——东方——单向回环、包罗万境的园林式情景，并借由标题中英双语的错位，隐喻邵文欢一以贯之的艺术语意和独树一帜的创作手段。截取自不同文化和历史维度的“样本”被糅合于这座“园林”的各个角落，作品通过宏大和微观并叙的双重视角，展现了艺术家的关切：因疆域边界产生的观看差异和无法隔绝的人类文化共情，将何去何从？
百眼巨人阿耳戈斯（Argus Panoptes）是古希腊神话中亦正亦邪、突破约束的悲剧式人物，被广泛引用于文学和社会学语境。如“阿耳戈斯之眼”（The Eyes of Argus），形容一种自上而下、密切注视的状态，也指涉全能全知之意。邵文欢对待艺术媒介的态度、持续创作的状态和付之实践的工作方法，都贴近于此：媒介在艺术领域的应用没有绝对的标准，只有绝对的有效性；艺术家需在艺术生产中逼迫自我去使用“舒适区”外的媒介，并以此去双向考验艺术家本人和观看者的“阿耳戈斯之眼”。
因此，邵文欢的艺术一直处于模棱两可、无法捉摸的境地。他的过往作品被认为在美学范畴内对摄影艺术的实验、改造和实践累积，在单镜头、瞬时性的传统摄影语言基础上，赋予作品意料之外的矛盾张力：作品通常以系列化的面貌，凸显强烈的“东方性”符号，实则是对传统的反向拷问；创作过程工序繁杂，且时间条件限制苛刻，却有意无意被隐于平静的视觉图像中。
邵文欢，《“是什么使今天的生活如此不同，如此充满魅力？”》（局部），2022年，3D虚拟技术 、摄影及数字拼贴、UV输出三明治装裱, 图片由艺术家提供
在本次展览中，邵文欢试图改变这一“创作范式”。十三件风格、形态和关系看似散乱的作品，被微妙地植入结构复杂、指向单一的“园林”。通过使用绘画元素、数码编辑及多焦点拍摄等“干扰”手段，艺术家将捕捉到的完整对象（山水、风景、植被、竹林等）矩阵化处理，再分配至不同时间和环境中进行多向度的反复拍摄、剪接和拼贴，呈现出一幅幅宏大而细腻的全景叙事图像。观众踱步于此“万境之园”，或许会让渡出熟悉的观看习惯，但在艺术家“阿耳戈斯之眼”的指引下，亦可能收获 “芥子纳须弥”以小见大的感知新经验。由此，一张消弭多条文化边界的视觉网络，一个跨越精神和物质罅隙的新文化语境，在艺术家和观众，在作品和空间的自洽中悄然而建。
关于艺术家
邵文欢
现工作生活于杭州，执教于中国美术学院。邵文欢的创作以影像为主要媒介，在艺术的本体语言层面进行了广泛实验。材料、工艺、肌理、光感、色彩、尺度等等，成为他持续关注并加以反复实验的话题。他的各种努力，都在尝试突破影像本身的有限性，企图抵达一种自由表达的境界。他的作品曾在国内外各大艺术机构展出，并被广泛收藏。
近期展览（部分）
2022年
《启始于远观 不止于近观——三影堂+3画廊十周年特展》，三影堂+3画廊，北京
《命运的缺席》，K11，上海
《「反光体」：真实与虚拟》，SGA 沪申画廊，上海
《青山行不尽》，浙江展览馆，杭州
2021年
《万物有痕，光之来处》，RIVERSIDE艺术空间，杭州
《时空与场域——图像的绵延与重生》，寒山美术馆，苏州
《ROCKS！石》，ICICLE之禾艺术空间，巴黎，法国
2020年
《Out of the shadows》，MOPH美术馆，圣地亚哥，美国
第六届跨媒体艺术节，2020国际跨媒体艺术邀请展，宁波
2019年
《SOFTEN THE GLOW》个展，蒙泰，瑞士
《和光同尘》个展，三影堂艺术中心，北京
《无山》个展，HANFENG艺术空间，纽约，美国
2018年
《鸾镜》个展，大屋顶美术馆，杭州
《遐迩之现》个展，三影堂艺术中心，北京
ABOUT THE EXHIBITION
OCAT Shanghai is pleased to present Shao Wenhuan's solo exhibition, "The Eyes of Argus," opening on August 20, 2022. Inspired by a western allusion of the Greek mythological figure, Argus Panoptes, the exhibition space presents in an Eastern style in the form of an all-encompassing oriental "garden-like" scene that offers a one-way route for the visitors. Its disparate bilingual title underscores Shao Wenhuan's consistent artistic contexts and unique creative approach. The "samples" drawn from various cultural and historical dimensions are integrated into all corners of this "garden," showing the artist's concern through both macro and micro perspectives: how do we negotiate disparate ways of viewing due to regional differences and the universal human cultural empathy?
The hundred-eyed Argus Panoptes is a tragic figure in ancient Greek mythology who embodies both good and evil, challenging constraints. It is widely cited in literary and sociological contexts, for instance, "Eyes of Argus" was not only an expression for watching something closely, or from a top-down viewpoint, but also referred to as something that's omnipotent and omniscient. Shao's attitude towards art media, along with his continuous artistic creation and practices, all present his concept that, for the use of media in art, there is no absolute principle, but only effectiveness; artists need to force themselves to use media outside their "comfort zone" in art production and, in this way, testing the "Eye of Argus" of both the artist and the viewer.
As a result, Shao's art has always been ambiguous and unbiddable. His past works are considered as experiments, transformations, and accumulated experiences in the aesthetic realm of photography. Based on the single-shot, transient photography traditional language, Shao gives his works an unexpected and contradictory tension. The artworks are usually serialized with strong "oriental" symbols, but reversely, interrogating the tradition; the process of creation is tedious and time-constrained, while intentionally or unintentionally concealed in the peaceful images.
Shao Wenhuan, Elegant Display—"Stab"，2022, Metal 3D printing, stone from Tai Lake, aluminum, 35x35x40cm; Giclee print mounted to aluminum panel, 150x115cm. Image courtesy of the artist
In this exhibition, Shao attempts to change his previous"creative paradigm." 13 pieces of stylistically, formally, and relationally dispersed works are subtly implanted into one single signifier, "garden." Through the "interfering" skills such as painting elements, digital editing, and multi-focused filming, the artist matricizes the completely captured objects (landscape, scenery, vegetation, bamboo forest, etc.), and then relocates them to different times and environments by repeatedly shooting, editing, and collaging from different dimensions. He presents a spectacular and meticulously narrated panorama – viewers traverse through this "Garden of All Realms" may give way to familiar viewing habits, but under the guidance of the artist's "Eye of Argus," they may also gain a new experience of perceiving "Sumeru Mountain in a mustard seed." Hence, a visual network that eliminates multiple cultural boundaries and a new cultural context that crosses spiritual and material gaps is built discretely, as the artists, viewers, artworks, and space become self-consistent.
ABOUT THE ARTIST
Shao Wenhuan
Shao Wenhuan lives and works in Hangzhou and teaches at the China Academy of Art. Shao Wenhuan's work uses image as the main medium and experiments extensively at the level of ontological language of art. Material, process, texture, light, colour, scale, etc., have been the subjects of his constant attention and repeated experiments. His various efforts are attempts to break through the limited nature of the image itself, in an attempt to reach a realm of free expression. His works have been exhibited in major art institutions both nationally and internationally, and have been widely collected.
Selected Recent Exhibitions
2022
Absence of god, K11, Shanghai
More Than Meet The Eye, Three Shadows +3 Gallery, Beijing
Through a Glass and Darkly, SGA, Shanghai
Unnamed River, Three Shadows Photography Art Center, Beijing
2021
there is a crack in everything, that's how the light gets in, RIVERSIDE Art Space, Hangzhou
Time Field Space-The Duration and Regeneration of Image, Hanshan Art Museum, Suzhou
ROCKS! 石, ICICLE Art Space, Paris, France
2020
Out of the Shadows, MOPH Museum, San Diego, USA
2020 International Intermedia Art Invitation Exhibition, Ningbo
2019
The Soften The Glow-solo exhibition, SMart, Monthey, Switzerland
The Soften The Glow-solo exhibition, Three Shadows Photography Art Centre, Beijing
Non-Mountain-solo exhibition, Hanfeng Art Space, New York, USA
2018
Whine Within Mirror-solo exhibition, The Roof Art Museum, Hangzhou
Perspectives in the Distance-solo exhibition, Three Shadows Photography Art Centre, Beijing
Shao Wenhuan, Water Gushing Far, 2021, Seventy-two channel LCD screen installation, 86x269x12cm. Image courtesy of the artist
参观须知
一、预约
请在入馆参观前先行预约，识别下方文旅一码游小程序进行预约。
二、入馆
观众须出示本人预约二维码，并扫描场所码。须持有绿码、72小时内核酸检测阴性证明且现场测量体温无异常（低于37.3摄氏度）方可入馆。仅持有24小时内核酸采样证明无法入馆。
对于不使用或不会操作智能手机的观众，其健康码将采取登记身份证号、手机号等信息、同行家庭成员出示“亲属随申码”等措施，由工作人员进行手工核验和服务引导。
三、参观
所有观众入馆及参观时须全程佩戴口罩。观众排队和观展时请保持1米以上距离。
关于OCAT上海馆
参观时间 | Admission Hour
10:00-18:00 周二至周日（周一闭馆，节假日等特殊时期开放时间根据场馆公告而定）
最后入场时间：17:30
10:00-18:00 from Tuesday to Sunday (Closed Mondays except public holidays)
Last Entry 17:30
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Email: ocatshanghai@ocat.org.cn
Weibo: @OCAT上海馆
Instagram: @ocat__shanghai
Tel: 021-66085180, 021-66085119
地址 | Address:
上海市静安区曲阜路9弄下沉庭院，负一层（轨道交通8号线、12号线曲阜路站）
-1F Sunken Garden, Lane 9, Qufu Road, Shanghai (MTR Line 8 & 12 Qufu Road Station)