【展讯】王文楷个展——无尽尽眠｜厦门
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策展人：肖瑞昀
艺术总监：滕青云
主办：三影堂厦门摄影艺术中心
展期：2023年5月13日 - 2023年6月18日
开幕：2023年5月13日 15:00
选自《嗜睡》系列
Somnia series
《嗜睡》是现实与梦境的临界。王文楷在意识状态转化“出神”中创作这一作品，一切的起点源自于某个嗜睡的、末日光景般的午后。他将自然视为有机体，将想象视为认识工具而非幻觉制造机制——步入“柏拉图“洞穴、击碎蛋壳裂缝、进入“安全屋”自我探索、在雷鸣电闪的长空中和喷发熔浆般的烟火中飞舞……展览以散文式的图像叙事引领观众遁入意识的时空之旅，呈现的是返回、重叠，又线性展开的逻辑。
关于艺术家
王文楷，1996年生，现居纽约和上海，毕业于纽约大学艺术学院 (NYU Tisch Shcool of the Arts)。他的作品往往关注于现实重构与超现实之间的并行；多次获得A类、B类国际电影节电影奖；同时作为新锐摄影师参加过多个国际摄影展，作品在意大利PHmuseum Photo Festival、纽约亚洲博物馆、日本半山摄影展、54 Museum Gallery等展出；美国摄影基金2020 Lens Culture Exposure Award新人奖获得者, 2022 PhMuseum Photography Grant提名获得者。
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"Endless Somnia" constructs a triple space that gradually guides the audience from reality to the realm of dreams. Within this enigmatic trance, flickering, noisy, overlapping, and floating images are compressed into a vast chaos that seems to represent the zero-degree moment of time, yet slowly unfolds in sequence.
选自《糖眼》系列
Eyecandy series
In "Eyecandy", Wang Wenkai humorously captures the "eyesore" of consumer culture in society. The bright-colored images, resembling sweet but cloying "Eyecandy", create a dizzying effect from the exhibition entrance, reproducing absurd realities in a clever visual language.
选自《糖眼》系列
Eyecandy series
"Somnia" represents the boundary between reality and dreams. Wang creates his work through an altered state of consciousness that mirrors shamanic ecstasy mindset, mimicking a feeling of apocalyptic, fatigued afternoon nap, where he felt a peculiar sense of impending doom. Viewing nature as an organism, he believes that imagination serves as a tool for awareness, rather than an illusion-making mechanism. This includes entering a "Platonic" cave, cracking open eggshells, exploring a "safe house" for self-discovery, dancing in the air amid thundering skies and bursting fireworks, and more. Through poetic graphic narration, the exhibition leads the audience on a journey through time and space, presenting a logic of return, overlap, and linear expansion.
选自《嗜睡》系列
Somnia series
Although photography is commonly considered a faithful restoration of memory, Wang repeatedly splits and recombines graphics in various ways, relying on self-destructive impulses to maintain the fluidity of memories. The album presents a much longer journey of consciousness. In the "Day for Night" series, which flickers in dim light, Wang creates realities or illusions through lighting, mirroring the moments of lucid dreaming.
Roland Barthes believed that photography represents a ghostly presence of "death". At its inception, due to slow shutter speeds, photographs were often blurred and used as evidence for supernatural phenomena by spiritualists. People even believed that taking a photo could capture the image of a ghost. In "The White House", based on the Salem Witch Trials of 1692, Wang constructs a new story framework, restoring a witchy stage space with cinematic sets and lighting. Actors explore this given space freely, following the script. The projection of images and waving drapery within the stage space create a sense of drifting thoughts. The interior space invites the audience to interactively paint, contributing to a work of art with different states of consciousness, similar to how surrealist painters collaborated on the same work in the past.
Text/Xiao Ruiyun
Biography
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