新展预告 | 经纬 Silk° N Road° E
* Please scroll down for the English version
在本次展览中，我们以“路”为主线，旨在从当代语境中管窥古丝绸之路沿线地带的古代器物集珍，反思并梳理古代艺术样貌，并探索当代艺术如何回应及幻想未来“网络化”通路的可能性。从三位对丝绸之路沿线特定地域进行在地性调研的中外艺术家视角出发，我们将了解到当代视角下演绎的莫卧儿经典细密画、聚焦边疆人文风景的半虚构式影像，以及通过网络化与像素化解码重释的和阗挂毯。在历史文献和古代器物的对照下，观者可以更好地理解不同年代和时空下，艺术家如何看待传统、回应交流及进行背景转译与思考。
2023
巴基斯坦艺术家瓦西姆·艾哈迈德（Waseem Ahmed）以莫卧儿帝国正统传承的细密画为基础，在继承“新当代细密画运动”的精神衣钵下，为此次展览特别准备了数件作品，试图探讨人与自然、人性与神性、文明的边界等问题。艺术家刘雨佳的影像作品中，那片荒芜干涸的边疆样貌似乎亘古不变地沉默矗立着，我们在其中可以看到过往留存的测绘手记和残损造像，那些往来的旅人和当地民众。
寻宝 Treasure Hunt
刘雨佳 Liu Yujia
53’14”
单通道4K影像 Single Channel 4K Film
彩色，立体声 Color, Stereo Sound
2021
艺术家林奥劼持续关注影音、绘画及文本等形式，探索多元化艺术形态，并将iPad绘画与传统新疆挂毯结合，像素化的图像延续了波普创作逻辑与丰富的视觉感知。作品以极简略的笔触勾勒出丝绸之路上的几组基本象征，关乎贫瘠与丰饶，死亡与新生。
制造美景（局部） Negative Hints (Details)
林奥劼 Lin Aojie
132x160cm
羊毛 Wool
手工打结 Handknot
扣数：129600结/平方米
Number of Knots: 129600 Knots Per SQ.MT
Origin 产地：和田 Hotan
在这条丝绸之路上，我们聚焦于点状分布的文明外显器物，跟随不同文明的宗教、王权及普世传播路程，一窥其内容演化的路径。在此次展览上，我们特将楔形文字泥版作为序章，同时还将一一呈现工艺水平高超的精美琉璃器与粗犷的草原青铜异兽，宗教石刻与凝固文明缩影的金银器，肃穆的静物器皿与富丽繁缛的纺织品。从被誉为“永恒之城”的罗马看人类如何塑造膜拜万神，再延续至早期发展于波斯、传播至巴克特里亚和粟特的泛希腊化图像。自犍陀罗东渐长安的路上，僧侣往复，在沿途雕凿岩石造像和描绘佛国精神皈依；乐舞等非物质文化形态也从西域延伸并影响到中原自上而下的礼乐艺术系统，进而走入百姓的日常生活。
回归当下，重读丝绸之路，黄沙上驼蹄印的往复被硬质柏油路面取代，各个文明的古器物与当下人类产生交互。空间为纬线，时间是经线，经纬纵横下的数个文明点不断更迭，如串珠般连接起欧亚大陆的这片文明区域。人类在这条路上不断探索，不断开拓新的文化领域和思维边界。
展览支持：一䮙
Silk° N Road° E
“Human beings attempt to reconstruct the lost whole through enduring fragments.”
——Stephen Owen
The term "longitude and gratitude" originated from the vertical and horizontal threads in fabric, which connect various ancestral information and carry multiple metaphorical meanings. In the interweaving threads, ancient people drew an image of heaven and earth, constructing a society based on the division of individuals as the smallest unit. The intricate network of cities was stitched together, city-states were established, and gradually flourished as different civilizations emerged through the interactions of people. In the late 19th century, the Silk Road, named by the German geographer Ferdinand Paul Wilhelm Freiherr von Richthofen, served as a cultural hub connecting east and west. Spanning 6,440 kilometers, this land has, for centuries, witnessed the continuous collision and blending of diverse cultures, as bustling cities thrived through the exchange of trade.
In this exhibition, we take "the road" as the main thread, aiming to explore the antiquities along the ancient Silk Road in the context of the contemporary world, reflecting upon and examine the characteristics of ancient art, while also exploring how contemporary art responds, and envisioning the possibilities of future "networking" pathway. Starting from the perspectives of three artists, both local and international, who have conducted on-site research along specific regions of the Silk Road, we will encounter classical Mughalminiature paintings interpreted from a contemporary viewpoint, semi-fictional images focusing on the cultural landscapes of the border regions, as well as digital interpretations of traditional Hoten tapestries through the decoding of networks and pixels. By contrasting historical documents and ancient artifacts, viewers can better understand how artists from different eras and spaces perceive tradition, respond to cultural exchange, and engage in interpretation and reflection.
Using the traditional Mughal miniature painting as a foundation, Pakistani artist Waseem Ahmed, inheriting the spirit of the "Neo-miniatureArt Movement", has prepared several works for this exhibition in an attempt to explore relationships between humans and nature, humanity and divinity, and the boundaries of civilization. In Liu Yujia's video arts, the desolate and arid borderland seems to be standing in silence for eternity, in which we can see the handwritten records of mapping annotations and remnants of damaged statues, as well as the presence of travelers and local people. Artist Lin Aojie continues to explore diverse art forms such as audiovisual works, paintings, and textual forms, combining iPad painting with traditional Xinjiang tapestries. The pixelated images continue the logic of Pop Art creation and evoke a rich visual perception. The artwork uses minimal brushstrokes to outline several symbolic elements found along the Silk Road, touching on themes of barrenness and abundance, death and rebirth.
Along the Silk Road, we focus on the cultural artifacts that are dispersed in a dotted pattern, following the path of different civilizations' religious, royal, and universal dissemination, in order to glimpse the evolution of their content. In this exhibition, we begin with cuneiform clay tablets as a prologue, and present exquisite glassware and rugged grassland bronze beasts, religious stone carvings, and gold and silverwares that symbolize frozen civilizations. Additionally, we showcase solemn still-life vessels and intricately woven textiles. Starting with the "Eternal City" of Rome, where humanity shaped its worship of countless gods, we then trace the early spread of pan-Hellenic images from Persia to Bactria and Sogdiana. Along the journey from Gandhara to Chang'an, monks carved rock statues and depicted the spiritual devotion of the Buddhist realm. Non-material cultural forms like music and dance extended from the Western Regions, influencing the ritual and musical art system from top to bottom in the Central Plains, and eventually entering the daily lives of the common people.
As we return to the present and revisit the Silk Road, the camel footprints on the yellow sand have been replaced by hard asphalt road surfaces. When humans retrace this, ancient artifacts of various civilizations interact with present-day humanity.While space represents latitude, and time represents longitude, the multiple points of civilization that intersect along these lines continuously change, connecting the cultural region of Eurasia like a string of beads. Humanity continuously explores this road, constantly expanding into new cultural domains and pushing the boundaries of thought.
Lin Aojie
林奥劼1986年出生于广州，2010年毕业于广州美术学院油画系，现生活于广州，工作于北京和上海。
Lin Aojie, born in Guangzhou in 1986, graduated from Guangzhou Academy of Fine Arts, Oil Painting Department in 2010. He lives in Guangzhou, currently working in Beijing and Shanghai.
Presented through video, photography, painting, text, etc., Lin Aojie’s artistic practice departs from his personal experiences. The artist has a keen and delicate record of the trivial details of daily life or deliberately planned events with strongly improvisatory and humorous images, while a seemingly dispassionate tone threads the whole narrative structure. By beating around the bush he tries to question, ridicule and criticize the capitalist mode of production, artist's survival predicament and the relationship between artists and other art professionals.
Liu Yujia
Her recent practice reveals the fictional and illusory aspects of social reality, allowing the audience to experience reality as pure fiction. She views the landscapes of border regions in China as a vortex of time and space, and constructs prose images with embodied and emotional experiences by blending documentary images with multiple texts such as ethnographies, literature, folklore, and travelogues.
瓦西姆·艾哈迈德（Waseem Ahmed）是一名巴基斯坦艺术家，1976年出生于巴基斯坦海得拉巴。现生活与工作于巴基斯坦拉合尔。
在巴基斯坦，传统细密画一直是许多当代艺术家的实践起点，他们尊敬地将这项技术视为重要的且需要传承的文化遗产，同时以个人的方式重新诠释与演绎这一种辉煌的技法。艾哈迈德（Ahmed）通过遵循严苛的传统实践的制作基础上发展出兼具创新风格与创造性的图像学作品，将绘画、水粉、颜料和金箔或银箔结合在以特殊的瓦斯利纸基底版面之上，试图划分出从自我身份中探索到的历史、社会背景，与我们当前时代的冲突和迷失。他丰富的图像语言常常同时涉及东方和西方的神话或历史，并联通了文化遗产与当下时代的动荡。