凌海鹏：分叉
Ling Haipeng: Branch
策 展 Curator | 王将 Wang Jiang
开 幕 Opening | 2020.01.05 3:00pm
展 期 Duration | 2020.01.05 - 03.06
地 点 Venue | dRoom-站台中国
站台中国dRoom空间荣幸地宣布，我们将于2020年1月5日呈现凌海鹏个展《分叉》。以分叉做为展题，在于强调其工作方法的生成与发展。在持续的创作实践中，艺术家的认识与观念犹如枝干般地定点分叉又不断成长，逐步形成一个既坚守主体价值又不断发散扩展的工作方式。凌海鹏以界画技法营造出的抽象空间，是艺术家个人心理景观的刻画，也是传统界画的技艺传承与当代性实验。
Platform China dRoom is privileged to announce that we will present Ling Haipeng: Branch on January 5, 2019. Divergence, the exhibition topic, aims to emphasize the generation and development of his working method. During continuous creation and practice, the cognition and concept of artists diverge like branches and grow constantly, and form a working method gradually that not only sticks to the subject value, but also diverges and extends continuously. The abstract space created by Haipeng LING with ruler painting technique depicts the personal psychological landscape of the artist, and is also the technique inheritance and contemporary experiment of traditional ruler painting.
凌海鹏 Ling Haipeng
是与不是之间·石 Between yes and no-Stone 2016
宣纸水墨 Chinese Ink on Paper 120×240cm
· 前 言 ·
文/王将
几次拜访凌海鹏的工作室都分外拘谨，生怕弄乱了他的生活章法，七八平米的单间里放置着一张床，一张画桌，一个书架和一个衣柜，这便组成了他的创作与起居空间。墙面上精心布置着一些题签，多是用笔墨记录下的心絮。画桌朝南贴窗，即纳进了天光，又延伸了工作空间的逼仄视线。若透过湖蓝色的纱帘向外眺望，远处便是天地一线。这让人想到了凌海鹏画中的空间气象，禁不住猜测他创作主题的动机和愿力。
画桌上除了笔墨之外最显眼工具的就是一把自制的界尺，它即是界画引线之尺。“工细楼台”称为界画，是传统中国画的十三科之一，体现出中国古人对营造法式的执着。它的内容可以是市井写照，如张择端的《清明上河图》；可以是天地悠悠，如夏永的《岳阳楼》；也可以是皇家气象，如徽宗的《瑞鹤图》。历代经典不少，但多和山水、人物、花鸟混搭。“山水为上，界画打底”，中国文人的尚意传统一向轻视界画的匠心，现代建筑形式与传统格调的不恰，都使界画的当代化推进变得异常困难。
凌海鹏 Ling Haipeng
掉落的线索 Dropped Clue 2019
宣纸水墨 Chinese Ink on Paper 68×68cm
界画式微，而凌海鹏的工作方式是否生成了新的可能性？与传统经验截然不同的是，他在主题上放弃了对具象景观的描绘，转向对抽象空间的建构。在他的画面中，坐标、透视、消失点、数字汇聚在一起，构成了绘画的空间关系，也凝聚成一股形而上的牵引力。这是凌空之思与缜密匠心的合而为一，以形而上的美学追求对话古典文人的尚意情怀，将界画技艺从审美区隔的限制中抽离，从而拓展了语言的表现力。那么它是否应该参照西方艺术史的形式谱系来找到它的价值坐标呢？他和“冷抽象”绘画之间存在怎样的关系？从荷兰风格派到俄国至上主义，再到极简主义，我们看到一个极尽形式提炼与消解的过程，世界的物象化约为冰冷的几何直至取消意义，但凌海鹏的绘画却与这条西方艺术史脉络保持着距离。若按方法论逻辑来看，凌海鹏的绘画保留了一定程度的自动书写性，他在初步的预设下便开始工作，然后诉诸感知的延展来勾画细节，并试图梳理和定义出每一种图形组合的指向。因此凌海鹏的绘画是在视觉感知的编码与写码中持续推进着，并预示着一个正在生成的符号系统。同时他在用点线面等抽象要素来构建一个与其精神呼应的冥想场域，在凌海鹏那里，创作、冥想、日常生活已经变得互相交织，浑然而难以厘清。另一点上，一种感性的文字出现在他的画面之中，陈述、判断、定义、感怀，文字显露出作者的认知与心理变化, 它们成为了凌海鹏对中国画的题记传统的回访, 也成为了理解其创作理念的通道。
凌海鹏 Ling Haipeng
浮标2 buoy02 2019
宣纸水墨 Chinese Ink on Paper 68×68cm
对日常感知的记录是凌海鹏持续工作的基础，每件作品都像视觉化的心理笔记。在凌海鹏的观念中，毕达哥拉斯式的哲学观念接近他对世界的体认与述说。数、时空、生命这样的宏观主题在他的绘画中化生为线条、几何与列阵，并试图以此构建出一套依托于视觉感知的表意逻辑。凌海鹏所确信与坚持的是，他的工作是对人生本质的思考与呈现·。犹如展题“分叉”的枝干比喻，我们可以静静观察，在这种坚守主体价值又不断发散扩展的工作方式里，一个抽象语言系统的生成过程。
宣纸水墨 Chinese Ink on Paper 45×68cmWe were especially restrained during our visits to the studio of Haipeng LING for fear of messing up his life schedule. A bed, a drawing board, a bookrack and a closet are put in the single room of 7-8 square meters. This is his creation and living space. There are some labels exquisitely arranged on the wall, demonstrating his mind recorded in words. The drawing board faces south and adjoins the window, which not only brings in natural light, but also extends the narrow sight of the working space. Looking out from the light blue sheer curtain, we can find the line of heaven and earth in the distance. This enables people to think of the spatial scene in his painting, and spontaneously guess the motivation and will of his creation theme.In addition to pen and ink, a self-made ruler is the most eye-catching tool on his drawing board. This is the ruler used to lead the ruler painting. “Dexterous tower” is seen as ruler painting, and as one of the thirteen branches of traditional Chinese painting, it demonstrates the persistence of ancient Chinese in creation method. Its contents can be the depiction of market place, such as Riverside Scene at Qingming Festival of Zeduan ZHANG, be heaven and earth, such as Yueyang Tower of Yong XIA, and also be royal scene, such as Auspicious Cranes of Emperor Huizong. Most of the classical works in the history are mixed and matched with mountains and rivers, figures, flowers and bird. “Mountains and waters are on the top part, with ruler painting as the render”. The tradition of Chinese scholars who valued meaning often despised the originality of ruler painting, and the improperness of modern building type and traditional style makes the contemporary promotion of ruling painting extremely difficult.宣纸水墨 Chinese Ink on Paper 68×68cmAs ruler painting fades away, has the working method of Haipeng LING generated new possibilities? Distinctively from traditional experience, he has given up the description of figurative landscape from theme, and turned to construct abstract space. Coordinates, perspectives, end points and figures gather together in his frames and constitute the spatial relationship of painting. They also condense to a kind of superorganic tractive force. This is the integration of soar idea with rigorous originality and the meaning-valuing feeling of pursuing for talking with classic scholars with superorganic aesthetics. The ruler painting technique is dissociated from the restriction of aesthetic segment, so as to expand the expressive force of language. Then, should it refer to the form spectrum of western art history to find its value coordinates? What is the relationship between it and “cold abstract” painting? From the Dutch style to Russian conciliarism, and then to minimalism, we can see the process of form extraction and erasion to the largest extent, and the image of the world reduces to cold geometry until there is no meaning left. But the paintings of Haipeng LING maintain distance from this vein of western art history. Based on the logic of methodology, we can find that the paintings of Haipeng LING have reserved certain degree of automatic writing, and he started work under initial presupposition, resort to the extension of perception to draw the outline of details, and tried to summarize and define the direction of each kind of graphic combination. Therefore, the paintings of Haipeng LING are constantly promoted in the coding of visual perception, and indicate a symbol system that is generated. In the meantime, he builds a meditation field corresponding to his spirit via point, line, plane and other abstract factors. For him, creation, mediation and daily life have been intertwined with each other, and it is difficult to clarify completely. In addition, perceptual words appear in his paintings. The words of statement, judgment, definition and reminiscence disclose the cognition and mental change of the author, and become the return visit of Haipeng LING to the inscription tradition of Chinese painting and also the channel to understand his creation idea.古老的合力1 Ancient Join Forces 01 2019 宣纸水墨 Chinese Ink on Paper 68×68cm
The record of daily perception underpins the continuous work of Haipeng LING, and each work looks like the visualized mental note. In his ideas, the Pythagoras philosophical concept is close to his realization and statement of the world. Number, time and space, life and macro themes as such become lines, geometry and arrays in his paintings, and try to build a set of ideographic logic based on visual perception. Haipeng LING believes in and insists on that his work is the consideration and presentation of the essence of life. Just like the metaphor of “Divergence” of branches in the exhibition topic, we can quietly observe the generation process of the abstract language system in the working method that not only sticks to subject value, but also diverges and extends continuously.
| 关于艺术家 About Artist
-凌海鹏 1987年生于中国辽宁，毕业于鲁迅美术学院。独立艺术家，现居北京，专注用界画的技巧，以计算和模型构建的角度重新介入事物，植入传统，以抽离传统审美的方式去阐释“与传统有关”的问题。多件作品被鲁迅美术学院美术馆、逸轩美术馆、新星星美术馆韩国E·LAND集团等艺术机构以及私人收藏。
Ling Haipeng was born in Liao Ning, China in 1987 and graduated from Lu Xun Academy of Fine Arts. He is now living in Beijing as an independent artist. He focuses on using the skills of ruler painting, reintroducing things from the perspective of calculation and model construction, implanting tradition, and explaining "traditional related" issues in a way that takes away traditional aesthetics. Many works have been collected by art institutes such as Art Museum of Lu Xun Academy of Fine Arts, Yixuan Art Museum, New Star Art Museum, E LAND group of South Korea and private collections.
| 关于策展人 About Curator
-王将，当代艺术策划人与创作者。2014年始致力于独立艺术空间的创建与运营，同时参与到美术馆和画廊项目的监制、策划、主持，即时展览的评论。王将的艺术观念深受皮埃尔·布尔迪厄的艺术社会学说影响，在策划与创作中通过调动自我身份的能动性与相对性来打破身份政治的囿限，并以怀疑主义作为辩证工具，运用丰富的形式和媒介向艺术系统的现实状况发问。其行动往往从艺术体制研究和文化区隔批判出发，探索网络媒介对观念艺术的新型分配，试图衍生出能够作用于艺术系统的创新型实践。
Wang Jiang, planner and producer of contemporary arts. He has been committed to the establishment and operation of independent art space since 2014，engaged in the supervision, planning, host of museum and gallery, as well as the instant comment of exhibitions. Wang Jiang’s art concept is deeply influenced by Pierre Bourdieu’s art sociology, breaking the limitations of identity politics in creation and curation by activating the initiative and relativity of self-identity. He uses skepticism as dialectical tool, employing rich forms and media to pose questions to the status quo of the existing art system. Most of his actions start from the criticism of art system and cultural distinction, exploring the new distribution of conceptual art in Internet media, seeking for the creative practice that influences the existing art system.
D-ROOM是由站台中国当代艺术机构于2016年10月启动的艺术项目，通过基于物理和虚拟空间上的互动行为探讨和反思在当下现代生活背景下艺术新的可能性所在。
D-room is an art project launched by Platform China Contemporary Art Institut in October 2016. It explores and reflects on the new possibilities of art in the context of modern life through the interactive behavior based on physics and virtual space.
站台中国当代艺术机构（Platform China Contemporary Art Institute）于2005年在北京成立，2015年底搬入798艺术区。站台中国是一个具有实验性和开放性的平台。作为一个艺术的发现、推动和参与者，站台中国致力于优质艺术实践的推广和艺术生态的建设，持续推动着当代艺术国际间的对话与交流。是一个致力于当代艺术交流和研究的综合性艺术机构。Platform China Contemporary Art Institute was founded in 2005 in Beijing, and moved into 798 area in the end of 2015. Platform China is an experimental and open platform. As a finder, pusher and participant of art, Platform China focuses on the promotion of the art practice and the construction of the art ecology, continually promoting the international communication on contemporary art.