孙尧与多丽丝·厄恩斯特，2020年摄于《混沌：孙尧与多丽丝·厄恩斯特对话展》，图片提供：艺术家与Cospace
孙尧与多丽丝·厄恩斯特对话展「混沌（Chaos）」于2020年5月26日在当代艺术画廊Cospace开幕。此次展览展出数十余件绘画作品和文献，其中不乏多件首次亮相的艺术家小幅手稿和照片，对两位中德艺术家围绕“混沌”这一哲学议题的探讨与实践进行了一次从思路到成果的系统梳理。
此次对话展由科博达技术股份有限公司（KEBODA）、ARTSY、泰晤艺术基金（Thames Art Fund）、诺异国际策展项目（NEUE Exhibition Project）提供支持。亦特别鸣谢德国驻上海总领事馆。
2020年摄于《混沌：孙尧与多丽丝·厄恩斯特对话展》一楼展厅，图片提供：艺术家与Cospace
2020年摄于《混沌：孙尧与多丽丝·厄恩斯特对话展》二楼展厅，图片提供：艺术家与Cospace
孙尧，2020年摄于《混沌：孙尧与多丽丝·厄恩斯特对话展》前夕，摄影：金竹林
多丽丝·厄恩斯特，2020年摄于《混沌：孙尧与多丽丝·厄恩斯特对话展》前夕，摄影：金竹林
Preface
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在从古希腊柏拉图至西方近代“认识论”哲学的一段相当长的阶段中，“混沌”与清晰、理智相对立，意味着无序和混乱不堪。然而德勒兹和加塔利指出：混沌虚而不空，是一种潜在（virtuel）；我们在尼采那里也能找到类似观点，后者认为混沌是指“那种涌逼、流动和运动的东西，它的秩序是隐而不显的”；“惟在其中才构成规则和无序，也才有规则和无序的消解”。无独有偶，在世界各地的创世神话中，也都有着世界从混沌中生成的共同母题，其中《庄子》的混沌寓言最具意味：南海北海大帝倏和忽认为“人皆有七窍以视听食息，此（混沌）独无有，尝试凿之”，日凿一窍，七日而混沌死。作为人体感官知觉的“视听食息”的开启在这里成了“混沌之死”的因而非果，世界之诞生在庄子这里更像是一桩悲剧（尽管这里似乎把感官知觉和思维观念直接混为一谈）。
在2020年这场席卷全球的疫情中，以往牢不可破的生活秩序和节奏被打破，这迫使人们重新审视自身的脆弱性、被迫直面这一原初的混沌（既是社会性的，又是个人的）。中国艺术家孙尧与德国艺术家多丽丝·厄恩斯特（Doris Ernst）便在此次展览中，围绕“混沌”这一哲学议题展开了探讨；这其中亦不乏二位艺术家在疫情中创作的新作。
孙尧的作品表现了一种混乱而崇高的冲突情形，画面中充斥着对抗；这些作品往往以某一具体的事物作为起点，逐渐生长为一个由多种笔触和肌理交织而成的结构，最终呈现出一种陌生又似曾相识的境地，意在超越内在、身体和自然之间的距离，并由此进入一个“变换不居、不分彼此的”世界，亦即，回到“因缘和合”之先，回到“混沌”。
对多丽丝来说，对创作的秩序和理性的反叛是其创作的重要动机，她用自己的身体充分感受并回归这种秩序和符号之外的、却也是更原初的状态，借助刮刀和现成材料将颜料层层堆叠、抹除和覆盖，让其在画布上以一种重复性和随机性共同呈现的方式来展现自身，以此对人所习以为常的观念提出了质疑，试图与观者进行一场超越语言的对话。
During the long period from Plato in ancient Greece to Epistemology in modern West, “Chaos” is opposite to clarity and reason, symbolizing the lack of order and structure. However, Deleuze and Guattari points out that Chaos “is a void that is not a nothingness but a virtual”; Nietzsche holds the similar view that Chaos refers to a hidden order: “Chaos is what urges (drängende), flows, and is animated, whose order is concealed, whose law we do not descry (kennel) straightaway… in which law and anarchy are first formed and dissolve”. Not Coincidentally, among the creation myths all over the world, there are also common motifs that the world generated from chaos, among which the fable in Zhuangzi is one of the most significant: Lickety and Split, the emperor of the Southern Seas and the emperor of the Northern Seas, said, “All people have seven holes for seeing, hearing, eating, and breathing. Chaos (or Wonton, the Chinese conception of primordial chaos) alone lacks them. Let's try boring some holes for him.” So every day they bored one hole [in him], and on the seventh day Chaos died. As sensory perception, the opening of “seeing, hearing, eating and breathing” becomes the cause of “the death of Chaos” rather than a result, The birth of the world in Zhuangzi is more like a tragedy. (Although it seems that the concept of sensory perception and the concept of thoughts are confused here). Likewise in the Bible, people are driven out of the garden of Eden because they can distinguish good from evil: people are blinded by the “stereotypes” of “opinion” and fall into what phenomenologists (like Husserl) call “the Crisis of Science”.
In the disaster sweeping the world in 2020, the previously unbreakable order and rhythm of life were broken, which forced people to re-examine their own vulnerability and face the original chaos (both socially and personally). Doris Ernst and Sun Yao embodied their exploration on the topic of “chaos” in the exhibition. Some of the works presented are newly created during the epidemic.Sun Yao's works reflect chaotic yet lofty conflict situation, with the images effusive with violence. These works often take a specific thing as the starting point, and gradually grow into a structure composed of a variety of strokes and textures, and finally present a not-known-before yet deja-vu situation, intended to transcend the internal, physical and natural, thus entering a world of “transformation and inseparability”, that is, to return to “karma and harmony”, to “Chaos”.For Doris, rebellion against order and rationality is an important motive for her creation. She fully feels and returns to an original state, or rather a primal state, out of the reign of order and symbol. With the help of scraper and found objects, she stacks, wipes and covers the pigments layer by layer, and lets them be presented on the canvas in a way of repetitiveness and randomness, so as to question / challenge? the opinions that people are accustomed to, and tries to have a dialogue with the audience beyond language.《混沌：孙尧与多丽丝·厄恩斯特对话展》纪录片-孙尧篇，影片提供：Cospace
《混沌：孙尧与多丽丝·厄恩斯特对话展》纪录片-多丽丝·厄恩斯特篇，影片提供：Cospace
《熵之河201601》，孙尧；The River of Antropy 201601, Sun Yao, c.2016, 250x180cm
《无地-夜涌No.4》，孙尧；Neverland-Surging of The Night No.4, Sun Yao, c.2018, 100x80cm
《无地-缝隙》，孙尧；Neverland-Crack, Sun Yao, c.2020, 60x50cm
《无地-触不可及No.1》，孙尧；Neverland-Untouchable No.1, Sun Yao, c.2020, 90x60cm
《无地-黛安娜的休憩》，孙尧；Neverland-Diana Resting, Sun Yao, c.2020, 80x60cm
《无地-归去》，孙尧；Neverland-Swept Away, Sun Yao, c.2020, 80x60cm
《透过风景》，多丽丝·厄恩斯特；Durchblick, Doris Ernst, c.2019, 200x150cm
《隐蔽》，多丽丝·厄恩斯特；Cover-up, Doris Ernst, c.2020, 70x50cm
《你是谁》，多丽丝·厄恩斯特；Who Are You, Doris Ernst, c.2020, 80x80cm
《朦胧》，多丽丝·厄恩斯特；Hazy, Doris Ernst, c.2019, 70x70cm
《结构完整性》，多丽丝·厄恩斯特；Structural Integrity, Doris Ernst, c.2019, 70x70cm
《模糊的界限》，多丽丝·厄恩斯特；Indistinct Boundaries, Doris Ernst, c.2019, 70x70cm
Exhibition Review｜孙尧个展《密影》于2012年呈现于上海美术馆
Critique｜光能、暗物质：孙尧《风景·无地》绘画札记｜劳尔·扎穆迪奥评孙尧
Interview｜孙尧对话璞素：回到人与自然的原初状态
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