拾萬杭州 | 即将展出 | 蓝图
拾萬空间（杭州）非常荣幸地将在2023年8月19日呈现艺术家群展"蓝图"（Unconfirmed Prospect）。
Hunsand Space (Hangzhou) is delighted to present a group exhibition,"Unconfirmed Prospect",starting from August 19th, 2023.
策展人：梅锉、刘承臻
艺术家：陈楚⼉、董⼀又、黄几、黄⾳烨、楼森华、吕凡⽲、⽑泽皓、许佳琛、姚嘉⽲
展期：2023年8月19日 - 2023年9月17日
本次展览将聚焦于策展人长期关切的“水墨”议题。
时至今日，“水墨”多半不再被理解为对应时代剧变的表征，其所承载的历史合法性、曾参与的有关现代性的争论也已然远去；古已有之的内于道统、超乎礼法的书写和描绘，也常常仅作为“理想形态”（ideal type）而出现。在有限的边界中，随机、无形、而又不定...人们因此将对“水墨”的求索当作是愿景失落下的安保措施，将其视为不出差错的耕耘和选择。
当其作为形态（type）被描述甚至模式化，则显露出被凝视和治理的规范性。历史使命未完成的“水墨”，仍被赋予着构造秩序的功效：日常使用被转化为学院训练，感知被替代为文献，“愿景”被制作为“图景”——它的未来通向何方？似乎存在着一幅被共同期许的“愿景”，一幅模糊的“蓝图”。我们恍惚于被想象的“蓝图”指向何方。
当所有的外在事物无法证明、表现或实现理想性的内在自我，人们便不再祈求一个恒定的终极评判。而面对现实的侵袭，必须以强大的自信，收回对终极源头的依赖，并试图以自我抒情的内在扩张抵抗所有的外在压力。于是，“蓝图”成为未被确定（unconfirmed）但仍被期待着的前景（prospect）。“蓝图”的观看者总是试图获得对前景的体验和把握，而"蓝图"的规划者也只能够将对“无限”的渴望塑造成对“有限”的捕捉。
由此，“愿景”被转换为具体的问题，并进一步在艺术家的实践中，降格为姿态的操演：历史于献祭而礼成、形象因话语而幻灭，天地经日常而劳作，自我由创伤而重启。它开辟、探寻着主观感受向客观知识转化的路径，即外在事物与主体间限制与兴奋的交替过程。
此次展览中，“水墨”或为通透的媒材，或为转换、索引的工具，亦或为理念、意境乃至心态。它引导的是观看的注意力转向和创造者的制度想象，统合为自我对外部主体之辐射轨迹的感知。姚嘉禾的《My Bones，My Home》（2023）从编纂者的视角在县志图像生产的地理认同中，以墨线搭建了故乡土地的想象，在所拟的结构化制度中将自我安放于理想的容身之所；而《语言图景》（2021）则将报纸作为图景的载体，将行为的瞬时性与日常的过时性结合，印刷行为被定格于印刷当下的同时，重新编排的图像和时间程序在话语中生成积攒的能量。许佳琛的《社区》（2023）捕捉了回迁房的“自治”状态和栅格状防盗窗的观看治理系统，以期运用于理想社区的营造。风景因基础设施而被分割，而每一块割片的“有限”都在重塑观看的样态。董一又的《孤独》（2023）将象征着血缘、连接的红线与代表合作的木棍扩散成不可接近的荆棘之地，以呈现水墨人偶在社交关系中的焦虑和限制。矛盾及冲突有时恰恰来源于不可抗力的连接与合作，并以此反对“愿景”被制式建构和规范的路径。吕凡禾《大帅府系列》（2022-23）中的两幅作品以老虎眼中见证的处决与被工具化的女性标签为叙事，将对历史事件的舆论生产背后的成因转码，通过看似私密化的图像和戏剧化的演绎呈现历史和当下的背离。每一个被编造的故事都必须承受来自角落的注视，它怀有强烈的欲望而讲述它所认为真实的处境。
“王者之迹熄而诗亡，诗亡然后春秋作”。黄音烨的《诗经·商颂（节选）》（2023）重新漫步在宋国祭祀殷商祖先的颂歌、传承和礼制中，以近乎冷酷的法度回访祭典遮掩下的原始歌舞和书写状态。倘若说上古时代充满的是对浑然状态的追寻信仰，那么在屈原处，则体现信仰的丧失而转向内在情绪的扩张，黄几《天问》（2023）的书写以排山倒海的发问之势，回应对本源反思的同时，将姿态赋予如今不可读解的平面。“无为无形，可传而不可受，可得而不可见，自本自根，未有天地，自古以固存“。楼森华的《天台幽谷图》（2023）和《雁荡远云图》（2023），面对山水所囊括的一整套历史语言，尝试在山水作为天地的象征秩序中，体会“无限”所承载的幽邃与深远，以及自我与世界间恒久的理想关系。行至展览的最终处，则是陈楚儿的影像《夜的综合征》（2023），在观看者的凝视中，将创伤的来源转移至自然之景，山水面对目光的不改不移见证了无始无终的坚韧和温和，人们在理解客体作为主体的自我生成中获得疗愈，并在终章中理解疤痕初愈必经的瘙痒。至此，自我言说和被想象的“蓝图”拥有了积极的外部指向。毛泽皓将根据所进行的叙事和展览的场域进行现场的创作，对展览既定意涵进行改造和偏移，这亦呼应着未被确认之前景的不稳定性。
在今天，将“水墨”作为方法，勾连的一方是思想的敏感维度，另一方则是日常、行为间的组织关系——既为了历史、记忆不再仅成为复制与怀旧的场域，也为了山水天地不再是荒蛮之地。“水墨”只有解放自身承载的过于丰富的价值，消除天启（revelation）式的引导，才能改变理想形态之路径不断被垄断或代理的状况。疑虑、创伤及记忆的背负，在彼此的会面下亦可转化为临界的决绝，理想并未到达，却或许已然在未经证实的图景中获得了自足和解放。
正如萨缪尔·贝克特(Samuel Beckett)所写：必须继续下去，我不能继续，我将继续。
本次展览特别致谢：刘畑
The exhibition will focus on the curator's long-standing concern with the "ink and wash" theme.
To this day, "ink and wash" is no longer primarily understood as a symbol of epochal changes, and the debates surrounding its historical legitimacy and its involvement in discussions on modernity have long faded. The intrinsic Daoist tradition and the writing and depiction that transcend ritual and propriety, which have existed since ancient times, often appear merely as an "ideal type." Within limited boundaries, randomness, formlessness, and uncertainty prevail. As a result, the search for "ink and wash" is considered a security measure for lost visions, seen as a faultless cultivation and choice.
When it is described or even stylized as a form or type, it reveals its normative nature of being observed and governed. The "ink and wash" that remains unfulfilled in its historical mission is still endowed with the ability to construct order: everyday use is transformed into academic training, perception is replaced by documents, and "visions" are crafted into "sceneries" - where does its future lead? There seems to exist an envisioned "vision," a vague "blueprint" collectively anticipated. We are entranced by the imagined direction of this "blueprint."
When all external things cannot prove, represent, or realize the ideal inner self, people no longer seek a constant ultimate judgment. Faced with the invasion of reality, one must reclaim reliance on the ultimate source with strong self-confidence and attempt to resist external pressures through self-expression and inner expansion. Thus, the "blueprint" becomes something unconfirmed and still awaited. The viewer of the "blueprint" always strives to gain an experience and grasp of the future, while the planner of the "blueprint" can only shape the desire for the "infinite" into a capture of the "limited."
Hence, the "vision" is transformed into specific questions and further demoted to a performative posture in the practice of artists: history becomes a sacrifice and formation, imagery fades through discourse, the heavens and the earth work through the daily, and the self restarts through trauma. It opens up and explores how subjective feelings transform into objective knowledge, a continuous alternation of restrictions and excitement between external things and the subject.
In this exhibition, "ink and wash" may serve as a transparent medium, a tool for transformation and indexing, or even a concept, artistic conception, and even a mentality. It guides the viewer's attention towards the creator's institutional imagination, unifying into the perception of the self's radiating trajectory towards external subjects. Yao Jiahe's "My Bones, My Home" (2023) approaches the geographical identity produced through county chronicles from the perspective of an editor. Using ink lines, she constructs an imagination of hometown land and places the self in an ideal dwelling within a structured system. " Language Landscape" (2021) uses newspapers as carriers of scenes, combining the ephemerality of actions with the obsolescence of the everyday. The act of printing is frozen in the present moment, and the rearranged images and temporal sequences generate accumulated energy within the discourse. Xu Jiachen's "Community" (2023) captures the "autonomous" state of resettlement houses and the surveillance system of grid-like anti-theft windows, aiming to apply them to the construction of an ideal community. The landscape is divided by infrastructure, and the "limited" nature of each cut fragment reshapes the mode of perception. Dong Yiyou's "Solitude" (2023) disperses the symbolic red thread representing blood ties and connections, as well as the stick representing cooperation, into an inaccessible thorny territory, depicting the anxiety and limitations of ink and wash puppets in social relationships. Contradictions and conflicts sometimes arise precisely from the inevitable connection and cooperation, countering the path of "vision" being constructed and regulated in a standardized manner. Lv Fanhe's "Grand Mansion Series" (2022-23) narrates through the eyes of a tiger witnessing executions and instrumentalized female labels, decoding the underlying causes behind the production of public opinion on historical events. Each fabricated story must endure scrutiny from the corners, driven by intense desire to recount what it believes to be the true circumstances.
"As the traces of kings fade, so does poetry; when poetry dies, the annals of spring and autumn are written." Huang Yinye's "Classic of Poetry · Shang Songs (Selection)" (2023) retraces the songs, heritage, and rituals of the Song state's ancestor worship, revisiting the primitive song and dance and the state of writing hidden under the cover of rituals, with an almost austere decree. If the ancient times were filled with a pursuit of belief in a natural state, then in the place of Qu Yuan, it embodies the loss of faith and a turn towards the expansion of inner emotions. Huang Ji's "Inquiry of Heaven" (2023) writes with the force of an overwhelming question, responding to reflections on origins, and endows the present, incomprehensible plane with an attitude. "Non-action and formlessness, can be passed down but not received, can be acquired but not seen, originating from self and root, before heaven and earth, exist since antiquity." Lou Senhua's "Tiantai Hidden Valley Diagram" (2023) and "Yandang Distant Clouds Diagram" (2023), faced with the complete set of historical languages encompassed by landscapes, attempt to comprehend the profundity and vastness carried by the "infinite" in the symbolic order of landscape as heaven and earth, as well as the enduring ideal relationship between self and world. Arriving at the final destination of the exhibition, Chen Chuer's video "Syndrome of the Night" (2023) shifts the source of trauma from the human realm to the realm of nature, where the landscape, unchanging under the gaze, bears witness to the enduring resilience and gentleness from beginning to end. People find healing in comprehending the object as the subject's self-generation and understand the itching that accompanies the initial healing of scars in the final chapter. At this point, self-narration and the imagined "blueprint" gain a positive external direction. Mao Zehao will create on-site works based on the narrative and exhibition venue, transforming and deviating from the established meaning of the exhibition, which also echoes the instability of the unconfirmed prospect.
In today's context, employing "ink and wash" as a method connects one dimension of thought sensitivity with the organization of the everyday and behavior on the other - not only to prevent history and memory from becoming mere fields of replication and nostalgia, but also to prevent landscapes from remaining wild and untamed. "Ink and wash" can only free itself from the excessive burden of value, eliminate the guidance of the "revelation" type, and change the situation where the path of ideal forms is continuously monopolized or delegated. Doubt, trauma, and the burden of memory can also be transformed into a decisive critical point in their encounter, where the ideal has not yet been achieved, but perhaps has already gained fulfillment and liberation in unverified visions.
As Samuel Beckett once wrote, "You must go on, I can't go on, I'll go on."
Acknowledgement：Liu Tian
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啸声考：一项声音调查展览
2023年8月12日 - 2023年9月30日
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