◆符茗希-F
◆陈泊帆-C
C：在你的作品中蕴藏着大量的结构性图样，请问这些结构是否暗含着某种符号隐喻呢？
F：我画面结构性的图样主要契合建筑物内部结构而演化而成，近似于生物碎片抑或是选择与建筑底层逻辑相关的事物形态。画面内环形或是一种方向性的结构图样，是基于内在架构而不是符号化的隐喻。
越过庸常飞向月光 / Flying over the mediocrity into the moonlight
2024
布面油画 / Oil on canvas
150 x 200 cm
C：建筑在你的一些特定作品中是作为主体而出现的，它们有着独特的风格和历史意味，请问你是如何选择“建筑”类别的呢？
F：我比较讨厌甚至规避一些特别现代化建设，对于玻璃与钢铁之类的兴趣不大，特别是一些模块化建筑。我倾向于选择拥有非常规外立面的建筑，比如一些非实用性功能性的建筑。
划落的痕迹 / Traces of sliding
2024
布面油画 / Oil on canvas
60 x 80 cm
C：“漂浮”的解构特征是我在你的作品中捕捉到的矛盾特征，在“建构”和“解构”中你是如何寻求平衡的呢？
F：解构是另一种建构。漂浮感的作品状态可能来源于，我会想用轻松的状态呈现、化解一些庞大的事物逻辑，这是我想要的一种平衡，通过自身的转化而呈现出的“漂浮”。
升腾、漂浮于其中 / Rise and float in it
2024
布面油画 / Oil on canvas
90 x 120 cm
C：你的作品命名方式与理性化，结构化的视觉图像形成了鲜明的对比。在你的作品名称上少有出现主语式的主体概念，大多是缺少主语的情绪化描述，请问你是如何构思作品名称的呢？
F：以我观看这张画的感受或是画面物体的状态取名，缺少主语与主体是为了泛主体的共鸣。也有一些作品是在画之前就确定好内容与名字。
暧昧带来的困境 / The dilemma of ambiguity
2023
布面油画 / Oil on canvas
90 x 120 cm
C：结构和建筑多是站在宏观视角所做的艺术表达，在作品中你是如何理解宏观与微观之关系的呢？
F：这个更像是外观与内化的视角，我愿意游走在其中而不是选择其中一个点，基于不同视角他们在某种程度上是可以相互转化的。
幻想与失神的恐惧 / Fantasy and the fear of losing one's soul
2024
布面油画 / Oil on canvas
90 x 120 cm
C：此次展览在布展中运用了大量的钢架结构，请问这些钢架在表达你的作品过程中起到了怎样的作用呢？
F：钢架可以给画一种立体化的呈现方式。作品处于悬挂的状态，而钢架也给展览的空间架构了新的秩序。还有很多观众在好奇作品背后的内容以及悬挂方式，感觉到很神奇，是在工作室里我不会想到的一种视角。
展览现场 / Installation Shot
群鸟 / The Birds
2024
布面油画 / Oil on canvas
135 x 180 cm
C：本次展览所展出的新系列作品较之以往的作品有着怎样的区别和联系？
F：与之前相比画面内容其实是延续了对于结构的调整，更加内化与融合。聚焦到一些绘制了如图星座一样光点形成的连线，连线延伸的形状构成了一些意象的内容，还有存在于画面细微的点所形成的一种视觉动线。
标志物 / Landmark
2024
布面油画 / Oil on canvas
60 x 80 cm
C：请问你未来的创作计划是？
F：绘画上想要更深入去寻找一些更日常化的事物之间的结构联系，以生活化的视角看待房屋结构或与其相关的行动轨迹、日常事物。想尝试新的材料，计划着把之前尝试过的布料、木块的小装置落地，延伸作品内所含的柔软与坚韧的结合。
C: Your work contains a large number of structural patterns. Do these structures imply some kind of symbolic metaphor?
F: The structural patterns in my images are mainly evolved to fit the internal structure of the building, resembling biological fragments or selecting forms of things related to the underlying logic of the building. The circular or directional structural pattern in the picture is based on the internal architecture rather than symbolic metaphors.
悬置状态 / Suspended state
2023
布面油画 / Oil on canvas
90 x 120 cm
C: Architecture appears as the main subject in some of your specific works, with a unique style and historical significance. How did you choose the category of "architecture"?
F: I dislike or even avoid some particularly modern constructions, and have little interest in glass and steel, especially modular buildings. I tend to choose buildings with unconventional facades, such as some non functional buildings.
作为立柱的体验 / Experience as a pillar
2024
布面油画 / Oil on canvas
90 x 120 cm
C: The deconstructive feature of "floating" is the contradictory feature I captured in your work. How do you seek balance between "construction" and "deconstruction"?
F: Deconstruction is another form of construction. The state of a work with a sense of floating may come from my desire to present and resolve some large logical things in a relaxed state. This is a balance that I want to achieve through my own transformation and presentation of 'floating'.
清透 / Limpid
2024
布面油画 / Oil on canvas
60 x 80 cm
C: Your work is named in a way that contrasts sharply with the rational and structured visual images. How did you come up with the title of your work? There are few subject based concepts in the title, and most of them lack emotional descriptions of the subject?
F: Naming it based on my feelings when viewing this painting or the state of the objects in the picture, the lack of subject and subject is for the resonance of the pan subject. Some works also have their content and names determined before painting.
孤独的池塘 / Lonely Pond
2023
布面油画 / Oil on canvas
60 × 80 cm
C: Structure and architecture are often artistic expressions made from a macro perspective. How do you understand the relationship between macro and micro in your works?
F:This is more like a perspective of appearance and internalization, and I am willing to wander between them rather than choosing one point. Based on different perspectives, they can to some extent be transformed into each other.
环星标记 / Circumstellar marker
2024
布面油画 / Oil on canvas
90 x 120 cm
C: A large number of steel frame structures were used in the exhibition setup. What role did these steel frames play in expressing your works?
F: Steel frames can provide a three-dimensional presentation for painting. The work is in a suspended state, and the steel frame also creates a new order for the exhibition space. There are still many viewers who are curious about the content and hanging methods behind the works, feeling it is very magical, a perspective that I would not have thought of in the studio.
展览现场 / Installation Shot
共生共存 / Symbiosis
2024
布面油画 / Oil on canvas
135 x 180 cm
C: What are the differences and connections between the new series of works exhibited in this exhibition and previous works?
F: Compared to before, the visual content actually continues the adjustment of the structure, becoming more internalized and integrated. Focusing on the lines formed by light points drawn like constellations, the extended shapes of these lines constitute the content of some imagery, as well as a visual motion line formed by subtle points in the picture.
星环 / Circumstellar
2024
布面油画 / Oil on canvas
30 × 20 cm
C:What are your future creative plans?
F: I want to delve deeper into the structural connections between more everyday things in painting, and view the structure of houses or their related actions and daily objects from a life oriented perspective. I want to try new materials and plan to land the small devices made of fabrics and wooden blocks that I have tried before, extending the combination of softness and toughness contained in the work.
关于艺术家 / About Artist
符茗希，1997 年⽣于⼴州；2022 年硕⼠毕业于⼴州美术学院油画系；现⼯作⽣活于⼴州。
符茗希通过绘画研究建筑的意识形态、幽灵学、集体记忆与分裂性的时间体验构建。她抓取碎⽚式的城市图像，在时间切片与历史的重叠中获得如幽灵般形态的碎片，这种幽灵碎片侵扰着主体又与其分明，在画面中架构⼀种不断前进的⽂化情景。过去的建设与未来不间断被侵蚀的过程，呈现的即是未来的缓慢取缔。从空间错位形式的多维图像到社会变化的同步性以及被分裂的身份，艺术家不断通过观看历史以反思对物质性范式的渴望。
她近期主要参加的群展包括：“抽离 & 内感”，嘉德艺术中心，（北京，2024）；“北京当代艺术博览会”，可以画廊，（北京，2024）；“余下之地”，新氧艺 O2art，（北京，2023）；北京当代艺术博览会，SIMULACRA （北京，2023）；“华丽的冒险”，津波社 x 山上艺术空间，（厦门，2023）；“由此及彼”，赛麟空间，（杭州，2023）；“无限游戏：返场”，棱画廊，（深圳，2023）；“持续性短暂”，七木空间，（北京，2023）；“图绘的态度”，赛麟空间，（上海，2022）；“一个干净明亮的地方”，元美术馆，（北京，2022）。
Fu Mingxi, born in Guangzhou in 1997, graduated from the Oil Painting Department of the Guangzhou.Academy of Fine Arts in 2022 and currently lives and works in Guangzhou.
Through painting, Fu investigates the ideology of architecture, collective memory as well as the construction of divisive temporal experiences. She captures fragmented images of the city, and through a technique similar to double exposure photography, she constructs a scenario of constant progression, the construction of the past, and the uninterrupted process of erosion on the future. The scenes in front of and behind the camera present the slow cancellation of the future. From multi-dimensional images in the form of spatial dislocation to the synchronicity of social change and divided identities, the artist continues to reflect on the desire for material paradigms by examining history.
Her recent group exhibitions include: "Brand newarchitecture, Figurativism loom on every floor", KeYi Gallery, (Hefei, 2024); "Dark Sky Park", Shanshang, (Xiamen, 2024); "Rear Wave: New faces of new painting", Line Gallery, (Beijing, 2023); "Extensive records of the Taiping Era", Moordn Art, (Foshan, 2023); "The Essence of painting – Beyond the concept", Sailing space, (Shanghai, 2023); "A list of strangers", Shanshang, (Xiamen, 2023) ; "Trap of being", Sense Gallery, (Beijing, 2023); "Landscape painting", Hunsand Space, (Shijiazhuang ,2022); "Fragments", Bonian Space, (Beijing, 2022), etc.
关于策展人 / About the Curator
中国当代策展人，独立艺术撰稿人；1995年生于中国河北省石家庄市；本科毕业于意大利库内奥美术学院企业艺术设计专业；硕士毕业于意大利米兰NABA新美术学院视觉艺术与策展学专业；师从意大利著名策展人Marco Scotini。
陈泊帆的策展逻辑多从社群独特为出发点，探讨新生艺术的可能，并试图在策展与写作的过程中以批判的角度重新梳理国际新兴艺术的发展逻辑，通过展览将其与当代现实进行有机衔接，展现出新兴艺术与社会发展之间的共生力量。
主要策展项目/展览：“旷野上的歌诀”当代艺术家群展，H Gallery，（上海，2024）；“漩涡之中的幽鸣”当代艺术家群展，百空间，（上海，2024）；“静默的词冗”当代艺术家群展，百空间，（上海，2024）；“荧目，阵列的寓言”，糜晟豪&罗熹双个展，瑀空间，（上海，2024）；“甲辰山志”，当代艺术家三人联展，勒木画廊，(北京，2023)；“ERROR·重启”，国际艺术家群展，Fir Gallery，(北京，2022)；“42 IS”国际艺术家群展，42 Art Space，(北京，2021)。
个展：“幻灭，凝视和哑剧”，谢堃个展，叁拾空间，(北京，2024）；“太阳坠进没有鳟鱼的海”，郭警个展，H Gallery，（上海，2024）；“惊梦：潜性之象”，姜怡帆个展，十点睡觉艺术空间，(北京，2023）；“花苞的意趣和杯中的刺点”，谢灵柔个展，十点睡觉艺术空间，(北京，2023）；“镜像与幕间”，耿雪个展，十点睡觉艺术空间，(北京，2023）；“现象之介质”，胡勤武个展，勒木画廊，(北京，2023）；“狂山浮景”，林子楠个展，Fir Gallery，(北京，2022）。
A contemporary Chinese curator and independent art writer; Born in 1995 in Shijiazhuang, Hebei Province, China; Graduated from the University of Cuneo in Italy with a bachelor's degree in Business Art Design; obtained a master's degree in Visual Arts and Curatorial Studies from NABA New Academy of Fine Arts in Milan, Italy; studied under the renowned Italian curator Marco Scotini.
Chen Bofan's curatorial logic often starts from the uniqueness of the community, exploring the possibilities of new art, and attempts to re-examine the development logic of international emerging art from a critical perspective during the process of curating and writing. Through exhibitions, he organically connects it with contemporary reality, showcasing the symbiotic power between emerging art and social development.
Main curatorial projects/exhibitions: "Songs in the Wilderness"Contemporary Artists Group Exhibition, H Gallery, (Shanghai, 2024); "The Phantom's Voice in the Vortex", Contemporary Artists Group Exhibition, EveryArt, (Shanghai, 2024); "Redundancy Word Silent", Contemporary Artists Group Exhibition, EveryArt, (Shanghai, 2024); "Tapetum, The Narrative of the Queue", Luo Xi&Mi Shenghao Solo Exhibition, ASTRA ART, (Shanghai, 2024); " Mountain Annals in JIACHEN", Contemporary artist trio exhibition, Le Rime Gallery, (Beijing, 2023); "ERROR·Restart", International Artist Group Exhibition, Fir Gallery, (Beijing, 2022); "42 IS", International Artist Group Exhibition, 42 Art Space, (Beijing, 2021).
Personal Exhibition: "Disillusionment gazing and Mime", Xie Kun's Solo Exhibition, SENSE GALLERY, (Beijing, 2024); "The Sun Falls into a sea Without Trout", Guo Jing's Solo Exhibition, H Gallery, (Shanghai, 2024); "Unanticipated Dream: Latent lmage", Yifan Jiang's Solo Exhibition, Click Ten Gallery, (Beijing, 2023); "The Interest of Flower Buds and the Prick Point in the Cup", Lingrou Xie's Solo Exhibition, Click Ten Gallery, (Beijing, 2023); "Mirror Images and Between the Acts", Xue Geng's Solo Exhibition, Click Ten Gallery, (Beijing, 2023); "Medium Of Phenomena", Qinwu Hu's Solo Exhibition, Le Rime Gallery,(Beijing, 2023); "MIRAGESCAPE ", Zinan Lam's Solo Exhibition, Fir Gallery, (Beijing, 2022).
关于可以画廊 / About KeYi Gallery可以画廊 KeYi Gallery 是一间成立于2019年的当代新星空间，旨在为艺术家打造一个开放性的具有学术实验性的平台，致力推广多元独特的展览项目和艺术家作品，挖掘和培育年轻艺术家。可以画廊前身以私人收藏为主，20年间不断收藏那些具有一定学术价值的当代作品，并始终关注艺术当下及未来的发展趋势。
KeYi Gallery is a young contemporary art space established in 2019. It aims to create an open and experimental platform for artists and dedicates to promoting diverse unique art programs and works of art, exploring and developing young artists. KeYi Gallery gave priority to private collections previously and has been insisting on collecting contemporary artworks with high academic value while concentrating on art trends in the art world.
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