相關(guān)展覽信息

　　無(wú)同空間很高興地宣布，2021年1月17日最新展覽《閣樓上的巨人》將被推出，本次展覽將展出藝術(shù)家陳子豐近期來(lái)的展覽作品。

　　陳子豐的作品擁有一種讓人感到緊張不安的氣質(zhì)，如同我們窺?那躲藏在閣樓上的巨人，頓時(shí)我們會(huì)有一絲好奇、迷失甚至是恐慌。閣樓是一個(gè)隱秘的、黑暗的、擁擠的、或是被遺忘的存在，人們有時(shí)會(huì)視它為一個(gè)逃離現(xiàn)實(shí)的小世界，這屋頂輕薄的隔板之上已然成為了一個(gè)存儲(chǔ)記憶和情感的大盒子。

　　陳子豐早年接受了中國(guó)傳統(tǒng)繪畫(huà)的系統(tǒng)訓(xùn)練，他擁有嫻熟的技巧與表達(dá)。多重情緒與創(chuàng)作動(dòng)機(jī)在實(shí)踐中不斷沉淀和累積，一直增加著畫(huà)中形象的重量感，仿佛壓得那閣樓吱吱作響，被壓抑的對(duì)話(huà)騷動(dòng)了起來(lái)。人既非生而自由,生存也非絕對(duì)自由，在歷史無(wú)法為前進(jìn)提供幫助之時(shí)，當(dāng)代人又選擇性地忘卻了前人的種種“遺跡”，我們是否還擁有著可被追溯的根源呢?面對(duì)著這些建筑于空洞的、易坍塌的地基之上的房屋，陳子豐一直在沉默地修補(bǔ)，在他自己的空中閣樓里天真并勇敢地堅(jiān)守著一種文化的自信與重塑。

　　藝術(shù)家所創(chuàng)造的巨人形象并非為討好而存在，它們好似攜帶著被壓抑的欲望出生，成長(zhǎng)為一種 “扭曲”的有機(jī)結(jié)構(gòu)。曖昧豐滿(mǎn)的肉體、板滯的眼神和賽博的色彩背后是那些在暗處的膨脹與不安。這些張力并非僅存于畫(huà)面之中，而其恰恰如同一面鏡子，映射出夾在中國(guó)傳統(tǒng)觀念與現(xiàn)代文明之中的中國(guó)人的內(nèi)心世界。

　　巨人們不會(huì)永遠(yuǎn)蜷縮于閣樓之上，因其對(duì)于整個(gè)房屋隱秘的威脅，他們會(huì)試圖誘惑我們進(jìn)入閣樓內(nèi)。在我們和這些巨人們面對(duì)面時(shí)，我們的軀體緩緩的舒展開(kāi)來(lái)……

The Giant in the Attic

Chen Zifeng’s works have a tem-pera-ment that makes peo-ple feel ner-vous. It is as if we were glanc-ing at a giant hid-ing in the attic, fac-ing away from us, doing things we could not know or under-stand. We will have a hint of curios-i-ty and fear, but then turn around and leave. The attic is such an exis-tence. It is dark, crowd-ed, always ignored and for-got-ten, and peo-ple see it as if it is not relat-ed to their own world. Thus, the thin par-ti-tion on the top floor of the house becomes a big box for stor-ing secret traces.

Chen Zifeng, who has acquired tra-di-tion-al Chi-nese paint-ing the-o-ry and tech-ni-cal train-ing, lives in a house and its attic at the same time. When the giants liv-ing in the attic were con-stant-ly con-densed in the images cre-at-ed by the artist, the accu-mu-lat-ed weight of mul-ti-ple emo-tions and desires made the attic squeaky, and the sup-pressed dia-logue agi-tat-ed. Man is nei-ther born free nor has absolute free-dom. On the artis-tic lev-el, what Chen Zifeng wants to fight against and break through is not only the con-straints of Chi-nese paint-ing tech-niques and forms, but also the unre-solved con-tra-dic-tions of tra-di-tion-al art in the con-tem-po-rary era. Due to the rapid trans-for-ma-tion and devel-op-ment of eco-nom-ic mod-els in Chi-na, there is abyss between tra-di-tion-al Chi-nese cul-ture and con-tem-po-rary soci-ety. Tra-di-tion-al art is stuck in fun-da-men-tal-ism and is out of step with con-tem-po-rary civil-i-sa-tion. Its core has long been com-pressed by the so-called “advanced civil-i-sa-tion” into a mocked schema. When his-to-ry is unable to help advance, con-tem-po-rary peo-ple selec-tive-ly for-get the “remains”, as if we no longer have trace-able roots. Faced with these hous-es built on an unsta-ble, eas-i-ly col-lapsed, and hol-low foun-da-tion, Chen Zifeng has been mak-ing silent protests, naive-ly insist-ing on the cre-ation of a cul-ture in his own attic.

The giants’ images cre-at-ed by the artist do not exist to please, they are twist-ed and per-vert-ed organ-ic struc-tures born with sup-pressed desires. Behind the vague and plump body, the slug-gish eyes and the cyber colour is the uneasi-ness that swells in the dark. This uneasi-ness is not only in the pic-ture, but it is just like a mir-ror, reflect-ing the con-tra-dic-to-ry minds of con-tem-po-rary peo-ple liv-ing in the tra-di-tion-al con-cept and the cur-rent soci-ety.

Giants will not hud-dle in the attic eter-nal-ly, and because of their hid-den threat to the entire house, it will tempt us to enter the attic; when we are fac-ing the giants, our bod-ies grad-u-al-ly unfold-ed.

近墨者黑 陳子豐 2020 綜合材料 31x31cm

千里江山2 陳子豐 2019 紙本綜合材料 240x166cm