2023年3月【ART23展讯】Boom×100000000! 绘画的镜态升维展

不戴VR眼镜

也能在他的绘画中看到「超特效」！

Exhibition｜展览

展览海报

Poster

而不是揭示

——初劭玮：Boom×100000000! 绘画镜态升维展

林江泉

初劭玮的镜态绘画实践是新媒材“意义的完成”，也是“向量的阶段性完成”，他一边往前沿的方向打破绘画的静默，一边退后收藏70-90年代的老玩具，以此兑换人生，为时间积分，带有艺术家安东・维多克（Anton Vidokl）实验性的生活底色，而不是揭示。

初劭玮是一位在架上绘画中追寻“光”的艺术家，他调动了菲林。每幅作品都是多层单面的不同绘画图案所叠加后的结果。底层在布面上进行绘制后，菲林层层叠加，作品本身所采用特殊透明反光材质使每一层暧昧的色域更加通透和澄明，同时作品本身有着吸纳了周围环境，似乎正在打开周遭事物的折叠空间，这成为了一种“镜态升维”，维度向量也得到了解放，与ChatGPT似乎遥相呼应，而不是揭示。

“镜态”是初劭玮内在主体性的精神态度，也是他把客观物象转变为某种自我认识论的外延，从而将观者引入了个体的生命世界。“镜态”是多向之境，一边朝向我者，一边朝向他者的世界，一边朝向未知，在储存周遭事物的时候，不断收张，映射和反光重新组合了观者既定的观看秩序，进入米凯勒·乔亚乔费拉（Michele Ciacciofera）式的互动性感官世界，而不是揭示。

初劭玮的镜态退到画后，他自己也隐藏在画中，隐藏在问题的内部。留给画面的形下之物越少，关于“镜态”的思考则绵延不绝——成为人类依存于隐喻失效后的空间之间，抵达了人与人，人与城市和人与自然之间的感通路径，跨越观看旅行，更新了艺术家之于绘画时间的态度，发展出一套套独特感官交流系统，强调在“镜态”与身体感知和展览现场之间构成整体的互动关系，时而自觉，更像本能，一如Tarek Atoui的声音艺术在遥远的空间中转化，或在转场中原地踏步，在“镜态”的意蕴中隐藏非比寻常的存在，而不是揭示。

初劭玮的镜态是非视觉化的，在漫长的岁月里与你的记忆纠缠不清，感知的幻觉总会不断地、重复地被回想起。他的视角恒定又变幻，以耐得入微的方式编织补缀，光源的苦心输出而袒述无私，让观众意乱情迷、又坐立不安，从观看陷入对心理的沉思，进入他的一个个内部图式或主体，而不是揭示。

初劭玮对光与本我进行孜孜不倦的思辨探求，对观看的追逐转化成解脱视觉的向度，又由身体的感知意涵，上升到其自身的追问。他对不可见的思考提升到存在的维度，放大或缩小时间，时而泄露天机，时而秘而不宣，甚至以坦白得近乎残酷的方式将不可见予以解码，折射出强烈的图层解剖和重组意味。他敢于突破认知的界限，也善于在原地散步，每一次实验都源自对之前“阶段性意义”完成与发展，其笔下的“镜”在规律性的变动中拉阔了“态”的空间，一次次的更新“媒材的典故”，“光”的秩序在他的思考中顺应而生，一种无法描述的状态出现，在诸种可能性中展开的今天和昨日，并校对现实，而不是揭示。

初劭玮的镜态将潜藏于光和色的多重语境地再次隐藏起来，而不是如大多数艺术家那样总是“揭示出一点什么来”。他的多重媒材重译了陷入不寻常处“镜态”，这些现象在偶然中呈现出初劭玮的状态，以此来隐藏一个“镜态”的群体动力，而不是揭示，而不是。

Rather than revealing

——Chu Shaowei: BoomX100000000! Painting mirror state elevation exhibition

Lam Kong-chuen

Chu Shaowei's mirror painting practice is the "completion of meaning" of new media, and also the "phased completion of vector". He breaks the silence of painting in the direction of moving forward, while retreating to collect old toys from the 1970s and 1990s, in order to exchange life for time points, with the experimental life background of artist Anton Vidokl, rather than revealing.

Chu Shaowei is an artist who pursues "light" in easel painting, and he mobilized film. Each painting is the result of the superposition of different painting patterns on multiple layers and one side. After the bottom layer is painted on the cloth, the film is superimposed layer by layer. The special transparent reflective material used in the work itself makes each layer of ambiguous color gamut more transparent and clear. At the same time, the work itself has absorbed the surrounding environment, and seems to be opening up the folded space of the surrounding things. This has become a "mirror dimension", and the dimension vector has also been liberated, which seems to echo with ChatGPT, rather than reveal.

"Mirror state" is Chushaowei's inner subjective spiritual attitude, and it is also the extension of his transformation of objective images into some kind of self epistemology, thus introducing the viewer into the individual life world. The "mirror state" is a multi-directional state, which faces the world of the other, the world of the other, and the unknown. When storing the things around, it keeps opening, mapping, and reflecting to re-combine the established viewing order of the viewer, and enters the interactive sexy world of Michele Ciacciofera, rather than revealing.

After Chu Shaowei's mirror state retreated to the painting, he himself was also hidden in the painting, hidden in the interior of the problem. The less physical things left behind in the picture, the continuous thinking about the "mirror state" - becomes that human beings rely on the space after the metaphor has failed, and reach the path of communication between people, people and cities, and people and nature. It transcends the viewing journey, updates the artist's attitude towards painting time, and develops a set of unique sensory communication system, It emphasizes the overall interaction between the "mirror state" and body perception and the exhibition site, which is sometimes self-conscious and more like instinct, just as Tarek Atoui's sound art transforms in a distant space, or stays in place in the transition, hiding an unusual existence in the "mirror state", rather than revealing it.

Chu Shaowei's mirror state is non-visual. It has been entangled with your memory for a long time. The illusion of perception will always be recalled continuously and repeatedly. His perspective is constant and changeable, and he weaves and mends in a subtle way. The painstaking output of the light source is selfless, which makes the audience confused and restless. From the perspective of watching, he falls into the contemplation of psychology, and enters into his internal schema or subject, rather than revealing.

Chu Shaowei carried out tireless speculation and exploration on light and id, and his pursuit of watching turned into the dimension of extricating vision, and then rose from the sense meaning of the body to his own questioning. He raised the invisible thinking to the dimension of existence, enlarged or reduced the time, sometimes revealed the secret, sometimes kept it secret, and even decoded the invisible in a frank and brutal way, reflecting a strong sense of layer anatomy and reorganization. He dares to break through the boundaries of cognition, and is good at walking in situ. Each experiment is derived from the completion and development of the previous "stage significance". His "mirror" broadens the space of "state" in the regular changes, updates the "allusions of media" time and time again, and the order of "light" is adapted in his thinking, and an indescribable state appears, which unfolds today and yesterday in various possibilities, and proofreads the reality, Rather than revealing.

Chu Shaowei's mirror state hides the multiple contexts of light and color again, instead of "revealing something" as most artists do. His multiple media re-translated into an unusual "mirror state", which occasionally showed Chushaowei's state, in order to hide the group dynamics of a "mirror state", rather than reveal it.

Exhibition Info｜展讯

展览 Title

Boom×100000000!

绘画的镜态升维展

艺术家 Artist

初劭玮 SHAWN CHU

策展人 Curator

李圳香 Angela Li

学术主持 Academic Host

林江泉 Lam Kong Chuen

展期 Exhibition Date

2023年3月4日至2023年5月28日

4 March 2023 — 28 May 2023

开馆时间 Opening Hours

周二至周五 11:00-18:30

周末节假日 11:00-19:00

Tue. to Fri. 11:00-18:30

Sat. to Sun. 11:00-19:00

票价 Entrance

29元/人

29 RMB/per

主办方 Organizer

ART23当代艺术馆

ART23 Contemporary Art Gallery

协办方 Co-organizer

澳門智慧城市藝術发展協會

Macua Smart City Arts Development Association

地点 Venue

广州市越秀区东山口启明社区东二门启明三马路23号ART23当代艺术馆

ART23 No.23 Qiming 3rd Rd. Qiming Community

Artist Profile｜艺术家简介

初劭玮

SHAWN CHU

1995年出生于陕西省西安市，2017年毕业于西安美术学院油画系，2020年毕业于西安美术学院公共艺术系。油画系毕业后，对学院绘画的质疑使他的兴趣转向了当代实验性作品，尤其观摩了大量的国内外展览后，成为独立艺术家，探索自己图像语言逻辑是他思考的方向。硕士阶段，初劭玮的作品逐渐从平面走向空间，广泛的兴趣不断吸引他拓展新的研究领域。

Selected Works｜部分作品

毛毛猫-3

2022

布面油画丙烯油漆 PVC综合材料

100x150cm

Hi, there

2021

布面油画丙烯油漆 PVC综合材料

40x30cm

Jerry

2022

布面油画丙烯油漆 PVC综合材料

100x120cm

玛丽莲·梦龟

2021

布面油画丙烯油漆 PVC综合材料

100x120cm

黑色幽默

2021

油画丙烯着色卡纸

100x120cm

Hippie Monkey

2022

布面油画丙烯油漆 PVC综合材料

40x30cm

Luminary发光体

2021

油画丙烯综合材料

100x120cm

Lighting

2022

布面油画丙烯油漆 PVC综合材料

150x100cm

Curator｜策展人简介

李圳香，ART23当代艺术馆创始人，ART23school国际艺术留学创始人。英国伦敦艺术大学纯艺术硕士，中国美术学院传媒动画学院荣誉毕业学士。毕业后工作于英国伦敦HUA画廊，参加过英国伦敦V&A 设计与艺术博物馆，2010年伦敦设计节等十余个大型国际艺术展览。作品与采访曾在伦敦凤凰杂志,英国卫报及Articulaction等国际刊物上发表。除此之外，她已在全球超过31个城市进行艺术创作与交流。2015年底回国创办了广州ART23当代艺术馆。过去7年密集地为国际优秀艺术家策划跨国跨界当代艺术展30余场展览和上百场学术讲座，使ART23成为广州最有先锋影响力的当代艺术空间之一。

Academic Host｜学术主持简介

林江泉，中国当代艺术家，艺术实践涉及绘画、装置、建筑、电影、戏剧、小说、诗歌、批评和策展。受邀赴五大洲艺术场馆举办个展，包括葡萄牙国家文化中心佩索阿纪念馆画廊、瑞典奈舍美术馆、艾尔玛美术馆等。应英国威尔士三一圣大卫大学之邀请赴英讲学。艺术作品被公共美术馆和学术机构永久性馆藏，包括英国国家图书馆（大英图书馆）、美国国会图书馆、英国女皇御用书馆、瑞典皇家图书馆、哈佛大学图书馆、斯坦福大学图书馆、普林斯顿大学、耶鲁大学、宾夕法尼亚大学、纽约哥伦比亚大学、意大利Prada费尔特里内利奖机构、多伦多大学图书馆、杜克大学、曼哈顿洛克菲勒中心麦克纳利·杰克逊、纽约大学、柏林国家图书馆、法国路易斯·努塞拉公立图书馆、Freyschmidt's Buch（卡塞尔）、Buchfink GbR（明斯特）、比利时根特大学艺术与哲学学院、瑞士欧瑞尔·福斯利（巴塞尔）、Mondadori（威尼斯）、奥地利因斯布鲁克博物馆、洛杉矶Hennessey与 Ingalls建筑艺术馆、香港中文大学图书馆、日本早稻田大学、韩国教保文库中心、波兰亚当·密茨凯维奇大学、阿威罗大学葡萄牙-非洲基金会、里斯本大学等。现任广东大家美术馆艺术总监、Cloud-heart Art museum馆长，在瑞典设有工作室。

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