悦·展评 | 思想从展览“结束”开始

What makes a great exhibition? Is it great art, great design, great location? Yes, it is all these things, but a great exhibition makes you look at the world in a different way when you leave. This exhibition not only encourages you to examine art and society differently, but also context and space.

什么是一个出色的展览？真实的艺术、精彩的设计？这些或许是正确答案，但真正优秀的展览会让你在观赏过后，开始尝试用不同的视角去认识世界。这次展览不仅促使你审视艺术和社会的差异，还激发你对环境和空间重新进行审视。


Yue Art Museum is a clever variation on the white cube gallery design, providing a flexible space to explore the creation of ‘rooms’ and sight lines. Producer, Wang Feiyue must get great credit for providing this framing and curator, Cheng Xi’s imaginative use of the space is nothing short of inspired.

悦·美术馆的空间设计运用白色立方体的形式，呈现了极具现代感且简约、通灵的风格，为探索“密室”和视觉的创造提供了灵活的空间。馆长王飞跃对设计展馆框架和策展模式做出了很多努力，策展人成蹊和艺术家们对空间的使用极具想象力。


The exhibition showcases four complementary but distinctive contemporary artists, Sheng Tianhong, Wang Pengjie, Yu Aijun and Zhao Yinou. They create a palate using imaginative media on which the curator has composed a symphony for the eyes.

展览展示了四位和而不同的中国当代艺术家的作品，包括艺术家盛天泓、王鹏杰、于艾君、赵银鸥。他们利用富有想象力的媒介创造了一场视觉盛宴，策展人的妙思也为展览增加了点睛之笔。




The clever use of a barrier directs you to a lone piece by Wang Pengjie, ‘Independent no.2’ in propylene. Although it stands alone, it can be interpreted in a number of ways and is worth viewing from different angles and distances. It is a mere appetiser for the delights to come.

进入展馆，屏风的巧妙运用将观众引向王鹏杰一件独特的作品——布面丙烯画作《独立No.2》。虽然它独立呈现，却可以以多种方式去阐释它，并且值得你从不同的角度和距离观赏，但这仅仅是本次展览的开始。

Turning into the main gallery you are faced with an ‘en filade’ of paintings that diminish in size and are hung more closely together. Using more of Wang’s work to draw the audience in. Thus, the audience is drawn closer and closer until you begin to have an intimate relationship with the art and its detail.

进入主展厅后，你将看到一组疏朗的大画和后面成行排列、紧密悬挂的小尺寸画作，观众与其作品之间的距离由远到近，越来越近，直到与艺术及其表现的细节产生独特的亲密关系。

At this point the exhibition now really begins to play with the audience. Nothing will be displayed as you expect. You turn to see the back of Yu Aijun’s fabrics hung from the roof. The audience is now fully immersed in the art, you are encouraged to move, explore both front and back of the art and weave between them.

在观赏过此系列画作之后，本次展览才真正开始与观众互动，不过却不是像你预想的那样去展现。转过身去，可以看到于艾君的画布的背面从屋顶上垂挂下来。观众现在可以说完全沉浸在艺术之中了。

As you move the intimate paintings are now given the new perspective small beyond large as the intelligent groupings and context become apparent.

策展人鼓励观众在馆内自由移动，探索艺术的正反两面。当你在展厅移动时，随着艺术作品分组和背景的变化，精妙的绘画将被赋予从小到大的新视角的全新感官体验。

Emerging from the fabrics you are now faced with a single painting propped against the wall, whilst above you on the mezzanine floor a series of heartfelt paintings by Zhou Yinou flare out into the roof space. The temptation to follow a ceremonial route up the stairs is strong.

看完于艾君的作品，你可以看到一幅倚靠墙壁的单幅画作，而在你上方的阁楼上，艺术家赵银鸥的一系列灵感迸发的作品也在屋顶空间舒展呈现。这时你走上楼梯观赏的意愿会很强烈。
However, you are stopped the single painting propped against the wall instantly make you question ideas of display. Nothing is near it. You might even think the exhibition is not complete. Thus, you are not just looking at a painting you are contemplating ideas of display at the same time.

但你会停下来，对那一幅靠在墙上的画的陈列方式产生疑问，因为附近什么也没有，甚至你可能认为展览布置还没有完成。所以此时，你不只是在看一幅画，同时你也在思考本次展览的想法。
You are forced to look down when you want to look up. The painting creates its own tension ask the audience to engage with a well-known episode from Journey to the West. China’s literary past meets a new conceptual presence. Once upstairs other paintings emerge and you are now required to look up and down and yet more perspectives emerge.

当你想向上看时，你却又不得不向下看。像是这些画产生了自己的张力去要求观众参与《西游记》中的一个片段。中国的文艺发展此时遇到了一个新概念的出现。一旦楼上出现了其他画作，你就会需要向上看以及向下看，并且还会出现更多的视角。
The exhibition is coming to an end. It is the best exhibition I have seen in Beijing this year. The display is the very definition of a liminal space where transformation takes place.

展览即将结束，这是我今年在北京看到的最好的展览了。它对空间转换有着明确定义，可以清楚直观看到空间的不同使用方式。这是一场运用空间使艺术家和观众都能充分享受的精妙展览。


部分国际艺术界人士短评：

福尔康（德国艺术家，柏林艺术学院教师）:
这个展览的展示方式不同寻常，有切割空间的悬挂式布面作品，也有放在地上和挂在高处的绘画.不同于很多平铺直叙的画展，另外作品中普遍存在的叙事性，吸引观众慢慢欣赏。

格拉斯（加拿大艺术家和策展人）:
通过看这次画展又重新开始思考绘画，绘画相对于我以前的装置更为便捷。

胡尔曼教授（德国著名工业设计师）:
相对于你（盛天泓）的充满中国民间叙事性的大幅绘画，我更喜欢你的小幅实验性作品。但是发现开幕式上您的三幅作品吸引很多中国观众，"你的大画抓住了中国人的灵魂"   。