“分裂”是一种当今的时代病，形容人思想以及表达上的自相矛盾。“逢合”用于描述作品时也是绝对的贬义，暗指创作方法的匮乏和无力：想创新但却只能在已有的叙事里东拼西凑，反复拼接。这两点都是当代艺术里的常见病。但我无意批判，反而好奇这两种症状背后是否隐藏着某种关于文化生产的普遍规律？
近些年，媒介与叙事一直是我关注的重点。不断地分裂又相互逢合，正是媒介与叙事发展中的一种张力。本次展览的作品都与这种张力有关，并有意地尝试将其转化为一种方法，主动且抽离式地使用分裂和逢合这两种能力。
《分水岭》是一次日常感知的逃逸，借用历史上重庆到贵州的一段早已隐匿到城市基建中的古道，有意把日常空间里的身体感知放逐到某种边界状态。展览同名作品《分裂与逢合：关于图像的地理》是参与外交公寓12号空间在长白山的艺术驻地后完成的项目。作品在叙事的结构中逢合了多种语境和线索，把艺术系统自身的生产和媒介的历史变化并置在同一个线索里，但都与真实的田野工作和现实世界的边界有关，目的仍然是如何理解今天复杂的现实。
而绘画这一媒介的特性，很适合把我在不同地理空间中的感知都压缩到同一个平面里，但新的绘画更多尝试如何在绘画自身的语言和平面性里表达地理空间这一主题？
——余果
"Division" is a contemporary schism that reflects the contradictions between one's thoughts and expressions. "Compromise," when used to describe an artwork, is also thoroughly derogatory, suggesting a lack of creativity and weak methodology: the attempt to innovate by merely reconciling fragments that cater to existing narratives. Both phenomena are common issues in contemporary art. However, my intention is not to criticize; instead, I am intrigued by the possibility that these two symptoms reveal a universal principle underlying cultural production.
In recent years, media and narrative have been my primary focus. The ongoing cycle of division and compromise is a tension inherent in the evolution of both media and story telling. The works in this exhibition address this tension and deliberately attempt to transform it into a methodology, using the forces of division and compromise as tools— both actively and with detachment.
The 3-channel film Watershed is an escape from daily perception, drawing from an ancient road between Chongqing and Guizhou, now hidden within the city’s infrastructure. It intentionally exiles the bodily perception of routine spaces into a marginal state. The eponymous essay film in the exhibition, Division and Compromise: On the Geography of Images, was completed after the DRC No.12 sponsored artist residency in Changbai Mountain, Jilin Province. The work reconciles multiple contexts and clues within its narrative structure, juxtaposing the production of the art system itself with the historical evolution of media within the same thread, all of which are related to fieldwork and the boundaries of reality. The purpose remains: How can we understand today’s complex world?
The medium of painting, with its unique characteristics, is well-suited to compress my perceptions of different geographical spaces onto a single plane. However the new paintings further attempt to explore how to express the theme of geographical space within the flatness of the painting language itself.
—Yu Guo
余果1983年出生于四川通江，于2006年毕业于四川美术学院油画系，现工作生活于重庆。余果的创作涉及绘画、录像、写作等多种媒介。
他的近期展览包括：“分裂与逢合：关于图像的地理”，CLC画廊，北京（2025）；“表征现实”第三章：重塑地形”，武汉影像中心，武汉（2024）；“重庆漂移”，长征独立空间，北京（2024）；“首届中国当代影像艺术年鉴”，上海多伦现代美术馆, 上海（2024）；“山脉之间”，CLC画廊，北京（2023）；“给一位艺术家的风水指南”，C5CNM，北京（2021）；“地对角线”，魔金石空间，北京（2020；“碛石”，环形空间，成都（2019）。
