阿拉里奥画廊欣然宣布即将于 2025 年 3 月 19 日（周三）至 2025 年 5 月 11 日（周日），呈现上海新馆首次展览《虚实相》（Fluid in Forms）。阿拉里奥画廊自1989年创立，在过去的三十多年间，始终以国际视野促进亚洲与世界的艺术交流。今年，阿拉里奥画廊上海定址苏州河畔苏河皓司，将继续作为当代艺术领域的先锋力量而存在。新馆开幕群展由策展人梁庆策划，展出艺术家陈彧凡、陈彧君、胡昀、金炳昊、金仁培、李正培、李昇爱、林鲁植、山田康平、赵玉的作品。
ARARIO GALLERY is pleased to announce the opening of the inaugural exhibition at its new Shanghai space, titled Fluid in Forms, which will open from March 19 to May 11, 2025. Founded in 1989, ARARIO GALLERY has consistently promoted artistic exchange between Asia and the world with an international perspective for over three decades. This year, ARARIO GALLERY SHANGHAI, situated along Suzhou Creek at SUHE HAUS, will continue to serve as a pioneering force in the territory of contemporary art. The inaugural group exhibition curated by LIANG Qing, will feature works by artists CHEN Yufan, CHEN Yujun, HU Yun, KIM Byoungho, KIM Inbai, LEE Jeongbae, LEE Seung Ae, LIM Nosik, Kohei YAMADA, Pocono ZHAO Yu.
工作室 90 Workroom 90
林鲁植 LIM Nosik
2024
布面油画
Oil on canvas
100 × 70 cm
ⓒ阿拉里奥画廊及艺术家
虚实，是有无相生的转化，是恍惚且难以明晰分辨的印象和感知。现实之物虚实有别，评判依据全然来自作为感知主体的人，而其清晰程度亦是人与周遭关系的动态体现。由此产生的“虚实之相”，不再仅是事物的外观，更是由人的意识描摹、建构的主观意象。
The concept of "Xu (the intangible)" and "Shi (the substantial)" represents a transformation in which being and non-being give rise to one another, an impression and perception that is elusive and difficult to delineate. The distinction between "Xu" and "Shi" in tangible objects is determined entirely by the perceiving subject, and the degree of clarity is a dynamic reflection of one’s relationship with the surrounding environment. The resulting "fluid in forms" is no longer merely the external manifestation of objects but rather a subjective image delineated and constructed by human consciousness.
人的大地 NO.250301 Terre des Hommes NO.250301
陈彧君 CHEN Yujun
2025
水彩纸上综合材料
Mixed media on watercolour paper
55 × 95.5 cm
ⓒ阿拉里奥画廊及艺术家
客观物象与主观意象之间的间离，催生虚的实相，它因暧昧朦胧的边界而具备远超实在的想象。在东亚的表达传统中，通常不描绘清晰分明的边界，而以留白或含混的空无呈现更多不可见的存在。物象的模糊终止了对坚硬、具体之物的执着，使物的意义不再封闭于固有形骸，进而能够随时间和场域游移变迁，向着更广阔的可能性开放。
The disjunction between objective image and subjective imagery creates the reality of the intangible, which, owing to its ambiguous and hazy boundaries, possesses an imagination far exceeding that of the substantial. In the East Asian tradition of expression, clear and distinct boundaries are typically avoided in favour of absence, emptiness, void, or indeterminacy, yet present more of the unseen. The vagueness of form curtails the fixation on rigid, concrete entities, liberating the meaning of objects from their inherent physical constraints. Their meanings are no longer confined to an inherent physicality but can wander and transition across time and field, opening up broader possibilities.
后视 7/16 Back 7/16
金仁培 KIM Inbai
2023
铝，不锈钢，木
Aluminium, stainless steel, wood
44 × 8 × 228(h) cm
ⓒ阿拉里奥画廊及艺术家
受邀参加此次展览的10位艺术家均来自中、韩、日三国，他们共享着东亚文化圈同质又迥异的传统，同时经历着程度不一的现代化的冲击。他们的作品大多关联自然，呈现其中的形象亦不是一览无余的明晰物象，实在之物被融入时间之流，不断处于显与退隐之间的流变状态。韩国艺术家金仁培通过模拟或观察视觉上不存在的事物，将不可见的状态作为扩展思维的催化剂，他将身体转译为空间中的点、线、面，抑或涂绘为具有山水气象的宏大场景。林鲁植近期的创作同样关注风景，他以绘画持续探索无形之力，并以物我两忘的互相观看，描绘空气和透明的氛围。
The ten artists presented in this exhibition hail from China, Korea, and Japan. They share the homogeneous yet distinctly diverse traditions of the East Asian cultural sphere while simultaneously experiencing varying degrees of modernity’s impact. Their works are largely connected to nature, yet the images they evoke are not entirely clear-cut representations. Instead, tangible entities are absorbed into the flow of time, continuously oscillating between appearance and withdrawal. Korean artist KIM Inbai explores the invisible as a catalyst for expanding perception by simulating or observing phenomena that do not exist in visual reality. He translates the body into points, lines, and planes within space or paints it as vast and imbued with the atmosphere of traditional East Asian landscape paintings. LIM Nosik similarly focuses on landscapes in his recent works and continuously explores intangible forces. Through a mode of reciprocal self-forgetfulness in observation, he depicts air and transparent atmospheres.
被切割的风景No.19 A Cut Landscape No.19
陈彧凡 CHEN Yufan
2024
木板上丙烯综合技法
Mixed techniques, acrylic on wood board
62 × 62 cm
ⓒ阿拉里奥画廊及艺术家
中国艺术家陈彧凡、陈彧君的作品来自对故乡的记忆以及多年移居生活的体验，不同的个性使他们的创作呈现出迥异的风貌：前者以冷静的抽象语言表达着对个体经验、重复劳作以及社会秩序的体验和沉思，而后者则以激情且融合的方式，营建记忆与现实混合的场景，从而向更深远的世界追问自我救赎的出路和人类游牧的方向。
Chinese artists CHEN Yufan and CHEN Yujun draw upon memories of their hometown and their experiences of prolonged migration. Their distinct personalities yield markedly different artistic styles: the former articulates his experiences and reflections on individual existence, repetitive labour, and social order using a calm, abstract language, whereas the latter constructs scenes where memory and reality interweave in a passionate and integrative manner, thereby seeking answers regarding self-redemption and the direction of human nomadic life towards a distant future.
尖尖月光 Pointed Moonlight
李正培 LEE Jeongbae
2023
铝、聚氨酯涂料、麻布
Aluminum, urethane paint, hemp cloth
63 × 44 × 0.7 cm
ⓒ阿拉里奥画廊及艺术家
韩国艺术家李正培捕捉城市景观中的山川、河流和天空碎片，以几何的分割、金属及玻璃钢等人造材料，将被资本和物质性撕裂的自然重塑成独特的抽象景观。同样是表现城市风景，日本艺术家山田康平则通过几何色域的层次与对比，表达独特的色彩深度、密度和沉思感，他将不同的色域层层叠加，进而展现作为连接和介质空间的“边界线”。
Korean artist LEE Jeongbae captures fragments of mountains, rivers, and the sky within urban landscapes. Using geometric divisions and industrial materials such as FRP and aluminium panels, he reconstructs nature - torn apart by capitalism and materialism - into unique abstract landscapes. Similarly engaged with the urban landscape, Japanese artist Kohei YAMADA expresses a distinctive sense of chromatic depth, density and contemplation through layered geometric fields of colour. By superimposing different colour fields, he reveals 'boundaries' as connecting and intermediate spaces.
无题 Untitled
山田康平 Kohei YAMADA
2024
布面油画
Oil on canvas
195 × 162.5 cm
ⓒ阿拉里奥画廊及艺术家
展览中另一个隐匿的线索，是艺术家对物的语义的挪动或演绎，通过将物象与其原有意义的分离、错位，激活当今语境下“意超物表”的崭新释义。在韩国艺术家李昇爱的作品中，植物的形象背后隐匿着情绪、信仰等精神元素，内部与外部世界之间的能量、情感、光和声音等无形元素充盈其间。金炳昊将其雕塑比作人工培育的“花园”，他以精密的机械复制、悖论般的批判意识，揭示建立在理性主义之上的现代文明中，个体与群体、同质与差异之间的对立和张力。
Another subtle thread woven through the exhibition is the artists’ displacement and deduction of objects' semantics. By dissociating and dislocating objects from their original meanings, they activate novel interpretations within contemporary contexts, wherein "meaning transcends mere material form." In the works of Korean artist LEE Seung Ae, plant images conceal intangible elements such as emotion and faith, while invisible forces—energy, sentiment, light, and sound—permeate the space between the inner and outer worlds. KIM Byongho likens his sculptures to artificially cultivated "gardens," employing precise mechanical replication and paradoxical critique to expose the tensions and contradictions between the individual and the collective, homogeneity and difference, within a modern civilization built on rationalism.
植物鼓 I Botanic Drum I
李昇爱 LEE Seung Ae
2024
石墨，纸
Graphite, paper
116.8 × 91 cm
ⓒ阿拉里奥画廊及艺术家
48座垂直花园 – B30C18 48
Vertical Gardens – B30C18
金炳昊 KIM Byoungho
2024
铝，不锈钢，树脂，缩醛，镀铜，聚氨酯涂层
Aluminum, stainless steel, resin, acetal, copper plating, urethane coating
24 × 24 × 59.5(h) cm, Edition of 3
ⓒ阿拉里奥画廊及艺术家
中国艺术家胡昀通过对历史碎片的跟踪、收集和再编辑，探索着现实与超验证、物质与精神以及可见与不可见之间的界限，作品中的植物形象亦因背后深层的文化脉络而生发更丰富多元的语义。赵玉的创作则致力将“自文化”转化为“他文化”视角，她基于行走和个人经验，借用符号学、文学以及相关社会学科中的元素对场景进行解构，籍此呈现世界范围内的文明流动和文化流变，新的叙述者以“闯入者”的形象迫问历史之真，探讨和回应着原本与副本的复杂勾连。
Chinese artist HU Yun traces, collects, and re-edits historical fragments to explore the boundaries between reality and transcendence, materiality and spirituality, visibility and invisibility. The plant images in his work similarly acquire richer and more diverse semantics through the deep cultural context that underpins it. Pocono ZHAO Yu, on the other hand, seeks to transform a "self-culture" perspective into one of "other cultures." Drawing from walking and personal experience, she employs elements from semiotics, literature, and related social sciences to deconstruct scenes, thereby revealing the global flows of civilization and cultural transformation. In her works, new narrators emerge as "intruders" who interrogate historical truth and explore the intricate interplay between originals and replicas.
棕榈 06（无题）Palm 06 (Untitled)
胡昀 HU Yun
2018
描图纸上水墨
Ink on tracing paper
110 × 150 cm
ⓒ阿拉里奥画廊及艺术家
新来者，信使 01 Newcomer, Messenger 01
赵玉 Pocono ZHAO Yu
2017-2023
意大利黄洞石、水泥、金属板、丙烯、树脂、摄影
Italian yellow marble, cement, metal plate, acrylic, resin, photography
43 × 62 × 8 cm
ⓒ阿拉里奥画廊及艺术家
无形大象中，万物皆流动。“虚实相”，意喻动态的在场，不息的“发生”，于溶解边界的混沌中孕育无限可能。伴随着苏州河奔涌向前的流淌，阿拉里奥画廊将在上海开启新的篇章。
In the realm of the intangible, all things remain in flux. The notion of "fluid in forms" signifies a dynamic presence, a continuous state of becoming—that nurtures infinite possibilities amid the chaos of dissolving boundaries. As the Suzhou Creek flows forward, Arario Gallery inaugurates a new chapter in Shanghai.
