上海——藝術門荣幸呈现展览《虚实生新》，此次展览聚焦“虚实”这一哲学概念，呈现陈彧凡、高入云、倪志琪、钱佳华、王小松、张汲和朱金石七位艺术家的作品。“虚实”作为自古以来艺术家们探索的重要议题，在当代艺术语境下，更是扩展到了观念、情感、媒介等多个层面。本次展览“虚实生新”正是基于这一深刻的哲学命题，旨在深入探讨“虚实”在当代艺术实践中的多维表达。
在这个展览中，“虚实”并非简单的二元对立，而是一个相互渗透、相互生成的动态过程。艺术家们以各自独特的艺术语言，在“虚”与“实”之间寻找平衡点，探索着物质与精神、现实与想象、形式与观念之间复杂而微妙的关系，不断拓宽艺术的边界。这些作品不仅对传统认知发起挑战，更在虚实交错中激发了新的艺术语言和观念形态。
Shanghai—Pearl Lam is pleased to present Reality and Illusion: A New Genesis, a group exhibition focusing on the philosophical concept of reality and illusion with works by seven artists, including Chen Yufan, Gao Ruyun, Ni Zhiqi, Qian Jiahua, Wang Xiaosong, Zhang Ji, and Zhu Jinshi. As an important topic explored by artists since ancient times, reality and illusion has been expanded to concepts, emotions, media and other levels in the context of contemporary art, which will be highlighted in this exhibition.
Reality and illusion are not merely simple binary opposites, but rather they represent a dynamic process of interpenetration and mutual generation. Artists strive to find a balance between reality and illusion, exploring the complex and subtle relationships between substance and spirit, reality and imagination, as well as form and concept while utilising their unique artistic languages to broaden the boundary of art. These artworks not only challenge traditional concepts but also stimulate new artistic languages and conceptual forms in the interplay of reality and illusion.
CHEN YUFAN 陈彧凡 b. 1973
Derivatives – Remaining Scenery No. 7
衍⽣物-剩余的⻛景之七, 2023
Acrylic on canvas 布⾯丙烯
65.5 x 45 cm (25 3/4 x 17 3/4 in.)
陈彧凡的艺术创作取源于“道”和“禅”，通过重复排列的点、线以及纯净的色彩，转化为他独有的冥想过程和个人语言。陈彧凡的作品围绕着视觉的结构与意念的强度，并借由物与空间的集与散，构成了他独特的艺术实践。作品由点和线组成的平面，面与物构成空间，再以叠加重复行为发展出时间的线索，这既是艺术家的一种自我体验的修行，又是一种观念性行为艺术。此次展出的作品中，可见其作品中对时间与空间的独特感知，呈现出一种超越现实的虚实之美，这是对现实世界的重构和解读，也是对内心世界的一种表达。
Chen Yufan takes his inspiration from Daoism and Zen Buddhism. He turns Daoist and Zen Buddhist philosophies into a personal interpretation and meditation through a repetitive process of employing dots, regular lines, and pure colours. Chen’s work revolves around the optical structure and the force of intent; his unique artistic expression is grounded in both the assembly and scattering of objects and space. Through surfaces composed of dots and lines as well as spaces constructed by surfaces and objects, a trace of time is unleashed when these elements overlay upon one another. The dialogue between the artist and his mediums becomes a significant subject, resembling that of an internal meditation and is a form of performance art rooted in concepts. Among these works on show, one can see the unique perception of time and space, which present a kind of beauty that transcends reality, offering both a reimagining of the world and an intimate reflection of the artist’s inner self.
GAO RUYUN 高入云 b. 1988
LOOP LOOP f, 2024
Carbon fiber printing, acrylic plate, copper plate, motor
碳纤维打印、亚克力板、铜板、电机
H24 x W22 x D10 cm (H9 3/8 x W8 5/8 x D3 7/8 in.)
高入云的装置作品中运用机械运动技法，去除任何意指的形态和节奏，来规避主观性与情感。作品中周而复始的运动，在观者的视觉记忆中留下了有几何形态的线条，勾勒出永远无法定格的时间和空间。此次展览中的小型装置作品LOOP系列，延续了艺术家自2011年起对线的运动和时空性的探索，艺术家通过连接绳索、鱼线、亚克力等材料构建起作品不同的空间结构，并巧妙地将线条的运动和节奏融入其中，虚实交织中将现实世界的表象与内心的想象合而为一。这种虚实之间的对话，不仅展示了艺术家对物质材料的深刻理解和运用，也体现了他对时间和生命流逝的思考。
In his installation works, Gao Ruyun uses mechanical movement with no intended form or rhythm to avoid subjectivity or emotion. This constant cyclical movement leaves the viewer’s consciousness to follow the geometric trajectory of the lines and to linger in an undefined time and space constructed by the works. This show highlights small installations from Gao’s LOOP series, which continue his exploration of line movement and temporality that began in 2011. The artist constructs different spatial structures by connecting ropes, fishing lines, and acrylic materials; he subtly integrates the movement and rhythm of lines into them, blending representations of the tangible world with inner imagination. The dialogue between reality and illusion not only showcases Gao’s profound understanding and mastery of materiality but also reflects his contemplation on the passage of time and the transience of life.
NI ZHIQI 倪志琪 b. 1957
World Theatre 世界剧场 (detail 局部), 2025
Gauze, thick handmade paper, oil and acrylic
纱布厚手工纸油彩丙烯
240 x 640 cm (94 1/2 x 252 in.)
60 x 80 cm x 32 (23 5/8 x 31 1/2 in. x 32)
此次展览的《世界剧场》是一组由32块单色方形色块拼接而成的综合材料绘画作品，其创作灵感来源于艺术家对于日常生活的观察与提炼。艺术家倪志琪对于材料的颜色与质地保持着极度敏感，材料的视觉冲击力与物体本身的特性在其创作中始终保持着微妙的辩证关系。通过色彩与材质的多层次叠加以及层叠的肌理，将时间与记忆封存于其中。在中国传统绘画技艺的帮助下作品彰显平实无华的气息，其褪去的颜色与粗糙的边缘所隐含的艺术内核，是带有东方人文关怀和关于时间记忆的思考。通过对时间和记忆的记录与重构，展现出虚实交织的复杂关系，这不仅是对现实世界的反映，也是对内心世界的深入挖掘。
This exhibition features Ni Zhiji’s World Theatre, a comprehensive material painting composed of 32 monochrome square colour blocks pieced together, inspired by the artist’s observation and refinement of daily life. The artist pays particular attention to the colour and texture of his materials; their visual impact and characteristics maintain a subtle dialectical relationship in his creation process. By layering colours, materials, and textures, time and memory are sealed within Ni’s works. With the help of Chinese traditional techniques, the artist’s gentleness and warmth are slowly revealed. The core concept hidden in the faded colours and rough edges of his works is a philosophical outlook on time and memories from an Asian perspective. Through the recording and reconstruction of time and memory, the complex relationship of reality and illusion is shown, which is not only a reflection of the real world but also a deep excavation of the inner world.
QIAN JIAHUA 钱佳华 b. 1987
Pack 打包, 2025
Wood, linen, acrylic, oil paint, lacquer, etc.
木、亚麻布、丙烯、油彩、漆等
74 x 53 x 12.5 cm (29 1/8 x 20 7/8 x 4 7/8 in.)
钱佳华的绘画强调画面的扁平透视，作品中的色彩、线条与块面互为支撑，呈现出建筑般的精准度与节奏感。然而艺术家从不画草图，事先不做任何预先的设定。平衡与和谐成为作品的基调，艺术家带有即兴行动的创作方式，拥抱作品中出乎意料之外的偶发性。受困于物资的短缺，2022年钱佳华探索将旧画作的画布从画框上拆下，并重新绷回画框；旧画作的画面肌理和因布面移动后画框边界所形成的物理折痕，成为新的绘画界面。在此次展览的作品中，我们可以看到艺术家在虚与实的博弈中，传递出神经末梢的敏感，最终形成一种平衡美学。
Qian Jiahua’s paintings emphasise the flat perspective of the picture. The colours, lines, and blocks in her works support each other, presenting an architectural accuracy and rhythm. The artist improvises while painting, embracing unexpected contingencies. The layers in her paintings intertwine spontaneity, interaction, and balance. Due to the shortage of supplies, in 2022, Qian explored removing the canvas from an old painting and stretching it back into the frame; the picture texture and the physical creases formed by the boundary of the frame after the cloth surface moved became the new painting interface. In the works of this exhibition, we can see that the artist conveys the sensitivity of nerve endings in the game of reality and illusion, while balancing aesthetics.
WANG XIAOSONG 王小松 b. 1964
Potentiality 潜能, 2022
Mixed media 综合材料
156 x 158 x 10 cm (61 3/8 x 62 1/4 x 3 7/8 in.)
王小松的作品以“多维度绘画”为特色，他通过打破传统绘画的平面限制，旨在探讨弯曲与皱褶空间的艺术表现形式，创造出一种具有深度和层次感的多维度形态的空间。王小松将平面绘画里的线条、色彩、构图、肌理等变量，延伸至多维立体空间，运用大面积单色铺陈、凹凸的画面等，竭力探讨弯曲空间中绘画形式与变量间的关系。王小松始终坚守以传统“油彩与布面”为主要媒介与形式，在不断实践中突破了传统绘画中固有矩形外框或者其它几何形边界的视觉定义，虚实之间创造出一种既真实又虚幻的视觉体验。
Wang Xiaosong’s works feature “multi-dimensional painting”. By breaking the plane restrictions of traditional painting, he creates a multi-dimensional space with a sense of depth and hierarchy, exploring curved and wrinkled space. Wang extends the line, colour, composition, texture, and other variables in plane painting to multi-dimensional space. He uses the relationship between monochrome and convex pictures in a large, curved area to explore the connection between forms and variables in curved space. Wang always adheres to the traditional “oil paint and canvas surface” as the main medium and form. He breaks through the visual definition of the inherent rectangular outer frame or other geometric boundaries in traditional painting, creating a real and illusory visual experience.
ZHANG JI 张汲 b. 1978
The Skin of Truth 20236
真理之皮20236, 2023
Oil on canvas 布面油画
97 x 101 cm (38 1/4 x 39 3/4 in.)
张汲的艺术创作注重于提取古代宗教建筑里的图案，作为指向绘画抽象性的一个媒介物，以颜料浮雕的方式替代笔触，用反绘画的语言以类似物理实验的方式，提炼出一种不是绘画的绘画。张汲在艺术创作中使用大量的油画颜料，以特制的气动式注射器，在画布上塑造出如浅浮雕般的厚重感。在整个严苛的创作过程中，艺术家秉持近乎苦行僧的宗教修行式行为，完成一次次以肉身铸就的精神冥想。作品中通过对宗教符号和图像的独特处理，探讨物质与精神、现实与虚幻之间的关系。
Zhang Ji’s art creation focuses on taking motifs from ancient religious architecture and referencing them through abstract painting. He replaces traditional brushstrokes with paint reliefs painstakingly created with a custom-made industrial pneumatic injector. The artist uses a language that opposes painting in a manner akin to physical experimentation and distils a form of painting that defies conventional notions of the art form. Zhang uses a large amount of oil paint and special pneumatic syringes to create a bas-relief weight on the canvas. In the whole strict creation process, the artist upholds a religious practice like that of an ascetic monk and completes the spiritual meditation channeled through his body and reflected in his art. Through the unique treatment of religious symbols and images, his work discusses the relationship between the material and the spiritual as well as reality and illusion.
ZHU JINSHI 朱金石 b. 1954
Pagoda of Du Fu No. 6 杜甫塔六, 2022
Oil on canvas 布面油画
180 x 160 cm (70 7/8 x 63 in.)
回顾朱金石过去四十余年的艺术实践，抽象绘画与观念装置艺术是两条互为平行又对抗的延展脉络。朱金石的“厚绘画”风格独具一格，他将颜料重色厚涂于画布之上，凸显出极具雕塑感的三维视觉体验。艺术家在第60届威尼斯国际艺术双年展的装置作品《宣纸塔》，是一件是由数千张宣纸、棉线、竹竿等材料构建的巨型塔状装置，作品中宣纸本身的物理特质和文化属性被消解，轻盈堆叠的宣纸转化成繁复与坚韧，给观者一种仿佛漂浮在时空中的虚幻景象。此次展览中的绘画作品《杜甫塔六》或可窥见其回响。
Looking back at Zhu Jinshi’s art practice over the past forty years, abstract painting and conceptual installation are two practices that parallel each other while sometimes being confrontational. Zhu’s colourful “impasto” painting is unique, presenting a highly sculptural three-dimensional visual experience. His installation Rice Paper Pagoda was featured in the 60th Venice Biennale’s China Pavilion. It is a giant pagoda shaped work made of thousands of pieces of paper, cotton thread, bamboo poles, and so on. In the work, the physical characteristics and cultural attributes are dissolved, and lightly stacked rice paper is transformed into something complex and tough, creating a virtual scene like floating in time and space for the viewer. This exhibition features Pagoda of Du Fu No. 6, a resonant reflection of Zhu’s signature style.
