Vanguard 画廊将与醍醐艺术空间于6月3日至8月12日期间联合呈现廖斐个展“形下寺”，将展出一系列全新雕塑及纸本创作。“形下寺”系列源自廖斐2022年受醍醐邀请于西藏驻地期间对佛教器物及仪式的考察与研究，结合他长期以来基于物质本身的实践，以理性方式揭示出日常材料中蕴含的形而上本质。
‘Liao Fei: Physics Temple', a joint presentation by Vanguard Gallery and Tihho Art Space, will be on view from June 3 through August 12 at the two gallery spaces, featuring a series of sculptures and the artist’s signature paper-based works. ‘Physics Temple' showcases Liao Fei's latest investigation on Buddhist objects and rituals during his residency in Tibet at the invitation of Tihho in 2022. This exhibition continues with his long-term practice based on the substance of material, and revolves around everyday objects that could be interpreted as portals into the world of metaphysics.
手征空间 26
Chiral Extent 26
铝合金 Aluminium｜65x30x21cm｜2022
展览由两个相互关联的部分组成。Vanguard 画廊空间展出的雕塑系列“手征空间”受佛教造像中各异的手的姿态启发，这类手势被称作“手印”，用来象征特定的教义或理念，或在宗教仪式中起到某种形而上的作用；而在现代科学领域，手势亦被赋予了探索的符号性，比如以“左右手征性”来描述粒子行为和性质的不同方面。无论在意识领域还是在微观世界，手都促进了人类对远超自身维度的存在的理解。廖斐因此以“手征性”为契机，借鉴物质在微观世界中构成的规则做出空间推演，以探索“手”作为日常材料在抽象状态下的指向性。展厅中另一组“环状生成”系列也以手的指向性作为基础变量，将趋近于平面的矩形纸张在空间中进行立体几何的变化，推演形成各式各样的环状构造，回应着藏地传统纹样中直线与圆形的相互转换与交叠。
‘Physics Temple' consists of two intertwined chapters. The sculpture series ‘Chiral Extent’, exhibited at Vanguard Gallery, is a formal experiment inspired by gestural communication both in the spiritual realm and among scientific research: in Buddhist art and practice, a variety of hand gestures termed 'mudra' are employed to convey specific ritual connotations; while in modern science, handedness, denominated as left or right 'chirality', defines an asymmetrical object which cannot be superimposed onto its mirror image. In either case, the use of hands has facilitated human conception of existences far beyond cognition. Liao Fei demonstrates his conceptual principle by showcasing variations of hand constructions following a deductive sequence, unveiling metaphysical temperament contained in everyday materials; The other series ‘Circle Grant’ displayed at Vanguard also takes 'left-hand' and 'right-hand' as the base variables, folding rectangular sheets in half to produce a multitude of circles through varying combinations of left and right cuts. These cut patterns mirror conventional Tibetan designs that merge straight lines and circles in an alternate fashion.
手征空间 22
Chiral Extent 22
白水泥 White cement｜42×34×10cm｜2022
在醍醐艺术空间，廖斐继续探索精神世界与日常生活的交集。“局部被遮蔽的圆”系列延续对物质在微观层面的构成规则的参考，将同等大小的方形纸片标画出单位圆，并根据正方形顶点及其与圆形切点所催生的各类连线进行对折，在折纸的过程中，圆于二维与三维的状态中转化，并最终以局部被遮蔽的二维形态呈现出来；“交集物”系列将佛的世俗名字“乔达摩悉达多”及其三身“释迦牟尼佛”“卢舍那佛”“毗卢遮那佛”以汉字的形式中心对齐叠加在一起，标记出它们叠加的区域。廖斐对文字及几何等图形元素的研究也延申至色彩：“30种颜色”系列将同一色号的颜色打印在不同材质的纸上，并将这些单一而细微的显示变化铺陈排列，使观众在经过时得以产生短暂却有别于日常的体验。
The intersection of spiritual ideas and everyday life extends to Tihho Art Space, where origami pieces titled 'Partially Obscured Circles', encompass equally sized square sheets of paper with silver acrylic circles folded and rotated according to microscopic combination rules. Through the dimension-transforming folding process, an abstract pattern becomes apparent, suggesting a divine revelation; Along with this series is 'Intersection', which extracts overlapped areas of Chinese characters suggesting the secular name of Buddha ‘Siddhartha’ and his three bodies ‘Shakyamuni’, ‘Locanabuddha’, and ‘Vairocana’; The '30 Types of Color' series, in like manner, showcases the variations of the same color in display when printed or projected on varied media. Colors of the same code are printed on a range of paper materials, emphasizing the subtle differences that create a unique and fleeting experience for viewers when passing by.
手征空间 13
Chiral Extent 13
白水泥 White cement｜40×16×2.6cm｜2022
无论是图形及色彩的并置与叠加，还是由左右手征性派生出的空间结构，廖斐在作品中构造了出人意料的抽象图案，令人联想起寺庙或洞窟中各类难以言状却暗含神启的宗教遗迹，其间留存着人类对以自身为标尺去理解不可思议之世界的想象。在将注意力引向与这些关系相关的较为宏观的理念的同时，廖斐的创作始终从日常生活中的寻常物件出发，并借助演绎推理等一系列形式实验, 转而使物自身的更多元及本质的范畴显现。
Words, colors, geometric shapes, and hand gestures, as ordinary and concrete as they might seem, are proof of the human being’s never-ending effort in envisaging a world beyond the horizon or within ourselves. Liao manages to manifest intricate shapes out of mere geometric elements which resemble inexplicable or spiritual relics found on various religious sites. All while delving into these broader concepts, Liao’s creation begins with the mundane. Through various schools of scientific and mathematical thinking, Liao delves into the deeper aspects of everyday objects, unveiling their inherent metaphysical imageries.
环状生成
Circle Grant
装置 Installation｜尺寸可变 Dimensions variable｜2023
廖斐
Liao Fei
廖斐在他的创作中探究物质材料之中的关系与张力—— 在现实与几何之间，认知与神秘主义之间，二元性与简单 化之间。廖斐的创作始终以“物质”为线索展开，并对规则及由规则产生的“真相”予以警觉，期望以实践的方式更接 近事物本身。在将注意力引向与这些关系相关的较为宏观 的理念的同时，他的作品同时揭示出日常材料中蕴含的形而上的气质。依托廖斐作品提供的多重视角，物平常难以被观测或被习惯忽略的形态铺陈开来，为理解人认知的构建及运作供予全新思路。
廖斐1981 年生于江西省景德镇，2006 年毕业于上海师范大学，现工作、生活于上海。他的近期个展包括："形下寺"，Vanguard 画廊 x 醍醐艺术空间，上海，中国（2023年）；巴塞尔香港艺术博览会 Vanguard 展位个人项目，香港，中国（2023年）；“外在”，花厅计划，上海，中国（2021年—2022年）；“这一切是随机发生的吗？”，OCAT上海馆，中国（2021年）；“广延”，Vanguard 画廊 X 零时艺术中心，上海，中国（2018 年）；“平坦”，上海玻璃博物馆，上海，中国（2016 年）；“视角”，YveYang 画廊，波士顿，美国（2016 年）；“赤道”，Vanguard 画廊，上海，中国（2016 年）。同时参加了以下群展： “爱在身边”，浦东碧云美术馆，上海，中国（2022年—2023年）；“缓存在：第四届杭州纤维艺术三年展”，浙江美术馆，杭州，中国（2022年）；“仓库总动员·第八回——动起来吧！”，Vanguard画廊，上海，中国（2022年）；“沉静的响雷”，尤伦斯当代艺术中心，北京，中国（2021年）；“继续/不继续的传统: 中国影像艺术”，Salamanca艺术中心，塔斯马尼亚，澳大利亚（2021年）；“C”，油罐艺术中心，上海，中国（2020 年）；“退火”，玻璃博物馆，上海，中国（2020 年）；“于显现或隐匿之中”，巴塞罗那当代艺术博物馆，巴塞罗那，西班牙（2018 年）；“植物学”，釜山市立美术馆，韩国（2018 年）；“疆域：地缘的拓扑”，OCAT 研究中心，北京，中国（2018 年）；“室内宇宙”：2017 华宇青年奖入围艺术家群展，华宇艺术中心，三亚，中国（2017 年）；“例外状态：中国境况与艺术考察 2017”，尤伦斯当代艺术中心，北京，中国（2017 年）；“第11 届上海双年展“何不再问：正辩，反辩，故事”，上海当代艺术博物馆，中国（2016 年-2017 年）。
Liao Fei explores the relationship and tension in materials in his works between reality and geometry, between cognition
and mysticism, between duality and simplification. Following the kernel of "material", the creation of Liao Fei has always been alert to the rule itself and its consequent "truth", aspiring to approximate the essence of the material in a more practical approach. While drawing attention to the broader concepts related to these relationships, his works also reveal the metaphysical temperament contained in everyday materials. Consequent to Liao Fei's multifaceted lens, material forms that are generally imperceptible or habitually disregarded manage to gain visibility, providing thus stage for original insight of human cognitive construction and operation.
Liao Fei was born in Jiangxi in 1981. He graduated from Shanghai Normal University in 2006. He is now based in Shanghai. His recent solo exhibitions include: "Physics temple", Vanguard Gallery x Tihho Art Space, Shanghai, China; Art Basel Hong Kong solo project at Vanguard booth, Hong Kong, China (2023); “Depiction”, The Cloister Project, Shanghai, China (2021—2022); “Is everything a contingent occurence”, OCAT Shanghai, China (2021); “Res Extensa”, Vanguard Gallery X O Art Center, Shanghai, China (2018); “Plain”, Shanghai Museum of Glass, Shanghai, China (2016); “Perspective”, YveYang Gallery, Boston, USA (2016); “The Equater”, Vanguard Gallery, Shanghai, China (2016). He also participated in the following group exhibitions: "A Journey of Love and Memory"，Being Art Museum, Shanghai, China (2022—2023); "Being Theoria: 4th Hangzhou Triennial of Fiber Art", Zhejiang Art Muesuem, Zhejiang, China (2022); "Warehouse Story VIII — On Your Mark!", Vanguard Gallery, Shanghai, China (2022); “Silent Thunder”, UCCA Center for Contemporary Art, Beijing, China (2021); “Dis-/Continuing Traditions: Contemporary Video Art from China”, Salamanca Arts Centre, Stamania, Australia (2021); “The C”, Tank Shanghai, Shanghai, China (2020); “ANNEALING”, Shanghai Museum of Glass, China (2020); “In the Open or in Stealth—The Unruly Presence of an Intimate Future”, MACBA Museu d’Art Contemporani de Barcelona, Barcelona, Spain (2018); “Botanic Project, Busan Museum of Art”, Busan, Korea (2018); “Frontier:Re-assessment of Post-Globlisational Politics”, OCAT Institute, Beijing, China (2018); “The 5th Huayu Youth Award”, Huayu Art Center, Sanya, China (2017); “Today’s Yesterday—Anren Biennial”,
OCAT, Chengdu, China (2017); “The New Normal: China, Art, and 2017”, UCCA, Beijing, China (2017); “Why Not Ask Again: Arguments, Counter-arguments, and Stories”, The 11th Shanghai Biennale, Power Station of Art, China (2016–2017).
