展期 Period：
2023.12.9—2024.1.15
艺术家 Artist：
地点 Venue：
站台中国当代艺术机构 Platform China Contemporary Art Institute
新闻稿 Press Release：
站台中国当代艺术机构将于12月9日在A展厅呈现尹齐的首次个展《炼金术》（Alchimie），将展出尹齐近两年来的全新作品。本次展览特邀让·克里斯托夫·努黑松（Jean Christophe Nourrisson）撰写评论文章，展览将持续至2024年1月15日。
在多年的我个人绘画实践中我一直寻找一条通向身体内在的道路，以取代现代主义绘画变革中对空间意识的扩展，即从知觉到觉知的改变，从肠胃，到心（心理实验），到直觉力的培养贯穿了从1999年到2023年我的绘画实践。我个人觉得我们每一个人的阴性部分，即右脑和连带的左面身体，是一条情感到直觉的通道，就如同瑜珈士把身体底部的能量从脊柱慢慢引向头顶一样，这是一条无法用眼睛看到，只能感觉到的实践，她发生在人的身体里面，最终作用于意识，而非外部空间的扩展，把情感转化成直觉的可视形式过程即是绘画的炼金术。
—— 尹齐
谛听埋藏意识树皮下的红外感应，就算我们并不知道一滴水的流动轨迹，超越我们理解能力的生命力也仍然有效。因此，我们会怀着极大的谦卑，欢迎这些不平常的画作，它们见证了树木的尖叫、画图的混乱与生命的颤抖。尹齐流畅、呼吸的艺术将地球的情感重新与我们连接，这也是我们应重新学会感受与感知的。
—— 让·克里斯托夫·努黑松
尹齐的创作试图从自身内部出发，将情感与意识转化成直觉的可视形式的过程，并尝试让这种感受性的直觉占据主导地位，进而演变成一种原型。在法国生活学习多年的尹齐，借由在不同文化的游移中，建立了一套将问题聚焦至自身和内化的工作方式。自现代主义以来，身份构建、文化意义便被不断消解，尹齐的作品也由此开始，重新找到一种个体与世界匹配的关系和方法。与展览同名的作品《炼金术》，作品延续了尹齐自1999年至今的诸多绘画实践。
尹齐的绘画想要带领我们区分出一种艺术，一种作为超验的符号密码的艺术，向我们展现潜在的真实。他通过风景、树来实现自己的超验情感，这些被可视形式的过程即是尹齐的自我介绍。作品享有的自足，意味着这种情感不仅独立于传统价值之外，而且不能简化为一种模仿性的艺术理论。这种由内产生的意识或情感被视为一种自我联系的、动态的肌质；在这种肌质中，象征的联系只在直觉的体验中产生。
置身于乡村生活的尹齐，通过物理的阻断使现实与自身进行分割，将自身融入一种稳定且缓慢的节奏中，试图建立一种深入性的、个人化的、持久性的体验。使心的直觉与行为活动在本质上视为一致，而这种生活也会构成一种远观的视角。借由这种远观视角的介入，尹齐的绘画作品探索着可感知的语言的极限与秘密，他的工作方式徘徊在既有感官经验与无法描述的状态之间。尹齐通过展览完成了一次漫长的精神之旅，一场直觉的狂喜，以及对现实微妙观照的沉思。
Platform China Contemporary Art Institute will present Yin Qi's solo exhibition "Alchimie", in exhibition space A on December 9th, showcasing his new works from the past two years. The exhibition features a commentary by Jean Christophe Nourrisson and will run until January 15, 2024.
In my years of personal painting practice, I have been searching for a path that leads to the inner body, to replace the expansion of spatial consciousness in the modernist painting revolution. This path involves a shift from perception to awareness, from the stomach to the heart (psychological experimentation), and the cultivation of intuition. It has been a continuous journey in my painting practice from 1999 to 2023. Personally, I believe that the negative aspect within each of us, namely the right brain and the connected left side of the body, serves as a channel from emotion to intuition. Similar to how a yogi slowly guides the energy from the base of the spine to the crown of the head, this is a practice that cannot be seen with the eyes but can only be felt. It occurs within the human body and ultimately affects consciousness, rather than expanding external space. The alchemy of painting lies in the process of transforming emotions into visual forms of intuition.
—— Yin Qi
Listening attentively to the infrared induction hidden beneath the bark of consciousness, even if we are unaware of the trajectory of a droplet of water, the vitality beyond our comprehension remains effective. Therefore, with profound humility, we welcome these extraordinary artworks that bear witness to the screams of trees, the chaos of drawing, and the tremors of life. Yin Qi's fluent, breathing art reconnects the emotions of the Earth with us, and this is also where we should relearn the art of feeling and perception.
—— Jean Christophe Nourrisson
Yin Qi's creative process originates from within, transforming emotions and consciousness into visual forms of intuition. He endeavors to let this sensory intuition take the lead and evolve into a prototype. Having lived and studied in France for many years, Yin Qi, through his migration across different cultures, has developed an approach that focuses on the self and internalization of questions. Since modernism, identity construction and cultural significance have continuously been dissolved, and Yin Qi's works, consequently, rediscover a relationship and approach that aligns the individual with the world.The artwork titled "Alchimie", sharing the exhibition's name, continues Yin Qi's diverse painting practices since 1999.
Yin Qi's paintings aim to distinguish a form of art as a transcendent symbol code, revealing potential truths to us. He uses landscapes and trees to manifest his transcendent emotions, making these processes visible as Yin Qi's self-introduction. The inherent sufficiency of the artwork implies that this emotion not only stands independently of traditional values but also cannot be simplified into an imitative artistic theory. The consciousness or emotion generated from within is considered a self-connecting, dynamic texture; within this texture, symbolic connections arise only in the experience of intuition.
Immersed in rural life, Yin Qi physically disconnects reality from the self, integrating himself into a stable and slow rhythm, attempting to establish a profound, personalized, and enduring experience. Aligning the intuition of the heart with behavioral activities is fundamentally seen as consistent, and this way of life constitutes a distant perspective. Through the intervention of this distant perspective, Yin Qi's paintings explore the limits and secrets of perceptible language, oscillating between existing sensory experiences and indescribable states. Through the exhibition, Yin Qi completes a lengthy spiritual journey, an intuitive ecstasy, and contemplation of the subtle reflections of reality.
