展期 Period：
2023.12.8—2024.1.20
艺术家 Artist：
策展人 Curator：
地点 Venue：
前言 Preface：
高歌擅于绘色——红橙黄绿青蓝紫，黑褐灰白金银粉……诸般色彩，在她的画作中常常奏响如歌行板。可以说，光彩陆离，缤纷色相，是高歌的画予人的第一层印象。
然而，在库比森画廊展出的这批近作中，色彩和笔触构成的韵律，竟然谦逊地退后了，它们让步于形象、轮廓和平涂，替而代之的是画面中更为明确的结构感、体积感和强烈的明暗。过往那些如同方阵一般冲锋陷阵的短线乃至点状笔触，不知为何竟减小了自己的声量，粉墨登场的是更加光滑的平面——就像是油性有别的液体，被一根看不见的管子鼓吹，与别的液体互斥出彼此的边缘线来，每一个局部的内部都被色域再次分割，形成多彩的剪影——是的，一张脸、一个身躯与四肢，连同所有的装饰与衣物，仿佛从来就是这样嵌合在颜色中而存在的。
艺术家打破了物理世界中对彩色的“应然”的再现，不拘一格地调遣色彩，并以之为赋形的重要手段。在高歌的笔下，色彩，连同填充色彩的排比式笔触和近期的平涂笔调，既是艺术家表现（Expressionnisme）当下的结果，也透露了她的思维和认知模式——世界以色彩的样貌在艺术家的眼前徐徐展开，又在艺术家的疾疾笔下复归于色相。
色相的背后，其实是世相。“世相”本作“世间相”，是对社会的面貌、情况等客观世界的统称。
然而，与世相所强调的客观性不同，在高歌的绘画中，环境被压缩为无关紧要的背景，中景或特写一般的构图，让人物行为和动作的意义失去更宏大的参照系，画面中更多弥散出暧昧、悖反、不确定的气氛。
在绘画中创造“意味”，或如何通过色相表达世相，诚如英国美学家克莱夫·贝尔在《艺术》中提出的，线条、色彩和空间元素的特定组合，构成了有意味的形式（significant form）；在高歌这里，形式语言的变化——即便是在同一时期同一系列中的内部变化，也激发了观者不同的联想和感受。
高歌在绘画中展现了从始至终的秩序，颜色和笔触形成节奏，节奏形成结构和造型，最终为观众设定观看的疆界。当“画什么”不成问题，“怎么画”才值得投入更大心力的时候，绘画从此变成一种意义不喻自明的劳作，一个无法停止也无需停止的游戏，因为，世相变动不居，色相千变万化，面对收摄与创作即时无穷涌动的两端——高歌一再拿起了画笔。
文/阿改
Gao Ge is good at painting colors - all kinds of colors, which are often played in her paintings like a song. It can be said that the splendor and colorful hue are the first impression of her paintings.
However, in the recent works on display at the Cub_ism_ Artspace, the rhythm of colors and brushstrokes has humbly taken a back seat, giving way to images, contours and flat paintings, and replacing them with a clearer sense of structure, volume, and strong chiaroscuro in the picture. Those short lines and even dotted strokes that used to charge like array have somehow reduced their own volume, and the ones that have made their appearance are smoother planes - like oily liquids that are different, being blown by an invisible tube, repelling edges of each other, and the interior of each part is divided by the color gamut again, forming colorful silhouettes - yes, a face, a body and limbs, together with all the decorations and clothes, as if they had always existed embedded in colors in this way.
The artist breaks away from the "natural" reproduction of color in the physical world and uses color in an unconventional way as an important means of giving shape. In Gao Ge's paintings, colors, together with the proleptic strokes that fill in colors and the recent flat brushstrokes, are both the result of the artist’s Expressionnisme, and reveal her mode of thinking and perception - the world unfolds in front of the artist's eyes in the form of colors, and then returns to the hue under the artist's swift brushstrokes.
Behind the hue, there is in fact ways of the world. The term "ways of the world" is originally called "worldly phase", which is a general term for the objective world, such as the appearance and situation of society. However, unlike the objectivity emphasized in ways of the world, in Gao Ge's paintings, the environment is compressed into an irrelevant background, in general, deprive the meaning of characters' behaviors and actions of a larger frame of reference, and diffuse an atmosphere of ambiguity, contradiction, and uncertainty in the picture.
Creating "meaning" in painting, or how to express ways of the world through the hue, is, as the British aesthetician Clive Bell suggests in Art, a specific combination of lines, colors, and spatial elements that constitute a significant form; in Gao Ge's case, variations in the language of form - even internal variations within the same series at the same time - stimulate different associations and feelings in the viewer.
Gao Ge demonstrates order from beginning to end, with colors and brushstrokes forming the rhythm, and the rhythm forming the structure and shape, ultimately setting the boundaries for the viewer to see. When "what to paint" is no longer a problem, and "how to paint" is worth investing more effort in, painting becomes a kind of self-evident labor, a game that cannot and does not need to be stopped, because ways of the world are in flux, and the hue is ever-changing. Faced with the instant endless surging of capture and creation - Gao Ge picked up the paintbrush again and again.
Text by agai
