展期 Period：
2023.12.29—2024.3.17
艺术家 Artist：
学术主持 Academic Advisor：
策展人 Curator：
地点 Venue：
前言 Preface：
没有人能自己把自己创造出来，相对于无限和全知，有限和无知是我们无法改变的宿命，但尽心尽力向未知开放，可以改善这种状态。
乐于思辨的田龙玉，在逆向行动中延展了自己的认知，继而食髓知味，一发不可收拾。何况，美学的巧妙之处往往恰在于反常，惯性的感受力被反常挑衅后会本能的扩张，引发连锁效应……
真光毫无黑暗，光有本体。黑暗是光的缺乏，黑暗没有本体。因为缺乏光的照耀、启发，暗处、背面、负形在浅表世界中被沦为不可见。田龙玉却执意要让它们可见，艺术家的奇思妙想由此展开，源源不断，体现为可见的各种美学形态。
从认知的角度，如果人为之光有偏见，田龙玉将人为之光逆反过来，照亮偏见的盲区，让更多的真相大白于世。从审美的角度，因为人的有限和无知，对暗处、背面、负形、逆径中的感官魅力视而不见，田龙玉在实验中开发这丰富的能量，通过艺术表达和公众共享。
于是，石膏造像的内部、城市轮廓的负形、绘画程序的逆径等，在艺术家的劳作中被转化为视觉奇观，反照出光之逆反，出人意料却分明可见。可见后被吸收为新的生命经验，继续扩展思辨的方向和范围。
城市轮廓线的惯性扩张，在当代早已理直气壮。但当它们在《天际》中复现时，现代性初期的心悸在“元宇宙”的时代再次被召唤，复杂的叠加和变异着。作为教具的石膏塑像的内部空间以铸铁的质料大白于世时，《珍珠》让人百感交集。《舞动夜幕的舞者》，是一幅幅视觉效果精彩的绘画，但当观者知道逆向的作画过程后，才不可思议起来，进而别有滋味的重新看待很多绘画，尤其是如今正在本土流行的抽象绘画。
田龙玉的这些作品，让人重新考量：何为正、何为反？正和反的前提是什么，标准在哪里？无论如何，在我们有限的感受和认知中，有正有负，有前有后，有顺有逆，能让我们的经验和智识乃至超验的信念更加整全。
学术主持：杜曦云
No one can create themselves out of themselves, and being limited and ignorant as opposed to infinite and omniscient is a destiny we cannot change, but doing our best to open up to the unknown can improve that state.
Tian Longyu, who is willing to think, extended his cognition in reverse action, and then ate pulp and taste, which was out of control. What's more, the ingenuity of aesthetics often lies in the anomaly, and the inertia of perception will expand instinctively after being provoked by the anomaly, causing a chain effect...
True light has no darkness, light has its own essence. Darkness is the lack of light, and darkness has no essence. Due to the lack of illumination and inspiration from light, dark areas, backsides, and negative forms are rendered invisible in the shallow world. Tian Longyu insisted on making them visible, and the artist's creative ideas unfolded from this, constantly flowing into various visible aesthetic forms.
From a cognitive perspective, if the man-made light is biased, Tian Longyu reverses the man-made light, illuminating the blind spots of bias and allowing more truth to come to light.From the aesthetic point of view, due to the limitation and ignorance of human beings, they turn a blind eye to the sensory charm in the dark, back, negative shape and reverse path, Tian Longyu develops this rich energy in experiments, and shares it with the public through artistic expression.
Thus, the interior of a plaster statue, the negative shape of a city silhouette, the reverse path of a painting procedure, etc., are transformed into visual wonders in the artist's labour, reflecting the inverse of light, which is unexpected but clearly visible. The visible is then absorbed into new life experiences, continuing to expand the direction and scope of discernment.
The inertial expansion of urban contours has long been justified in contemporary times. But when they are reproduced in Edge of the sky, the palpitations of the early modernity are summoned up again in the era of the mataverse, complexly superimposed and mutated. When the inner space of the plaster statue, which is a teaching aid, is revealed in cast iron, The Pearl brings out mixed feelings. Angel dancing with the vibe of the night is a visually stunning painting, but when the viewer learns of the reverse process of painting, it becomes uncanny, and it makes one look at a lot of paintings again in a different way, especially the abstract paintings that are now becoming popular in the local scene.
These works by Tian Longyu make one reconsider: what is positive and what is negative? What is the premise of positive and negative, and where are the criteria? In any case, in our limited feelings and perceptions, there are positives and negatives, forwards and backwards, and pros and cons, which can make our experience and intellect and even transcendental beliefs more complete.
Academic Advisor: Du Xiyun
