展期 Period：
2024.4.2—2024.6.10
艺术家 Artist：
策展人 Curator：
乔纳斯·斯坦普 Jonas Stampe、肖戈 Xiao Ge
地点 Venue：
⇨展品清单 Works List
⇨新闻稿 Press Release
前言 Foreword：
字典的意义在于列举词语的用途，而非含义。因此“无定形”不仅是具有特定含义的形容词，也是用于降级的术语，通常暗示万事皆需有形式。其所指之物从任何意义上讲都没有权利，而且从各方面都受到抑制……
杨淞是不断求变的艺术家，也是为数不多的，将速度作为形式视觉元素来探索的艺术家，他致力于演变、实验、不断探究新艺术领域以构建新视觉世界。他的愿景明确，不囿于特定形式语言或美学理论，而是志在探索他自己丰富的想象力。杨淞把形式和材料结合在概念和视觉作品中，拒绝或接受自己的发现，根据自己的感性目标和视觉研究结果，改变视角和过程。
他灵活的思路和丰富的表现力超越主流逻辑，诠释了基于实践的、扩展的、进化的、概念性的工作体系，并借此不断前进、超越自我。他以逻辑缜密且直观的方式、敢于解决问题的精神和开放的态度展示了自己使用的形式和材料，就像视觉科学家探索速度的自然现象以及光、物质和运动、光学现象学和感知心理学一样。
杨淞的许多作品都表达了概念、视觉和物质上的“无定形”，通过符号和物质，探索“不可察觉的转变”和“解构速度”这两个概念。从停滞的水到快速的工业车床，杨淞在非物质和主观层面解构速度——不是通过物质或机器，而是通过光，或者更准确地说，通过我们对磁辐射的光学体验表达。
在新作中，杨淞创造性地使用平行排列的金属丝，打开新的视网膜宇宙。他凭借方法、直觉和想象力以非物质的视觉形式，通过光和运动来解构速度。杨淞以包容的、非二元的思维表达自己的光学发现，在这种思维中，金属线可以与一幅消色差的黑色抽象画，以及一幅厚涂颜料的新表现主义风景画结合；或者作为照明表面的纯配置形成三维透明雕塑。
很明显，对杨淞来说，重要的不仅仅是形式词汇，而是其作为视觉和情感意符的有效性。他感兴趣的是方法、手段、实验本身、对新领域的探索，以及寻找新的解决方案和形式，从而发展视觉语言并不断前进，同时引领我们一起探索。这段前进的旅程既需要反思，也需要开放的心态来享受视觉刺激和美丽。这将是具有强大潜力的视觉诗歌之旅。
A dictionary begins when it no longer gives the meaning of words, but their tasks. Thus formless is not only an adjective having a given meaning, but a term that serves to downgrade, generally requiring that each thing have its form. What it designates has no rights in any sense and gets itself squashed everywhere…
Yang Song is an artist in constant movement, one of a few who explores speed as a formal visual element, evolving, experimenting, incessantly researching new artistic territories to construct new visual worlds. His vision is clear and not tied to a specific formal language or aesthetic doctrine but explores the powerful potential of his own imagination. Yang Song combines forms and materials in conceptual and visual compositions, rejects or embraces his findings, changes his perspective and procedure following his perceptual objective and visual research result.
His flexible mind and versatile execution transcend any mainstream logic, articulating a practice based expansive and evolutionary yet conceptual body of work that constantly goes further and beyond. He reveals his forms and materials with logic and intuitive method, with a problem-solving spirit and open approach that resembles that of a visual scientist exploring the natural phenomena of speed as well as light, matter and motion, optical phenomenology and the psychology of perception.
In many of his works Yang Song articulates a conceptual, visual and material formlessness that explores, through symbol and matter, the two notions of imperceptible transformation and the deconstruction of speed. From the physical slow inactivity of water to fast industrial slathes, Yang Song articulates also a deconstruction of speed, that is immaterial and subjective, articulated not by matter or machines, but by light, or more precisely by our optical experience of magnetic radiation.
In his latest work, Yang Song uses parallel arrays of metal wires that open up retinal universes of a new innovative kind, articulating with method, intuitive genius and imagination the deconstruction of speed through light and motion in a visual immaterial form. Yang Song articulates his optical discoveries with an inclusive, non-dualist mind, where the metal wires can be composed against an achromatic black abstract painting as well as against an impasto painted neo-expressionist landscape. Or as pure configurations of illuminated surfaces forming three-dimensional transparent sculptures.
It is clear that what is essential for Yang Song is not only his formal vocabulary, but its effectiveness as a visual and emotional signifier. He is interested in the way, the means, the experiment itself, the exploration of new territories, the search for new solutions and forms, the task of trying and not being afraid, in order to develop a visual language with which he can move forward and take us with him. It is a journey that requires reflection, but also an open mind to simply enjoy a ride of visual excitement and beauty. It is a journey of visual poetry with a powerful potential.
