展期 Period：
2024.4.2—2024.6.10
艺术家 Artist：
策展人 Curator：
地点 Venue：
⇨展品清单 Works List
前言 Introduction：
艺术家陈松林在本次重美术馆的个展中打破了他以往惯常的、熟悉的创作区域，他试图回到时间与空间这一母题，正如他在大学时代用身体丈量无名山这一行为中的时空统一性，无名山的尺度最后不仅仅是他手掌丈量的尺度，同时也有他为此身体力行的二十余天的时间。本次展览原本是其过往创作的阶段性回顾，在展览不断的讨论中最终成为一个不是回顾的阶段性回顾展览，陈松林在这个展览中重新解构了自己的创作，在重美术馆的场域中形成了两个如同剧场般的作品展览空间，正如他对于自己未来创作的设想，雕塑从取消空间背景的，可移动的作品逐渐转入雕塑结合空间场景的再创造。
在二层展览空间陈松林制造了一个古典雕塑的考古现场，而实际上这些雕塑同样来自他以往代表性的雕塑作品，他将这些原本极尽精微的雕塑转变为大型雕塑的“文物”发掘现场，同时与原本雕塑的博物馆化展陈进行并列放置，形成虚构的时间上的对话关系。这一空间所展示的核心便是以空间叙述虚构的时间，既是艺术家的不破不立，同时也是艺术家对于自我精神世界的“考古”，作品是艺术家精神世界的外化，陈松林之所以将其转变为古典雕塑的“废墟”和“考古”现场，意在表达对于古典精神的致敬与回望，同时这也是对于自己艺术历程的反思。在美术馆的三层空间艺术家则把以往代表性的“凝神骑士系列”雕塑以“碑林”的方式展示出来，通过镜像等方式形成一个雕塑和新的空间的关系，这些骑士与动势中的动物通过镜像的方式形成冲突关系，这种冲突可见也是虚实之间的。从“墟”到“碑”的转场，是陈松林在本次展览中尝试从雕塑创作转入与时间和空间对话的宣言，这也将区别于以往艺术家自己的创作线索。
本次展览对于陈松林来讲有独特的回顾性意义，2024年是陈松林在本科毕业之后正式启动自己若干系列创作的第十年，展览是对于艺术家十年创作的阶段性回顾，本次展览在开篇伊始展出艺术家大学时代的观念作品《10560手》具有象征性意义，如同他当年用身体丈量空间意义上的无名山一样，陈松林在时间的维度上，用自己的创作来丈量了十年的时光历程。如若以十年为界，展览以“超越：时间的宣言”作为主题是陈松林艺术创作主张的集中展示，同时也揭示出本次展览对于他的双重意义：既是回望已经走过的路，同时也宣告着他未来空间艺术的创作趋势。在这次的展览中，松林对于自己以往的作品进行了时间的虚构和空间的重构，所谓时间的虚构是对于自我的考古，而空间的重构则是从以往作品的雕塑形态完全转入结合美术馆空间的重新定义。
艺术家在不断挑战自我的过程中超越自己，松林在本次展览中对于自我的挑战体现于他对于过往重构的信念，重构和重现交织出本次展览中艺术家的过去与未来。重现是一次回望，而重构构成未来，这两个角度形成艺术家的自我超越，同时将其交付于时间，展览成为一次“时间的宣言”，因为时间是伴随每个人一生的命题，艺术家一生的创造无疑也是这样，用作品凝固时刻，用艺术抵抗遗忘，用一生追求永恒的可能。
In his solo exhibition at the Gravity Art Museum, artist Chen Songlin breaks away from his routinely and familiar creative territory, aiming to revisit the theme of time and space. This endeavor is reminiscent of his university days when he explored the unity of time and space by physically measuring an unnamed mountain, a process that extended beyond the scale of his palm to encompass over twenty days of embodied practice. Initially conceived as a retrospective of his previous works, the exhibition evolved through continuous discourse into a distinctive retrospective not centered solely on the recall of the past years. Within the confines of the Gravity Art Museum, Chen Songlin engages in a reconstruction of his artistic creations, forming two theatrical exhibition spaces. This restructuring mirrors his conceptualization of future creations, where sculpture transitions from mobile pieces with eliminated spatial backgrounds to a conjunction with the sculpture and recreated spatial environments.
On the second floor of the exhibition space, Chen Songlin constructs an archaeological site for classical sculpture, utilizing sculptures from his past representative works. He transforms these intricately detailed sculptures into a "cultural relic" excavation site of large-scale sculptures. Simultaneously, he juxtaposes them with the traditional museological display of the sculptures, creating a fictitious temporal dialogue. The core of this space lies in narrating a fictional time through spatial representation, serving as both the artist's deconstruction and reconstruction and an “archaeological” exploration of his own spiritual world. The artworks externalize the artist's spiritual realm, and Chen Songlin's transformation of them into classical sculpture "ruins" and an "archaeological" site expresses homage and reflection on classical ideals, as well as a contemplation of his artistic journey. On the third floor of the museum, the artist presents his iconic "Transcendent Knights Series" sculptures in a "stele forest" arrangement, establishing a relationship between the sculpture and a new space through mirroring techniques. The conflict between these knights and animals in dynamic poses, mediated through mirroring, illustrates the tension between reality and illusion. The transition from "ruins" to "steles" signifies Chen Songlin's declaration in this exhibition to shift from sculptural creation towards a dialogue with time and space, distinguishing himself from his previous artistic traces.
This exhibition holds a unique retrospective significance for Chen Songlin. In 2024, marking the tenth year since he officially initiated several series of works after graduating from his undergraduate studies, the exhibition serves as a phased retrospective of the artist's decade-long creative journey. Symbolically, the first artwork the exhibition reveals is a conceptual artwork "10560 Hands," created during Chen's university years. Similar to his earlier act of physically measuring the spatial significance of an unnamed mountain, here, in the dimension of time, Chen Songlin uses his creations to measure the passage of a decade. Framed within the theme, "Beyoned: A Declaration to Time," the exhibition serves as a concentrated showcase of Chen Songlin's artistic principles over the past decade. At the same time, it also reveals the dual significance of this exhibition to him, not only reflecting on the journey traveled but also signifying a declaration of his future trajectory in spatial art. In the exhibition, Songlin engages in the temporal fabrication of his past works and the spatial reconstruction of his artistic endeavors. The temporal fabrication serves as an archaeological exploration of the self, while the spatial reconstruction marks a shift from the sculptural forms of his previous works to a redefined integration with the museum space.
In the continual process of self-challenge, the artist transcends personal boundaries. In this exhibition, Songlin's self-challenge is manifest in his commitment to the reconstruction of the past, where the interplay of reconstruction and reappearance weaves the artist's narrative between the past and the future. Reappearance serves as a retrospective, while reconstruction shapes the future. These dual perspectives constitute the artist's self-transcendence, delivered to the hands of time. The exhibition becomes a "declaration to time" as time is a question that accompanies each being through the course of life, an inquiry indisputably intertwined with the artist's lifelong journey of creations, using artworks to crystallize moments, employing art to resist oblivion, and dedicating a lifetime to pursue the possibilities of eternity.
