展期 Period：
2024.4.20—2024.5.31
艺术家 Artist：
冯良鸿 Feng Lianghong、付经岩 Fu Jingyan、蒋志 Jiang Zhi、廖国核 Liao Guohe、马轲 Ma Ke、尚扬 Shang Yang、申玲 Shen Ling、宋拓 Song Ta、王光乐 Wang Guangle、吴杉 Wu Shan、谢南星 Xie Nanxing、杨心广 Yang Xinguang
策展人 Curator：
地点 Venue：
前言 Foreword：
这个展览，题目是“书法”，但里面却是没有任何一件通常意义上的书法的，也可以说，不是书法，是选择展览作品的基本前提。
不是书法，不意味与书法无关，书法是一个由头，关联起对当下艺术创作的话语讨论。
古人见龟文鸟迹，结绳、八卦、契木、图画，依类象形，传神写照，生图像，生文字。从远古到今天，人类对书写源头的追溯，在各个不同的文明里，不约而同地跟图画并行在一起，也就是说，把象形状物的图形图画当作书写的来源，所谓书画同源，出处在此。
书写是最实用的事项，不论结绳契符时代的记事，甲骨中的巫祝卜筮，还是篆籀铭金勒石，刀笔隶八分正书……无不因应实用而沿革。那么在实用书写已成过往的今天，书法对我们还意味着什么？真正的书法还存在吗？它又在哪里？
将目光放在当下的创作环境里检索，尝试重新认识和重新发现书法，或许，那隐性不可见的蕴藏，定然远超外显的窠臼。从文字的诞生，指事与象形，由图画演为符号，形象的图画和抽象的图形。纯粹到抽象的点、划、线条和形体结构，抽象的点、线又无不依循形体结构所规约的轨迹而秩序和交织，笔触与涂鸦，线与笔迹，行动与造型，符号与图形，抽象与形象……
与书法有关的一切，一切在书法性之中。
文/戴卓群
Although the exhibition is titled "Laws of Writing," the show does not follow any conventional meaning of calligraphy. In other words, anything but calligraphy was the criteria for selecting the artwork.
What is not calligraphy does not mean without pertaining to calligraphy, which is the pretext for discussing the current discourse on art practices.
The ancients turned traces of tortoises and birds, rope, a diagram of eight trigrams, and carved wood into pictograms, conveying their ethos into images and words. Since ancient times, humans have desired to trace the source of writing to match the progression of pictures in many civilizations. In other words, using motifs and forms resembling objects as the source of writing resonates with the Chinese saying, "Painting and calligraphy originate from the same source."
Writing is the most practical matter, regardless of whether it served the purpose of documentation in the pre-Qin Dynasty, witchcraft and divination on oracle bones, seal script used throughout the pre-Han period, or the eight-point regular script by the knife and pen writers. All of these evolved for practicality. Since writing for practical purposes is a thing of the past, what does calligraphy mean to us today? Does authentic calligraphy still exist? And where is it?
By focusing on the current creative environment, we will re-identify and re-discover calligraphy and, perhaps, what is hidden and invisibly embedded, exceeding the external stereotypes. Since its birth, writing has signified objects and pictograms and transformed drawings into symbols, symbolic images, and abstract motifs. It’s then abstracted into points, scratch, line, and formal structures, abstract points. At the same time, lines follow the trajectory of formal structural order and intertwine, brushwork and graffiti, line and handwriting, action and composition, symbols and motifs, abstraction and figuration......
Everything pertains to calligraphy and those within its nature.
Text by Dai Zhuoqun
