展期 Period：
2024.6.29—2024.8.11
艺术家 Artist：
策展人 Curator：
地点 Venue：
前言 Introduction：
南柯画廊将于6月29日 - 8月11日欣然呈现艺术家高入云的个展项目《扰动》(Position; Reposition)，届时将展出艺术家近期创作的一系列装置、绘画、和大型场域特定作品。高入云的作品呈现出的复杂性和对意识的深刻探究随着展厅空间层层递进，观者与作品的互动既是动态的，也是反思性的。本次展览的标题也暗示了⼀种主动或被动的潜在关系，揭示了高入云平静的作品中蕴含着深刻的心理张力，引发观者进行开放式的解读。
展览由高入云最具代表性风格的小型作品LOOP系列展开，延续了艺术家自2011年起对线的运动和时空性的探索。艺术家通过连接绳索、鱼线、亚克力材料等构建了作品不同的空间结构，并巧妙地将线条的运动和节奏融入其中，引导观者的意识随着作品中线条规整的几何运动轨迹，在作品构筑的时空之中稍作停留。观赏体验会随着从被动接受作品转变为主动参与，作品在与展厅墙面马赛克花纹的对比、与观者的互动中不断被重新定义。
高入云的灵感常常源⾃对⽇常⽣活中许多意料之外却非具体的瞬间。对他来说，创作似乎既是⼀种对意识的发现和捕捉，也是⼀种有条不紊的转换。作品Zoom (2020) 中，电波般的纵向线条打破了⼈们左右扫视的视觉习惯，在这些线条保留其作为符号的现实性的同时，也成为⼀种呈现艺术家意识的形式语言。意识 (Awareness) 系列作品则进⼀步打破了基于规则的构图原则和偶然性之间的界限。作品中的线条在艺术家的精确计算和多重拉力相互影响作用下悬浮在画框中，像在物理实验里揭示看不见的力量的图表。与其说它们在描绘已知的规则，不如说它们是线与艺术家本身直觉的姿态的记录。在这里，高入云的作品与观众之间产生了⼀种奇妙的互动性：这些作品模糊了空间维度且不再强调规律的动态，它们的全貌需要时间、仔细的观察、偶然的外力和结合观者对自身知觉过程中细微差别的关注才能完全展现出来。而在另⼀些特定的结构中，艺术家则通过不断重塑和组合作品中不同的元素，将观者的意识置换或转移。Happy Couple (2024) 中，装置、颜料和语⾔性元素的并置让观者对作品有了更多的介入点。它们像是某种早已在流动的自我意识和判断被转化成文字，并以⼀种纪念碑的状态，反衬出艺术家探索意识的语境产生以及语境的无限性的过程。
高入云曾提到，“有趣不是我刻意追求的艺术形式，而是创作时在不断的探索中最终遇到的结果。” 首次展出的大型场域特定作品扰动(2024) 中，艺术家以⼀种看似熟悉、却无法与任何特定的时刻或地点联系起来的作品形式，在画廊的顶层创造出了一个沉浸式空间。静态的水面和⼀根偶尔划过水面的线简洁地组合，诗意却有力地唤起观者身处水边的记忆。线作为随机意识的载体偶然地从水面掠过，扰动出水纹。这些水纹虽然细小，却不断提醒我们周围环境中的事物本身内在的微妙运动和变化。像是感知心理学中的图底关系，水面和它映出的观者和周遭为底，扰动的水纹则作为图像在某个毫无预期的时刻出现，观者在自我意识和随机意识这两者之间不断切换。像是某个豁然开朗的时刻，或是醍醐灌顶的契机，高入云巧妙地捕捉了这种瞬息万变的感知状态，邀请观者在熟悉与陌生、静止与动态、自我与环境之间找到平衡的瞬间。
高入云的作品巧妙地融合了不同程度的模拟与动态、混淆与颠覆，引导观者的视线在多个维度间游走。在探索艺术家角色的过程中，他不断挑战我们对创作者身份的既定认知，同时也质疑艺术作品意义生成的传统观念。通过他独特的艺术语言，高入云邀请我们重新审视观者对艺术品投射的记忆与期待，以及作品与观者、环境之间错综复杂的互动关系。他的创作不仅是视觉体验的呈现，更是对意识本质和感知界限的深度探索。在这场充满不确定性的艺术实验中，观者仿佛置身于⼀场无声的对话。高入云的作品则如同一面微妙的镜子，映射出我们内心深处那些难以言说的波动。
On view from 29 June to 11 August, 2024, Nan Ke Gallery presents Position; Reposition, a solo exhibition of an array of new and site-specific work by artist Ruyun Gao. Offering the potential for activation and interactions throughout, the exhibition will showcase a series of recent installations, paintings, and a large-scale site-specific work by the artist. The complexity of Gao's works and his profound exploration of consciousness unfold progressively throughout the gallery space, creating a dynamic and reflective interaction between the viewer and the artwork. The exhibition title also alludes to a potential active or passive relationship, revealing the deep psychological tension hidden within Gao's serene works, inviting viewers to engage in openended interpretations.
The exhibition unfolds with a small body of Gao’s iconic works from the LOOP series, continuing the artist's exploration of line movement and temporality since 2011. The artist constructs different spatial structures by connecting ropes, fishing lines, and acrylic materials, and subtly integrates the movement and rhythm of lines into them, guiding the viewer's consciousness to follow the geometric trajectory of the lines in the works, and to linger in the time-space constructed by the works. The viewing experience changes from passive acceptance of the work to active participation, and the work is constantly redefined in contrast to the mosaic patterns on the walls of the gallery and in interaction with the viewer.
Gao's inspiration often stems from an appreciation of the many unexpected yet non-specific moments in daily life. For him, creation seems to be both a discovery and capture of consciousness as well as a methodical transformation. In the work Zoom (2020), the electric vertical lines break the visual habit of sweeping from side to side, and while these lines retain their reality as symbols, they also become a formal language that presents the artist's consciousness. The Awareness series of works further breaks the boundaries between rule-based compositional principles and chance. The lines in these works are suspended in the frame by the artist's precise calculations and the interplay of multiple tensions, like diagrams in a physics experiment revealing unseen forces. Rather than depicting known rules, they are a record of the gestures of the lines and the artist's own intuition. Here there is a marvellous interactivity between Gao's works and the viewer: blurring spatial dimensions and de-emphasising the dynamics of regularity, the full extent of these works requires time, careful observation, accidental external forces, and a combination of the viewer's attention to the nuances of his or her own perceptual processes to be fully revealed. In other specific structures, the artist displaces or transfers the viewer's consciousness by constantly reshaping and combining different elements of the work. In Happy couple (2024), the juxtaposition of installation, paint and linguistic elements gives the viewer more points of intervention in the work. It is as if some kind of self-consciousness and judgement that has already been in circulation has been transformed into words, and in a monumental state, it reflects the artist's process of exploring the emergence of the context of consciousness and the infinity of the context.
Gao once mentioned, "Interesting is not an art form that I deliberately pursue, but rather a result that I eventually encounter in my constant exploration while creating." For his first exhibition of large-scale site-specific work Disturbance (2024), the artist has created an immersive space on the top floor of the gallery in the form that seems familiar, yet cannot be associated with any particular moment or place. The simple combination of static water and an occasional line crossing the surface poetically yet powerfully evokes the memory of the viewer's presence at the water's edge. As a carrier of random consciousness, the line occasionally passes over the water surface, disturbing the water ripples. Though small, these ripples constantly remind us of the subtle movements and changes inherent in things in the surrounding environment. It is like the relationship between the bottom of the picture in the psychology of perception, where the water surface and the viewer and the surroundings it reflects are the bottom, and the disturbing water ripples appear as images at an unanticipated moment, and the viewer switches continuously between self-consciousness and random consciousness. Like a moment of clarity, or an opportunity for enlightenment, Gao skillfully captures this rapidly changing state of perception, inviting the viewer to find a moment of balance between the familiar and the unfamiliar, the static and the dynamic, the self and the environment.
Gao's works subtly blend varying degrees of simulation and dynamism, confusion and subversion, guiding the viewer's eyes to wander between multiple dimensions. In the process of exploring the role of the artist, he constantly challenges our preconceived notions of the creator's identity, while also questioning traditional notions of meaning-making in artworks. Through his unique artistic language, Gao invites us to re-examine the memories and expectations projected by the viewer on the artwork, as well as the intricate interaction between the artwork, the viewer and the environment. His creations are not only a presentation of visual experience, but also an in-depth exploration of the nature of consciousness and the boundaries of perception. In this artistic experiment full of uncertainty, the viewer seems to be in a silent dialogue. Gao's works are like subtle mirrors that reflect the unspeakable fluctuations in our hearts.
