展期 Period：
2023.10.21—2023.11.21
艺术家 Artist：
策展人 Curator：
地点 Venue：
玉兰堂 Line Gallery（北京）
前言 Preface：
在美国作家恰克·帕拉尼克的小说中，曾有过这样一段：“你站在那堆积如山的动物和先人的骨骸之上，所呼吸的每口气，都因为有什么已经死了。”这展现了一种关于在死与生之间转换的关系，并我们仅是其中的中间环节，它暗示了生命之存在，在广袤时间上所被抽离和偶发性的无意义。
王立伟的皮革雕塑，正如萨特之于笔下主人公安东纳·洛根丁，经由皮革而引发了，关于生命于存在哲学上的危机和思考。萨特将超越“存在”的希望寄托于“non-存在”，并加缪在其基础上更投身一跃于“虚无”，而当代哲学家阿尔文·普兰丁格则指明，人在本能上的神圣感应（Sensus Divinitatis），映射了有一“真存在”，赋予我们生命“真意义”。
这生命的真实，向人提出无法回避的在场问题，是王立伟一直所探索的主题。一些人，从生中看向死，而另一些人，从死中看向生，或是反复跳回。艺术家将自己置于这一生命的高旷之场，用皮革与骨骸的交织，探求着关于人在生命阡陌之道上的意义。它呈现出一种苦味，也呈现出一丝盼望，正如艺术家在潜意识中借用了欧洲中世纪教堂浮雕人物的造型：一种既在受难，又处于神圣的域场。
展开的骨翼，指向着对死亡的转换和超越。这提醒着人们，不可将它只看作是一种哲学上的把戏，因它的真实，告诫我们不能用狡猾的头脑来轻视。这是一片纯白的寂静之地，人的一切都在此退让，唯有那逾越这寂静之处的轻声，使灵魂深处的枯骨得以复生，正如在“以西结书37:3”中那一问一答的回响。
In American writer Chuck Palahniuk’s novel, there is a sentence: "That mountain of dead animals and ancestors on which you stand. Every breath you take is because something has died." This portrays a transitional relationship between death and life, with us merely being an intermediate link. It implies the meaningless existence of life, which is detached and sporadical in the vast expanse of time.
Wang Liwei's leather sculptures, much like Jean-Paul Sartre's protagonist Antoine Roquentin in his writings, evoke a crisis and contemplation of the philosophy of life and existence. Sartre placed the hope of transcending “being” in the realm of “nothingness,” and Albert Camus took a leap further into "absurdism" based on that notion. However, contemporary philosopher Alvin Plantinga pointed out that humans have a sense of divinity (Sensus Divinitatis), reflecting the existence of a "BEING" that grants us the "MEANING" in life.
The reality of life presents us with an unavoidable question about presence, which has been a recurring theme in Wang Liwei's artistic exploration. Some people live towards death, while others are dying to survive, or continually oscillate between life and death. The artist places himself in the elevated realm of life and delves into the meaning of human existence by intertwining leather and bones. It presents a bitter taste but also a glimmer of hope, much like the artist subconsciously draws inspiration from the sculptural figures on the reliefs in medieval European churches, to depict the suffering in a sacred domain.
The unfolding bone wings point towards the transformation and transcendence of death. They serve as a reminder of not merely being perceived as a philosophical trick, as their presence cautions us against underestimating them with our cunning minds. Here comes the land of silence in pure white, where everything belongs to Man recedes, except those faint whispers passing over and resurrecting the dried bones deep within Souls, echoing the dialogue enchanted in Ezekiel 37:3.
