展期 Period：
2023.9.17—2023.12.17
艺术家 Artist：
蔡坚 Cai Jian、陈若璠 Chen Ruofan、范西 Fan Xi、任莉莉 Ren Lili、沈凌昊 Shen Linghao、杨健 Yang Jian
策展人 Curator：
地点 Venue：
新闻稿 Press Release：
我们无法通过三言两语陈述当代的技术如何成为“雕塑般”的前提，正如排斥底座的作品难以说明一种材料或方法比另一种更好在哪里。“短篇小说”邀请六位艺术家从绘画、摄影、影像、装置、软件的角度探视雕塑的扩展概念，在展览制造的现场构建临时性的空间叙事。
任莉莉的《记忆化身》 （2022）、《悬挂》（2019）、《鳞》（2021）、《落日如灼伤》 （2022）散落在不时有天光倾洒的场景，附着于墙面以及地面的物件在观众徘徊的视线中交汇。栖居在记忆中的材料温柔地消失或离奇地重现。它们依靠内外翻转的形态、凝固的瞬间、近在咫尺的触觉，排演缓慢的告别。
3D建模软件为蔡坚的系列绘画提供能够调整参数的写生图像。水平仪作为批量生产的测量工具，被艺术家逐个放大，并过滤日常物的具体意义。从《水平-FG20230835007》（2023）到《水平-FG20230835008》（2023），气泡的位置移动构成全新的抽象图像，让观众在看似重复的左右画面之间产生观念的迟疑。
范西的实践融合了雕塑的立体感与摄影的平滑性。以图层为单位编辑的《平面练习》（2021）在箭头的指引下获得穿透虚拟空间的行动力，而手绘的表面赋予金属植物《诱惑》（2022）不费力的伪装。《陈列》（2022）和《意外的轮廓》（2022）则宣告摄影图像承受软件操作之后的延展性。
陈若璠用软件模拟会呼吸、毛茸茸的植物《暖树》（2021），再现人类和动物之间的亲密关系。动画与装置的精确造型在现实世界传递不确切的情绪，试图增强有限生命的数字记忆。《Soft Screen》（2021）让编织物如藤蔓植物般依附在屏幕上，为显示信息的设备渲染柔软的质感。沈凌昊将建筑自身特有的构造当作初始的材料，结合经过计算的光学现象，搭建具备在地性与时间性的装置。艺术家选择连通展厅中的立柱，实验《波动》（2021/2023）绵延于狭长空间可能落成的体验。在此进出的观众实时介入光线的运动，如同搅动图像生产路径的变量。
《生成系统》（2023）重新引入杨健过去实现的作品，其中包含权力被分解的城市雕塑碎片、表演者穿过的瓷瓶、暗示清理行为的肥皂。它们在垂直与水平方向分别由钢管和医用软管拼接，围绕弧形墙面展开。软管内人工唾液的循环流动模拟着某种规训的社会体系。
雕塑的氛围可以作为熔化的信息、叠加的图像、流动的材料即兴访问实际存在或虚拟建造的地点，从而生产非标准化的视觉结构以及暧昧的心理距离。艺术家把握逃离控制或刻意等待的时机，在特定的场域塑造近乎无条件的慷慨与忍耐，给予荒诞缓冲的余地，让一切照旧。
It is impossible to state in a few words how technology becomes a prerequisite for bringing something into being “sculptural”, just as it is difficult to explain how one material or method is better than another by rejecting pedestals. “Sculptural Vibes Cutting through (In)Accessible Sites” invites six artists to approach the expanded concept of sculpture from the perspectives of painting, photography, video, installation, and software, and to construct spatial narratives that won't last forever during the exhibition.
Li Li Ren’s I am Becoming the Memory (2022), A Display of a Howling Sound (2019), To Catch a Swimming Fish (2021), Hope is the Thing with Feathers (2022) scatters across the scene with occasional daylight pouring, attached to the walls and the floor. Matters inhabiting the memory tenderly disappear or reappear strangely. They rehearse slow death, relying on reversal forms, solidified moments, and the haptic sense of closeness.
3D modeling software provides Cai Jian's series of paintings with sketch images capable of adjusting parameters. The spirit level, as a mass-produced measuring tool, is enlarged by the artist one by one and filters the specific meaning of everyday objects. From Horizon-FG20230835007 (2023) to Horizon-FG20230835008 (2023), the shifting position of the bubbles constitutes a brand new abstract image, leaving the viewer with a conceptual hesitation between the seemingly repetitive images.
Fan Xi’s practice combines the three-dimensional of sculpture with the flatneess of photography. Edited in layers, Layer Practices(2021) is guided by arrows to gain the power of action to penetrate virtual space, while hand-painted surfaces give the metallic plant Temptation(2022) an effortless disguise. Display (2022) and Unexpected Silhouette (2022) announce the malleability of photographic images subjected to software manipulation.
Ruofan Chen applys software to simulate the breathing, furry plant Warm Tree (2021), recreating the intimate relationship between humans and animals. The precise modeling of animation and installation conveys inexact emotions in the real world, attempting to augment the digital memory of lives. Soft Screen (2021) allows woven fabric to cling to the screen like a vining plant, rendering a soft texture to the device displaying information.
Shen Linghao uses the unique structure of the building itself as the primary material, and combines it with calculated optical phenomena to build an installation that is both site-specific and temporal. The artist chooses to connect the columns in the gallery to experiment with the experience of Wave (2021/2023) as it stretches through a long and narrow space. The viewer entering and exiting the space intervenes in the movement of light in real time, as if it were a variable that stirs the path of image making.
Generating System (2023) reintroduces works realized by Yang Jian in the past, containing fragments of urban sculptures in which power is dismantled, ceramic vases worn by performers, and soap suggesting an act of cleaning. They are vertically and horizontally connected by steel tubes and medical latex tubes, respectively, and unfold around a curved wall. The circular flow of artificial saliva inside the latex tubes simulates a social system of discipline.
The sculptural vibes can be regarded as melting information, overlapped images, and flowing materials, cutting through accessible or inaccessible sites, producing non-standardized visual structures and ambiguous psychological distances. The artists capture moments of escape from control or painstaking waiting, in order to shape generosity and tolerance unconditionally in a given field. The exhibition grants a buffer zone of absurdity, and leaves everything as usual.
