隐于此，隐于彼 Tangible or Intangible
--黄佳 张锰 王雷 三人作品展
展览时间： 2011/10/15 ~ 11/15
[ 开幕时间： 2011/10/15 （周六下午）16：00
参展艺术家: 黄佳 张锰 王雷
策展人：王丰
展览顾问：朴京海
展览地址：北京市三里屯VILLAGE北区N2座4层40单元
主办机构：北京 babù泛视觉空间 babù space
]展览概述：
此次展览中, 黄佳、张锰、王雷三位参展艺术家的作品理性而冷静, 像是当今急促
而躁动社会的一簇冷凝剂。他们的共性是隐而不露，似有若无，都有跳脱现实的反思
与表述，且对自己的观念具备着独立成熟的表达方式。不囿传统而对传统的回望，成
就了这批作品共有的一种东方意韵，也锲合了本空间的艺术定位“既中国，又当代”。
黄佳的作品采用最简单的点、线、圆进行有序的排列组合，看似兼具了极简主义
纯净的形式与平衡的秩序种种样貌。但这些画面是发生在当代语境下的视觉迷障，传
导给观众的是引发疑虑的互动影响。循着这些点、线、圆，黄佳将自己隐入这些非现
实的幻境，而我们也得以潜入片刻的安宁。
张锰的作品 《隐于树》系列，试图用他自己的手段将观者带入到一场对自身生存
状态重新思考与探究的精神之旅。他赋予树／雪／枝以至高的社会学意味，将这些最
日常的自然造物作为自己自由思维的精神隐居之所。
王雷的作品，通过对纸媒的运用，探讨蕴藏其中的 “物性”，从而表达他对这个世
界的观察和感受。他的作品《化蝶》，是利用五彩宣纸固有的色彩，分别找出数种相
应的色彩来制作《化蝶》歌谱中的1234567等，编织完成后，为一条彩虹的色条，
编织的规律即为歌谱的顺序。
展览咨询：
如果您需要更多相关摄影作品或者其他媒体需要，请联系：
babù泛视觉空间
地址：北京市朝阳区三里屯VILLAGE北区N2栋4层40号
电话: +86-010-64158616 详情可查阅：www.babu-space.com
朴京海 13911286225 E-mail: piao@babu-space.com
【隐于此，隐于彼 Tangible or Intangible】
展览前言：
此次展览中, 黄佳、张锰、王雷三位参展艺术家的作品理性而冷静, 像是当今急促
而躁动社会的一簇冷凝剂。他们的共性是隐而不露，似有若无，都有跳脱现实的反思
与表述，且对自己的观念具备着独立成熟的表达方式。不囿传统而对传统的回望，成
就了这批作品共有的一种东方意韵，也锲合了本空间的艺术定位“既中国，又当代”。
黄佳的作品采用最简单的点、线、圆进行有序的排列组合，看似兼具了极简主义
纯净的形式与平衡的秩序种种样貌。但这些画面是发生在当代语境下的视觉迷障，传
导给观众的是引发疑虑的互动影响。或许这正印合了后现代艺术的特质：难以阐释，
无需对应一个必然联系，影响即一切。影响也许并不指望带给我们什么，只能作为一
个信息：生存的出路在哪里？毕竟，混乱的周遭已令人感觉危机四伏，艺术家也难幸
免。循着这些点、线、圆，黄佳将自己隐入这些非现实的幻境，而我们也得以潜入片
刻的安宁。
张锰的作品 《隐于树》系列，试图用他自己的手段将观者带入到一场对自身生存
状态重新思考与探究的精神之旅。他赋予树／雪／枝以至高的社会学意味，将这些最
日常的自然造物作为自己自由思维的精神隐居之所。透过树的朴拙，一切浮躁归于平
静，如巨大的屏障守住心灵的安宁。隐于树，这是艺术家对所持观点的一次精确表达，
更是在深刻思索之后而拿出应对这个世界的入世方案。而影像作品《家庭BOX》，从
家庭的微观世界试图解释个人存在的目的与意义，堂皇而谨慎，温和而犀利，试图用
一滴水解释大海。从无限的对世界的解释方式之中寻找自己的个人方式。
王雷的作品，通过对纸媒的运用，探讨蕴藏其中的 “物性”，从而表达他对这个世
界的观察和感受。作品显示出王雷活跃的独立思考，即对于人与自然、生活用品和艺
术作品的差异的认识。他的作品《化蝶》，是利用五彩宣纸固有的色彩，分别找出数
种相应的色彩来制作《化蝶》歌谱中的1234567等，编织完成后，为一条彩虹的色
条，编织的规律即为歌谱的顺序。色彩和歌谱一样是有节奏韵律的，这里正是利用这
种关系，来表达色彩与音乐之间的关系 。作品《手织手纸》首先是在探讨物质材料原
本属性的“可能性”，使其不可能转化成一种新的可能。而《“织”无不言》：正是借用
织与知的同音，利用编织技术先把数份报纸的阅读功能性消失，叫做织“无”，“无”即
语言消失。等作品制作完成后，则变成一种新的事物，“新闻”本身也就没有了可阅读
的信息。
Tangible or Intangible
Forward:
In this exhibition, the art pieces from Huang Jia, Zhang Meng and Wang Lei
are quite rational and independent. It’s just like a coolant for the current noise
and frivolous Society society. What’s in common are the retreat and intangibility;
also the withdrawal with simultaneous lingering. All the pieces are reflecting
their rethinking and statements about running away from reality, and the artists
are all have the ability to express their concepts in an independent and mature
way. Just because they're not being cast in a pattern of tradition but at the
same time, demonstrate the respect to the tradition; these works are all
representing the oriental mood. It also matches our art concepts – “Chinese,
while contemporary”.
The works from Huang Jia has utilized the simplest dots, lines and rounds to
make a sequence of permutations and combinations. It looks like they're
featuring both the pure form from the Minimalism and also the variable style of
the fair order. However, these visions could be the visual misty barrier in the
contemporary context which leads to the interaction with the audience who’s
confused by the works. This may demonstrate the characteristics of the
Postmodernism: intangible, no need to have an inevitable association and
“influence means everything”. These kinds of influences may not bring some
significance to us, it is only a message: where is the way to survive? After all,
the chaos around us already made us feel unsafe, artists find immunity from it.
By following these dots, lines and rounds, Huang Jia retreats herself into an
unreal land of fantasy, and we can also get a piece of calm from it.
The works from Zhang Meng are named “Retreat into trees”, which attempt to
use his own means to take the audience into a journey of re-thinking their own
living status. By giving the tree, the snow and the branch the means of Sociology,
he retreats his free spirit into these most common natural objects. All of the
rivolity enters into tranquility through the naturalness and simplicity of the trees,
and it's just like a shield to guard the peace of mind. By retreating into trees,
Zhang Meng exactly expressed his theory of the world; furthermore, this is also
his practical solution following the thorough consideration. For the video works
of “Family BOX”, the artist is trying to interpret the purpose and meaning of
personal being by viewing the family as a microcosm and he’s taking a splendid
but cautious; mild but incisive way, which attempts to describe a sea from a drop
of water. He’s searching for his own way among numerous methods of interpreting
the world.
By employing paper as a medium, Wang Lei explores the nature of it’s being an
object in his works and expresses his own observation and feeling about the world.
These works show the positive and independent thinking of Wang Lei, that is,
his knowledge of the differences between human and nature, living appliances and
artworks. “The butterfly lovers” used the rice paper with different colors to represent
each note of 1234567 from the music of “The butterfly lovers”. It is being waved
into a colorful band; the order of weaving is the order of the notes from the music.
So the colors are in the same rhythm and melody as the notes from the music. The
artist wants to use this way to show the relationship between color and music.
Weave toilet paper explores the "possibility" of the original nature of the material,
making it impossible to be transformed into a new possibility. "Zhi" Wu Bu Yan in
Chinese means “speaking out everything I know”. However, "weave" and "know"
sounds the same in Chinese as “Zhi”. The artist is using the technique of weaving
to dismiss the basic function of newspaper, which named "Zhi Wu", and "Wu" means
the disappearance of the language. After the work is completed, the newspaper is
transformed into a new object, and then "news" can no longer to offer any readable
information.
--黄佳 张锰 王雷 三人作品展
展览时间： 2011/10/15 ~ 11/15
[ 开幕时间： 2011/10/15 （周六下午）16：00
参展艺术家: 黄佳 张锰 王雷
策展人：王丰
展览顾问：朴京海
展览地址：北京市三里屯VILLAGE北区N2座4层40单元
主办机构：北京 babù泛视觉空间 babù space
]展览概述：
此次展览中, 黄佳、张锰、王雷三位参展艺术家的作品理性而冷静, 像是当今急促
而躁动社会的一簇冷凝剂。他们的共性是隐而不露，似有若无，都有跳脱现实的反思
与表述，且对自己的观念具备着独立成熟的表达方式。不囿传统而对传统的回望，成
就了这批作品共有的一种东方意韵，也锲合了本空间的艺术定位“既中国，又当代”。
黄佳的作品采用最简单的点、线、圆进行有序的排列组合，看似兼具了极简主义
纯净的形式与平衡的秩序种种样貌。但这些画面是发生在当代语境下的视觉迷障，传
导给观众的是引发疑虑的互动影响。循着这些点、线、圆，黄佳将自己隐入这些非现
实的幻境，而我们也得以潜入片刻的安宁。
张锰的作品 《隐于树》系列，试图用他自己的手段将观者带入到一场对自身生存
状态重新思考与探究的精神之旅。他赋予树／雪／枝以至高的社会学意味，将这些最
日常的自然造物作为自己自由思维的精神隐居之所。
王雷的作品，通过对纸媒的运用，探讨蕴藏其中的 “物性”，从而表达他对这个世
界的观察和感受。他的作品《化蝶》，是利用五彩宣纸固有的色彩，分别找出数种相
应的色彩来制作《化蝶》歌谱中的1234567等，编织完成后，为一条彩虹的色条，
编织的规律即为歌谱的顺序。
展览咨询：
如果您需要更多相关摄影作品或者其他媒体需要，请联系：
babù泛视觉空间
地址：北京市朝阳区三里屯VILLAGE北区N2栋4层40号
电话: +86-010-64158616 详情可查阅：www.babu-space.com
朴京海 13911286225 E-mail: piao@babu-space.com
【隐于此，隐于彼 Tangible or Intangible】
展览前言：
此次展览中, 黄佳、张锰、王雷三位参展艺术家的作品理性而冷静, 像是当今急促
而躁动社会的一簇冷凝剂。他们的共性是隐而不露，似有若无，都有跳脱现实的反思
与表述，且对自己的观念具备着独立成熟的表达方式。不囿传统而对传统的回望，成
就了这批作品共有的一种东方意韵，也锲合了本空间的艺术定位“既中国，又当代”。
黄佳的作品采用最简单的点、线、圆进行有序的排列组合，看似兼具了极简主义
纯净的形式与平衡的秩序种种样貌。但这些画面是发生在当代语境下的视觉迷障，传
导给观众的是引发疑虑的互动影响。或许这正印合了后现代艺术的特质：难以阐释，
无需对应一个必然联系，影响即一切。影响也许并不指望带给我们什么，只能作为一
个信息：生存的出路在哪里？毕竟，混乱的周遭已令人感觉危机四伏，艺术家也难幸
免。循着这些点、线、圆，黄佳将自己隐入这些非现实的幻境，而我们也得以潜入片
刻的安宁。
张锰的作品 《隐于树》系列，试图用他自己的手段将观者带入到一场对自身生存
状态重新思考与探究的精神之旅。他赋予树／雪／枝以至高的社会学意味，将这些最
日常的自然造物作为自己自由思维的精神隐居之所。透过树的朴拙，一切浮躁归于平
静，如巨大的屏障守住心灵的安宁。隐于树，这是艺术家对所持观点的一次精确表达，
更是在深刻思索之后而拿出应对这个世界的入世方案。而影像作品《家庭BOX》，从
家庭的微观世界试图解释个人存在的目的与意义，堂皇而谨慎，温和而犀利，试图用
一滴水解释大海。从无限的对世界的解释方式之中寻找自己的个人方式。
王雷的作品，通过对纸媒的运用，探讨蕴藏其中的 “物性”，从而表达他对这个世
界的观察和感受。作品显示出王雷活跃的独立思考，即对于人与自然、生活用品和艺
术作品的差异的认识。他的作品《化蝶》，是利用五彩宣纸固有的色彩，分别找出数
种相应的色彩来制作《化蝶》歌谱中的1234567等，编织完成后，为一条彩虹的色
条，编织的规律即为歌谱的顺序。色彩和歌谱一样是有节奏韵律的，这里正是利用这
种关系，来表达色彩与音乐之间的关系 。作品《手织手纸》首先是在探讨物质材料原
本属性的“可能性”，使其不可能转化成一种新的可能。而《“织”无不言》：正是借用
织与知的同音，利用编织技术先把数份报纸的阅读功能性消失，叫做织“无”，“无”即
语言消失。等作品制作完成后，则变成一种新的事物，“新闻”本身也就没有了可阅读
的信息。
Tangible or Intangible
Forward:
In this exhibition, the art pieces from Huang Jia, Zhang Meng and Wang Lei
are quite rational and independent. It’s just like a coolant for the current noise
and frivolous Society society. What’s in common are the retreat and intangibility;
also the withdrawal with simultaneous lingering. All the pieces are reflecting
their rethinking and statements about running away from reality, and the artists
are all have the ability to express their concepts in an independent and mature
way. Just because they're not being cast in a pattern of tradition but at the
same time, demonstrate the respect to the tradition; these works are all
representing the oriental mood. It also matches our art concepts – “Chinese,
while contemporary”.
The works from Huang Jia has utilized the simplest dots, lines and rounds to
make a sequence of permutations and combinations. It looks like they're
featuring both the pure form from the Minimalism and also the variable style of
the fair order. However, these visions could be the visual misty barrier in the
contemporary context which leads to the interaction with the audience who’s
confused by the works. This may demonstrate the characteristics of the
Postmodernism: intangible, no need to have an inevitable association and
“influence means everything”. These kinds of influences may not bring some
significance to us, it is only a message: where is the way to survive? After all,
the chaos around us already made us feel unsafe, artists find immunity from it.
By following these dots, lines and rounds, Huang Jia retreats herself into an
unreal land of fantasy, and we can also get a piece of calm from it.
The works from Zhang Meng are named “Retreat into trees”, which attempt to
use his own means to take the audience into a journey of re-thinking their own
living status. By giving the tree, the snow and the branch the means of Sociology,
he retreats his free spirit into these most common natural objects. All of the
rivolity enters into tranquility through the naturalness and simplicity of the trees,
and it's just like a shield to guard the peace of mind. By retreating into trees,
Zhang Meng exactly expressed his theory of the world; furthermore, this is also
his practical solution following the thorough consideration. For the video works
of “Family BOX”, the artist is trying to interpret the purpose and meaning of
personal being by viewing the family as a microcosm and he’s taking a splendid
but cautious; mild but incisive way, which attempts to describe a sea from a drop
of water. He’s searching for his own way among numerous methods of interpreting
the world.
By employing paper as a medium, Wang Lei explores the nature of it’s being an
object in his works and expresses his own observation and feeling about the world.
These works show the positive and independent thinking of Wang Lei, that is,
his knowledge of the differences between human and nature, living appliances and
artworks. “The butterfly lovers” used the rice paper with different colors to represent
each note of 1234567 from the music of “The butterfly lovers”. It is being waved
into a colorful band; the order of weaving is the order of the notes from the music.
So the colors are in the same rhythm and melody as the notes from the music. The
artist wants to use this way to show the relationship between color and music.
Weave toilet paper explores the "possibility" of the original nature of the material,
making it impossible to be transformed into a new possibility. "Zhi" Wu Bu Yan in
Chinese means “speaking out everything I know”. However, "weave" and "know"
sounds the same in Chinese as “Zhi”. The artist is using the technique of weaving
to dismiss the basic function of newspaper, which named "Zhi Wu", and "Wu" means
the disappearance of the language. After the work is completed, the newspaper is
transformed into a new object, and then "news" can no longer to offer any readable
information.
装逼犯的谄媚
不错。
