艺术家 | Artists : 刘卓泉 | Liu Zhuoquan、罗苇 | Luo Wei、贾淳 | Jia Chun、沈瑞筠 | Shen Ruijun、史金淞 | Shi Jinsong、严善錞 | Yan Shanchun、杨鑫 | Yang Xin、张杰东 | Zhang Jiedong、郑江 | Zheng Jiang、Kikuko Tanaka

开幕 | Opening : 2013/4/6   16 : 00 PM

展览日期 | Exhibiting Time : 2013/4/6—2013/5/7

地点 | Venue : 空间站北京市朝阳区酒仙桥路4号798艺术区中一街 Space Station，NO.4 Jiuxianqiao Rd，798 Art District，Beijing 100015

T : +86 10 59789671

W : www.space-station-art.com E : spacestationart@163.com

透明性(1)——新闻稿

空间站将于2013年4月6日为各位呈现本年度第一个联展项目——“透明性”（1）。展览将从2013年4月6日持续到2013年5月7日。

“透明性”源于建筑学的概念，分为物理的透明性和现象的透明性。物理的透明性就是材料所形成的透视效果，而现象的透明性则可理解为一种绘画中的多层次，具有潜在秩序，能多种解读的多义效果。物理的透明性是，景深相对深远，重视材料感，重视光的分布和运用，具有单一或者少量阅读方式。而现象的透明性则是浅景深，强调平行透视，消除透视感，重视画面的秩序和组织结构，具有多重阅读方式。

“透明性”既清晰又模糊，既遮蔽又穿透，既有“通过、通达、显露、充分”之意，也有“朦胧、隐约”之态，又有“极致、纯粹”之精神价值。其多重反复的坐标系统，不同媒介和价值属性的作品在空间中互相叠压，互相渗透，彼此联系，既形成平面的浅景深的呈现，又形成透视关系造成的空间角度。秩序、叠化、层次、界面化，虚空和实体成为一种三维的组织形式。严善錞用硫磺粉和橄榄油实验出的“浅腐法”铜版画，使一种纤细和柔软的划痕得以在短暂的时间内被隽刻。史金淞用啤酒瓶碎片组成的假山石，使尖锐的伤害转化为赏玩的对象。刘卓泉的玻璃瓶矿物色内画的水滴，使透明这个概念得以在实体和图像的概念中反复。沈瑞筠的多重绢本水墨与铅笔透明薄片的装置，在光和影的互相叠压中穿透。郑江的坦培拉油彩画在透明的基底上，描述戌时即晚上七点至九点，透过海棠花玻璃窗纹样的天空之色。张杰东的布面丙烯描绘了不断扭转的透明空间的三维性，纽约艺术家Kikuko Tanaka的透明唯美而又惊涛骇浪的青春影像，贾淳研制了一种特殊光泽的亚克力材质，杨鑫用生物学切片组合成某种颜色生成的生命物质，罗苇用低低浅浅的材料留存生活的痕迹。艺术家们通过或精确细微，或柔软清淡的笔触，模拟了不断层化、虚化和叠加化的空间体验。透明性并不是仅仅以透明材质作为介质，而是强调彼此渗透而又并不互相破坏的关系，空间成为作品的第三界面。从而彻底激活作为“底”的背景，和摆放其上的作为“图”的物品之间的相互关系，开发对内部空间的整体的连续性。透明性既吸收矛盾，也吸收局部的特异，使展览成为一个连绵的想象的界面。

Transparency (1)—— Press Release

Space Station will present the first group exhibition project this year on April 6^th, 2013 —— Transparency（1）. The exhibition will be on from April 6^th to May 7^th .

“Transparency” comes from architectural conception which has two kinds: physical  and phenomenal. The physical transparency refers to the perspective effect resulted from material, and the phenomenal transparency could be taken as the polysemia drew from the multiple layers and potential orders in a piece of painting. The physical transparency means comparatively better depth of field, right quality of materials, attention on utilization of light, and simple or few ways of reading. While the phenomenal transparency is shallow depth of field, parallel perspective, stress on the orders and organizing structure of the painting and multiple ways of reading.

As the subject of this exhibition, “Transparency” seems to be clear yet ambiguous, hidden yet penetrating. It carries literal meanings like “through, arriving, obvious and exposed”, appearance as “unclear and obscure”, and the “extreme and pure” spiritual values. The repetitive coordinates as well as the overlapping and penetrating relations between works of different media and nature facilitate both the shallow-depth-of-field presentation and cubical angles formed by perspective relations. Orders, overlaps, ambiguity and physical bodies of work demonstrate a kind of 3D organizing format. Yan Shanchun’s printmaking by using sulfur and olive oil enables a subtle and soft scratch to be permanently carved in a short moment. Shi Jinsong has constructed a rockery work by beer bottle fragments, turning the sharp injury orientation to an object to people's delight. Liu Zhuoquan’s waterdrop painted within the glass bottle repeats the conception of “transparency”. Shen Ruijun’s ink and pencil installation crosses between light and shadow. Zheng Jiang narrates color of the sky seen through a glass window with caval vine pattern between 7 pm and 9 pm with her oil paintings based transparent. Zhang Jiedong illustrates the 3D nature of a rotating transparent space. New York artist Kikuko Tanaka's video work displays the transparent purity and passion of youth time; Jia Chun has invented a new kind of acrylic material with its distinguished light effect; Yang Xin uses biological cut sections to form a life originated from a kind of color; and Luo Wei has saved traces of life by using the light and shallow materials. Those artists have simulated a cascade, obscured and overlapped spacial experience through their precise and subtle, soft and light approaches. Transparency is not just mediation of glass, but refers to the penetrating yet independent relations between. Space becomes the third phase of the art works. It activates the relations between background and subjects, explores the continuity of within the internal space. The transparency absorbs ambivalence and partial uniqueness and it is transparency to have made the exhibition an uninterrupted imaginary interphase.