展览：《灰色想象》
艺术家：化鹏、吴俊勇、叶楠
策展人：邱洵琳
展览日期：2009.9.10 – 10.10
展览地点：当代唐人艺术中心—曼谷
泰国曼谷是隆路19巷919/1，是隆画廊大厦B层28号
展览简介：
参展的每一个艺术家都从不同的角度幻想他们的生活，他们都属于“沉思者”。在创作过程中通过对手工的热情，完成他们的思想之旅。
化鹏用一年的时间与一根炭笔结缘，建构了一个由照相机背后的现实世界以及动画中的世界的一个交相混合的梦境。随着后工业时代巨大的蘑菇云的升起，鹰眼和摄影所表征的监察机制在你按下快门的一瞬间而开启，无数的过去被遗忘，如同一张拍坏的照片被时间撕碎。到底谁是谁的替身，是照片、是那些模糊的文字还是我们无法依靠的记忆？时间只是无情的向前，这是一个没有结局也永远不会结束的梦魇。
吴俊勇的兴趣点一直聚焦于“身体和政治的混杂体”，在现实和幻想的两个世界间编织带有个人视角的社会肖像，他选择了一种寓言象征的黑色叙述，用个体形象来表达神秘的现实主义。在他的俚语字典中将带有寓意的口语语句用诙谐的画面再现他个人漂浮的幻象世界。
叶楠的作品一直渗透着文人的气息，一些遥远的关怀在视觉的缝隙中喷薄而出，面对这些非近非远的幻想景象，我们要放下美学的固执，走进物象的关系之间，这些生物和场景是作者隐喻和游戏的通道，在貌合神离的隐喻游戏中，最终他离开了象征和表达，从机巧转向了情感，我猜：这是一些言之有物的幻想吧。
Grey Imageries
An exhibition of three emerging Chinese artists:
Hua Peng 化鹏
Wu Junyong 吴俊勇
Ye Nan 叶楠
Curator: Qiu Xunlin
Exhibition: Sept 10 – Oct 10
Venue: Tang Contemporary Art - Bangkok
Unit B-28 (Basement), Silom Galleria 919/1 Silom Road (Soi 19),
Bangkok 10500 Thailand
EXHIBITION BACKGROUND
In this exhibition, the artists exhibit their own perspective of life. Through their craft, they continue into their journey.
In a year-long relationship with a charcoal pencil, Hua Peng constructed an intermixed dream-realm of animation and photographic realism. In a period of post-industrialism, the sharp eye of a man and his camera records the apparent with the press of a button; much of the past is discarded like bad pictures taken. It is hard to tell the genuine from the substitute. Is it the photographs, the obscure words, or the unreliable memory? Relentlessly, time carries on in its own course, leaving human in a never-ending incubus.
Wu Junyong’s point of interest is “an alloy of the body and politics”, weaving social portraiture between the realistic and imaginative, adapting an allegorically-symbolic narration, expressing mystic realism through individual imagery. Through facetious terminologies, Wu exhibits his world of imagination.
Ye Nan’s artwork emits a scholarly radiance, a far-away attentiveness like rays of light through a door left ajar, undetectable of its distance. The audience need to forsake the obstinacy of aesthetics and venture into the symbiosis of these living things and scenery, for that, is Yu’s metaphor and the key to the game.
艺术家：化鹏、吴俊勇、叶楠
策展人：邱洵琳
展览日期：2009.9.10 – 10.10
展览地点：当代唐人艺术中心—曼谷
泰国曼谷是隆路19巷919/1，是隆画廊大厦B层28号
展览简介：
参展的每一个艺术家都从不同的角度幻想他们的生活，他们都属于“沉思者”。在创作过程中通过对手工的热情，完成他们的思想之旅。
化鹏用一年的时间与一根炭笔结缘，建构了一个由照相机背后的现实世界以及动画中的世界的一个交相混合的梦境。随着后工业时代巨大的蘑菇云的升起，鹰眼和摄影所表征的监察机制在你按下快门的一瞬间而开启，无数的过去被遗忘，如同一张拍坏的照片被时间撕碎。到底谁是谁的替身，是照片、是那些模糊的文字还是我们无法依靠的记忆？时间只是无情的向前，这是一个没有结局也永远不会结束的梦魇。
吴俊勇的兴趣点一直聚焦于“身体和政治的混杂体”，在现实和幻想的两个世界间编织带有个人视角的社会肖像，他选择了一种寓言象征的黑色叙述，用个体形象来表达神秘的现实主义。在他的俚语字典中将带有寓意的口语语句用诙谐的画面再现他个人漂浮的幻象世界。
叶楠的作品一直渗透着文人的气息，一些遥远的关怀在视觉的缝隙中喷薄而出，面对这些非近非远的幻想景象，我们要放下美学的固执，走进物象的关系之间，这些生物和场景是作者隐喻和游戏的通道，在貌合神离的隐喻游戏中，最终他离开了象征和表达，从机巧转向了情感，我猜：这是一些言之有物的幻想吧。
Grey Imageries
An exhibition of three emerging Chinese artists:
Hua Peng 化鹏
Wu Junyong 吴俊勇
Ye Nan 叶楠
Curator: Qiu Xunlin
Exhibition: Sept 10 – Oct 10
Venue: Tang Contemporary Art - Bangkok
Unit B-28 (Basement), Silom Galleria 919/1 Silom Road (Soi 19),
Bangkok 10500 Thailand
EXHIBITION BACKGROUND
In this exhibition, the artists exhibit their own perspective of life. Through their craft, they continue into their journey.
In a year-long relationship with a charcoal pencil, Hua Peng constructed an intermixed dream-realm of animation and photographic realism. In a period of post-industrialism, the sharp eye of a man and his camera records the apparent with the press of a button; much of the past is discarded like bad pictures taken. It is hard to tell the genuine from the substitute. Is it the photographs, the obscure words, or the unreliable memory? Relentlessly, time carries on in its own course, leaving human in a never-ending incubus.
Wu Junyong’s point of interest is “an alloy of the body and politics”, weaving social portraiture between the realistic and imaginative, adapting an allegorically-symbolic narration, expressing mystic realism through individual imagery. Through facetious terminologies, Wu exhibits his world of imagination.
Ye Nan’s artwork emits a scholarly radiance, a far-away attentiveness like rays of light through a door left ajar, undetectable of its distance. The audience need to forsake the obstinacy of aesthetics and venture into the symbiosis of these living things and scenery, for that, is Yu’s metaphor and the key to the game.
顶，杭州帮
