繼大英博物館藏文藝復興素描展之後，蘇州博物館現(xiàn)代廳又將迎來一次詩意而當代的變身。藝術家彭薇將攜其五年來的50余件作品，在貝聿銘設計的園林空間里用水墨營造出一個融貫中西的對話場。

由蘇州博物館主辦，北京畫院、耿藝術文化基金會協(xié)辦，北京畫院美術館副館長吳洪亮策劃的此次展覽是彭薇新系列「雅謌」的首次亮相，也是蘇博現(xiàn)代廳最大膽的一次展示：整個空間將以半透明的材質包裹，分割為綿延的空間，如抽絲剝繭，利用遮擋、指引、纏繞的視覺幻術，引導觀眾層層深入，展開另一種不同於中式園林的「移步換景」。

此次展覽延請日本「別音設計」的建筑師豊田啓介做空間規(guī)劃，繼臺北「圓滿的旅程」展之後與彭薇二度合作。他以彭薇廣為人知的「好事成雙」絹鞋的質地為基調，從蘇州園林的曲折通幽和貝聿銘設計蘇州博物館的幾何直線中獲得啟發(fā)， 依據彭薇作品的形態(tài)與系列，將展覽分為「花園」、「旅程」、「神殿」三部分：

「花園」集中展示大幅「遺石」系列作品《此處取決於偶然》和小山水冊頁《人生中最美好的事物總是免費的》等。觀石如觀山，可遠眺亦可近玩，錯落的布列形成迷宮般的格局，將二維的繪畫作品延伸出三維的空間關系，亦與蘇博中貝聿銘平面化的假山石形成諧趣的呼應。

「旅程」的半透明帷幔巧妙地借助天光，以無迄無終、周而復始的圓型弧線，容納長卷「遙遠的信件」系列和絹鞋「好事成雙」系列，數(shù)件六米窄幅長卷的精細水墨和螺絲殼里做道場的男歡女愛，資訊極密，幾乎一步一景?！高b遠的信件」系列以西方文藝史上的往來信件取代中國古典繪畫的題跋。此次展覽的作品里，桑塔格致博爾赫斯的信件，討論書籍的消失，永恒與當下的糾纏；奧利匹亞的故事，借印象派之口為馬奈抱不平，討論藝術史上的偏見，都可視為畫家內心的命題。西方亦是東方，結束也是開始，人的悲歡離合，文明的隱秘代碼，彭薇作品中所傳達的輪回哲思，在互文式的空間里顯得更加余意悠長。

「神殿」中亮相的人物群像系列「雅謌」是彭薇的新作，亦是她首次嘗試用大的尺幅筆墨表現(xiàn)人物，這一系列的靈感即來自蘇州游園?！肝乙酝淖髌防镉袀€一以貫之的共性，就是物與人的關系，我想突出繪畫的物質性，不管是睹物思人也好，物是人非也好，在物上面投射出的都是人的情感，人的命運?！乖谥啊高b遠的信件」里，人只是群山萬壑中一個微小的、指涉般的存在，但這一次，人從山水中被獨立了出來，被推到了臺前。

當你看到「我想起了你」時你想起了誰？彭薇立足於普適於任何人的情感，描繪的都是沒有具體名字的普通人，但他們所處的情態(tài)：友誼、相思、獨處、怡然、悵惋……卻是無古無今的，甚至帶有一絲波普式的幽默。在文明的歷史之上，「人本」從「神本」中脫胎而來，人理應受到跟神性同等的尊嚴和對待，在展廳的盡頭，這些悲歡百態(tài)的人物，跟大型裝置作品一起，被陳列進白色絹幔圍繞而成的「神殿」，述說人與萬物、人與諸神的平凡與光芒。

耿藝術文化基金會亦誠摯邀您於新春之際探訪姑蘇，浸潤於彭薇水墨的溫雅與智性之中。

Following the exhibition Italian Renaissance Drawings from the British Museum， the Suzhou Museum’s Contemporary Art Gallery will house a poetic and modern exhibition by artist Peng Wei. Her fifty-plus works in ink from the past five years are choreographed into a space of gardens meticulously crafted by famed architect I. M. Pei to beckon a dialogue on East-West amalgamation.

Organized by the Suzhou Museum and co-organized with the Beijing Fine Art Academy and TKG Foundation for Arts & Culture， this exhibition is curated by Wu Hongliang， deputy director of the Beijing Fine Art Academy， and marks the debut of Peng Wei’s latest series “Song of Sings.” It is also the most audacious exhibition ever mounted in the museum’s Contemporary Art Gallery. The entire space is cocooned in translucent fabric and divided into seemingly endless sections. Much like unraveling a mystery， visual illusions rendered through acts of concealing， guiding， or twining usher the viewer into the depths of the exhibition， where， varying from the traditional Chinese garden scenery， “a different view with every step” unfolds.

The exhibition space is designed by Mr. Keisuke Toyoda of the Japanese design studio Noiz Architects. It is the second collaboration between Mr. Toyoda and Peng Wei. Grounded in Peng Wei’s “Good Things Come in Pairs” series of silk shoe installations， and inspired by the winding paths of Suzhou gardens， as well as the geometric lines in I. M. Pei’s design of the Suzhou Museum， this exhibition is divided into the Garden， the Journey， and the Temple.

On display in the Garden section are “Here‘s by Chance” paintings from the “Lost Stones” series， and such delicate landscape albums as “The Best Things in Life Are Free.” Much like watching mountains， the pleasure of watching rocks abounds whether the watcher stands near or far. Through a dispersed arrangement， a labyrinthine flow through the museum is conceived that lends a three-dimensionality to an array of two-dimensional paintings， at the same time playfully echoing the flattened faux mountains and rocks in the Suzhou Museum.

In the Journey section， daylight is dexterously harnessed， a stretching arc created with translucent curtains， conjuring a flow without end that parallels the scrolls from the series “Letters from a Distance” and silk shoe painting installations from the series “Good Things Come in Pairs.” Various six-meter-long scrolls exquisitely rendered in ink， and love scenes cradled in silk vessels provide the viewer with intense information and a different view with every step.

Peng Wei incorporates a plethora of letters by Western authors and artists into the “Letters from a Distance” series， in place of the traditional inscription in Chinese classical painting. Seen in the works in this exhibition， Susan Sontag’s letter to Jorge Luis Borges discusses the disappearing of books and the struggle between eternity and the present， while the story about Olympia serves as the Impressionists’ voice of indignation on the injustice that édouard Manet suffered， and as a discussion on the prejudice in the art history. Both exemplify the kind of themes that deeply concerns Peng Wei. The West is the East. The end is the beginning. The vicissitudes of life， the mysteries of civilizations， and the philosophical ponderings in Peng Wei’s work blend together in the intertextual space with a lingering poignancy.

Debuting in the Temple section， Peng Wei’s latest portrait series “The Song of Sings” marks her first attempt at portraying figures in ink on a large scale. This series is inspired by the garden culture of Suzhou. “The common thread that runs in my past body of work is the relationship between objects and figures. I tend to highlight the materiality of painting. Whether it’s memories evoked by a memento， or sorrows elicited from old trinkets of people now gone， objects project all kinds of human emotions and man’s destiny.” In the “Letters from a Distance” series， the human figure is simply a minuscule existence amid mountains and valleys， but now the human figure has been illuminated and placed in the foreground.

Who comes to mind when you see the title “When I Thought of You”？ Peng Wei’s work is grounded in the universality of human emotions. Despite the anonymousness of the common people she portrays， these subjects’ emotions — friendship， longing， solitude， content， or melancholy — are universal， even with a pinch of Pop art sense of humor. The history of civilizations sees humanity derive from divinity； hence humanity should be treated equal as divinity. At the end of the gallery hall， these sentient beings are juxtaposed with large-scale installations in the Temple， which is cocooned in pristine white curtains， telling the stories of human and all living things， of man and gods， in all their ordinariness and grandeur.

The TKG Foundation for Arts & Culture cordially invites you to visit Suzhou in the New Year， immersed in the refinedness and sophistication of Peng Wei’s work.