金杜藝術(shù)中心（KWM Art Center）榮幸地宣布，2022年6月23日，“換境——鄒操個展”將在金杜藝術(shù)中心開幕。

換境
Change of Scene

鄒操的新作呈現(xiàn)出婉轉(zhuǎn)的詩意，而與以往直面于現(xiàn)實的作品相比，這份有意為之的詩意與克制更增添了一份令觀者沉迷的氣質(zhì)。詩意入畫是古代文人對繪畫的至高追求，他在畫中顯現(xiàn)的古代文人畫的物象符號，并通過畫面來傳達的文字想象，無限的、延綿地，讓人在腦海中數(shù)次回到“明月松間照，清泉石上流”的詩畫之境。動靜之間，詩與畫的互文顯現(xiàn)出藝術(shù)家對古典文學與東方意象深入的理解和高尚的品味。

The new art piece of Zou Cao is whimsical and poetic. Compared to his earlier works, which is more direct and realistic, his intentional addition of a poetic vibe to this art piece intrigues the viewers. Being able to convey the poetic vibe in an art piece is a crucial composition in artists from ancient times. His ability to incorporate the ancient art symbol in his art piece, together with his effort to bring the viewers a vivid image of poetry through his art work, enabled viewers to visualize the poem of ancient poet Wang Wei – “bright moon casts light amongst pine trees in woods, limpid spring water is flowing over slabs of rocks”. The distinction between being still and dynamic demonstrates his profound understandings to the ancient literature and his unique perception of art.

光，猶如鄒操作品中的詩歌韻腳，直指藝術(shù)家精神深處的皎白之境，鄒操作品中的光，時刻在提示月亮的存在，卻惜墨于對月亮本身的刻畫。鄒操筆下的月光，毋寧說是想象中的月光，冷靜又熱忱，并賦予了他筆下萬物的色彩。畫中的竹與蘭，在起伏的紋理上流露出動人閃耀的光暈，彷若一陣風剛剛吹拂而過，使得光影影綽綽的搖曳其中。在鄒操的筆下，蘭竹的風韻不獨是鄭板橋的專利，它們飄灑成故事、電影、如歌的行板。目光望去，總會想起德彪西的“月光”，但憑著想象就能聽見月光與水流碰撞出的聲音，如慕如訴，形成恰似小說的明暗線索，由伸手可見的景與物，遙想到遠在天邊的山河明月。

Light is the rhyme of Zou Cao’s art piece, tapping a shade of dreamy moonlight to his spiritual wonderland. The lights in his art piece continuously remind the viewers the presence of moon, while he only left a slight hint of moon on the paper. The moon light in this art piece, shall rather be regarded as an imaginary one. It is calm and lively, casting a vibrant tone to this art piece. The bamboo and orchid, along with its textural embellishment, bring out a shining aura, which enables the viewers to envision the wind, flickering lights and shadow through standing right in front of the art piece. Under his work, the charms of bamboo and orchid does not exclusively belong to Zheng Banqiao. Those charms are like story, movie, and andante. The art piece persistently reminds us another masterpiece, Clair de Lune by Debussy, as if we can sense the moonlight and perceive the subtle sound of running water flow, like whining and whimpering, composing a subtle clue in a fiction. The immediate scene and objects prompt us the mountain, river, and moonlight in distance.

如果說《指紋》系列是在探討和放大隱私與公眾社會的關(guān)系，新作的單色繪畫則傾向于回歸到人最本質(zhì)和樸素的精神之地, 游目騁懷于天地自然的狀態(tài)中，時刻準備遠離由意識形態(tài)塑造的人類社會法則?；貧w自然規(guī)則主導下的關(guān)系，是藝術(shù)家在新作品中主要強調(diào)的。新的單色繪畫作品，也保留了《一指江山》的觀念性，并在這一觀念之上淬煉出更純粹的個人意志，同時展現(xiàn)出在技法與個人情感的統(tǒng)一，哲學與美學精神對個體以及個人藝術(shù)語言的塑造。在化繁為簡的圖像中找到使人可以得到片刻安寧的情緒動機，在由詩意營造的畫面中，展現(xiàn)出連續(xù)的、身臨其境的電影畫面。生命線在指紋上的流轉(zhuǎn)如精神象征的DNA，自然而然的被籠罩于東方的神秘主義之中，并神奇的與自然形成的生命脈絡殊途同歸。

If the series of “Fingerprint” discuss the relationship between the privacy and the general public, this art piece emphases the most fundamental and rudimentary aspect of human’s spiritual world. In here, he is a nomad, wandering in the natural world, and is ready to distant the society tapered by different types of ideology. Returning to the relationship formulated by natural norms remains the emphasis of this art piece. The new monochrome painting also retain the conceptual nature of "One Finger, One Mountain", and refine a pure personal will on top of that concept. Meanwhile, he demonstrated the unity between technique and personal sentiment, and allow the spirit and of philosophy aesthetics to shape his artistic language. By simplifying the image, he allowed the viewers to find peace. In the scenery formed by poetry, he displayed a continuous and immersive cinematography for viewers. The flow of the life line on the fingerprint is similar to a spiritual symbol of DNA, which is naturally enveloped in the mysticism of the East and miraculously follows the same path as the natural formation of the life vein.

在本次展覽中，鄒操將某些存在于精神世界之中的領(lǐng)土還給了自然，文本不能賦予的對自然的想象，靜謐的涌動于他的作品之中。融融的月色指涉著自由的亮光，包容著物質(zhì)世界的平庸和昏昏然。和歷史上的那些詩人一樣，古往至今，皆在同一片月光下感懷著，于是歌德與月相對，“在心曲的迷宮里漫游”；或如波德萊爾面對月亮而憂愁，她們皆“像藍天里裊裊上升的白色幻象”。于是，在月光灑下的這片寂靜之地中，又生長出了光。

In this exhibition, Zou Cao reserved his spiritual land partially to the nature. His art piece bridges a pathway to the whimsical wonderland fail to be done by literature. The melting moonlight makes reference to the bright light of freedom, embracing the banality and faintness of the world. Like poets in history, who have been under the same moonlight from ancient times to the present, so Goethe wrote, "wandering in the labyrinth of heart songs", and Baudelaire, being sorrow while facing the moon, said the moon is "like white visions rising in the blue sky". Thus, in this silent wonderland where the moonlight falls, light grows again.

—— 策展人 朱彤
Curator Zhu Tong

關(guān)于藝術(shù)家

鄒操，先后就讀于東北師范大學美術(shù)學院碩士，吉林大學哲學社會學院博士，中央美術(shù)學院博士后，原執(zhí)教于中央美術(shù)學院，現(xiàn)就職于中國藝術(shù)研究院，同時受聘于北京大學藝術(shù)學院，東北師范大學美術(shù)學 院客座教授、博士生導師等職。

鄒操是享譽國際的中國當代藝術(shù)家、藝術(shù)理論家。其藝術(shù)創(chuàng)作涉獵于繪畫、裝置、影像、科技藝術(shù)及“社會雕塑”等眾多領(lǐng)域。

在藝術(shù)展覽方面鄒操先后曾在北京、上海、香港、臺灣、美國、德國、奧地利、韓國等世界各地多次舉辦個人畫展和展覽，并入選第 54 屆、57 屆威尼斯雙年展，其作品和展覽受到國際藝術(shù)界的廣泛關(guān)注。

關(guān)于策展人

朱彤，當代藝術(shù)策展人，曾策劃過包括《未來考古學—第二屆中國藝術(shù)三年展》（南京博物院）、《書寫—首屆南京國際雙年展》（江蘇省美術(shù)館）、《朦朧—第54屆威尼斯藝術(shù)雙年展特別展》（意大利威尼斯）、《目光所及-后金融危機時代的中國新繪畫》（保利博物館，法國泰勒基金會，日本福岡亞洲美術(shù)館等）、《美麗新世界—南京第二屆國際美展》《無界-來自中國的當代藝術(shù)》（意大利曼特尼亞美術(shù)館）等多個國內(nèi)外重要展覽項目。曾出版《演變》《超越的維度》《幻想》等多部學術(shù)專著。