宙焰·序章

“曾經(jīng)，在沒有昨天的那一天，一場不講道理的大爆炸孕育出了一切，創(chuàng)造出了你我，給出了未來。對未知世界充滿好奇是每個生命體的DNA，站在“未來”的人類，始終以不同的方式尋找未知的源頭與生命的指引。探索是需要付出代價的，知曉的越多越感到無助與迷茫，幸虧藝術(shù)與科學(xué)還一直在文明的長河中攜手相伴、互幫你我，為人類這尚且孤獨(dú)的種族提供著庇護(hù)與尊嚴(yán)。”

——金瀚

洞察NO.1 40x50cm x2 布面油畫 2022

Flame of the Universe: Prologue

“For a time, on that day with the absence of yesterday, an unreasonable big bang gave birth to everything, thus creating both you and me and providing us with the future. Curiosity about the unknown world is the DNA of each and every organism. Human beings, who view everything from the perspective of “future”, always look for the uncharted source and the guidance on life in different ways. Exploration is based on paying a price. The more one knows the more helpless and perplexed he feels. Fortunately, art and science always walk hand in hand in the long river of civilization. They help each other, providing the shelter and dignity for human beings, a solitary race.”

—Jin Han

洞察NO.2 40x50cm x2 布面油畫 2022

前言：

觀天是人類文明的一大標(biāo)志，歷法是觀天作為科學(xué)的肇始。藝術(shù)家金瀚以異星為歷，以火焰為序，引發(fā)一場宇宙的赤焰風(fēng)暴，成為藝術(shù)家金瀚創(chuàng)造出對文明書寫的新方式。

燃燒紀(jì)元 480x280cm 布面油畫 2023

Foreword:

The observation of the sky is one of the major hallmarks of human civilization. The calendar serves as the commencement of the observation of the sky as science. With alien stars as the calendar and the flame as the sequence, Jin Han, an artist, has triggered a flamboyant storm of the universe, thus becoming a new way for artist Jin Han to create the description of civilization.

燃燒星云-木衛(wèi)一 230x180cm 布面油畫 2023

本次展覽十余幅作品，涵蓋了“星云”“星圖”“洞察”“星辰日歷”等系列，分別從浩瀚的廣垠到本體的內(nèi)溯，反映了藝術(shù)家對于不同維度疊層的思考。“星圖”中層層剝開的內(nèi)部結(jié)構(gòu)，絲絲入扣的拓?fù)湫尉€條，都展示出藝術(shù)家深厚的繪畫功底。《流動與時間》《螺旋與時間》等作品體現(xiàn)了藝術(shù)家對于時間與空間橫向縱向的充分考量。“時間”在他的作品中收束貫穿為討論其他媒介、現(xiàn)象和哲學(xué)理念的介質(zhì)。“洞察”系列作品更是以雙聯(lián)畫的形式，將宏觀與微觀、實(shí)在與意識、瞬間與流動并置討論，智育思想的彈性。

燃燒星云-木星  230x180cm 布面油畫 2023

This time, more than ten works are exhibited, including the series such as “nebulae”, “star chart”, “insight” and “stars and calendar”. The exhibition, from the endless horizon to the connotation of noumenon, reflects the artist’s meditation on the lamination of different dimensions. In “start chart”, both its layered internal structure and intertwined topological lines display the artist’s solid painting attainment. Works such as Flow and Time and Spin and Time give express to the artist’s ample consideration of time and space as a horizontal dimension and a longitudinal dimension, respectively. In his works, “time” serves as the medium for discussing other media, phenomena and philosophical ideas from beginning to end. And in the manner of diptych, the works in the series of “insight”, all the more juxtapose and discuss the categories such as macro-level & micro-level, reality & consciousness and moment and flow, hence being pregnant with the elasticity of thinking.

星辰日歷NO.4 150x200cm 布面油畫 2023

金瀚作品基調(diào)宏麗，畫面中粗糲的繪畫痕跡像龐貝壁畫勾連起文明與歷史，但藝術(shù)家同時以朱諾號探測器的主動脫軌墜木等天文事件為創(chuàng)作藍(lán)本，從不同的尺度出發(fā)，建立以繪畫語言為刻度的天外歷法。整個展覽是追問式的，普羅米修斯引來的火種經(jīng)人之手后又去往何方？時間是否獨(dú)立于人存在？以追問，探真相。

異星歷法 150x200cm 布面油畫 2023

The works of JIn Han are characterized by the grandeur in keynote. In his panting, the coarse painting vestiges look like Pompeii Murals, which connect civilization and history. However, at the same time, the artist, taking astronomic incidents like the Juno probe’s active dis-orbition from the Jupiter as the blueprint, sets up the extraterrestrial calendar, with painting language as its scale. The whole exhibition is inquisitive. When did the kindling material brought in by Prometheus go after being used? Is time independent from human beings? Through making inquiries, efforts are made to explore the truth.

金瀚以繪畫作為“母語”，不止為觀眾“翻譯”不可見的星與辰，更帶我們探索不可及的微與精。“不要理解得太快”是拉康多次提出的告誡，金瀚則用來提示正在“閱讀”作品的觀眾。我們看到的“星圖”“風(fēng)暴”“眼球”都是藝術(shù)家作為“大他者”向觀眾提供的符號投射，他真正的目的似乎是為了懸置觀者的先驗(yàn)，不斷地發(fā)出質(zhì)疑——何為本質(zhì)。

With his paintings as the “mother language”, Jin Han not only “translates” invisible stars, but also guides us to explore unfathomable minuteness and subtleness. “Don’t get an excessively rapid understanding” is the admonishment repeatedly proposed by Lacan while Jin Han uses it to remind the audience who are “reading” his works. “Star charts”, “storm” and “eyeballs” seen by us are all the projection of the signs provided by the artist as “the big other” for the audience. His real purpose is seemingly to suspend a priori knowledge of viewers and continuously raise questions—what is the essence.  

哲學(xué)之“論”作為方向，分化出了宇宙論、本體論、存在論等等，哲學(xué)家們在不同的“論”間詮釋不同主張。藝術(shù)相對于哲學(xué)的優(yōu)勢在于，可以以更直觀且抽象的方式講故事、說道理。金瀚的作品則是放大了這種優(yōu)勢。異星宇宙是金瀚的“他方世界”，燃燒赤焰是他的精神烙印。朱諾號終將逝去的挽歌在木星云霧中回蕩，朱庇特的面紗依然如雪萊描繪那樣，“面紗后面潛伏著希望、命運(yùn)，這對孿生子，它們一直在那裂口之上編織其影子……在這景象之上，一種精神在極力尋求真知”。而觀眾，也可以借助金瀚提供的譯制入口，向著那最遠(yuǎn)王座的階梯，更進(jìn)一步，再一步！

As a direction, the “theory” of philosophy has evolved into cosmology, ontology, the theory of being and so on. Philosophers interpret their different viewpoints between different “theories”. Compared with philosophy, the advantage of art lies in that it can tell stories and reason things out in a more intuitive and abstract manner. This advantage is augmented in Jin Han’s works. The universe with alien stars is the “other world” of Jin Han and burning red flame is his spiritual imprint. The elegy about the eventual passing of Juno probe resonates in the clouds and mists of the Jupiter. And the veil of Jupiter is still like what was described by Shelley. “Behind the veil lurk hope and destiny as twins. They are always weaving the shadow on the fissure… Above the scene, a spirit is desperately looking for genuine knowledge”. As for the audience, they can also resort to the entrance of translation offered by Jin Han before marching on and on toward the ladder of the most remote throne!

藝術(shù)家簡介

金 瀚  

生于1991年，本科與研究生分別畢業(yè)于中國美術(shù)學(xué)院版畫系和油畫系，現(xiàn)工作生活于杭州、上海。近期個展包括：《宙焰·序章》，又生空間CYCLE SPACE，2023，北京；《蔓延叢生》，南柯面廊，2023，上海；《以太情書》，PartLab，2023，上海；《風(fēng)暴獵人》，三尚當(dāng)代藝術(shù)中心，2021，杭州;《荒原日志》，1900Art Space, 2020，上海。曾在中國美術(shù)館、浙江美術(shù)館、上海展覽中心、上海世博展覽中心、寶龍美術(shù)館、年代美術(shù)館、喜馬拉雅藝術(shù)中心等機(jī)構(gòu)參加群展；作品曾被中國美術(shù)館、浙江美術(shù)館、中國美術(shù)學(xué)院美術(shù)館、廣州當(dāng)代藝術(shù)中心等機(jī)構(gòu)收藏。