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• 展览时间：

• 2019-07-25 - 2019-08-04

• 开幕时间：

• 2019-07-27 16:00

• 展览城市：

• 北京 - 北京

• 展览机构：

• 今日美术馆

• 展览地址：

• 北京市朝阳区百子湾路32号苹果社区4号楼

• 策展人：

• 贾方舟

• 主办单位：

• 今日美术馆 湖南省画院

• 协办单位：

• 湖南省青年画院 湖南省油画学会

展览介绍：

前 言

贾 方 舟

这是一个别开生面的展览。凌慧通过几个系列的作品所营造的正是这样一个空阔辽远、单纯静谧的无 人之境。如苏轼所说的“空故纳万境”。这空寂无人的“万境”，凸显的正是一个“空”字，其实并非真的 无人，人作为感知自然、创造艺术的主体永远在场，只是被移除到画外。

凌慧早期曾画过不少风景画，在很长一段时间内她画“风景”都要在近景部分置入一个面对风景的“背影”或走进风景的人，以示主体的在场。但在不知不觉中，她笔下的风景出现了变化：人不再出场，剩下的只有山色、云雾、大海、蓝天，冰川等等，人融入了自然，溶化到广袤的天宇之中……画到此时，画家画的已经不再是一般意义上的“风景”而是一种“物我两忘”的“空境”。如果说“景”是一种可直观的自然之“象”，那么“境”则是一种“象外之象”（所谓“境生象外”）；如果说“景”是处于视觉范围之内的“小象”，“境”则是不可直观的“无形”之“大象”（所谓“大象无形”）。茫茫天宇，无形无涯，当画家进入“精鹜八极”、“视通万里”的视野，方看到充满生气的山岳之大象、天地之大美。而对人类生存世界之外的广阔空间的美学观照，正是人类不断延伸的认知和审美能力的一种确证。

但艺术家如何将自己对这样的“大象”与“大美”的空间感受体现在一张有限的画布之上？凌慧毅然放弃直接再现自然的传统思路，从三维进入到四维，通过“时间切片”的叠加、累积、解构和重组来展现一个当代艺术家全新的时空意识。在由近百幅作品组合的《时空之境》，集中地体现了她感悟和表达时空的方式。每一幅不同时间、不同空间中完成的作品，都是她称之为“色彩样本”的“时间切片”。而由这近百幅“时间切片”构成的大海，不再是通常意义上的大海，这些经过碎片化重组的“大海”，也不再是一种纯粹的空间表达，而是被时间切割后重新呈现出来的空间，如平铺开的棱镜镜像，它是不同时间中的空间组合，或曰不同空间中的时间错置。这样交错呈现在视觉中的时空，既扩展了我们既定的视界，也改变了我们的时空观念。

早在孩童时代，凌慧就对洒满星星的太空充满好奇，有一天她终于神秘地对爸爸说出一个她的“惊人发现”：“月亮在跟着我走！”从此，对太空奥秘的好奇就像一颗萌动的种子滋生于她的心中。今天回过头来再看她儿时对夜空的惊奇发现，正是发生在她行走的时间过程之中，时空之间的相互依存和纠葛，终于构成凌慧艺术表达的出发点。特别是，当她面对风起云涌、乾旋坤转的无边天宇，不期然产生一种大气盘旋的宇宙感和生机活跃的生命感时，她实际上已经重返到中国绘画的美学源头--对“道”的观照之中。这样的宇宙宏观不仅使她的艺术在精神上做出新的超越，同时也在观念上和表现手段上做出新的探索。在茫茫天宇中体味宇宙的沧桑，历史的兴衰，生命的无常与人生的甘苦。

历代诗人面对茫茫天宇的兴叹比比皆是，如屈原在《天问》中连续提出关于宇宙万物的一百七十多个问题，是世界上第一个如此深刻地对宇宙的起源、结构和演化发問的人。时至今日，我们又看到青年艺术家凌慧以一种全新的时空观念和艺术手法来表达她对时间与空间的感悟，对空寂辽远、无始无终的时空的向往、对茫茫宇宙的敬畏之情。

人类总是在不断对外在世界的感知认识中反观自身，从而看到自身的有限性，使我们产生不断拓展这种“有限性”的欲望。在这个未知的领域，不仅有天文学家对新空间的不懈探知，还有艺术家“思接千载”、“心游万仞”的想象。他们的创造真正打动人的并不在于它标点出 “这是什么”，而在于作品本身所具有的视觉魅力。正如凌慧的系列作品所给予我们的丰富的空间想象，并在对自然的感悟中回到感悟着的主体自身。正是这些至大无外、神秘莫测、周流不息的天体天象，让我们意识到作为主体的人应该有的博大心胸和宇宙情怀。

Preface

Jia Fangzhou

This is an exceptional exhibition. Through several series of her paintings, Ling Hui has created precisely an expanse that is open and vast, pure and tranquil. As a poem by Su Shi describes: "while openness enables an acceptance of everything." This imagery of an infinite expanse, devoid of people, precisely emphasizes the quality of being "open". It needs to be pointed out that although the paintings appear empty, they are not in actuality unoccupied by people, because mankind as the subject that perceives nature and creates art, is always present, only the artist has removed him to outside the scope of the paintings.

Ling Hui painted many landscape paintings in the earliest period of her creative career, for quite some time, she was accustomed to placing a person in the foreground of her landscape paintings, often showing the back of a person looking at the scenery, or walking into the scenery, to indicate the presence of the subject.However, slowly and unconsciously, the scenery in her paintings evolved: people are no longer present. What is left are part of nature, mountains, clouds, the sea, a blue sky, and glaciers, etc. People have been integrated into nature and dissolved into the boundless universe. From a "space of no one", she has transitioned into a "space of no self". Thus, the artist is no longer painting "landscapes" in the general sense, much less reproducing a "real scenery" from the real world. She has achieved an open expanse in which the subject and the object have dissolved into oneness. If "scenery" can be said to be a literal"image" then "expanse" is a "imageless image", as in a figurative representation that transcends "image" alone; if "scenery" is a "small image" limited to visual perception, then "expanse" is a figurative and formless "infinite image" (as Laozi said, "the infinite image is shapeless"). The universe is vast, without form or boundary. When the artist is elevated into a vision of "inexhaustible inspiration" and "all-seeing perception", she is able to see the infinite image of mountains, and the infinite beauty of heavens and earth. Her aesthetic perception of the vast space outside the limited scope of human existence is precisely confirmation of mankind's continuously expanding power of cognition and aesthetic judgement. 

But how can the artist capture her spatial perception of such "infinite image" and "infinite beauty" and embody them on a finite canvas? Ling Hui has resolutely abandoned the traditional approach of directly reproducing nature, and transitioned from three-dimensional to four-dimensional expression, and, through the superposition, accumulation, deconstruction and reconstruction of "time slices", presents the new consciousness of time and space from a contemporary artist. She has concentrated on showcasing her perception and expression of time and space in the series "Mirror of Time and Space", which is composed of nearly a hundred pieces. Every piece, completed in a different time and space, is a "time slice" of what she calls "color samples". The sea, when it is represented by nearly a hundred such "time slices", is no longer the sea as we usually see it. It is a reconstruction after being broken down into pieces. Neither is it a purely spatial expression any longer, but space that has been re-rendered after being sliced by time, much like a prism that has been flattened. It is both a combination of spaces in different times, or a misplacement of time in different spaces. It represents both time in different spaces and space at different times, so that time and space, interlaced in this way, expands both our established field of vision, and changes our conception of time and space.

From an early age, Ling Hui has been curious about space with its many stars scattered across. One day, she finally told her father her "amazing discovery": "The moon is following me!" Since then, her curiosity about the mysterious universe has sprouted like a seed in her heart. Looking back today, Ling Hui's amazing childhood discovery about the night sky took place during the beginning of her artistic journey, when the interdependence and entanglement between time and space finally formed the starting point of her artistic expression. Instead, as she faces the boundless cosmos that is ever vital and constantly evolving, and perceives a sense of grandeur and vitality, she is actually returning to the aesthetic origin of Chinese paintings, that is, the perception of "Dao". Such a magnificent view of the universe has not only nurtured a new spiritual transcendence in her art, but has also enabled new explorations in terms of ideas and techniques. In this immense universe, she can experience and appreciate the vicissitudes of the cosmos, the rise and fall of history, the impermanence of life and the sweetness and bitterness of being alive. 

Many poets in Chinese history have looked up at the universe and expressed their stunning emotions. In Heavenly Questions, Qu Yuan successively raised more than one hundred and seventy questions about all things in the universe.It can be said that Qu Yuan was the first person in the world to ask questions about the origin, structure and evolution of the universe. Today, we see that a young artist, Ling Hui, has expressed her understanding of time and space, her longing for infinite and eternal time and space, and her respect for the universe with her own new conceptions of time and space and unique artistic techniques. 

Mankind constantly introspect as he gains new understandings of the world, and thus sees his own limitations. It is also the realization of the smallness of the limited life of the individual, in reference to infinity, that gives us the desire to constantly expand this "limitedness". In this unknown field, there are not only the unremitting explorations of unknown space by astronomers, but also artists' "inspiration and communication from all eras", "unconstrained by time and space". Their creations move us not because they replicate the world, but because of the visual charm innate in the work. In this way, this exhibition of Ling Hui's art creates for us a rich space in which to imagine, and in the perception of nature, returns our gaze to the subject that is perceiving. It is these omnipresent, mysterious, and ever-changing celestial bodies and phenomena that make us realize the magnificent generosity, breadth of mind, and love for the cosmos that we, as the subject, ought to have.