【北京時間：系統刻度與個體凝視】
Beijing Time: The Scale of the System and the Gaze of the Individual – Group Exhibition
作為一名曾在北京這座城市生活過不短時間的畫廊主，這座城市的宏大敘事曾是我日常的背景。每當播報響起那句家喻戶曉的「北京時間……」，它不僅是一個標準時間的宣告，更像是一個巨大的中立平台，以冷靜、客觀且不偏不倚的維度，包容著這座城市的萬種運轉。但當我帶著跨文化的視角再度踏入這片熟悉的土地時，真正觸動我的，既非那巍峨的殿堂，亦非任何宏大的敘事，而是那些隱匿在日常深處、最貼近大地呼吸的純粹生命力。
本次展覽試圖避開既定的宏大框架與概念標籤，從一種微觀的、感性的日常視角出發。我們希望回歸到每一個生動個體最本質的切面，邀請觀者站在這七位創作者的身後，透過他們如同時間刻度般客觀、卻又深刻內斂的視角，去凝視那個被他們內化、感知，並最終重構出來的真實世界。在這場萬象生長的視覺考古中，藝術家們用最私密的語言在理性的框架中尋找感性的留白。
林墨以其對物理媒介的極致積累回應了這片「厚土」的深沉。他在畫布上進行無數層不同顏色的壓克力顏料堆疊，再運用工具在這些沈積的色層上進行物理性的雕刻與開鑿。這種重複性的行為，本質上是對生命厚度的視覺考古，在層疊與挖掘之間，構築出一個個體在土地上守望與存在的精神場域。
祁志龍則展現了從「艷俗藝術」時期對消費文化批判後的華麗轉身。在經歷了對集體記憶與標準化審美的審視後，他進入了更為純粹的「去符號化」階段。在本次展出的新作中，他剝離了過往標誌性的外部裝飾，讓個體在繁雜的數學公式與社會管理標籤的圍困下，以一種赤誠且脆弱的原生狀態示人。這種脆弱並非軟弱，而是一種在理性、規範的社會邏輯下，透過回歸「人」的本真所散發出的、最有溫度的回應。
朱發東老師將個人在時代變革下的生存體感化作極具張力的視覺標記。無論是那尊背負著「標價」與「轉讓」意象的行為藝術雕像，還是畫面上密密麻麻、面目模糊卻真實存在的群像，都在用一種帶著黑色幽默的客觀視角，訴說著個人的價值在現代社會與宏大結構中的審視、自嘲與守望。
尹坤在「瓷杯」與「瓜子」系列中，展開了一次從日常物件到抽象觀念的解構實驗。在「瓷杯系列」中，他挪用極具時代象徵的「為人民服務」搪瓷杯，在紅色網格的秩序下，以刀刻、撕揭等多元媒介製造出斑駁與文字殘缺的「符號磨損」，隱喻個體在集體記憶中的處境；而在「瓜子系列」中，他將密集的瓜子轉化為流動的視覺肌理，並隱蔽地置入「2+2=5」的反邏輯符號。尹坤巧妙融合波普藝術與表現主義肌理，將宏大符號與集體秩序消融於生活細節，傳遞出個體在集體洪流中的迷失與對絕對秩序的思辨。
馬東民在本次展出的作品中，將生命力轉化為更為內斂的氣息。他在「煙雲」的概念下，以空靈而深邃的語境捕捉若隱若現的山巒意象。這種虛實相生的東方美學，撇開了外界系統的條框，象徵著個體心靈在喧囂時代過後，回歸內心本質的靜謐觀照。
林春岩的作品則透過垂直律動的色塊與厚重的堆疊肌理，進行著另一種維度的地景考古。他將廣袤的風景轉化為一種純粹的精神疆域，在冷靜的面貌下綻放出不屈的生機，展現了個體生命與厚重土地之間切切不斷的韌性。
趙斌則以其深厚的造型功力與冷靜的色彩，在畫布上將日常生活的碎片重新拼接。他打破了現實世界的既定邏輯，用高度個人化的理性結構完成對客觀世界的重構，在標準的時間系統裡建立起屬於個體的視覺秩序。
這七位藝術家共同織就了一幅關於守望與生長的長卷，邀請觀眾透過這檔「北京時間」的溫情聚焦，融入這些細膩與本真的生命維度，從一種開闊而平實的視角出發，看見一個最真實、最具尊嚴的人文景觀。
As a gallery owner who has lived in Beijing for a considerable amount of time, the grand narratives of this city once formed the very fabric of my daily existence. Whenever the broadcast announces the ubiquitous phrase, "Beijing Time...", it is not merely the declaration of a standardized time track, but a colossal, neutral platform that encompasses the myriad operations of this metropolis within a calm, objective, and impartial dimension. Yet, when I re-enter this familiar landscape through a cross-cultural lens, what truly resonates with me is neither the monumental architecture nor any grand cultural mythology, but the pure, organic vitality concealed beneath the surface—pulsing closest to the earth.
This exhibition seeks to look beyond established grand frameworks and conceptual labels, moving instead from a microscopic, perceptive perspective of the everyday. We hope to return to the essential facets of each vibrant individual, inviting viewers to stand alongside these seven creators. Through their objective yet deeply introspective viewpoints—resembling the subtle markings of a timepiece—we gaze at a real world internalised, perceived, and ultimately reconstructed by them. Within this visual archaeology of growing phenomena, the artists employ their most intimate aesthetic vocabulary to cultivate spaces of emotional reflection within rational frameworks.
Lin Mo responds to the profound depth of this "thick earth" through an extreme accumulation of physical mediums. He stacks countless layers of multicolored acrylic paints onto the canvas, subsequently carving and excavating into these sedimentary color zones with physical tools. This repetitive action is essentially a visual archaeology of life's density, constructing a spiritual landscape where an individual watches over and exists upon the land.
Qi Zhilong demonstrates a brilliant transition from his "Gaudy Art" period, which critiqued consumer culture. Moving past the irony directed at standardized aesthetics and collective memory, he enters a purer phase of "de-signification." In his latest works presented here, he strips away previous iconic external ornamentations, presenting the individual in an authentic, vulnerable state amidst mathematical formulas and social classification labels. This vulnerability is by no means weakness; rather, it is a warm, poignant response to cold, institutional logic, achieved by returning to the true essence of human nature.
Zhu Fadong transforms personal experiences of survival during times of historical transformation into visual markers with immense tension. Whether through the performance-art sculpture bearing the implications of "price tag" and "transfer," or the dense, blurry yet unmistakably real crowds on his canvases, he employs a darkly humorous, objective lens to examine, satirize, and safeguard the value of the individual within grand social structures.
Yin Kun conducts a deconstructive experiment moving from everyday objects to abstract concepts in his "Porcelain Cup" and "Sunflower Seeds" series. In the "Porcelain Cup Series," he appropriates the enamel cup emblazoned with the era-specific slogan "Serve the People," producing scratches and textual erosion through carving and tearing under a red grid system to imply the individual's position in collective memory. In the "Sunflower Seeds Series," he turns dense sunflower seeds into a fluid visual texture, subtly embedding the counter-logical symbol "2+2=5." Blending Pop Art with Expressionist textures, Yin Kun dissolves grand signs and collective orders into the details of daily life, conveying the disorientation of individuals within collective currents and their reflection on absolute order.
Ma Dongmin channels vitality into a more introspective breath in this exhibition. Under the concept of "Misty Clouds," he captures the ephemeral imagery of mountains through an ethereal and deep vocabulary. This Eastern aesthetic of reciprocal void and substance bypasses external systemic boundaries, symbolizing the quiet contemplation of the individual soul returning to its inner essence after an era of clamor.
Lin Chunyan (Bei Ye) carries out another dimension of geological archaeology through vertically rhythmic color fields and heavy impasto textures. He transforms vast scenery into a pure spiritual realm, blooming with unyielding vitality beneath a calm facade to demonstrate the unbreakable resilience between individual life and the heavy earth.
Zhao Bin utilizes his profound draftsmanship and sober palette to re-assemble fragments of daily life upon the canvas. Disrupting the established logic of the physical world, he reconstructs the objective universe through a highly personalized, rational structure, establishing an individual visual order within the standardized metrics of time.
Together, these seven artists weave a sweeping epic of vigilance and growth. We invite the audience to share in this warmly focused gaze of "Beijing Time," immersing themselves in these nuanced and authentic dimensions of life, and proceeding from an open, grounded perspective to witness a humanistic landscape of genuine truth and dignity.
展期｜ 2026.07.18 - 2026.09.19
開放時間｜每週二至週六 11:00 - 19:00
地址｜台北市南港區向陽路200號
電話｜02-2752 2578
Date｜ 2026.07.18 - 2026.09.19
Open｜Tues - Sat 11:00 - 19:00
Address｜No. 200, Xiangyang Rd., Nangang Dist., Taipei City 115001 TAIWAN
TEL｜02-2752 2578