斡旋于蜃楼大厦间
Twisted between Mirag
e Buildings
符茗希个展
Fu Mingxi's solo exhibition
策展人 Curator
陈泊帆 Chen Bofan
展期 | Exhibition Period
2025.02.15-2025.03.31
开幕 | Opening
2025.02.15
15:00-18:00
合肥市蜀山区新粮仓15号，周一至周日
15# Building, KUKUPARK , Shushan
District,
Hefei.
Open Monday to Sunday.
群鸟 / The Birds
2024
布面油画 / Oil on canvas
135 x 180 cm
我们欣然宣布符茗希个展于2月15日在可以画廊合肥空间开幕，这是艺术家在可以画廊举办的第一场个人展览，由策展人陈泊帆策展，展览以「斡旋于蜃楼大厦间」为主题，呈现艺术家近两年的20余件新作，展览将持续展出至3月31日。
We are pleased to announce that Fu Mingxi's solo exhibition will open on February 15th at the Hefei space of
KeYi
Gallery
. This is the artist's first personal exhibition held at
KeYi
Gallery
, curated by curator Chen Bofan. The exhibition is themed "
Twisted between Mirage Buildings
" and presents more than 20 new works by the artist in the past two years. The exhibition will continue to be on display until March 31st.
“什么是属于建筑的？它始于何处？又终于何地？”
——
吉迪恩《法国建筑：钢和钢筋混凝土建筑》
"What belongs to architecture? Where does it begin? And where does it end up?"
— Gideon,
Bauen in Frankreichi, Bauen in Eisen, Bauen in Eisenbeton
共生共存 / Symbiosis
2024
布面油画 / Oil on canvas
135 x 180 cm
在现代都市的认知序列下，建筑既是显而易见的，但同时却也是最容易被忽略的，空缺空间（vacant space）的出现一方面让建筑的功能性作用被无限放大，但另一方面关乎建筑-社会的生态意识却在快速降低，一栋栋建筑正在连接手段的迅猛发展中化为孤岛。
In the cognitive sequence of modern cities, buildings are both obvious and easily overlooked. The emergence of vacant spaces, on the one hand, magnifies the functional role of buildings infinitely, but on the other hand, the ecological awareness related to buildings and society is rapidly declining. One by one, buildings are turning into isolated islands amid the rapid development of connection means.
但这似乎是符合后现代建构方式的，“需求”的前置在多大程度上瓦解了建筑在历史发展中所承载的美学特征与纪念意义？在建筑当中，某种未来式的渴望消失了，它落入了对日常需求的媚态与服务精神的执行。
But this seems to be in line with the postmodern construction approach. To what extent does the prioritization of "demand" undermine the aesthetic features and commemorative significance that buildings have carried throughout history? In architecture, a certain future-oriented aspiration has vanished, and it has fallen into the servile execution of catering to daily needs and a spirit of service.
化于肉身 / Be absorbed into a fleshy body
2024
布面油画 / Oil on canvas
75 x 100 cm
华特本雅明对此发出的观点是：“现代建筑正估计到了这一体验危机，因为它创造了各种无特定性格的空间，只有光、空气和通透性成为主导要素。因而，现代建筑的推动力就呈现在一种“新野蛮主义”的创造活动中，这一胆大妄为的需要是用来回应社会提出的种种要求······”于是，建筑的主体性被抽离为了需求的蜃楼——去个性化的、被剥离了构造意识的幻影。
Walter Benjamin's view on this is: "Modern architecture is estimating this crisis of experience, because it creates a variety of characterless Spaces, only light, air and permeability become the dominant elements.Thus, the driving force of modern architecture appears in the creative activity of a "new barbarism," an audacious need to respond to the demands of society... "The subjectivity of architecture is then extracted into a mirage of needs - a depersonalized phantom stripped of structural consciousness.
历史在线性时间中以批判的态度被推上了不可逆的重构工作，显然它是极端和一元化的，就像建筑在当下的角色是服务性的中立空间，除此以外的特征皆被吊销和抹除。正如波德莱尔曾说：“现代性是暂时的，是稍纵即逝的，是偶然的，是艺术的一半，而艺术的另一半是永恒的，不变的。”那么在愈发透明化的蜃楼中我们又该如何唤醒其存在的另一半呢？
History is critically pushed into irreversible reconstruction work in linear time, which is obviously extreme and unified, just as the role of architecture in the present is a neutral space of service, and all other characteristics are revoked and erased. As Baudelaire once said, "Modernity is temporary, fleeting, accidental, half of art, and the other half of art is eternal and unchanging." So how do we awaken the other half of its existence in the increasingly transparent mirage?
寂寥弥散 / Diffuse loneliness
2024
布面油画 / Oil on canvas
60 x 80 cm
符茗希的创作在此语境里就像是一筑桥，它试图构筑起建筑现代性的一半和艺术另一半的中间地带，建筑被约为结构，而知觉就像是存续其中的灵态，它被记忆、感知、情感所牵纵，从而自由的游走在各式各样的结构特征当中，“建筑”在其作品中是获得解放的艺术主体，它不再指向一处住所、一处办公场地、一处可供使用的空间场域，非要说的话，它被附魅为了一种个体性的“纪念碑”。
In this context, Fu Mingxi's creation is like a bridge, which attempts to build the middle ground between the half of architectural modernity and the other half of art. Architecture is considered as a structure, and perception is like the spirit state that persists in it, which is guided by memory, perception and emotion, and thus freely walks among various structural features. "Architecture" is the liberated artistic subject in his works. It no longer points to a home, an office, a usable spatial field, but rather to an individual "monument.
正因如此，符茗希才得以将线段两端的主体性图像进行并置。在其中，既有当代性的群居蜃楼，也存蓄着现代性的最后荣光——大厦，建筑名词会随着空间实用性的蔓延而增增减减，从而致使某些“无用”的词汇被封于脑后，“大厦”便是其中之一，在词典中“大厦”被解释为高大的房屋，这是从视觉图像角度所做的定义，区别于当下的公寓、写字楼、酒店，“大厦”的称呼更显示出建筑所承载的视觉特征和区域建筑群的生态特质，它表征了一种仰望的观看视角、一种对于未来的拟像和期冀。
Because of this, Fu Mingxi was able to juxtapose the subjective images at both ends of the line segment. Among them, there are not only the contemporary group mirage, but also the last glory of modernity, the edifice. Architectural terms will increase and decrease with the spread of spatial practicality, so that some "useless" words are blocked in the back of the mind, "edifice" is one of them. In the dictionary, "edifice" is interpreted as a tall building, which is defined from the perspective of visual images. Different from the current apartments, office buildings and hotels, the title "mansion" also shows the visual characteristics of the building and the ecological characteristics of the regional architectural complex, which represents a kind of viewing Angle to look up, a kind of simulaculation and expectations for the future.
