Lin Luanchong & Xie XiuxiuMountain Archetypes and Lacquer SituationsOpening: 3 / 2 Saturday at 17:00 Tuesday to Saturday 13:30 - 18:00Chinese European Art Center
中国欧洲艺术中心（CEAC）欣然呈现林銮崇和谢秀秀的双个展《此时此刻》（Mountain Archetypes and Lacquer Situations）。展览的中文标题以及其对应的英文翻译之间，被构想有着一种隐性的互文关系：此时此刻表述了一种瞬时性，人不能两次踏入同一条河流；而Mountain Archetypes and Lacquer Situations（山形水势）则表述一种山与水之间的常情与常理。这样的命名既来自于对两位艺术家彼此关系的描述，同时也指涉着两者在创作过程中各自面对不同母题，又能彼此交会的情态。林銮崇，无题，Lin Luanchong，Untitled林銮崇近年来始终都在自己的“山中”等待着某人何时到来，他凭借着记忆从摹画到塑形，不断构造着想象中的空山。对他而言，山的存在在于其几乎不易察觉、逐渐生长着的轮廓与中空的负形。他用重复的点去构型而非直接描摹真山的方式，源于近些年逐渐重拾的记忆：幼年与祖母在山中抄经画点，一笔一笔，整页整页，一天一天，寓于时间之中。这一“记”的方式就像是在写录自我，而其彼时不得要领，常常半途而废，此时方才意识到那关乎的其实是某种自身时间的节律，以及与自我相处的技术。也正因为此，山的形象在他那里是其主体性地显现，从绘画、拼贴、书写、到脱胎雕塑/装置——他通过持续不断的材料实验尝试着，而在最近一系列被命名为“自在物”——仿拟“顽石黑闇中有一点光”的未完成作品里尤为可见，他/它犹如水滴石穿，也似禅宗里的“漆桶洞开”（《五灯会元》卷十四）。谢秀秀的创作在形式上与前者完全不同，她在很早就从传统施于大漆以“重复打磨的动作”中脱离，那种耐性或许只是一种将“遮蔽进行显现”的欲望与迷恋。作品往往依人的性格百转千回，大多与其相识的朋友或许都有着同一种感觉“10年也只如初见，初见又仿佛相识多年”，她率真的性格就像她的创作，直觉地选择了借水之流动去捕捉漆因“势”而变的痕迹与浮影。本次将展出她的2组作品，一组为一条近20米长在布面的漂漆长卷，它如同河流一般绵延在整个展厅，可以想象创作如此巨大的画幅需要动用起全身心的姿态，每一次地提拉，在水面上都将引发一系列随机波动；另一组作品则是她近10年来所进行的漂漆实验的样稿，时间构成了它们的实体，在展厅墙面均匀铺开，如同一个个自我时刻的标本，等待与观众的时间-礼物交换。
Xie Xiuxiu，Beauty Series，30 x 40 cm林銮崇和谢秀秀虽有着不同的创作方式和风格，但这些年他们一同出游、共同生活，频繁往返于两人各自的家乡，面对着彼此相似又差异的地貌、风土与人情，交织的生活轨迹使他们的创作方法和关切点，有了不少叠影之处。大概居留在福建的艺术家们总是脱离不了生活和地域对他们的影响，这里山海交汇，岛屿和狭窄破碎的平原不可能形成起统一、整全的区域认知，因此各个地方都强调着自身历史传统的多样性。谢秀秀来自闽中的尤溪，这是一个以河流命名的小城，周遭水系网络四通八达；林銮崇出生于闽东宁德的群山里，那里也如他的名字般崇山峻岭，数条山脉控制着地形骨架，形成了南北走向的狭长谷地。
无论是他们各自的性格、出生地的风土、创作中的意象，都把本次展览引向了山水交汇的情境，我们也将在现场看到一个被重新组合的此时此刻：銮崇将中空的“山器”集置在一个歇山顶的木架装置里；秀秀则用漆（漆也是一条河流（《说文解字》：“漆，水，河川”），）的痕迹勾勒出一条闪烁的粼光川流。Lin Luanchong，Tide-gazing，multi-mediaThe Chinese European Art Center (CEAC) is pleased to present Mountain Archetypes and Lacquer Situations (or literally translated as Here and Now), a dual solo exhibition by Lin Luanchong and Xie Xiuxiu. An implicit intertextual relationship is conceived between the Chinese title of the exhibition and its corresponding English translation: Here and Now expresses a kind of transience in which one cannot step into the same river twice; while Mountain Archetypes and Lacquer Situations conveys a common sense between mountains and water. Indicating the relationship between the two artists, the title also reveals their mutual understanding and connection as they face different themes in the creative process.
Xie Xiuxiu，Untitled，variable size，2024In recent years, Lin Luanchong has been waiting for someone to arrive in his "mountain". He relies on his memory to construct empty mountains in his imagination by means of imitating and shaping. For him, the presence of a mountain lies in its almost imperceptible, slowly growing outlines and hollow negative space. His method of using repetitive dots to construct structures rather than directly depicting real mountains stems from the memories he gradually regained in recent years: when he was a child, he copied scriptures and drew dots in the mountain with his grandmother. The strokes he wrote formed into pages of characters as days went by. This method of "recording" resembles self-documenting, but at that time he failed to grasp the essence and often gave up halfway. At present, however, he realizes that what matters are a rhythm of one's own time and the technique of getting along with oneself. As a result, he starts to present the image of mountain as the subject of his work, including painting, collage, writing and bodiless lacquerware (sculpture/installation). His efforts are made through continuous material experiments, and in a recent series named Things-in-themselves, a parody of the unfinished work of A Bit of Light in the Darkness of a Stubborn Stone, such efforts are most obvious. He/it is like water dripping through a stone, or the "opening of a paint bucket" in Zen Buddhism (Song Dynasty History of Zen Buddhism in China: Volume 14).
林銮崇，无题 ，Lin Luanchong，UntitledDistinct from Lin Luanchong in the creation form, Xie Xiuxiu broke away from the traditional "repeated polishing" method of applying lacquer since an early stage. One’s patience for the process may simply stem from a desire and obsession to "reveal through concealment". Her works often vary depending on the personalities she moulds. Most of her friends may have the identical feeling that even though they’ve known each other for a decade, it feels as if they were new acquaintances with years of familiarity. As a reflection of her straightforward character, she intuitively chose to use the flow of water to capture the traces and floating shadows of the paint that change with the "momentum" in her creation. Two sets of her works will be exhibited this time. One set features a nearly 20-meter-long scroll of bleach paint on fabric, which stretches throughout the exhibition hall like a river. It can be imagined that creating such a huge painting requires the use of all devoted postures. Each pull of the movement causes random fluctuations on the water surface. The other set of works are samples of the paint bleaching experiments she has conducted in the past 10 years. They are spread evenly on the exhibition hall wall like self-moment specimens, waiting for the time-gift exchange with the audience.
Although Lin Luanchong and Xie Xiuxiu have different creative methods and styles, they have been traveling and living together over the years. They frequently traveled to and from their respective hometowns, facing similar but slightly different landforms, people and customs. Their intertwined life paths gave rise to the overlaps in their creative methods and focuses. Artists residing in Fujian are susceptible to the influence of the local region and culture. In an area where mountains and seas meet, unified and comprehensive regional understandings could hardly be reached based on the local landform constituted by islands and fractured narrow plains, thus each municipality emphasizes the diversity of its history and tradition. While Xie Xiuxiu comes from Youxi in central Fujian, a small town surrounded by a network of water systems extending in all directions and named after a river, Lin Luanchong was born in the lofty mountains of Ningde in eastern Fujian, which were the source of his name. With mountain ranges determining the terrain, a long and narrow valley is formed running north to south.Xie Xiuxiu，Chaos，80 x 80 cmWhether it is their respective personalities, the customs of their birthplaces, or the imagery in their creations, this exhibition leads to the intersection of mountains and rivers. Audience will also see a reassembled “Here and Now” at the scene: Luanchong will place the collected hollow "mountain utensils" in a wooden frame device on the top of a mountain; Xiuxiu will use traces of lacquer to outline a twinkling stream. (Lacquer equals to river in ancient Chinese as recorded by the Chinese classic the Analytical Dictionary of Characters: "Lacquer refers to water or river.")
Born in 1989 in Fu'an, FujianGraduated from the Oil Painting Department of the Yangtz University School of Art in 2012Currently based in XiamenGraduated with a Master's Degree in Lacquer Painting from Xiamen Academy of Arts and Design, Fuzhou UniversityCurrently based in Xiamen and Quanzhou策展人，写作者。1992年生于韶山，2014年本科毕业于厦门大学艺术管理专业；2021年硕士毕业于中国美术学院策展专业。目前主要关注自组织、共通体和现地策展（On-Site Curating）。他于2015年参与创立“轴艺术项目”（AXIS Art Project），并获得2016年上海当代艺术博物馆“青年策展人计划”奖项；同年创立独立空间404 Not Found Lab，组织后田协商组，在厦门开展一系列社区-剧场的艺术实践；此外，他从2017年起，参与“方志小说”，策划多场驻留、展览和工作坊。同时，他通过艺术评论和创意写作，寻找策展之外的连结方式，于多部期刊和线上平台发表。Curator and writer, born in Shaoshan in 1992.He graduated from Xiamen University in 2014, majoring in Art Management; Then in 2021 graduated from China Academy of Art, majoring in Curating. Currently, he focuses on self-organization, commons and on-site curating. He is one of the founders of AXIS Art Project (2015), and won the award of Young Curator Program of Shanghai Museum of Contemporary Art in 2016; in the same year, he founded the independent space 404 Not Found Lab, organized the Houtian Consultation Group, and carried out a series of community-theater art practices in Xiamen. In addition, he has been involved in the "GAZETTEER NOVEL", curating a series of residencies, exhibitions, and workshops since 2017. Meanwhile, he has been searching for ways of connecting with others outside of curating through art criticism and creative writing, which has been published in a number of journals and online platforms.
中国欧洲艺术中心
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