骰子一掷取消不了偶然——苏昱铭&李轶君双个展

骰子一掷取消不了偶然——苏昱铭&李轶君双个展法国诗人斯特芳·马拉美（Stéphane Mallarmé）的代表作《骰子一掷取消不了偶然》（以下简称《骰子一掷》）以神秘独特的形式大大革新了诗歌创作，推动文学与哲学迈向下一纪元。本次苏昱铭与李轶君双个展以这首时代之诗命名，并非企图以跨时代的高度概括这两位青年艺术家，而是希望从灵感、意绪、节奏等方面理解艺术作品的纯粹精神与本质呼应。关于苏昱铭作品的策展理念、形式和主题，可以称之为偶然的连缀。本次布展分离焦点，与《骰子一掷》的文字排列相映射，“它有时呈楼梯式，有时一行只有一个字，有时一页只有一个字或几个字”，文字或作品在他们的呈现中，已经模糊了原有的功能，连缀起感受的边界。从形式上，苏昱铭善用巧合与碰撞，皮革、丙烯、喷漆、油画、马克笔、石版转印、铅笔等等都是他与世界碰撞的“骰子“，融合创造出新奇的视觉嗅觉触觉经验，带读者进入陌生的”偶然世界“。作品题目中显示的《阳光下的男孩》《小王子》《Her》《Queen》等身份，不过是他在每一个”掷骰“后的瞬间落影。画面不管取材于网络图片，抑或从现实加工，都会投射在观众的眼底，实现骰子的传递，碎片汇合，笔意连绵。《心动》捕捉的是一位正在吃饭的男孩正拿起手机的瞬间，手机壳上“DON‘T SHY”仿佛暗示手机那头是心动的对象。画面中有多处碎片漂浮，盘旋在主角头顶，点缀在主角上衣，与画面最左侧的异色呼应，透露出线索——这可能是一帧卡顿的电子图像。苏昱铭的作品在虚实之间穿梭，就像无限拉长骰子掷出后没有停止前的悬疑时刻，开启显像管时代的虫洞。李轶君凝固“心动”瞬间，追溯生命的奥义。“心动”系列灵感来源胎儿心电图的波动，而生命则是“宇宙骰子”

偶然性中最浪漫的产物。她将偶然定格为山川四季，却也是沧海桑田，山川化为草木，化为人间。当代阐释对于存在否定、对于意义否定、对于形式否定，然而“普遍的否定也就是否定的缺席（马拉美语）“，李轶君敢于肯定“真”、肯定“美”，沿袭古法，从自然世界解构，“从硕大化作微尘，光彩熠熠（《骰子一掷》）”。李轶君作品中点、线、面各司其职，秩序清晰，却又浑然一体。《心动·深蓝》中，平远的磐石坚挺，披麻皴般色点营造肌理；深远平涂出屏障，顶部火焰冲刺天顶；高远巍峨以气化形，右侧线条引出画面外；渺远沧海茫茫，如罗斯科一般融汇碧、橙、蓝，潜伏引诱着视觉以外的感官。 《心动·跳跃》与其同源，平、深、高、渺层次相近，但主题却红得热烈，碧得清新，大胆用黑，点色如漆，氤氲一团粉气，观众随着笔触同频了呼吸与心跳。

“一切思想都引发骰子的一掷”——这是《骰子一掷》的终结之句，也是思考的起始。绘画的“意义”“功能”也许并不存在，但是画面定格，落钉上墙，对于它的解读与感受成为了观众心甘情愿的“赌注”，绘画又重新成为了行动与思想出发的可能。

A Dice Throw At Any Time Never Will Abolish Chance —— Dual Solo Exhibition of Su Yuming & Li Yijun Stéphane Mallarmé, a French poet, revolutionized poetry creation with his representative work "A Dice Throw At Any Time Never Will Abolish Chance" (hereinafter referred to as "Un coup de dés jamais n’abolira le hasard"), introducing a mysterious and unique form that propelled literature and philosophy towards a new era. Naming this dual solo exhibition by Su Yuming and Li Yijun with this epochal poem is not an attempt to generalize the two young artists from a cross-era perspective, but rather a hope to comprehend the pure spirit and inherent essence of artistic works from the perspectives of inspiration, sentiment, and rhythm. Regarding the curatorial concept, form, and theme of Su Yuming's works, they can be described as a concatenation of chance. The exhibition's layout deviates from a single focal point, mirroring the arrangement of words in "A Dice Throw” where "it sometimes takes the form of stairs, sometimes has only one word per line, and sometimes only one or several words per page." The function of the words or works in their presentation has become blurred, blurring the boundaries of perception. Formally, Su Yuming utilizes coincidences and collisions, employing leather, acrylic, spray paint, oil painting, markers, lithography, pencils, and more as the "dice" of his encounters with the world, fusing them to create novel visual, olfactory, and tactile experiences, guiding the viewer into an unfamiliar world of chance. The identities displayed in the titles of his works, such as "Sunshine Boy", “Prince”, “Her", “Queen" and more, are merely fleeting shadows captured after each "dice throw”. Whether the images are sourced from the internet or processed from reality, they are projected onto the viewer's retina, realizing the transmission of dice, the convergence of fragments, and the continuity of brushstrokes.

"Heartbeat" captures the moment when a boy eating dinner picks up his phone, with the words "DON'T SHY" on the phone case seemingly hinting at the object of his affection on the other end. There are multiple fragments floating in the picture, hovering above the protagonist's head and adorning his shirt, echoing the out-of-place color on the leftmost side of the frame, revealing a clue—this could be a frozen electronic image. Su Yuming's works shuttle between reality and illusion, like the suspenseful moment after a dice throw before it comes to a stop, opening a wormhole into the era of cathode ray tubes. Li Yijun freezes the moment of "heartbeat" and traces the mystery of life. Her "Beckoning" series is inspired by the fluctuations of a fetal electrocardiogram, and life is the most romantic product of the contingency of the "cosmic dice”. She captures chance as the changing seasons of mountains and rivers, yet also as the vast sea and barren land, as mountains and rivers transform into vegetation and humanity. Contemporary interpretations negate existence, meaning, and form, but "universal negation is also the absence of negation" (Mallarmé). Li Yijun dares to affirm "truth" and "beauty," adhering to ancient methods and deconstructing the natural world, "of a final account in formation, attending, doubting, rolling, shining and meditating before stopping" (A Dice Throw). In Li Yijun's works, points, lines, and planes each fulfill their roles with clarity and order, yet they merge into a harmonious whole. In "Beckoning · Deep Blue”, the distant boulder stands firm, its texture created by mottled color dots; the distant horizon is painted flat, with flames surging towards the skyline; the lofty peak takes shape through vaporization, with lines extending out of the frame on the right; the ocean is vast, blending green, orange, and blue like Rothko, lurking to entice senses beyond vision. "Beckoning · Leap" shares a similar hierarchical structure of flat, deep, high, and distant, but its theme is fervently red, refreshingly green, boldly black, with dots of color like paint, and a misty pink aura. The viewer synchronizes their breath and heartbeat with the brushstrokes.

"All Thought expresses a Throw of the Dice"—this is the concluding line of "A Dice Throw" and also the starting point of reflection. The "meaning" and "function" of painting may not exist, but when the image is frozen and hung on the wall, the interpretation and perception of it become the willing "bet" of the viewer, and painting once again becomes a possibility for action and thought.