与幽眠｜哭蓟

与幽眠｜哭蓟

2023.11.25 - 2024.1.7

艺术家：卜實、里卡多·阿尔比耶罗策展人：郭俣前言｜写在《与幽眠》与《哭薊》之前

将“幽”与“薊”视为东西方绘画中的核心主题，这并不意外。“幽”可解为“幽谷”、“深林”或“扁舟”；“薊”可解为“薊草”“荆冠”或“十字”。这些意象不仅在两位艺术家的画面中有迹可循，且因夹带着明确的地域属性与文化特征，先于他们而存在。然而在我看来，两位艺术家所试图接近的远不止于这些。

卜實的画面蕴含一种象征性品质，应该是“象征性”的象征品质。当我辨认出火，却发现它带着极寒的属性；当我瞥见水波，它却静伫着；我寻得月亮时，它却散发黑光。我一次次被这些视觉陷阱吸引、捉弄，而后恍然，闭眼达观，若有所得。他成功地将我们引入“黑色”边缘，同他一起啃食被光虚晃的真实。

相较于卜實，里卡多·阿尔比耶罗似乎并不执拗于撕裂那份“不可见”，而是让一切可见显形，让沉睡的幽灵裹上新的面纱。他善于制造戏剧性——那惊人的一撇，让“泪”拥有多变的肖像，或光，或雨水。在含蓄的“痛感”中，“隐喻”跌宕为一种绘画的修辞学。

两位艺术家的作品之间存在着极强的张力，我试图借卜實曾在意大利博洛尼亚创作的一件装置作品——《黑雨》——联结“幽”与“薊”。在这场“黑雨”

中，雨安静地叩击夜的幽静，它们面面相觑，却浑然不觉。希望此举动没有搅扰他们绘画中的思绪。文 / 郭俣

Drowse with Obscurity, Cry in Thistles

2023.11.25 - 2024.1.7 Artists: Bu Shi, Riccardo Albiero Curator: Guo Yu Foreword: Before Drowse with Obscurity and Cry in Thistles

To treat “Obscurity” and “Thistles” as central motifs in Eastern and Western paintings is not a surprising revelation. “Obscurity” conjures images of a hollow valley, deep forest, or flat-

bottom boat; “thistles,” evoke the plant per se, crown of thorns, or crucifixes. Due to their regional and cultural significance, these imageries can be traced within and precede the paintings of the two artists featured. For me, however, what they attempt to approximate each other through, is so much more profound. Bu Shi’s paintings carry a symbolic quality, supposedly a quality of “symbolic”

symbolism. I discern the fire, perceiving its entailed frigidity. I catch a glimpse of ripples yet find the water standing still. When I discover the moon, it radiates darkness. Endlessly, I am drawn into these optical traps and teased. Then awakened, I close my eyes as if gaining some enlightenment. He has managed to lead us to the border of “black,” and together we gnaw at the truth flickered by light. Compared to Bu Shi, Riccardo Albiero does not insist on tearing the “invisible” asunder, but instead manifests the contours of all things and veils the slumbering ghosts anew. Well-

versed in creating theatricality, he imbues “tears” with versatile portraits, either of light or rain, in that astonishing stroke. Within a subdued “sense of ripping pain,” “metaphor” is destabilized into a pictorial rhetoric. The works by the two artists exude tension. Alluding to Bu Shi’s previous installation Black Rain (Pioggia nera) created in Bologna, Italy, I have endeavored to connect “obscurity”

with “thistles.” Albeit vis-à-vis, they are unaware of each other, in this black rain that gently taps upon the obscure silence of the night. Hope my act won’t disrupt the thoughts within their paintings. Guo Yu, in Beijing November 3, 2023

(Translated by Bai Yaying)