人间喜剧-杭州大饭店

人间喜剧 — 杭州大饭店时砚亮的创作始终以一种近乎荒诞的清醒，凝视时代的褶皱与个体的境遇。本次展览《人间喜剧》将艺术家近年来的创作脉络编织成充满隐喻的图景：夕阳余晖、动物寓言、男女镜像，以及那些凝固在画面中的日常物象，共同构成了对当代中国社会转型期精神图景的复杂叙事。时砚亮的作品像一面棱镜，将这种蓬勃明媚背后的矛盾、警惕与希冀折射为一场静默的人间喜剧。

Shi Yanliang's creations have always gazed at the folds of the times and the situation of the individual with an almost absurd sobriety.This exhibition, "Human Comedy", weaves the artist's creative veins in recent years into a picture full of metaphors: the afterglow of the setting sun, the allegory of animals, the mirror image of men and women, and the everyday objects frozen in the picture together constitute a complex narrative of the spiritual landscape of contemporary China during the period of social transition.Shi Yanliang's works are like a prism, reflecting the contradictions, vigilance and hope behind this vigorous brightness into a silent human comedy. Human Comedy - Hangzhou Restaurant

自况性：性别的叙事时砚亮笔下的男性常带有自况色彩：身材线条被简化如工业零件，或隐匿于阴影中成为物的旁观者，暗示男性气概在工具理性下的异化。而女性形象则多呈现得自信且舒展：镜头下的少女既是被凝视的客体，又是以身体语言反抗规训的主体。性别的复杂性下，身份并非本质，而是作为重复的符号被建构与颠覆。在“西瓜山”系列中，最富有标志性意味的角色是《世界灭火日》中带着红领巾的少年与直视观者的女游泳者，如今，红领巾少年已经成长为青年，但是女性依旧美丽耀眼，甚至细节更为丰富，角色尺寸从10公分放大10倍，展现出不同于早期古典光影的新时代日光下明媚舒展的女性形象。

若说70年前理查德·汉密尔顿的《是什么使今天的家庭如此不同，如此有魅力？》以拼贴的消费符号预言了后工业时代的物化狂欢，那么时砚亮则是在21世纪以“新城市景观”的长卷，进行从消费符号到精神符号的转化的东方回应，在喧嚣的喜剧中，沉默反而成为最震耳欲聋的独白。最终，《人间喜剧》邀请观众成为这场戏剧的共谋：在夕阳的余烬中，辨认自己的倒影；在动物的寓言里，听见时代的回声。

Self-referentiality: Narrative of Gender The men in Shi Yanliang's works are often characterized by self-referentiality: the lines of their bodies are simplified like industrial parts, or they are hidden in the shadows and become spectators of objects, suggesting the alienation of masculinity under instrumental rationality.On the other hand, the female figure is often presented with confidence and flexibility: the young girl under the camera is both an object to be gazed at and a subject who resists discipline with her body language.Under the complexity of gender, identity is not the essence, but is constructed and subverted as a repeated symbol.In the "Watermelon Hill" series, the most iconic characters are the young boy with a red scarf and the female swimmer looking directly at the viewer in "World Fire Fighting Day". Nowadays, the young boy with the red scarf has grown into a young man, but the woman is still beautiful and dazzling, and even more detailed, with the size of the character enlarged 10 times from 10 centimeters to show a new era of light and shadow unlike the classical light and shadow of earlier times.The characters have been enlarged ten times their size from 10 centimeters, revealing a new era of bright, sprawling women in daylight, unlike the classical light of the early days. Seventy years ago, Richard Hamilton's "What Makes Today's Families So Different, So Attractive?

predicted the carnival of materialization in the post-industrial era with the collage of consumer symbols, then Shi Yanliang is an oriental response to the transformation from consumer symbols to spiritual symbols in the 21st century with the long scroll of "New Cityscape", where silence becomes the most deafening monologue in the midst of the hustle and bustle of the comedy.In the end, Human Comedy invites the audience to be complicit in this drama: to recognize their own reflections in the embers of the sunset; to hear the echoes of the times in the animal fables.