無同空间很高兴地宣布，2021年1月17日最新展览《阁楼上的巨人》将被推出，本次展览将展出艺术家陈子丰近期来的展览作品。 陈子丰的作品拥有一种让人感到紧张不安的气质，如同我们窥⻅那躲藏在阁楼上的巨人，顿时我们会有一丝好奇、迷失甚至是恐慌。阁楼是一个隐秘的、黑暗的、拥挤的、或是被遗忘的存在，人们有时会视它为一个逃离现实的小世界，这屋顶轻薄的隔板之上已然成为了一个存储记忆和情感的大盒子。 陈子丰早年接受了中国传统绘画的系统训练，他拥有娴熟的技巧与表达。多重情绪与创作动机在实践中不断沉淀和累积，一直增加着画中形象的重量感，仿佛压得那阁楼吱吱作响，被压抑的对话骚动了起来。人既非生而自由,生存也非绝对自由，在历史无法为前进提供帮助之时，当代人又选择性地忘却了前人的种种“遗迹”，我们是否还拥有着可被追溯的根源呢?面对着这些建筑于空洞的、易坍塌的地基之上的房屋，陈子丰一直在沉默地修补，在他自己的空中阁楼里天真并勇敢地坚守着一种文化的自信与重塑。 艺术家所创造的巨人形象并非为讨好而存在，它们好似携带着被压抑的欲望出生，成长为一种 “扭曲”的有机结构。暧昧丰满的肉体、板滞的眼神和赛博的色彩背后是那些在暗处的膨胀与不安。这些张力并非仅存于画面之中，而其恰恰如同一面镜子，映射出夹在中国传统观念与现代文明之中的中国人的内心世界。 巨人们不会永远蜷缩于阁楼之上，因其对于整个房屋隐秘的威胁，他们会试图诱惑我们进入阁楼内。在我们和这些巨人们面对面时，我们的躯体缓缓的舒展开来…… The Giant in the Attic Chen Zifeng’s works have a temperament that makes people feel nervous. It is as if we were glancing at a giant hiding in the attic, facing away from us, doing things we could not know or understand. We will have a hint of curiosity and fear, but then turn around and leave. The attic is such an existence. It is dark, crowded, always ignored and forgotten, and people see it as if it is not related to their own world. Thus, the thin partition on the top floor of the house becomes a big box for storing secret traces. Chen Zifeng, who has acquired traditional Chinese painting theory and technical training, lives in a house and its attic at the same time. When the giants living in the attic were constantly condensed in the images created by the artist, the accumulated weight of multiple emotions and desires made the attic squeaky, and the suppressed dialogue agitated. Man is neither born free nor has absolute freedom. On the artistic level, what Chen Zifeng wants to fight against and break through is not only the constraints of Chinese painting techniques and forms, but also the unresolved contradictions of traditional art in the contemporary era. Due to the rapid transformation and development of economic models in China, there is abyss between traditional Chinese culture and contemporary society. Traditional art is stuck in fundamentalism and is out of step with contemporary civilisation. Its core has long been compressed by the so-called “advanced civilisation” into a mocked schema. When history is unable to help advance, contemporary people selectively forget the “remains”, as if we no longer have traceable roots. Faced with these houses built on an unstable, easily collapsed, and hollow foundation, Chen Zifeng has been making silent protests, naively insisting on the creation of a culture in his own attic. The giants’ images created by the artist do not exist to please, they are twisted and perverted organic structures born with suppressed desires. Behind the vague and plump body, the sluggish eyes and the cyber colour is the uneasiness that swells in the dark. This uneasiness is not only in the picture, but it is just like a mirror, reflecting the contradictory minds of contemporary people living in the traditional concept and the current society. Giants will not huddle in the attic eternally, and because of their hidden threat to the entire house, it will tempt us to enter the attic; when we are facing the giants, our bodies gradually unfolded.