金杜艺术中心（KWM Art Center）荣幸地宣布，2022年6月23日，“换境——邹操个展”将在金杜艺术中心开幕。

换境
Change of Scene

邹操的新作呈现出婉转的诗意，而与以往直面于现实的作品相比，这份有意为之的诗意与克制更增添了一份令观者沉迷的气质。诗意入画是古代文人对绘画的至高追求，他在画中显现的古代文人画的物象符号，并通过画面来传达的文字想象，无限的、延绵地，让人在脑海中数次回到“明月松间照，清泉石上流”的诗画之境。动静之间，诗与画的互文显现出艺术家对古典文学与东方意象深入的理解和高尚的品味。

The new art piece of Zou Cao is whimsical and poetic. Compared to his earlier works, which is more direct and realistic, his intentional addition of a poetic vibe to this art piece intrigues the viewers. Being able to convey the poetic vibe in an art piece is a crucial composition in artists from ancient times. His ability to incorporate the ancient art symbol in his art piece, together with his effort to bring the viewers a vivid image of poetry through his art work, enabled viewers to visualize the poem of ancient poet Wang Wei – “bright moon casts light amongst pine trees in woods, limpid spring water is flowing over slabs of rocks”. The distinction between being still and dynamic demonstrates his profound understandings to the ancient literature and his unique perception of art.

光，犹如邹操作品中的诗歌韵脚，直指艺术家精神深处的皎白之境，邹操作品中的光，时刻在提示月亮的存在，却惜墨于对月亮本身的刻画。邹操笔下的月光，毋宁说是想象中的月光，冷静又热忱，并赋予了他笔下万物的色彩。画中的竹与兰，在起伏的纹理上流露出动人闪耀的光晕，彷若一阵风刚刚吹拂而过，使得光影影绰绰的摇曳其中。在邹操的笔下，兰竹的风韵不独是郑板桥的专利，它们飘洒成故事、电影、如歌的行板。目光望去，总会想起德彪西的“月光”，但凭着想象就能听见月光与水流碰撞出的声音，如慕如诉，形成恰似小说的明暗线索，由伸手可见的景与物，遥想到远在天边的山河明月。

Light is the rhyme of Zou Cao’s art piece, tapping a shade of dreamy moonlight to his spiritual wonderland. The lights in his art piece continuously remind the viewers the presence of moon, while he only left a slight hint of moon on the paper. The moon light in this art piece, shall rather be regarded as an imaginary one. It is calm and lively, casting a vibrant tone to this art piece. The bamboo and orchid, along with its textural embellishment, bring out a shining aura, which enables the viewers to envision the wind, flickering lights and shadow through standing right in front of the art piece. Under his work, the charms of bamboo and orchid does not exclusively belong to Zheng Banqiao. Those charms are like story, movie, and andante. The art piece persistently reminds us another masterpiece, Clair de Lune by Debussy, as if we can sense the moonlight and perceive the subtle sound of running water flow, like whining and whimpering, composing a subtle clue in a fiction. The immediate scene and objects prompt us the mountain, river, and moonlight in distance.

如果说《指纹》系列是在探讨和放大隐私与公众社会的关系，新作的单色绘画则倾向于回归到人最本质和朴素的精神之地, 游目骋怀于天地自然的状态中，时刻准备远离由意识形态塑造的人类社会法则。回归自然规则主导下的关系，是艺术家在新作品中主要强调的。新的单色绘画作品，也保留了《一指江山》的观念性，并在这一观念之上淬炼出更纯粹的个人意志，同时展现出在技法与个人情感的统一，哲学与美学精神对个体以及个人艺术语言的塑造。在化繁为简的图像中找到使人可以得到片刻安宁的情绪动机，在由诗意营造的画面中，展现出连续的、身临其境的电影画面。生命线在指纹上的流转如精神象征的DNA，自然而然的被笼罩于东方的神秘主义之中，并神奇的与自然形成的生命脉络殊途同归。

If the series of “Fingerprint” discuss the relationship between the privacy and the general public, this art piece emphases the most fundamental and rudimentary aspect of human’s spiritual world. In here, he is a nomad, wandering in the natural world, and is ready to distant the society tapered by different types of ideology. Returning to the relationship formulated by natural norms remains the emphasis of this art piece. The new monochrome painting also retain the conceptual nature of "One Finger, One Mountain", and refine a pure personal will on top of that concept. Meanwhile, he demonstrated the unity between technique and personal sentiment, and allow the spirit and of philosophy aesthetics to shape his artistic language. By simplifying the image, he allowed the viewers to find peace. In the scenery formed by poetry, he displayed a continuous and immersive cinematography for viewers. The flow of the life line on the fingerprint is similar to a spiritual symbol of DNA, which is naturally enveloped in the mysticism of the East and miraculously follows the same path as the natural formation of the life vein.

在本次展览中，邹操将某些存在于精神世界之中的领土还给了自然，文本不能赋予的对自然的想象，静谧的涌动于他的作品之中。融融的月色指涉着自由的亮光，包容着物质世界的平庸和昏昏然。和历史上的那些诗人一样，古往至今，皆在同一片月光下感怀着，于是歌德与月相对，“在心曲的迷宫里漫游”；或如波德莱尔面对月亮而忧愁，她们皆“像蓝天里袅袅上升的白色幻象”。于是，在月光洒下的这片寂静之地中，又生长出了光。

In this exhibition, Zou Cao reserved his spiritual land partially to the nature. His art piece bridges a pathway to the whimsical wonderland fail to be done by literature. The melting moonlight makes reference to the bright light of freedom, embracing the banality and faintness of the world. Like poets in history, who have been under the same moonlight from ancient times to the present, so Goethe wrote, "wandering in the labyrinth of heart songs", and Baudelaire, being sorrow while facing the moon, said the moon is "like white visions rising in the blue sky". Thus, in this silent wonderland where the moonlight falls, light grows again.

—— 策展人 朱彤
Curator Zhu Tong

关于艺术家

邹操，先后就读于东北师范大学美术学院硕士，吉林大学哲学社会学院博士，中央美术学院博士后，原执教于中央美术学院，现就职于中国艺术研究院，同时受聘于北京大学艺术学院，东北师范大学美术学 院客座教授、博士生导师等职。

邹操是享誉国际的中国当代艺术家、艺术理论家。其艺术创作涉猎于绘画、装置、影像、科技艺术及“社会雕塑”等众多领域。

在艺术展览方面邹操先后曾在北京、上海、香港、台湾、美国、德国、奥地利、韩国等世界各地多次举办个人画展和展览，并入选第 54 届、57 届威尼斯双年展，其作品和展览受到国际艺术界的广泛关注。

关于策展人

朱彤，当代艺术策展人，曾策划过包括《未来考古学—第二届中国艺术三年展》（南京博物院）、《书写—首届南京国际双年展》（江苏省美术馆）、《朦胧—第54届威尼斯艺术双年展特别展》（意大利威尼斯）、《目光所及-后金融危机时代的中国新绘画》（保利博物馆，法国泰勒基金会，日本福冈亚洲美术馆等）、《美丽新世界—南京第二届国际美展》《无界-来自中国的当代艺术》（意大利曼特尼亚美术馆）等多个国内外重要展览项目。曾出版《演变》《超越的维度》《幻想》等多部学术专著。