秩序--中国新绘画案例研究（二）

秩序（ORDER），作为一种意趣，是贡布里希在20世纪80年代提出的，广泛存在于人类创作的艺术中装饰性的心理学表征。伴随着当代艺术的流变、社会理论的衍化、哲学研究的推展，"秩序"一词的讨论范畴也逐渐扩大。本展览集结了6位艺术家，延续又生空间的"中国新绘画案例研究"系列展览，从形式秩序、社会秩序和情感秩序等角度，探索"秩序"的当代演绎。

社会秩序是秩序的理论关切。在由"人"组成的有机系统中，秩序成为了动与静的依据，团结与分化的核心，以及当代艺术注释的重要主题。刘韡《世界之墙》（2009）使用牛皮这一非常规媒介，建立人类对阶级与动物对食物的渴望之间的联系，审视权力意志，也揶揄着权力秩序的脆弱。此系列在五角大楼、圣保罗大教堂、泰特美术馆的展出，也为作品增添了地缘和空间的镀层，复现人们前进征程中现场的撕裂与重塑。欧阳春《王的末路》（2006）以身着华袍的离世国王形象构建鲜明对比，色彩、笔触、形象的分野暗喻封建王朝秩序的崩塌，哀戚却滑稽。

形式秩序是秩序的外在表现。"秩序感的存在，表现在所有艺术风格中，根植在人类的生物学遗传之中" 。这种原存在于装饰性作品中的"韵律性"处理，后来演绎为抽象等艺术形式。在余晓、蔡磊的作品中，可以清晰看到艺术家在形式中讨论"内与外""近与远""二维与三维"间的秩序关系。余晓的"卷"系列（2017-2018），把两张完整的画作用面对面粘黏的方式隐藏了其各自原本的样貌，以其中一件的切割、卷起、折叠，使得原有的画作可见范围被艺术家重新判断和选择，这是对创作秩序的创新，亦是隐喻文化叠加，指向身体秩序。蔡磊《转角3》（2015）紧扣视觉推演的主题，带来不同景别的碰撞，维度秩序被打破，带领观众尽情穿梭在无限的精神旷域中。

情感秩序是秩序的心理内核。我们面临的建基在理性之上的现代秩序或已陷入过度微观化的狭隘格局，重新思考情感与秩序的关系问题具有比以往任何时代都大得多的现实意义。倪有鱼《日食》（2019）通过"水冲法"再造光线和节奏的新奇体验，镌刻时间的秩序。"Montmajour Vincent"签名提醒观众此幅图像来自历史的经验，同时艺术家重新安置了一轮景观，"古与今""真与假"的景象对照中，调度着观众的情绪。艺术家马灵丽通过手捏绢布创作出近似神殿、人体结构或舞台序幕的舒展结构，数字系列的标题代表了她与画布发生动作关系的次数，《11》（2013）条褶皱仿若"神性"的映射。"有些人认为这种神性是'道'，也可能是你心中的'秩序感'。" 

秩序、逻辑、条理、规则都是人类便于理性研究世界、管理社会的工具，我们天然渴望以秩序规范一切，寻求肯定的解。然而，艺术是在复杂的角力中左右前行，我们以上从不同"秩序"对中国新绘画的6位艺术家案例进行解读，不过是向观者提供有限的视角，管窥创作的"新"意，在缔造秩序与拆解秩序之间，摇摆着的才是革新与未来。

Order: A Case Study of Chinese New Painting II
Order, as a concept, was proposed by E.H. Gombrich in the 1980s, is a psychological representation of decorativeness widely found in human artistic creations. Along with the flow of contemporary art, the development of social theory and the advancement of philosophical research, the scope of discussion on the term 'order' has gradually expanded. This exhibition brings together six artists to continue the research on 'Chinese New Painting' at CYCLE SPACE, exploring the contemporary interpretation of 'order' from perspectives such as formal order, social order, and emotional order.

Social order is the theoretical concern of order. In an organic system composed of 'people', order becomes the basis for movement and stillness, the core of unity and division, and an important theme for contemporary artistic interpretation. Liu Wei's Wall of the World (2009)uses cowhide, an unconventional medium to establish a connection between human desires for status and animal desires for food, examining the will to power and mocking the fragile order of power. This series, exhibited at the Pentagon, St. Paul's Cathedral, and Tate Modern, adds a layer of geography and space to the works, reconstructing the torn and reshaped scene of people's journey forward. Ouyang Chun's Dead End of the King (2006) constructs a sharp contrast with the image of a deceased king in magnificent robes, with color, brushstroke, and shape alluding to the collapse of feudal dynastic order, sorrowful yet ridiculous.

Formal order is the external manifestation of order. "The sense of order exists in all artistic styles, rooted in human biological inheritance."  This original 'rhythm' found in decorative works has since been developed into abstract and other artistic forms. In the works of artists such as Yu Xiao and Cai Lei, it is clear to see their discussion on formal order relationships between 'inside and outside', 'near and far', and '2D and 3D'. Yu Xiao's Roll (2017-2018) series hides the appearance of two paintings and stick them face to face, with one of the work cut, rolled up and folded, allowing the artist to re-evaluate and select the visible range of the original painting. This is an innovative approach to creative order, as well as a metaphor for cultural overlap and a pointer to bodily order. Cai Lei's Corner 3 (2015) focuses on visual reasoning, bringing collisions between different landscapes together and breaking down the dimensional order, allowing the audience to freely traverse an infinite spiritual wilderness.

Emotional order is the psychological core of order. The modern order based on rationality may have fallen into an overly narrow pattern of hyper-microscopic analysis; therefore, rethinking the relationship between emotion and order has a much greater practical significance than at any time in the past. Ni Youyu's Eclipse -Montmajour Vincent (2019) creates a new experience of light and rhythm through 'water flushing', carving out a temporal order. The signature 'Montmajour Vincent' reminds us that this image comes from historical experience while also relocating a round landscape; with scenes of 'ancient times and nowadays', 'truth and falsity' juxtaposed together, they orchestrate the audience's emotions. Artist Ma Lingli creates a fluttering structure resembling a temple, human body structure or stage curtain through hand-pinched silk cloth. The title of her digital series represents the number of times she has interacted with the canvas. In her work 11 (2023), wrinkles resemble an "illumination" reflection from "divinity". "Some people believe that this divinity is 'Dao', it may also be your sense of 'order'." Order, logic, reason, rules are all tools that humans use to facilitate rational research into the world and manage society. We naturally desire to standardize everything with order and seek a positive solution. However, art is constantly moving forward in complex relationships where we can only provide limited perspectives for these six artists in Chinese contemporary painting through different types of 'order'. It is only a matter of perspective in viewing their creations. The tensions between establishing order and dismantling it create oscillations that are at once revolutionary and future-oriented.