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火奴鲁鲁

Honolulu


艺术家 Artist

耶苏 Ye Su


开幕 Opening

2025.05.17(SAT)15:00

展期  Duration

2025.05.17 - 2025.06.22


地址 Location

广州市海珠区新港东路 2519号工美港国际数字创新中心大院6号楼

Building 6, Gongmeigang International Digital Innovation Center, 2519 Xingang East Road, Haizhu District, Guangzhou.









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展览现场 exhibition site









希:“十个小时后我才能够到达火奴鲁鲁。你走间弦会非常快。”

YSFY:“非常快是多快?”

希:“这得看你之芯量和之芯向之间的比率,依我的经验,十五至三十分钟之间。你沿途也查看一下从大唐到火奴鲁鲁的间弦有没有盗墓者入侵的痕迹。如果遇到盗墓者,他们一定以为你是巡逻者,千万不可暴露身份。”

YSFY:“我只需要沿着红色锥形帽子走?”

希:“对,快到火奴鲁鲁地界,你会看到一座红色的自动饮水机。上去喝一口,那里是一个弦点。出来之后给我传递之芯。”

YSFY:“你也注意安全,这次我和一一陪不了你了。”

希:“放心去吧。遇到盗墓者的巡逻队,就说自己是沃尔夫冈,在间弦执行秘密任务。其他无需多解释。”

YSFY:“稍后在自动饮水机那边见。”

——艺术家写作中的《油瓶记》



















































































































































至今我都在用一定长宽比的长方形画面记录着梦境,类似宽屏剧照。初中的时候,我曾在“绘画”与“插图”之间选择了后者。这个选择为我后来的创作带来“图画”的底色。断裂是我认识和面对世界的一种方式,也呈现在我的创作媒介上。“图画”能将这种在场与不在场的真实性链接起来。

除了记录梦境的绘画,展览中的几组作品就像是无形之物自虚空转化到现实里的例子:“步行街”壁画邀请观众一起辨认梦中的景象。《四国大战》是一个棋类游戏,通过扩大棋盘的面积并增加参与人数,象棋具备了合纵连横的战略维度。《库篮镇》用白描的方式将北京的胡同变迁与日常生态存储于玄妙的想象世界。“拉内卡”水墨涂鸦系列则是我多年来在不同的地貌条件下即兴绘就的图样。


To this day, I have been recording my dreams in rectangular images with a certain aspect ratio, which is similar to widescreen stills. When I was in junior high school, I chose illustration over painting. This choice has laid a "pictorial" foundation for my later creative work. Fracture for me is a way to recognize and confront the world. Such understanding can be seen presented in my creative medium. Drawings, in a way, can link this reality of both presence and absence.


In addition to the paintings that record dreams, several works in the exhibition are examples of invisible objects transforming themselves from the void into reality: the Walking Street mural invites the viewer to identify the scene in the dream. The Four-nations War is a board game in which chess takes on a strategic dimension of alliance and confrontation by expanding the size of the board and increasing the number of participants. The Cooland adopts a traditional ink drawing technique called Baimiao, condensing the transformation of Beijing's hutongs and the everyday ecology within a subtly imaginative world. As for the ink graffiti, Ranaka is a series of drawings I have improvised over the years in different landscapes.