「十點(diǎn)睡覺(jué)·白」是由十點(diǎn)睡覺(jué)藝術(shù)空間發(fā)起，針對(duì)優(yōu)秀青年藝術(shù)家開(kāi)放的展示平臺(tái)。此次推出的 “必要的虛構(gòu)與觸摸的真實(shí) Touchable Fiction” 藝術(shù)家聯(lián)展將于2024年1月6日15:00，在山中天藝術(shù)中心·玄館的北側(cè)空間正式開(kāi)幕，此次展覽將展出藝術(shù)家范樺曉 、柳嗔、劉育甫、全能琪的最新作品，展覽將持續(xù)至2024年2月25日。

“Click Ten Daydream” was initiated by the Click Ten Art Space, providing an open exhibition platform for outstanding young artists. The upcoming group exhibition titled “Touchable Fiction” will present new creations by a list of artists including Fan Huaxiao, Liu Chen, Liu Yufu, and Quanneng Qi. The exhibition is scheduled to open at 3:00 p.m. on January 6, 2024, at the Northern Hall of the Xuan Pavilion, Wind H Art Center, and runs until February 25, 2024.

“必要的虛構(gòu)”這一主題順應(yīng)了后殖民理論家佳亞特里·斯皮瓦克 “策略性的本質(zhì)主義”（Strategic Essentialism），在后真相時(shí)代，“你相信現(xiàn)實(shí)嗎？”已然成為一個(gè)信仰問(wèn)題，既然并不存在不假思索的真理，那么如何在一個(gè)世界化邏輯里獲得喘息，如何用藝術(shù)構(gòu)建屬于我們的真實(shí)，本次展覽中的四位藝術(shù)家分別給出了不一樣的答案。

The theme of “Touchable Fiction” conforms to the concept of “Strategic Essentialism” by post-colonial theorist Gayatri Spivak. In an era of post-truth, the question, "Do you believe in reality?" has become a matter of faith. Since no absolute truth exists, how does one find solace within a logic of globalization? How does art help construct individual truths? The four artists in this exhibition provide varied answers to these questions.

范樺曉的作品總是透著一絲詭異感，那些仿佛只存在于數(shù)字世界的人和生物，順著圖像和被建造的集體意識(shí)向我們傳達(dá)出一絲痛覺(jué)，在再也無(wú)法被識(shí)別的樂(lè)園里，開(kāi)啟一場(chǎng)名為模擬人生的游戲。范樺曉擅長(zhǎng)使用疊加或分解圖層的手法，制造硬邊化的效果，以荒誕與恍惚的感知為載體，營(yíng)造連痛苦也變得不真實(shí)的反常。當(dāng)意義被剝離，失去功能性的對(duì)象以取悅觀(guān)者的姿態(tài)重新亮相在圖像中，不適和恐慌便會(huì)浮現(xiàn)，一如卡夫卡筆下被賦予生命的物——Odradek。

Fan Huaxiao’s art often emanates an eerie aura, with figures and creatures seemingly existing only in the digital world and conveying a sense of pain through images and constructed collective consciousness. They initiate a game called “Simulated Life” in an unidentifiable paradise. Fan excels in techniques of layering or decomposing, which are used to create hardened edges. He equally applies absurd and surreal perceptions to render such unusual effects that even pain becomes unreal. When meaning is devoid, objects without functionality reappear in images to please viewers, yet discomfort and panic emerge, akin to the creature Odradek given life in the writings of Franze Kafka.

柳嗔創(chuàng)造著她自己的童話(huà)，她將敏感和細(xì)微的情感蹤跡潛藏在張揚(yáng)叛逆的形象之下，用英勇的童真對(duì)抗虛無(wú)，在她天馬行空、古靈精怪的想象里透露出的是執(zhí)拗的底色，這種底色指向拉康所說(shuō)的“人格的想像性崗位”，在這里，想象提供了更深層次的自我作為補(bǔ)充。

Liu Chen creates distinct fairy tales, concealing sensitive and subtle emotional traces beneath a rebellious and proud look, courageously confronting the void with childlike innocence. In her whimsical and imaginative world, an obstinate undertone emerges, pointing toward Jacques Lacan’s notion of the “imaginary order,” where imagination provides a deeper supplement to the self.

夢(mèng)境和黃昏是劉育甫作品中經(jīng)常出現(xiàn)的意象，它們粘連白天和黑夜，連接現(xiàn)實(shí)與自我，這種對(duì)直覺(jué)和感受的真誠(chéng)觸感的捕捉，引導(dǎo)他走入語(yǔ)言縫隙的深處，在那里做著柔軟靜謐的夢(mèng)。

Dreams and dusk are recurring motifs in Liu Yufu’s works, bridging day and night, reality and self. The capturing of genuine sensations and intuition guides him into the depths of linguistic crevices, where he indulges himself in soft and tranquil dreams.

全能琪的筆觸是輕盈的，她收集記憶，尤其那些斑駁而閃亮的瞬間。與其說(shuō)全能琪是在對(duì)回憶進(jìn)行打磨，毋寧說(shuō)更像一種還原，一種對(duì)個(gè)人歷史及其語(yǔ)境的還原，甚至縈繞著眼眸的霧氣，帶著偶然性的神圣和必然的相遇。

With delicate brushstrokes, Quanneng Qi has been collecting memories, especially those speckled and gleaming moments. Instead of polishing memories, she seems more likely to reconstruct personal history and its contexts. Even a mist around the eyes can be an accidentally sacred yet inevitability encounter.

四位藝術(shù)家的作品都帶著強(qiáng)烈的對(duì)“存在”意味的追尋，以一種不那么強(qiáng)的客觀(guān)性將自己再次拋入人類(lèi)世界，這種拋入就像“第二次出生”。而虛構(gòu)之所以必要，在于其有效性的意義，人通過(guò)行動(dòng)（觸摸）強(qiáng)化生存的條件，而后意義便開(kāi)始傳遞。一如自由是存在性的，而不僅僅是名詞性的，它需要我們?nèi)ンw驗(yàn)，去生活，而不僅僅是思考。因?yàn)樗麄兊拇嬖?，阿倫特在《人的條件》中所提出的生命性與獨(dú)特性的對(duì)立被消弭，生物生命的自由得以保留，新的行動(dòng)不斷被創(chuàng)造并將持續(xù)在他人的身上產(chǎn)生新的行動(dòng)。

Works by the four artists intensively pursue the meaning of “existence,” returning themselves to the human world with less objectivity, akin to a “second birth.” The touchable fiction lies in its meaningful effectiveness. When individuals strengthen their survival through action (touch), meaning spreads. Just as freedom is part of existence, instead of being a mere term, it demands life experiences beyond contemplation. They nullify the opposition between vitality and uniqueness proposed by Hannah Arendt in The Human Condition, preserving the freedom of biological life, and constantly inspiring new actions that will exert influence on the lives of others.

——— 張樹(shù)香

十點(diǎn)睡覺(jué) · 白

十點(diǎn)睡覺(jué)·白是由十點(diǎn)睡覺(jué)藝術(shù)空間發(fā)起針對(duì)優(yōu)秀青年藝術(shù)家開(kāi)放的展示平臺(tái)，以先鋒的理念，自由流動(dòng)的空間模式，內(nèi)置于山中天藝術(shù)中心·玄館及十點(diǎn)睡覺(jué)有限實(shí)驗(yàn)室之中。依托于美術(shù)館的空間特質(zhì)，十點(diǎn)睡覺(jué)·白將立足于專(zhuān)業(yè)學(xué)術(shù)角度，不斷挖掘國(guó)際范圍內(nèi)的優(yōu)秀青年藝術(shù)家，將其打造為當(dāng)代藝術(shù)的試驗(yàn)場(chǎng)和夢(mèng)想間。