無(wú)同空間很高興地宣布，2021年1月17日最新展覽《閣樓上的巨人》將被推出，本次展覽將展出藝術(shù)家陳子豐近期來(lái)的展覽作品。 陳子豐的作品擁有一種讓人感到緊張不安的氣質(zhì)，如同我們窺?那躲藏在閣樓上的巨人，頓時(shí)我們會(huì)有一絲好奇、迷失甚至是恐慌。閣樓是一個(gè)隱秘的、黑暗的、擁擠的、或是被遺忘的存在，人們有時(shí)會(huì)視它為一個(gè)逃離現(xiàn)實(shí)的小世界，這屋頂輕薄的隔板之上已然成為了一個(gè)存儲(chǔ)記憶和情感的大盒子。 陳子豐早年接受了中國(guó)傳統(tǒng)繪畫(huà)的系統(tǒng)訓(xùn)練，他擁有嫻熟的技巧與表達(dá)。多重情緒與創(chuàng)作動(dòng)機(jī)在實(shí)踐中不斷沉淀和累積，一直增加著畫(huà)中形象的重量感，仿佛壓得那閣樓吱吱作響，被壓抑的對(duì)話騷動(dòng)了起來(lái)。人既非生而自由,生存也非絕對(duì)自由，在歷史無(wú)法為前進(jìn)提供幫助之時(shí)，當(dāng)代人又選擇性地忘卻了前人的種種“遺跡”，我們是否還擁有著可被追溯的根源呢?面對(duì)著這些建筑于空洞的、易坍塌的地基之上的房屋，陳子豐一直在沉默地修補(bǔ)，在他自己的空中閣樓里天真并勇敢地堅(jiān)守著一種文化的自信與重塑。 藝術(shù)家所創(chuàng)造的巨人形象并非為討好而存在，它們好似攜帶著被壓抑的欲望出生，成長(zhǎng)為一種 “扭曲”的有機(jī)結(jié)構(gòu)。曖昧豐滿的肉體、板滯的眼神和賽博的色彩背后是那些在暗處的膨脹與不安。這些張力并非僅存于畫(huà)面之中，而其恰恰如同一面鏡子，映射出夾在中國(guó)傳統(tǒng)觀念與現(xiàn)代文明之中的中國(guó)人的內(nèi)心世界。 巨人們不會(huì)永遠(yuǎn)蜷縮于閣樓之上，因其對(duì)于整個(gè)房屋隱秘的威脅，他們會(huì)試圖誘惑我們進(jìn)入閣樓內(nèi)。在我們和這些巨人們面對(duì)面時(shí)，我們的軀體緩緩的舒展開(kāi)來(lái)…… 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.