Silo Dreams
藝術家 Artists：
陳拍岸 Chen Pai'an
龔斌 Gong Bin
經傲 Jing Ao
李關帥 Li Guanshua
李噴泉 Li Penquan
李濤 Li Tao
李昕頔 Li Xindi
任莉莉 Li Li Ren
松郎 Song Long
宛超前 Wan Chaoqian
謝林佑 Xie Linyou
邢萬里 Xing Wanli
陳鋆堯 Chen Junyao
2024.10.01-2024.11.17
可以畫廊，合肥市蜀山區新糧倉15號，周一至周日
可以畫廊欣然宣布將于10月01日在合肥新空間舉辦群展「筒倉，算力，垂直之夢」。這將是在合肥新空間——新糧倉KKP舉辦的第一個首展，展覽將集中呈現陳拍岸、龔斌、經傲、李關帥、李噴泉、李濤、李昕頔、任莉莉、松郎、宛超前、謝林佑、邢萬里12位藝術家的22件新作。展期將持續至11月17日。
KeYi Gallery is pleased to announce the upcoming group exhibition "Silo, Computing Power, Vertical Dream," opening on October 1 at the New Space in Hefei. This will be the inaugural exhibition at the new grain warehouse KKP in Hefei. The exhibition will showcase 22 new works by 12 artists: Chen Paian, Gong Bin, Jing Ao, Li Guanshuai, Li Penquan, Li Tao, Li Xindi, Ren Lili, Song Lang, Wan Chaoqian, Xie Linyou, and Xing Wanli. The exhibition will run until November 17th.
展覽集合了12位藝術家的繪畫、影像、雕塑與特定場域裝置作品，剖析并回應以社會生產結構劇烈變化和由此引發的時空流動性為基調的當代社會生產關系與組織形態，希望為顯現于當下，并將在未來更為普遍的社會空間實踐體驗提供解讀、思考與處理的視角。
The exhibition brings together paintings, videos, sculptures, and site-specific installations by 12 artists, analyzing and responding to the dramatic changes in social production structures and the resulting temporal and spatial fluidity that characterize contemporary social production relations and organizational forms. It aims to offer interpretations, reflections, and approaches for understanding the emerging social spatial practices that are present today and will become more prevalent in the future.
獨版 / Unique edition
陳拍岸放棄了與抽象表現主義相關的學術內涵，轉而著眼于廣告的應用邏輯，將商品作為形式、符號和材料帶到繪畫的前沿。他以幽默和機智的方式在不同的媒體中工作，在符號和內容之間搖擺，以數碼繪畫與微噴還原現代場景光滑的工業產品質感，借科技傳達新的風格化空間視覺體驗。在自然和人工景觀中找到崇高的感覺。
Chen Pai'an has shifted away from the academic connotations associated with Abstract Expressionism, focusing instead on the logic of advertising application, bringing commodities as form, symbol, and material to the forefront of painting. He works across various media with humor and wit, oscillating between symbols and content. Using digital painting and micro-spraying techniques, he reproduces the sleek industrial product textures of modern scenes, conveying new stylized spatial visual experiences through technology. In both natural and artificial landscapes, he seeks a sense of the sublime.
?經傲 Ao Jing
哼的咳嗽 / Humph ! A Cough
2023
鄰居家自然死亡的樹，銅，鋁，魚鉤，珊瑚，陶 瓷，皮，我媽種失敗的葫蘆
neighbor's tree that died naturally , copper , aluminium , fish hook , coral , ceramic , leather , rope , a gourd my mother planted unsuccessfully
?李關帥 Li Guanshuai
腳步流淌遍布身心 / Footsteps flow through me
2024
布面油畫 / Oil on canvas
200 × 300 cm
?任莉莉 Li Li Ren
蛻 / Landscape from within
2022
網格，絨線，硅膠，羊肝菌，蛇蛻，蓮子
Canvas, yarn, silicone, Morchella, snake slough, lotus seed
400 × 200 cm
在任莉莉的實踐里，她探索物體與空間不斷變化的關系，經常通過生物學詮釋和高度幻想，尋找形狀、內容和環境的內部通道，從而逃離現實空間的物理框架。在建構這個世界的過程中，任莉莉尋找流通在人類世、海洋、生物學、變化體和母性之間的內容，強調人和非人之物的共性混淆或回避它們原本的內涵，瓦解傳統人文主義的穩定性。即是對當代社會碎片化及不穩定性的超驗闡釋。
In Li Li Ren practice, she explores the ever-changing relationship between objects and space, often using biological interpretations and heightened fantasy to seek internal pathways of shape, content, and environment, thereby escaping the physical confines of real-world space. In constructing this world, Ren Lili seeks content that circulates among the Anthropocene, the ocean, biology, metamorphosis, and maternity, emphasizing the confusion or avoidance of the original meanings of both human and non-human entities, thus dismantling the stability of traditional humanism. This approach serves as a transcendental interpretation of the fragmentation and instability of contemporary society.
?宛超前 Wan Chaoqian
??CH Inn. #04
2023
布面油畫與丙烯 / Oil and Acrylic on canvas
?謝林佑 Xie Linyou ????
War of Tomorrow
2023
CG 動畫視頻、有聲 / CG Animated video, Sound
時長 / Duration：3"53'
版數 / Edition : 1/3 + 2AP
謝林佑的作品集人工智能、多元文化背景下的移民潮、電子游戲和散文詩的超現實，以貝托爾特·布萊希特的 In the Dark Times 為靈感，用碎片化的方式搭建了一個反烏托邦的現實框架—— War of Tomorrow一詞是對我們今天面臨的無數沖突以及未來即將到來的問題的隱喻：一場跨越文化、性別、政治等多個層面的戰爭。通過融合各種象征性元素，影像展現了一個崩解的超現實世界，通過五個虛構的場景，反映當今我們所面臨的不同問題。這些場景通過一個類似水上游樂設施的方式連接在一起，形成一個循環，喚起我們對所面對挑戰循環往復的感受。
Xie Linyou’s work combines elements of artificial intelligence, the immigrant wave within multicultural backgrounds, video games, and surrealist prose. Drawing inspiration from Bertolt Brecht's In the Dark Times, he constructs a dystopian reality through a fragmented approach. The term War of Tomorrow serves as a metaphor for the countless conflicts we face today and the issues looming in the future—a war spanning multiple dimensions of culture, gender, and politics. By integrating various symbolic elements, his images depict a disintegrated surreal world through five fictional scenes that reflect the diverse problems of our time. These scenes are interconnected in a manner reminiscent of an aquatic amusement park, creating a cycle that evokes our feelings of the repetitive nature of the challenges we face.
影像中的3D角色站在一艘不停行駛的，裝有一臺電競電腦的非法移民船上，代表著個體在虛擬框架和群體在現實框架下所遭受沖突的結合。船的運作方式類似水上樂園的漂流設施——雖不斷前進，但最終總是回到起點，意味著一段沒有實質進展的旅程。而作為字幕出現的散文詩以一種類似冥想的方式提供了一種精神性的視角來解讀內容，引導觀眾對舊世界進行告別，而在這告別之后，某些新的事物正在等待著我們。未來不可知，而你，被邀請加入下一場戰爭。
In the imagery, a 3D character stands on an illegal immigrant boat, which is constantly moving and equipped with a gaming PC, representing the intersection of individual conflicts within virtual frameworks and collective conflicts within real frameworks. The boat operates like a water park's lazy river—continuously advancing but ultimately returning to the starting point, symbolizing a journey without substantial progress. The prose poem that appears as subtitles offers a meditative perspective for interpreting the content, guiding viewers in bidding farewell to the old world. After this farewell, new things are awaiting us. The future is unknown, and you are invited to join the next war.
?邢萬里 Xing Wanli
樂園 VI / Paradise VI
2024
布面油畫 / Oil on canvas
刑萬里的作品指向文學作品中的非線性敘事結構，并引用符號學中對能指的物質性和所指的心理表象之間的關系進行圖像處理。他借由現實生活中的體驗將這些文字重組轉換成以“記憶”為母題的場景。其畫面注重對文字的呼應與感性的體驗，以碎片化元素重組電子時代圖像、文字、記憶的虛擬現實。
Xing Wanli's work points to the non-linear narrative structures found in literary texts and utilizes semiotic theories to explore the relationship between the materiality of signifiers and the psychological representations of signifieds. Drawing from experiences in real life, he reconstructs and transforms these texts into scenes centered around the theme of "memory." His imagery focuses on the interplay between text and sensory experience, using fragmented elements to reassemble the virtual reality of images, texts, and memories in the electronic age.
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