洋·洋
2026.9.11 - 10.10
个展，泰康美术馆彩排间项目，北京
“洋洋”见于《诗经·卫风·硕人》中的“河水洋洋，北流活活”，形容水势盛大、流动的状态。作品将这个叠词拆成“洋·洋”。两个“洋”与作品中两面相对的镜面布料构成的“水体”形成对应，中间的间隔号使原本连续的词出现了一处可见的间隙，也与作品中位于两片“水体”之间的珠状旋转物形成呼应。
珠状旋转物取意于清代宣鼎文言小说集《夜雨秋灯录》中的《石郎蓑笠墓》。故事中，石郎救下一只由龙王世子所化的搁浅大蚌，并因此获赠一颗“辟水珠”。后来石郎常带着珠出入海中，也引来旁人的觊觎。一次争夺中，为了不让珠被抢走，他将珠含入口中，最终噎死。
作为一种能够改变身体与环境之间原有物理关系的“技术物”，辟水珠最终成为被争夺的欲望对象。欲望并不仅指向珠本身，也指向它所赋予的能力——突破身体限制，将原本不可进入的环境纳入人的行动范围。观众进入作品空间后，两片相对的镜面布料不断起伏，周围空间和观众自身的倒影也随之变形、重复和延展，空间的尺度与深度发生持续的视觉变化。两片镜面之间由此呈现出一种不稳定的阈限状态。
英文名 Current · Current 延续了《洋·洋》中重复与间隔的结构。Current 指向作品中的海水、涟漪与持续旋转。它所包含的“当下”之意，也在镜面布料的持续运动中被不断延长。
Current· Current
11 Sep. - 10 Oct. 2026
Solo Show, Reherarsal Project at Taikang Art Museum, Beijing
The character yang (洋), on its own, can mean “ocean” or “sea.” The reduplicative expression yangyang (洋洋) appears in “Shuo Ren” (碩人), from the “Airs of Wei” (衛風) section of the Book of Songs, in the lines: “The waters of the He, wide and deep, / Flow northwards in majestic course.” (trans. James Legge) Here, yangyang describes water as expansive and in motion. The title of the installation separates the expression into Yang·Yang (洋·洋). The two instances of yang correspond to the two bodies of “water” formed by the opposing mirrored fabric surfaces in the exhibition space. The middle dot introduces a visible gap into what was originally a continuous expression, while echoing the pearl-like spinning object positioned between the two bodies of “water.” The English title Current · Current echoes the structure of repetition and interval in Yang·Yang. Current refers to the water, ripples, and the continuous spinning of the central object. The sense of the “present” it carries is also continuously extended through the ongoing movement of the mirrored fabric.
The pearl-like spinning object draws on the “water-parting pearl” (辟水珠) in Shilang Suoli Mu (石郎蓑笠墓, literally “The Tomb of Shilang’s Straw Cape and Hat”), a tale from Xuan Ding’s Qing-dynasty collection of classical Chinese stories Yeyu Qiudeng Lu (夜雨秋灯录). In the story, Shilang rescues a giant clam stranded on shore, which is actually the transformed son of Longwang (龙王, the Dragon King), and receives a water-parting pearl in return. He later uses the pearl to enter and leave the sea, attracting the covetous attention of others. During a struggle over the pearl, he puts it into his mouth to keep others from taking it and eventually chokes to death.
As a technical object capable of altering the existing physical relationship between body and environment, the water-parting pearl ultimately becomes a contested object of desire. Desire is directed not only toward the pearl itself, but also toward the ability it confers—the ability to overcome bodily limits and bring an otherwise inaccessible environment within the scope of human action. As viewers enter the installation, the two opposing mirrored fabric surfaces continuously undulate. Reflections of the surrounding space and of the viewers themselves deform, repeat, and extend, producing continuous visual shifts in spatial scale and depth. The space between the two mirrored surfaces thus takes on an unstable, liminal quality.
