美成在久・癒合之流──尹保倫個展 A River of Divine Imperfections – Ernest Van solo exhibition

在科學推倒信仰以來，理性成了膜拜的對象，人的心靈被壓縮。有一則寓言，心臟原本是位於人胸口中心的位置，可是由於人類已經很久沒有去聽內心的說話，所以慢慢的，心臟就走到一旁去了。圍繞科技與物質的進步，更短的距離，更高的產能，但伴隨著這種進步，人類卻未有更容易感到快樂，更少迷惘。

不管是古代的宗教或是新時代的靈性療法，哪些名字，哪種修練，都源於人類希望達至「內在平安」的同一渴望。生活在越發喧囂的社會中，我們皆循各種途徑去尋求「平安」。本次牛房倉庫邀請到畢業於國立台灣藝術大學圖文傳播藝術學系的本澳藝術家尹保倫舉辦個展，藝術家視創作為一種自我內在探索的過程，其作品以心靈療癒為主要的創作方向。在是次的展覽中，藝術家將透過於作品中融入不同時代的靈性符號與方法，去建構心靈療癒場域，讓觀眾進入「狀態」，嘗試激發藝術其中一種較為「古老」的功能──「治療人心」。

他近乎意識流般的圖像，提取自各種自身遊歷、新時代療法與文化記憶。「每片板塊代表一個瞬間，瞬間組成人生，人生即修行」。數月來，日復日的磨礪，他不斷往樸實的木板上糊上宣紙，待風乾，層層紙膜貼上片片金箔，

而那金光並不是閃耀眩目的，而是依賴着朦朧沉靜的淡光。他節奏緩慢，工序反覆，畫板上交疊處處呈現着他粗糙雙手的皮膚觸感。他認為金色表現對神祇崇高的敬仰，那亦是人們看到暖光時本能地感受到的喜悅。

若觀眾對他謎語般的畫面摸不清狀況，他不太在乎：尹保倫的繪畫，和他本人一樣，有時髒髒的，筆觸粗括，神經兮兮──金色格子注入荷歐波諾波諾咒文加上挪威森林草莓蛋糕與描佛圖騰……斑駁的金屬感與童趣的字體與畫風交錯，和他本人一樣，不修邊幅，卻又好像合情合理。因為真誠比一切重要，他隨心的畫具備忠順之質，所謂「美成在久」，他消化了一摞生活、時間和經歷後吐出閃耀着療癒𥻘光的河流，光流潔淨了他髒亂的心靈；或許他想挽回自己那經已偏則的心臟，或許他不想憋死在這磨人的生活，所以他殫精竭慮，築起了自我挽救心靈之途，也讓想要除淨的人一起跟着沉靜。

As science topples religion, reason has become the principle to worship and our spirituality has been squashed. A fable tells how the human heart was at first located in the middle of the chest, but after years of being disregarded, it had gradually moved to the side. With scientific and material advances, we have reduced distances and multiplied productivity, yet none of this has brought about happiness or clarity for humankind.

Either of ancient religions or new age spiritual healing, no matter the name or practice it takes, all comes from the human desire to obtain ‘inner peace’. This time Ox warehouse has invited Ernest Van who graduated from the Department of Graphic Communication Arts of the National Taiwan University of Arts to exhibit at the Post - Ox Warehouse Experimental Site. Ernest regards of his creation as an inner exploration of the self, producing works with the theme of ‘healing of the heart’. In this exhibition, his work isn’t trying to convey any rational ‘idea’ or invoke ‘introspection’. Rather, through infusing spiritual symbols and methods into this work, he hopes to lead his visitors into a spiritual sanctuary, where they can enter the ‘state’ and try to elicit one of the more ‘archaic’ functions of art – ‘healing of the heart’.

His imagery flows from a stream of consciousness: integrated here are the memories of his travels, his discovery of new energy therapies and cultural mores. To Van, “each block denotes of a moment in time, these moments compose of life, a life towards spiritual realization”. Month by month, he would prime his humble panels with such tender care, each single step at full throttle, the surfaces take hours to dry, then the thin layers of gold leaves are burnished with his brushes and fingers; but the flecks of gold are not splendor, for the layered tones illuminate in a state of serenity. His pace is slow and his process repetitive; the touch of his rough hands are evident on each of the gilded frames. As Van considers, the color of gold declares of holy idolatry, or else, human beings are drawn to the warmth of light by nature.

If the audience would be tempted to decode his puzzling images, it is not Van’s intention to define this ambiguity: after all, he is what he makes, his drawings are raw and unrefined, his wild strokes are never adulated – the golden blocks are filled with ancient mantras of Ho'oponopono, the strawberry shortcakes from Murakami’s Norwegian Wood and stylized drawings of Buddhism deities…Where childish writings dance freely on the color of mottled gold; he is what he makes, yet he has a way to make sense out of all these chaos. For he is honest, and his work bares his soul: it exerts all of one's dedication to achieve divine perfection. All his memories and experiences are ejected into a glimmering river of salvation, a glow that is healing his sinful soul. It might be that, his averted heart needs the right place to perch on; or it might be, that he needs to unlash the Albatross around his neck, so he’d put forth all of his strength and diligence, to pave his road to spiritual redemption, creating in a quiet place that is solemn and meditative for us all to take refuge.

展覽地點 Exhibition Venue：後牛房實驗場（澳門和隆街十五號）Post - Ox Warehouse

Experimental Site (Rua do Volong, No.15, Macau)

開幕 Opening ceremony：08/05/2019 (星期三 Wednesday)，18:30

展期 Exhibition period：09/05/2019 - 16/06/2019 (逢星期一休息 Closed on Mondays)

開放時間 Opening Hours：12:00 - 19:00

策展人Curator：許曉楓Ann Hoi

主辦 Organisation：牛房倉庫Ox Warehouse

贊助 Sponsor：文化局IC 澳門基金會Fundação Macau

查詢 For enquiry : 28530026 (12:00 - 19:00,逢星期一休息Closed on Mondays)

電郵 E-mail：oxwarehouse@gmail.com

網址Website: http://www.oxwarehouse.blogspot.com

鹽水浴場－－施三本個人展 Saline Baths – Shi Samben Solo Exhibition

施三本自述：「當我瞇起眼睛細看人心，只會滿懷失望；當我環顧四周人心所致百態，世界頓時又變得妙趣起來。」

「鹽水」通俗意指海水。氤氳奪目的太陽被瓦解成粼粼的波光、驟雨將至前愈發的沉悶乏色、摸不清來意善否的風、一道劃破長空的巨響墜下……此消彼長，似乎有點蠻橫的亞熱帶海洋性季風氣候，在這位出生於臨海城鎮的藝術家作品中得以窺見。它們不斷蔓延進作品中，構建起其獨特的作品基調。同時「鹽水」亦是能維持人體細胞的有機溶液，它溫文有序、乏善可陳。藝術家時常將自己納入這樣的有機中提煉：觀察世相；世事無相；無相生動。

如今，真實裸體失色於理想化及情色化的怪像中，人們選擇在私密中梳洗一整天的萎靡，裸露的肌膚抱有憤怒也勢必化為安寧。而「浴場」恰恰忤逆。肆意暴露的肥碩在晃蕩，碰撞帶來陌生的親密，又或者來意曖昧的閱讀……無不挑戰著私密這一母題。有趣的是，藝術家個人在衍生作品的過程近乎私密，而在公開的展示中卻猶如置身「浴場」，私密與公共就此反覆運算，來了一場包裹著風情的噴發。

本次牛房倉庫邀請到九十後內地影像藝術創作者施三本駐留澳門，這位出生於臨海城鎮的藝術家，其作品曾於深圳、杭州、上海、北京、德國、瑞士等地展出。本次展覽將展示施過往及最新創作的動畫影像作品，用「鹽水浴場」為題，以飄浮不定的動畫影像展現那些或私密或曖昧的思考，希望賦予觀眾另一個角度觀照常見的哲學問題和世間的兩難局面。

Samben said: “When I closely examine human nature, I’ll only feel disappointment. But when I look around at the kaleidoscope of human behaviour, the world becomes interesting again.”

Saline, or saltwater, often refers to seawater. On the sea, the sparkling sunlight is broken down into reflections on waves while the colour of the sea can dull just before a storm. One can never tell whether a gust of wind will bring no harm. And all of a sudden, a deafening thunder cuts through the air... The sun, the wind, the wave and the thunder all go in circles. The rampage of the subtropical monsoon climate in south China creeps into the work of this artist who grew up by the sea, giving a peculiar undertone to his work. Meanwhile, saline can be the solution that maintains the human body functioning, it is mild, gentle and dull. The artist puts himself into a mechanism like saline, observes and distills the kaleidoscope of human being. In this kaleidoscope, there are no permanent phenomena, only permanent illusion.

The truth of the naked body was long lost in the strange trends of idealization and erotization. When people decide to wash off in private the dispiritedness collected throughout the day, the anger gathered by the revealing skin would dissolve into peace. But a public place to “bath” is the opposite and a challenge of privacy. The bodies are revealed to each other, the touching may arouse intimacy between strangers, or an ambiguous interpretation. Interestingly, the process of creating artwork is mostly private, while exhibiting it is like putting oneself in a “public bath”. Being private and being public are intertwined in such a way, erupting in rich connotations.

Ox Warehouse invited Mainland video artist Samben to participate in a residency project in Macau. Samben’s works had been exhibited in Shenzhen, Hangzhou, Beijing, Germany and Switzerland. Born in a seaside town, Samben chose “Saline Bath” as the theme for this project. Based on his past animation videos, he tried to showcase this kind of intimate or ambiguous thoughts with elusive visuals, hoping to provide some other insights into the dilemma between common philosophical considerations and people’s actual life.

展覽地點 Exhibition Venue：後牛房實驗場（澳門和隆街十五號）Post - Ox Warehouse Experimental Site (Rua do Volong, No.15, Macau).
開幕 Opening ceremony：10/04/2019 (星期三 Wednesday)，18:30

展期 Exhibition period：11/04/2019 - 26/05/2019 (逢星期一休息 Closed on Mondays)
開放時間 Opening Hours：12:00 - 19:00

策展人Curator：挪亞 NOAH

主辦 Organisation：牛房倉庫Ox Warehouse

贊助 Sponsor：文化局IC 澳門基金會Fundação Macau
查詢 For enquiry : 28530026 (12:00 - 19:00, 逢星期一休息Closed on Mondays)
電郵 E-mail：oxwarehouse@gmail.com
網址Website: http://www.oxwarehouse.blogspot.com