Play

“只有当人在充分意义上是人的时候，他才游戏；

只有当人游戏的时候，他才是完整的。”

——席勒

没顶画廊将于5月12日荣幸推出群展“Play”，呈现陆平原、商亮、赵要最新创作的雕塑与绘画作品。在此次展览中，三位艺术家的作品都呈现出轻巧与玩乐的气息，并将审美、观念、艺术精神抛掷在游戏的场域。游戏作为观看艺术的一种方案，借此被唤醒于没顶画廊空间。

游戏在陆平原的“看，我是毕加索”系列中，呈现为俄罗斯套娃式的戏法：故事–土豆先生–皮克斯工厂打造的视觉形象–毕加索–立体主义–儿童的填色画，或者是将这一切反转过来，所有符号层层嵌套出作品独特的呈现方式。而游戏在赵要新近的创作中，显现为将意义真空化的尝试，艺术家选取益智游戏的拼图，并通过耗时的工序加工呈现，就如同他将10000平方米的装置作品抬至海拔5000米的雪山山顶晾晒一样，所有的行为规则和作品意义都由艺术家制定与调节；赵要的戏法是一种将真实与虚假（或是意义的有和无）反复置换的把戏。而商亮的游戏，则是将自身对超凡力的想象嫁接到创作对象上，那些肌肉健壮的人体、对海明威的指涉、与具有力量特征的抽象雕塑都构成了她对游戏对象的移情；而这移情的过程，也不经意地透露出艺术家的自我。

展览“Play”将不仅呈现三位艺术家不同的游戏机制，也暗示了一种后真相时代，个体面对景观与真实性不断流变的时代所作出的应对与创造。展览空间成为了艺术家实施戏法的场所，诚如伽达默尔（Hans-Georg Gadamer）所言：游戏，即是艺术作品本身的存在方式。而在这个展览中，游戏的概念不仅渗透在艺术家的创作形式之中，也将深入观者观看作品的氛围与过程中。

Man plays only, where he in the full meaning of the word is man,

and he is only there fully man, where he plays.

——Friedrich Schiller

MadeIn Gallery is pleased to present “Play” an exhibition showcasing new paintings and sculptures by Lu Pingyuan, Shang Liang and Zhao Yao. In this exhibition, three artists’ works commonly share a spirit of lightness and playfulness, bringing aesthetics, concepts and art into the field of game. As a method for the observation of art, game arises in the gallery space.

Game in Lu’s series of works “Look! I’m Picasso!” takes the form of Russian nesting doll: a story – Mr. Potato Head – visuals from Pixar Animation Studios – Picasso – Cubism – Children’s coloring books, or the other way round. Each layer of symbols reveals unique characteristics on the presentation of the work. In Zhao’s paintings game appears as an attempt to vacuum the meaning. The artist selects puzzles from mind games and presents them through a time-consuming process, just as he lifted a 10,000 square meter installation to a snowy summit of an altitude of 5000 meters and placed it in the sun. All the performance rules and artwork meaning are formulated and adjusted by the artist. Zhao’s trick is a game that repeatedly permutes truth and falsehood (or the presence and absence of meaning). At last, Shang’s game consists of developing as a creation subject her imagination on supernatural force. Muscular bodies, references to Ernest Hemingway, and sculptures with strength characteristics all constitute her empathy towards the object of the game, process of which reflects the artist’s self.

“Play” not only shows these three artists’ different game methods, it also suggests a post-truth era, in which individuals face the constant adaptation and creation of a time where landscape and authenticity ever-change. The exhibition space becomes the venue where artists perform their tricks, as Hans-Georg Gadamer put it: game is “the mode of being of the work of art”. In this exhibition, the notion of game intervenes into the artist’s creative form and further the process and context in which viewers observe the works.