TCG展览 Exhibition ｜“徐浡君” 同名个展正在展出中 / 四六文摘

“徐浡君” — 同名个展

2021年3月13日，“徐浡君”——同名个展在TCG诺地卡国际艺术中心正式拉开帷幕。

此次展览主要展出艺术家徐浡君近年来创作的“K.S.T”和“S.C”系列近50幅作品，其中“K.S.T”系列，主要是从艺术家的个人视野出发，在客观的自然中汲取灵感，描绘接近个人内心的景象，作品类型主要以油画和版画为主；而“S.C”则是从明亮的自然界回归暗房，在视觉经验受限的狭小环境中，依靠其他感官经验互补创作出来的纸本综合作品。

展览主要围绕“S.C”系列作品来探讨暗房经验对于徐浡君艺术创作的影响。

展览现场试图还原作品的创作环境，从暗房的红色安全灯到展览的白炽灯。过程中让观众们在昏暗的空间中去无限遐想，也是想讲述“S.C”系列作品在暗房经过胶片冲洗这一化学过程最终显影的过程。

“Xu Bojun” - an exhibition with the same name

On March 13th 2021 “Xu Bojun” - an exhibition with the same name opened at TCG Nordica Art Center.

The main parts of the exhibition consists of the close to 50 pieces of art in the K.S.T and S.C. series of recent years. The K.S.T. series has root in a personal vision of the artist. Drawing upon inspiration from nature he has painted personal scenes from his heart. The works are mainly oil paintings and block prints. In the S.C. series returned from the open and bright nature to his dark room, and in a environment where his visual sense was limited, he relied on his other sensory organs to create works synthesizing the different experiences of these organs.

The exhibition circles the works of the S.C. series and explore how the dark room experience has influenced Xu Bojun’s art. The opening of the exhibition attempted to recreate the original setting in which the art was made by filling the exhibition hall with the red safety light of a dark room before turning on the normal white gallery lights. In this dimly lit space the audience could let their thoughts fly far away. It was also away to make tangible the chemical process in which the pieces of the S.C. series was developed.

策展人刘辉

二十度，恒温暗房中的“事故”转向

徐浡君一直让我管他叫老徐，几经尝试仍难改口。我猜想他希望之间沟通能够消除身份、代沟等等一切的杂乱因素，让彼此间的交流能够回归同一维度上来。虽然在现实中不方便叫出口，那么就在文章中称“老徐”，希望在书写的过程中不受其他因素的影响，回到一个客观的角度来讨论他的作品。

老徐的工作室分为两部分，一个坐落于现代化的高层公寓里，像是一个欧式的工作室，一个油汀恒温的暗房。除了冲洗胶片，还在这里创作《S.C》系列作品；而另一个则是位于碧鸡关附近的工作室，路非常偏僻，难寻。期间会经过一个小竹林，可谓是曲径通幽，在这间工作室主要创作油画、版画等架上绘画作品。两个看似截然不同的工作环境，囊括了他作品创作的场域。这一点在后来的访谈中得以证实，不同的空间确实有着明确的区域性划分，但其中又存在着暗藏的联系，这也是讨论《K.S.T》作品和《S.C》作品的关键。我曾试想过用两者的坐标来划一条折线，老徐常常往返其中，两者之间的联系也因行动的过程而构建。

我对于老徐的暗房印象深刻。油汀暖气片、温度计、计时器，展开的胶卷盒，以及大量的工作日记等等。这一切都与他先前的工作经历有关，“条理性”、“逻辑性”这些关键词都在他“冷冰冰”（同样具有温度）的工作日记中所体现，湿度摄氏20度、显影1:4、50ml浓缩液……

此次展览主要展出老徐近期创作的《K.S.T》和《S.C》系列作品，他曾同我详细的描述过在暗房发生的一个“事故”。“在一个只有安全红灯的昏暗房间，无意散落在放大机上的头发丝、烟灰等杂物，以及被迫曝光的相纸。”这就是《S.C》系列作品的开端，老徐并不把一场“事故”当成意外，而是将其看作是一个偶然，一个偶然中带有必然性的偶然。他一直坚信这样的结果是必然的，坚信显影液必然会打翻。老徐还说过：有暗房经验的人未必具有绘画经验，有绘画经验的未必具有暗房经验。当然，关键还在于如何对待意外的结果。《S.C》系列作品从“事故”开始，到结合传统的手工上色的胶片冲洗技术，有意识的控制画面。这是现阶段这一系列作品所经历的创作阶段。自然，我也同其他人一样期待着这一事件的“发酵”。

老徐的《K.S.T》系列作品创作有10年之久，这期间在构图、笔触、色彩上变化极大。特别是从《K.S.T唯博邑》开始，颜色炫目、笔触狂放且自在。我以他的《S.C》系列往前倒退，其间有一条重要的脉络就是暗房。暗房给他提供了其他画家所不具备的工作经验，物象的影子成了他作品中的点、线、面，在画面上油画材料的特性被观念所弱化。当然暗房的工作经验不仅于此，还在于冲洗胶片的过程中，培养了一定的胶片冲洗手势，这一手势的痕迹在杂乱的线条中得以体现。当然，最重要的还在于暗房中所发生的“事故”，从而引发的绘画作品的改变。

老徐和我一样，去过许多文化艺术截然不同的地方，他曾走访过许多亚洲和欧洲国家，如：孟加拉、老挝、缅甸、西班牙等。不同的在于我像是一个流浪者，被不同异域文化所收养。而老徐更像是一个朝圣者，不断地远行，不断地回归。不仅是回归土地，更是回归个人。

对于老徐，交流很重要，交流可能会产生误读，但是误读中又存在着新的可能性。正如他不断出行（展览），就是在制造误读，也像“事故”的转向都是在提供给艺术家新的可能性。

后语：在文章起草的过程中，我曾几度将自己置于狭小的黑暗房间之中，一是为了感受暗房的特殊工作环境；二是在暗房中，视觉经验会自动被放弃，其他官能的经验会将其替代，这样便于从另一种视角去切入徐浡君的艺术作品。

刘辉

2021年3月7日

Twenty degrees,

the "accident” in the constant temperature darkroom

Xu Bojun kept asking me to call him Old Xu, and after several attempts I realized I couldn’t change his mind. I guess he hopes to get rid of all elements of status, generation gap and so on, and communicate on one level. Even though I feel shy too call him thus in real life, I will call him "Old Xu" in this article, hoping to be able to discuss his work objectively, without being influenced to much by unrelevant factors.

Old Xu's studio is divided into two parts: One is located in a modern high-rise apartment, European-style and it also has a dark room with an oil heater. In addition to developing films, he also created the "S.C" series here; the other is a studio located near Bijiguan, a remote and inaccessible place. To get there you have to follow a winding path through a small bamboo forest. He mainly do oil paintings, prints and other kinds of paintings in this studio. These two seemingly different work environments shapes the field of Old Xu’s art. My subsequent interviews with him confirmed this. If the two different spaces clearly are separate and different, there are still hidden connections among them. This is also the key to discussing the works of the "K.S.T" and "S.C" series. I once thought of drawing a dotted line between the coordinates of the two. Old Xu often goes back and forth between them, and the connections between the two are constructed by this action.

Old Xu's darkroom left a strong impression on me. Oil heater, radiators, thermometers, timers, unfolded film boxes, and a large number of work diaries, etc.: All related to his previous work experience. The keywords "organization" and "logical" are reflected in his "freezing cold" work diary, that itself has a temperature. Humidity, 20 degrees Celsius, image 1:4, 50ml concentrate, etc.

This exhibition mainly displays the "K.S.T" and "S.C" series of works recently created by Old Xu. He once told me of an "accident" that occurred in the darkroom: "In the dim room only lit by red safety lights, shreds of hair, soot and other debris were accidentally scattered on the magnifier, and the photo paper became to be exposed." This was the beginning of the "SC" series. However, Old Xu did not see this "accident" as a surprise, but as coincidence, an inevitable coincidence. He has always believed that results such as these are inevitable: sooner or later the developing liquid is gonna hit something it wasn’t supposed to hit. Old Xu also said: “People with darkroom experience may not have painting experience, and those with painting experience may not have darkroom experience.” Of course, the key lies in how to deal with unexpected results. The "S.C" series started with an "accident" and turned into a combination of old hand-painted film processing technology, and conscious manipulation of the picture. This is the creative stage of this series of works at this stage. Naturally, I, like others, look forward to see this work “ferment”.

Old Xu's "K.S.T" series of works have been created over a period of 10 years. During this period, the composition, brushstrokes and colours have changed greatly. Especially with "K.S.T Weiboyi", the colours become dazzling, and the brushstrokes are wild and unrestrained. I went backwards through his "S.C" series, and the darkroom binds the works in this series together. It provided him with work experience that other painters did not possess. The shadows of the objects became the focal points, lines, and surfaces in the art pieces, and the recognizable characteristics of oil painting on the screens were weakened. Of course, the work experience in the darkroom is not limited to that, but also extends to the developing of film, eg. learning the specific movements required for film processing, traces of which are reflected in the messy lines in his paintings. Of course, the most important thing is the "accident" that occurred in the darkroom, which was what caused the initial changes in the paintings.

Like me, Old Xu has been to many places with completely different cultures and arts. He has visited many countries in Asia and Europe, such as Bangladesh, Laos, Myanmar, Spain and so on. The difference is that while I am like a wanderer, adopted by different foreign cultures, Old Xu is more like a pilgrim, constantly traveling and returning. Not only returning to the land, but also returning to the individual.

For Old Xu, dialogue is very important. Dialogue may cause misunderstandings, but there are new possibilities in misunderstandings. Just as he keeps traveling (exhibiting), he is creating misunderstandings, and just like the turning of "accidents", he provides artists with new possibilities.

Note: In the process of drafting the article, I have put myself in a small dark room several times, first of all to feel the effect of being in a darkroom myself; but secondly in a darkroom, the sight will be automatically abandoned, and other sensory functions replace it, and in that way I can approach Xu Bojun’s art work from new angles.

Liu Hui, March 7th, 2021

Translation by Skjold Andreas Arendt

The exhibition will continue until April 4th 2021, and during the exhibition on March 26th, 8 pm TCG Nordica will hold an art talk with Xu Bojun about his dark room. Also, on March 27th, 8 pm TCG Nordica will host the concert “Ride on the Wind”. For more information follow TCG Nordica on Wechat （tcgnordica）.

展览现场