石头自陈辞-袁泽强个展

Intro

袁泽强的艺术实践始终围绕着“临时性组合”这一核心概念展开，他通过对日常图像的收集、解构与重组，构建出一个独特的视觉研究系统。本次展览“石头自陈辞”作为其艺术探索的重要阶段，呈现了艺术家创作系统中图像的生成机制与意义转换。

在《尚书·禹贡》中，“怪石”作为贡品的记载标志着石头从自然物向文化载体的转变。展览以“石头”为引，在艺术家的重构下，石头既保持了其作为自然物的物性，又获得了作为文化符号的表意功能，成为连接历史与当代、物质与精神的独特纽带。

展览空间中，主展厅一侧墙面铺满皂刺，从植物角度来看，皂刺是皂荚树的棘刺，具有防御功能；而在实际功效上，皂刺又具有消肿杀虫的药效。这种既防御又治愈的双重特性，使皂刺成为一个充满张力的视觉符号。艺术家通过将海量的皂刺精心布置于墙面，创造出一个既具有触觉冲击力又蕴含文化隐喻的装置现场。而在美术馆室外，艺术家将皂刺的体量进行倍增，从而使其具有了巨石般的雕塑属性，这不仅是对空间与剧场性的概念演绎，更是对物质属性的再思考。

与“皂刺”形成对话的是《临时性组合》系列的装置性延续，这组作品采用正负形的构成方式，两组作品中的其中一组在画面中央进行镂空处理，露出背后的展墙；另一组则悬挂在侧，正好填补了空缺的部分。这种处理方式不仅是对“临时性组合”的具象呈现，更是对巨石纪念碑性的巧妙解构。在组画中，每一张作品都以石头图像为主题，这些石头在不同时期被雕刻成像，随后又被水泥封存，这样的历史演化呈现了“石”与“像”在不同时代的变迁与遭遇。在“临时性组合”中，这些图像经过艺术家的解构与重组，脱离了具体的物象指涉，成为视觉研究的基本单元。在展览动线上，那些象征着空间隔绝的石墩随机出现，将天空与地面、内部与外部、我们与他们等关系的指涉不断翻转、交互融合，使石头在现代生活中的另一层含义悄然显现。

在回廊展厅中，“临时性”再次得到延伸。艺术家将自己的眼睛以平面“装置”的形式呈现，与其呼应的则是《临时性组合》的“编年史”，该系列涵盖了早期创作以及以“石柱”为题的持续研究。柱子既是空间的桥梁与载体，亦是距离的隔绝与遮挡，这一主题展现了艺术家对“空间的生产”的思维辩证。长期以来，他通过系统性地收集日常图像碎片，寻找那些具有“刺点”特质的视觉细节，进而对这些图像碎片进行重组。在这个过程中，石头、皂刺、柱子以及石墩等物象都脱离了原有语境，成为构建新视觉关系的元素。因此，他的创作摒弃了宏大叙事，转而关注那些容易被忽视的细节，在这些看似偶然的组合中寻找意义的踪迹。皂刺的尖锐与石头的沉重，石柱的支撑与石墩的分割，形式的完整与图像的碎片，这些对立的共存暗示着当代视觉文化中的多元特质。特别是在当下这个图像饱和的时代，这种体验在某种意义上与皂刺的尖锐形成了一种隐喻的对应，也是对图像“刺点”的反向编码。

我们如何理解图像的本质？如何看待拟像与仿真的关系？这些问题都在艺术家的作品中形成了独特的表达。通过《临时性组合》这个系列作品，艺术家不仅为自身建立起了系统性的创作语言，也为我们理解当代视觉文化提供了新的视角。正因如此，他的创作不仅是作品的静态呈现，也是一次对思想过程的全面剖析。展览融入了艺术家对于艺术创作、社会生活等各方面压力的反馈，最终形成了以“石头”为基点的“临时性组合”。

Yuan Zeqiang’s artistic practice consistently revolves around the core concept of “temporary combinations.” Through the collection, deconstruction, and reorganization of everyday images, he constructs a unique visual research system. The current exhibition, “A Stone’s Own Statement,” represents a significant stage in his artistic exploration, showcasing the generative mechanisms and semantic evolution of images within the artist’s creative framework.

In the “Tribute of Yu” chapter of the Classic of History, the record of “peculiar stones” as tributes marks the transformation of stones from natural objects into cultural carriers. Taking “stone” as a conceptual starting point, the exhibition highlights how the artist’s reinterpretation allows these mineral forms to retain their material authenticity while simultaneously acquiring symbolic significance. They become a medium linking history and contemporaneity, substance and spirit.

In the main exhibition space, one wall is entirely covered with honey locust thorns. Botanically, these thorns act as a natural defense mechanism for the honey locust tree, while medicinally, they are known for their properties to reduce inflammation and eradicate parasites. This duality of protection and healing renders the honey locust thorn a richly evocative visual symbol. The artist meticulously arranges countless thorns across the wall, creating an installation that is both tactilely arresting and culturally suggestive. Outside the gallery, the artist amplifies the scale of the thorns, transforming them into stone-like sculptures. This gesture not only explores notions of space and theatricality but also invites reconsideration of materiality itself.

Engaging in dialogue with the thorn installation is an extension of the Temporary Combinations series. These works operate through positive and negative forms: one group features centrally cut-out voids that reveal the wall behind, while complementary pieces hung alongside fill these absences. This strategy materially embodies the idea of “temporary combinations” while subtly deconstructing the monumentality traditionally associated with stone. The paintings in this series focus on stone imagery—depicting rocks that were historically carved into statues and later encased in concrete. Such historical layering reflects the evolving relationship between “stone” and “image” across time. Deconstructed and reassembled by the artist, these images shed their specific references to become basic units of visual inquiry. Throughout the exhibition route, stone piers—symbols of spatial division—appear intermittently, constantly shifting metaphors between sky and ground, interior and exterior, self and other, thereby revealing another dimension of stone’s role in contemporary life.

In the corridor gallery, the notion of “temporariness” is further expanded. The artist presents his own eyes in the form of a planar “installation,” which resonates with a “chronicle” of the Temporary Combinations series, including early works and ongoing research themed around “stone pillars.” As both connectors and dividers of space, the pillars reflect the artist’s dialectical engagement with the “production of space.” Over time, he has systematically collected fragments of everyday images, seeking visual details possessing a “punctum”-like quality, and reassembled them. Throughout this process, objects like stones, thorns, pillars, and barriers are removed from their original contexts to form new visual relationships. Abandoning grand narratives, the artist focuses instead on easily overlooked details, tracing meaning within seemingly chance arrangements. The sharpness of thorns and the weight of stones, the support of pillars and the division of barriers, the wholeness of forms and the fragmentation of images—these coexisting opposites suggest the pluralistic nature of contemporary visual culture. In today’s image-saturated world, such an experience metaphorically corresponds to the piercing quality of thorns, acting as a form of reverse encoding of the image’s “punctum.”

How do we comprehend the essence of images? What is the relationship between simulacra and simulation? These questions find distinct expression in the artist’s works. Through the Temporary Combinations series, Yuan Zeqiang has not only developed a systematic artistic language but also opened new perspectives for understanding contemporary visual culture. Hence, his practice is not merely a static display of objects, but a thorough unfolding of the thinking process. Incorporating the artist’s responses to pressures from artistic creation and social life, the exhibition ultimately constructs a “temporary combination” anchored by the conceptual weight of “stone.”

艺术家：袁泽强

Artist: Zeqiang Yuan

1989年生于湖南宁乡，青年艺术家。2012年本科毕业于广州美术学院，获学士学位，2019年研究生毕业于广州美术学院，获硕士学位。2022年在读于澳门科技大学博士。现为广州美术学院工业设计学院教师、OCAT欢乐海岸盒子艺术空间展览部负责人、中山大学艺术文化创新与发展研究中心研究员。作为一个艺术家，我所做的就是在日常生活中大量拍摄的照片和收集的图片，去寻找图像细节中的那个刺穿记忆的刺点，从而打开一扇通向完美而具体化的主体性所包含的深度之门。也就是说，我通过自己对过去的各种思想和图像的幻影似的堆积与捕捉，通过这个想象瞬间创造出“现在”。碎片成为卓越的艺术形式，能够使事物更加真实，更加可信，更强烈。喜悦或顿悟的特殊时刻的确存在，由于我们处于生命和意识的不同阶段，对一些事物的感受会更强烈。这个时代充满了不断复制、重叠和废弃的标准化景观，时间性、痕迹感、和特有的时代气息，包括所搁置的地点，公开或遮蔽，这些都让我着迷。

其作品展出于广东美术馆、时代美术馆、华侨城盒⼦美术馆、东莞21空间美术馆、⼴州美术学院⼤学城美术馆、中国美术学院美术馆、岭南美术馆、中间美术馆、南京艺术学院美术馆、蜂巢当代艺术中⼼、上海新美术馆等。

主要奖项：
2024 RestART：⼴州 / 巴⾥艺术奖——城市性、⽣态与社区；获明⽇可及 2021⼤湾区青年艺术家计划⼀等奖；⼴东第七届当代油画艺术展李铁夫艺术奖；获 Inter-Youth 国际青年绘画展主题奖中国美术学院；⾸届“雅昌保利新势⼒”提名展三等奖；其作品《拜访者》参加“新青年·当代艺术国际推⼴计划”展览，荣获上海新美术馆收藏。

策展人：冀然

Curator:

中央美术学院博士，北京市优秀博士毕业生，就职于广州美术学院新美术馆学研究中心。博士论文《“法国大区当代艺术基金体系”的创立与演进》获得中央美术学院优秀论文，荣获中央美术学院徐悲鸿奖章。

研究论文：
1、冀然，《生态博物馆学——形成与演化的再思考》,《美术学报》(北大核心),2020年第5期，1万2千字。
2、冀然，《洞察之律——王蓬个展》,《华侨城盒子美术馆年鉴》第一辑，刘可、周力主编，长沙：湖南美术出版社，2020年，5千字。
3、冀然，《“文化民主化”在法国——法国大区当代艺术基金体系研究》,《新美术馆学》第一辑，王璜生主编，桂林：广西师范大学出版社，2021年9月，1万字。
4、冀然，《后疫情时代院校间跨文化艺术交流的探索——公诸同好：格拉斯哥当代艺术展》,《中国美术报》网络版，2021年1月，5千字。
5、冀然，《新的美术馆学实践及其若干问题》,《画刊》,2021年第11期，5千字。
6、冀然，《万象之象——史蒂芬 · 麦肯娜与洛兰双人展》,《华侨城盒子美术馆年鉴》第二辑，刘可、冀然主编，长沙：湖南美术出版社，2021年7月，7千字。
7、冀然，《华侨城盒子美术馆运营研究》,《华侨城盒子美术馆年鉴》第二辑，刘可、冀然主编，长沙：湖南美术出版社，2021年，5千字。
8、冀然，《直面法国当代艺术危机——法国社会基金系统的建立与变革》,《美术学报》(北大核心),2022年第1期，1万1千字。
9、冀然，《观念、物质与艺术博物馆——“艺术家书”和“展览/画册”的“博物馆化”》,《湖北美术学院学报》,2022年第4期，1 万字。
10、冀然、[德]安娜·鲁滕，《时空中的回溯与开放：弗柯望美术馆的场所精神》,《画刊》,2022年第12期，7千字。
11、冀然，《2020年之后：中国的美术馆何为》,《画刊》,2023 年第6期，1万字。
12、冀然，《超越静态的区域艺术研究——“泛东南亚三年展”的在地性与策展性》,成都A4 美术馆十五周年学术论坛，2023年8月，5千字。
13、冀然，《公共性与国家文化战略——法国文化政策“1%艺术”的成因与意义》,北京大学国际博士生论坛——文化产业分论坛，2023 年9月，1万1千字。
14、冀然，《现实与现代——“现代版画会”木刻创作的发展与演化》,《美术学报》(C扩，2023-2024收录),2023年第5期，1万5千字。
15、冀然，《文化政策研究新动向：关于法国社会基金系统的研究》,中央美术学院国际艺术市场论坛，2023年12月，1万1千字。
16、冀然，《美术馆大型展览策划模式研究—— “泛东南亚三年展” 的在地性与策展性》,《当代策展人的求索》,中国文联文艺研修院主编，国家艺术基金2023年艺术人才培训资助项目，中国文联出版社，2024年8月，8千字。
17、冀然，《社区空间使文化艺术跨越边界》,《南方日报》,2024年10月22日版，3千字。
18、冀然，《画扇与“扇画”》,《书与画》,2024年第6期，3千字。

展览策划：
2014/9:“Paris photographie”,巴黎B&B画廊，艺术家：严筝、马龙、毛韬、周琦、沈铮
2016/5:“LOST-LAST”,巴黎Mitterrand画廊，艺术家：[意]巴保罗 · 蒙德兹
2016/8:“Peinture peinture”,巴黎Oberkampf画廊，艺术家：王睿涵
2017/9:华侨城盒子美术馆开馆展“Pierrick Sorin丰盈的人生”,艺术家：[法]皮耶利克 · 索朗
2017/12:“2017深港城市建筑双年展/罗湖分展场”策划组成员
2018/6:“极·光”荷兰黑点艺术团体展，华侨城盒子美术馆，艺术家：[荷]乔瑞斯· 斯特里博斯、[荷]尼基 · 阿斯曼、[美]埃里克 · 帕伦、[荷]马泰斯·蒙尼克、[荷]乔瑞斯 · 斯特里博斯
2018/8:“洞察之律”,华侨城盒子美术馆，艺术家：王蓬
2018/11:“第六届广州三年展华侨城盒子美术馆分展场”项目执行负责人
2019/3:“能量”OCAT·欢乐海岸展区 · 盒子空间，艺术家：唐骁、吴啸海、刘庆元、赵军、洛鹏
2020/11:“流动的间隔”,华侨城盒子美术馆，艺术家：金亚楠
2020/11:“全国优秀青年艺术家推荐展”,顺德华侨城欢乐海岸，艺术家谭景聪、赵岳、袁泽强、陈一致等共计28位。
2021/10:广州美术学院首届“泛东南亚三年展”展览流：“翻山越海：刘博智缅甸华人文化影像展”,广州美术学院大学城美术馆，艺术家：刘博智
2022/9:“盒子美术馆五周年文献展”,华侨城盒子美术馆
2023/2:“塔/坡的逻辑”:邓子军个展，深藏美术馆
2023/3:广州美术学院首届“泛东南亚三年展文献展”,广州美术学院大学城美术馆
2024/9:“未来信号：大湾区优秀青年艺术家联展”,学术委员，广州艺术博物院
2024/10:佛山市禅城区人民政府委托项目：“无界艺术”,禅城区垂虹社区、任围社区等地。
2024/12:“多里安 · 高迪：无限场域”,松山湖盒子美术馆
2025/3(即将):艺术家唐骁个展，顺德盒子美术馆

Dr.from the Central Academy of Fine Arts (CAFA), Beijing Outstanding Doctoral Graduates, working at the New Art Museum Research Centre of Guangzhou Academy of Fine Arts. His doctoral dissertation, ‘The Creation and Evolution of the Contemporary Art Fund System in the French Region’, was awarded the Outstanding Dissertation of the Central Academy of Fine Arts (CAFA), and he was awarded the Xu Beihong Medal of the Central Academy of Fine Arts (CAFA).

Research Papers:
1. Ji Ran, “Ecological Museology—A Reconsideration of Its Formation and Evolution,” *Journal of Fine Arts* (Peking University Core Journal), Issue 5, 2020, 12,000 words.
2. Ji Ran, “The Law of Insight—Wang Peng’s Solo Exhibition,” *OCT Boxes Art Museum Annual* Volume 1, edited by Liu Ke and Zhou Li, Changsha: Hunan Fine Arts Publishing House, 2020, 5,000 words.
3. Ji Ran, “Cultural Democratization in France—A Study of the Contemporary Art Fund System of French Regions,” *New Museum Studies* Volume 1, edited by Wang Huangsheng, Guilin: Guangxi Normal University Press, September 2021, 10,000 words.
4. Ji Ran, “Exploration of Inter-institutional Cross-cultural Artistic Exchange in the Post-pandemic Era—For the Benefit of All: Glasgow Contemporary Art Exhibition,” *China Fine Arts News* Online Edition, January 2021, 5,000 words.
5. Ji Ran, “New Practices in Museum Studies and Some Issues,” *Art Magazine*, Issue 11, 2021, 5,000 words.
6. Ji Ran, “The Phenomena of All Things—Stephen McKenna and Luo Lan Duo Exhibition,” *OCT Boxes Art Museum Annual* Volume 2, edited by Liu Ke and Ji Ran, Changsha: Hunan Fine Arts Publishing House, July 2021, 7,000 words.
7. Ji Ran, “A Study on the Operation of OCT Boxes Art Museum,” *OCT Boxes Art Museum Annual* Volume 2, edited by Liu Ke and Ji Ran, Changsha: Hunan Fine Arts Publishing House, 2021, 5,000 words.
8. Ji Ran, “Confronting the Crisis of Contemporary Art in France—The Establishment and Transformation of the French Social Fund System,” *Journal of Fine Arts* (Peking University Core Journal), Issue 1, 2022, 11,000 words.
9. Ji Ran, “Concept, Material, and Art Museums—The ‘Museumization’ of ‘Artists’ Books’ and ‘Exhibition/Catalogs’,” *Journal of Hubei Institute of Fine Arts*, Issue 4, 2022, 10,000 words.
10. Ji Ran, [DE] Anna Rüten, “Retrospection and Openness in Time and Space: The Spirit of Place of the Fokwang Art Museum,” *Art Magazine*, Issue 12, 2022, 7,000 words.
11. Ji Ran, “After 2020: What Role for Art Museums in China,” *Art Magazine*, Issue 6, 2023, 10,000 words.
12. Ji Ran, “Beyond Static Regional Art Research—The Locality and Curatorial Nature of the ‘Pan-Southeast Asia Triennial’,” Academic Forum on the 15th Anniversary of Chengdu A4 Art Museum, August 2023, 5,000 words.
13. Ji Ran, “Publicness and National Cultural Strategy—The Origin and Significance of the French Cultural Policy ‘1% Art’,” Peking University International Doctoral Student Forum—Cultural Industry Sub-forum, September 2023, 11,000 words.
14. Ji Ran, “Reality and Modernity—The Development and Evolution of Woodcut Creation by the ‘Modern Printmaking Society’,” *Journal of Fine Arts* (C Expanded, 2023-2024 Collection), Issue 5, 2023, 15,000 words.
15. Ji Ran, “New Trends in Cultural Policy Research: A Study on the French Social Fund System,” Central Academy of Fine Arts International Art Market Forum, December 2023, 11,000 words.
16. Ji Ran, “A Study on the Planning Model of Large-scale Exhibitions in Art Museums—The Locality and Curatorial Nature of the ‘Pan-Southeast Asia Triennial’,” *The Quest of Contemporary Curators*, edited by China Federation of Literary and Art Circles Research Institute, National Art Fund 2023 Art Talent Training Project, China Federation of Literary and Art Circles Publishing House, August 2024, 8,000 words.
17. Ji Ran, “Community Spaces Enable Cultural and Artistic Boundaries to Be Crossed,” *Southern Daily*, October 22, 2024 edition, 3,000 words.
18. Ji Ran, “Painted Fans and ‘Fan Paintings’,” *Books and Paintings*, Issue 6, 2024, 3,000 words.

Exhibition Curation Experience :
2014/9: “Paris Photographie”, B&B Gallery, Paris, Artists: Yan Zheng, Ma Long, Mao Tao, Zhou Qi, Shen Zheng
2016/5: “LOST-LAST”, Mitterrand Gallery, Paris, Artist: [IT] Paolo Mendez
2016/8: “Peinture Peinture”, Oberkampf Gallery, Paris, Artist: Wang Ruihan
2017/9: OCT Boxes Art Museum Opening Exhibition “Pierrick Sorin: The Abundant Life”, Artist: [FR] Pierrick Sorin
2017/12: Member of the Curatorial Team for “2017 Shenzhen-Hong Kong Bi-City Biennale of Urbanism\Architecture / Luohu Sub-venue”
2018/6: “Extreme Light” Exhibition by the Dutch Black Dot Art Group, OCT Boxes Art Museum, Artists: [NL] Joris Strijbos, [NL] Nikki Aesman, [US] Eric Parren, [NL] Maarten Mengen, [NL] Joris Strijbos
2018/8: “The Law of Insight”, OCT Boxes Art Museum, Artist: Wang Peng
2018/11: Project Execution Manager for the “6th Guangzhou Triennial OCT Boxes Art Museum Sub-venue”
2019/3: “Energy” Exhibition at OCAT · Joyland Exhibition Area · Box Space, Artists: Tang Xiao, Wu Xiaohai, Liu Qingyuan, Zhao Jun, Luo Peng
2020/11: “Fluid Intervals”, OCT Boxes Art Museum, Artist: Jin Yanan
2020/11: “National Outstanding Young Artists Recommendation Exhibition”, Shunde OCT Joyland, Artists: Tan Jingcong, Zhao Yue, Yuan Zeqiang, Chen Yizhi, and 25 others
2021/10: “Crossing Mountains and Seas: Liu Bozhi’s Myanmar Chinese Cultural Photography Exhibition” as part of the First “Pan-Southeast Asia Triennial” at Guangzhou Academy of Fine Arts, Artist: Liu Bozhi
2022/9: “Box Art Museum 5th Anniversary Documentation Exhibition”, OCT Boxes Art Museum
2023/2: “The Logic of Tower/Pole”: Deng Zijun Solo Exhibition, Shen Cang Art Museum
2023/3: First “Pan-Southeast Asia Triennial Documentation Exhibition” at Guangzhou Academy of Fine Arts, Guangzhou Academy of Fine Arts University Town Art Museum
2024/9: “Future Signals: Outstanding Young Artists of the Greater Bay Area” Joint Exhibition, Academic Committee Member, Guangzhou Art Museum
2024/10: Commissioned Project by the People’s Government of Chancheng District, Foshan: “Boundless Art”, at Chancheng District, Chuihong Community, Renwei Community, and other locations
2024/12: “Dorian Gaudi: Infinite Fields”, Songshan Lake Boxes Art Museum
2025/3 (upcoming): Tang Xiao Solo Exhibition, Shunde Boxes Art Museum