Mind Transition 意念轉換｜Lam Wong 王藝林

意念轉換 | 王藝林

展覽時間：2019年1月12日至3月23日

開幕時間：2019年1月12日，週六下午3點

地點：沙甸鹹水埠

地址：溫哥華 唐人街奇化街268號新華中心地下一層071單元

策展人：龍邃洋

沙甸鹹水埠很榮幸地邀請到溫哥華本地藝術家王藝林展示他在概念藝術上的近期思考成果。正如他所描述的那樣：“我的藝術實踐是終生的精神探索和發現之旅。對我來說，繪畫是心靈探索的工具。我有興趣從不同的角度來探尋已知的世界接受，譬如我們如何構建價值觀、如何建構記憶的工作，以及人類意識如何與世界聯繫。我想創造一種關於人類狀況的語境，並通過我的作品讓觀眾接受質疑的存在和尋找內心的自由。“

這一次，他所展示他新近創作的系列繪畫，揉合了中國傳統佛教思想以及西方的抽象主義和極簡主義。 《Transitional 2x4》系列是基於實施一個單一想法而形成的“一切都祇會發生一次”。王解釋道，所有經驗都是獨一無二的，這是一種對時間和無常的沉思。每幅畫的框架都象徵著“現在”，內容（框架內的行走人物）描繪了時間的運動—— 一種表現各種形式和顏色的無常。就像一條不斷流淌的河流，行走的人物似乎以神秘的方式過渡到其他框架。 “我喜歡我的畫作彼此交談的想法。”王說。

轉換2x4 / Transitional 2x4 Series

布面油畫 / Oil on canvas panel

2017 - 2018

照片由藝術家提供 / Courtesy by artist

王藝林1968年出生於中國廈門的一個藝術家庭（父親是書法家，母親是鋼琴家），20世紀80年代在香港長大。19歲時移民到加拿大。王藝林曾在艾伯塔省和不列顛哥倫比亞省攻讀設計，藝術史和繪畫。自1998年起在溫哥華生活和工作的他，目前正以繪畫為主要的創作媒介。 他認為藝術創作是一種持續的精神實踐。他專注於探索現實的感知，藝術的意義，以及時間，記憶和空間之間的關係。

王藝林的新作品經常受到他的舊作品的啟發。秘密隱藏的繪畫和每個面板上兩幅畫配對的想法很可能來自他名為《Westcoast（MOA）2008》的大型雙聯畫，左側有兩個佛教僧侶，右邊是同性伴侶，環境則是溫哥華UBC的人類學博物館。這個新系列的美學，在完成後重新審視時，王藝林自己感覺就像他另外兩幅早年繪畫潛意識的延伸：題為《1964年的音樂》和《1964年的詩歌》（這組畫描繪的是紐約蘇豪Mark Rothko的工作室）王繪製於2010年至2012年之間， 這兩幅作品恰如其分地表達了畫（視覺外的感知）是應該如何產生的，以及畫面應所傳達出的。

本次展覽由龍邃洋策劃，並得到尚·藝術基金會的大力支持，將於2019年1月12日至3月23日向公眾開放。展覽期間的一系列活動包括：1月26日下午3點舉行的藝術家講座，2月16日下午3點的茶藝會，以及最後一天3月23日下午3點的閉幕式音樂派對。歡迎大家參與！

展覽現場預覽 Exhibition preview

照片由沙甸鹹水埠提供 Courtesy by Canton-sardine

Duration: January 12 - March 23, 2019

Opening Reception: January 12, 2019, Saturday at 3pm

Venue: Canton-sardine

Address: 268 Keefer street, #071 at Lower-ground (LG),Vancouver

Curator: Steven Dragonn

Canton-sardine is pleased to invite Lam Wong, Vancouver based artist to show his paintings related with his recent thinking on conceptual art. As he described himself “My art practice is a life long journey of spiritual exploration and discoveries. For me, painting is a vehicle for investigating the mind. I am interested in challenging the received notion of perception: how we construct meaning, the working of memory, and how human consciousness relates to the world. I want to create a discourse about the human condition, and make paintings that engage viewers in questioning existence, and finding freedom.”

This time, he is showing his newer series of paintings, which meets Chinese Traditional Buddhism mind set featuring the occidental abstractionism and minimalism. The Transitional 2x4 series was formed with a realization ofa single thought - "Everything and every situation happens only once." Lam explain that all experience is unique, which is a quiet contemplation on time and impermanence. The frame of each painting symbolizesNowness, and the content (the walking figures inside the frame) depict the movement in time – an expression of Impermanence in all forms and colours. Like an ever-flowing river, the walking figures seem to transition into other frames in a mysterious way. “I like the idea of my paintings having conversations witheach other.” Lam says.

Lam Wong was born in 1968, to an artistic family (calligrapher father and pianist mother) in Xiamen, China, grew up in Hong Kong during the 1980s and immigrated to Canada at the age of 19. Lam studied design, art history and painting, both in Alberta and British Columbia. He is currently practicing painting as his main medium.Lam sees art making as an on-going spiritual practice. His main subjects arethe perception of reality, the meaning of art, and the relationships between time, memory and space. Lam lives and works in Vancouver since 1998.

Lam’s newer paintings are very often inspired by his older works. The idea of theundercover hidden paintings and the pairing of two paintings on each panel may come from a large diptych called Westcoast (MOA)2008, which feature two Buddhist monks on the left panel and a same-sex couple on the right. The setting was the Museum of Anthropology at UBC in Vancouver. The aesthetics of this new series, upon revisiting them after completion, feels like a subconscious extension of two of Lam’s earlier paintings titled1964 The Poignancy of Music, and1964 The Poignancy of Poetry, set in Mark Rothko's studio in Soho, NYC which he painted between 2010 to 2012. They are the projected ideal of how painting should be made, and what should be felt.

This exhibition which curated by Steven Dragonn and supported by Shang Foundation for Art, will be open to the public from January 12 to March 23,2019.

延伸閱讀：

超驗色彩與城市之愛的扎記

王藝林 / 2018年1月

1994年春天，我坐在一輛從阿爾伯特省愛蒙頓市開往加拿大東岸的灰狗長途汽車上。這次旅行是為了在我搬回香港打算和當時的女友（現時的妻子和生活伴侶）在香港生活之前，對這個偉大的國家做一次簡略但有意義的考察。當巴士經過安大略湖周圍繞彎時，我突然感覺好像進入了虛空。我打開Diskman隨身聽，把播放設置調至 The Durutti Column 的音樂專輯《Vini Reilly》（FACT244）。閉上眼睛，思緒漂流到一處我從不知道的地方。當播放至OPERA II這首歌曲時，顏色開始在腦海中浮現，沒有一點預示，一陣陣閃爍的亮橙色，冷調紫，未明狀的藍色，令人心碎而憂傷的灰，所有飛舞得極致清澈的色度。還有光彩，閃閃發亮得像線條一樣，填補在不斷變化的顏色之間的空隙，將它們連接在一起。就像一卷單色膠捲，逃離並失去了它所藏隱密的狀態，進入了煉獄般光輝的曝光中。無法逃避，我閉著眼睛停留在那個空間裡，享受著光的形態和色彩的展示。沒有特別的焦點，沒有映象或任何意念，讓超然色彩自然地產生在眼皮底下。我記得我很快樂，在無時間的觀念下，那可能是人生中第一次真正地感到快樂。在沒有任何存在的中心感受下，被顏色光映淹沒了的我，任由無限時空和明亮白色的洞裡被光擁抱著，忘記自我。對，那一定是我第一次體驗超越與忘我，進入虛空。那股力量把我完全打垮了。當身體在高速公路上以每小時100公里的速度巡航時，我的思維卻漂浮在半空中。這就是我的國家。

2010年春天。為期兩天的香港藝術博覽會（ARTHK10），一場視覺盛會正在我曾工作過的地方，灣仔的心臟地帶舉行。這是為世界級藝術品、藝術愛好者和好奇人仕設計的舞臺。我發現自己又一次被顏色淹沒了。博覽會內，巨大的白牆和埸館中無盡的人群混合著興奮和商業氣息。在這藝術經濟的視野裡，我決定把每一件在場的藝術品都品嘗一番，直至筋疲力盡。基於身體的過度飢餓，我急速地衝過連接會展中心和街市的行人天橋，走進了混亂的世界中。在本地市集裡，我找到了一家小型的香港茶餐廳並坐在一張小桌子，面對餐廳大門，望著街上的行人路，腦海裡一片空白。過了好一段時間，我疲憊的身軀一動不動地坐著，我的眼睛漫無目的地凝視著繁忙的街道，凝視著無盡的行人和移動著的身軀，像染上顏色的聲波一樣左右晃動。行走的身影在門框裡閃爍。我的意識與人們的能量和行動融為一體。突然間有了念頭，我立刻拿出相機，設置好三腳架並放在餐桌上，開始抓拍。茶餐廳老闆可能也認為我瘋了，但他們也沒說什麼。我很高興能把灣仔路過的人們和他們身上動人色彩的瞬間保存。灣仔充滿了藝術氣息卻雜亂無序的一個地方，它擁有我喜愛香港的一切理由，我十幾歲時在這個都市成長，此地是我自1987年移民加拿大後仍然經常回來的地方。儘管香港近年來經歷了一些政治動盪和挑戰，但它仍然以自己的美麗與獨特的混亂方式令人興奮鼓舞。因此我繪畫了這一系列的作品

Vini Reilly（FAS244）HTTPS://www.Cdgss/MeDuruti-CulnVIn-ReLyy/Relase/203689

Notes fromTranscendental Colours and Love of a City

Lam Wong / Jan2018

Spring 1994. I was on a gruellingGreyhound bus trip from Edmonton to the east coast Canada. The trip was anattempt to do a rough survey of this great country before my move back to HongKong, to live and spend time with my then girlfriend, Mei (now my wife and lifepartner). While the bus was circling around Lake Ontario, through what feltlike an eternity, I plugged in my Diskman and set the music to The DuruttiColumn’s monumental album, Vini Reilly (FACT244). Eyes closed. My minddrifted away to places I did not know existed. It must have been around theOPERAII track that the colours started to come. No Warning. Flashes of brightorange, hued purple, unknown shades of blues, heart-breaking sorrowful greys.All the flying chroma of ultra-blissful lucidity. And lights. Lights worked asthreads filling the gaps between the ever-mutated colour forms to link them alltogether. Like a roll of monochromatic film that was running away from secrets,and into the purgatory of brilliant exposure. A point of no return. I kept myeyes closed and rested in that space, enjoying the light forms and the colourshow. With no particular focus, no visions or stories, letting the formation oftranscendental colours beam through my eyelids. I remembered I was happy. Itmight have been the first time I really felt happy, in the sense oftimelessness. Without a centre, overwhelmed with colours. Embraced by light ina bright white hole of infinite space. Forgetting self. Right, that must havebeen my first experience of the transcendental. Entering into the void. Thatpower completely took me over. My head was floating in the nowhere air whilethe body was cruising at 100 kilometres per hour down the highway. My country.

Spring 2010. A two-day extravaganzaat the Hong Kong Art Fair (ArtHK10) in the heart of Wan Chai, a district I usedto work in during 1994. The stage was set for world-class artwork, art loversand the curious alike. I found myself again overwhelmed with colours. This timewith gigantic primed white walls and endless streams of crowds in the airmingled with excitement and the scent of commerce. Art economy. Determined totake in every piece of artwork, I ended up exhausted and in urgent need offood. Rushing across the pedway that connects the slick modern conventioncentre to the chaotic local boutique markets, I foundmyself sitting at a tiny table in a Hong Kong cafe, facing the front door,looking out into the street. Mind blank. After quite some time sittingmotionlessly with my tired body, my eyes aimlessly glazed out to the busystreet, to the river of unending pedestrians and moving bodies. Railing rightand left like colourful sound waves. The walking figures were flashing in andout of the doorframe. Suddenly, the light went on in my head. My consciousnessmerged with the force and motion of the people. I quickly took out my cameraand setup the tripod on the dinning table in the middle of the tiny cafe. Snapsaway. The patrons probably thought I was mad. But they said nothing. I washappy to archive a certain instance of the walking people of Wan Chai and themoving colours of their bodies. Wan Chai is artsy and chaotic. It haseverything I love about Hong Kong, the city I grew up in during my teenageyears, and a place I continuously visit since immigrating to Canada in 1987.Although Hong Kong has undergone strong political currents and challenges inrecent years, it still remains exciting in its own beautiful chaotic way. Theseries of paintings. Transitional 2x4

Vini Reilly (FACT244)https://www.discogs.com/The-Durutti-Column-Vini-Reilly/release/2036289

關 於 我 們

在1958年巴黎的Iris Clert畫廊，法國前衛藝術運動藝術家伊夫·克萊因（Yves Klein）將整間畫廊的展廳騰空，譲觀眾掀開入口的藍色帷幕進入空無一物的展廳。克萊因原意是為觀眾提供一個視覺上完全單色的體驗，然而卻開創性地把被稱作“白立方”的空間變成了展覽的主體。兩年後的1960年，另一位新現實主義代表人物阿爾曼（Arman）用廢棄物品將同一畫廊的全部空間塞滿，前來出席開幕式的觀眾則被迫呆在禁閉的大門與櫥窗之外觀展。而這個展覽的邀請函則是一個被寫滿字蹟的紙張塞滿的沙丁魚罐頭。延至今天，“白立方”一詞已然成為當代藝術中畫廊或者空間的代名詞。然而這並非一個符合目前非盈利藝術家自運營機構的描述。我們希望用“沙丁（Sardine）”一詞代替“空間（Space）”，因為非盈利藝術家自運營機構除展覽外，還肩負策展、出版、藝術家駐地，甚至書店等功能，麻雀雖小五臟俱全，滿滿的內容才是機構的本身。

鹹水埠是廣東人對溫哥華唐人街的舊稱，過去溫哥華唐人街的主要組成就是來自廣東的華人。因此沿用鹹水阜一詞與本機構所在地互相呼應，恰好本機構也是由廣東籍藝術家發起。而“沙丁”一詞也使用廣東話的音譯“沙甸”，與“鹹水埠”組成一個全新的名詞“沙甸鹹水埠”。

沙甸 = 非盈利藝術家自運營機構

鹹水埠 = 溫哥華唐人街

沙甸鹹水埠 = 溫哥華唐人街的非盈利藝術家自運營機構

About Canton-Sardine

In 1958, inside the Parisian Iris ClertGallery, French avant-garde movement artist Yves Klein emptied an entireexhibition space of an art gallery. Visitors upon lifting the blue curtains atthe entrance, enter an empty exhibition hall. Although Klein’s originalintention was to provide viewers a monochromatic visual experience, hesimultaneously became the pioneer of taking the space known as the “White Cube”as the subject of the exhibition itself. Two years later, in 1960, Arman, adistinctive figure of Neo-Realist art, filled an entire exhibition space of thesame gallery with discarded materials, but visitors were required to view theexhibition outside of closed doors and display windows. The invitation to thisexhibition, titled Full-Up, was asardine can full of handwritten texts. To this day, the term “White Cube” hasbecome synonymous with art galleries and spaces; nevertheless, it is no longeran adequate description for today’s non-profit artist-run centers. We hope toreplace the word “space” with “sardine,” because other than exhibitions, anon-profit artist-run center also carries curatorial and publishing functions,as it can also be a site for artist residencies and bookstores among many otherroles.

This institution is found by Vancouver based artists originally fromCanton, China, hence the name “Canton-sardine.”

-特別鳴謝-

尚·藝術基金會

提供2018-2019年度

經費支持

尙 · 藝術基金會，於2018年在加拿大註冊，旨在推動加拿大當代藝術的推廣；通過藝術的方式推動全球性當代議題，如環境保護，種族遷移，文化融合等；搭建友好的文化橋樑，推動中國加拿大兩國的藝術學術交流，鼓勵中加兩國青年藝術家在國際舞臺上展現他們的才華和思想。

基金會創會成員為：

• 楊小彥 董事會主席

• 王義明 董事會副主席兼執行董事

• 周馳昱 執行董事

• 龍邃洋 秘書長

  
  

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關鍵字: 溫哥華 2018頭條記憶 藝術