牛房仓库｜《出神》展览现场

本次展览的主题「出神」，旨在强调：为「神」的出游，预留出口。在中国古代语境中，「出神」最初指的是一种道教修炼方式，即「元神出体」。「出神」的行为，是身心进行气化宇宙循环中的一部分。「出神」是为了最大限度地「游」，而「神游」是一种对自我精神性主体的超越。「出神」的前提是「观想」，这是一门在中古时期开创的身体技艺（body techniques），要求人们游体外之景，观照自身的内景山水。通过这种方式，在能量的循环中，开启内向心性的形塑，发现「自我」其实是自然的一部分，从而感受到最为深层的「情志」，内在的「真我」在自然中得以成全。这对于解决20世纪初就被提出的当下社会 「心灵在场(presence of mind）的匮乏」问题以及当代社会媒体对于「注意力」的精准控制，具有一定的启发意义。

The theme of this exhibition, “Egress of the Spirit”, aims to emphasize the concept of creating an exit for the “Spirit” to travel. In the linguistic context of ancient China, the term “egress of the spirit” originated from the Taoist tradition, which involves practices and training in Taoism, that is “liberating the inner spirit from the physics body”. The practice of “egress of the spirit” is a part of circulating mind-body in the qi cosmology. The purpose of “egress of the spirit” is to maximize the potential for “travel”, where the “travel of the spirit” represents the transcendence of one's spiritual self. The premise of this transcendence lies in “visualization”, which is a body technique during the medieval period. It requires people to experience external landscapes and reflect upon the visualization of their inner landscape. Through this way, in the circulation of energy, open the path for the formation of an inward-oriented character and discover that the “self” is actually a part of nature, enabling them to experience the deepest “emotions” when the innermost “true self” is fulfilled within nature. It has a certain inspirational significance in addressing the scarcity of the “presence of mind” in contemporary society raised in the early 20th century and confronting the precise control brought about by the profound datafication of modern media.

「出神」的剎那，构成了种种宏大或微小的意象，虚实含混的图景，为参与本次展览的7位艺术家提供了创作的灵感和方向。本次展览一共展出了11组作品，作品类型涵盖了绘画、装置、影像、摄影等媒介。

The fleeting moments of the “egress of the spirit” give rise to various grand or subtle imaginaries, which are scenes blending reality and illusion. These provide creative inspiration and direction for the seven artists participating in this exhibition. A total of 11 artworks are displayed, including paintings, installations, videos, photography, and other media.

作为展览的开始，张文心的影像为「通往洞穴」提供了线索，「出神」的通道被开启。《洞察之目》呈现的路径来自一台视觉机器，它所记录的无机幻影是无序且诗性的；《Illusion》中的路径则指代高效、开放、连通的孔隙结构，它对于塑造城市的社会空间具有积极作用。孔隙作为介质，吸收物质，促使有机体的潜能更大化。「两条通道」其实并不强调是否要走出「洞穴」，「探洞」的过程足以让「记忆中的图景」放射出巨大的能量。

As the beginning of exhibition, the photographs by Zhang Wenxin give clues for “leading to caves” and open the passage to “egress of the spirit”. The passage displayed in HOGEN is from a visualization machine and its recording is disordered and poetic. The passage in illusion refers to an efficient, open and connected porous structure and it has a positive effect on constructing social spaces in cities. Pores absorb materials as mediums and maximize the potential of organisms. “Two Passages” does not emphasize on whether walking out of the caves or not. The process of exploring the caves is enough for “the mental imagery”to radiate immense energy.

在接下来的空间中，每一件作品，都是「出神」具体表现方式的一个分支。

In the following spaces, every work is a branch of the specific manifestation of “egress of the spirit”.

解群的《橐龠行旅图》记录了一次半虚构的「颅内神游」，探索「橐龠世界」相当于勘寻外部的身体，「洞」就在「我」体内，在自我开合的过程中，回归与重生，循环永续。作品的结构形态可比喻成洞天的「天窗」，每一扇窗户的敞开，都相当于打开了「神的出口」，能够自由变换探索不同的故事情节。

“TuoYue” Traveling map by Xie Qun records a semi-fictional “spirit traveling in mind”. Exploring “TuoYue world” is equivalent to exploring external body and the cave is inside “my”body. During the process of self opening and closing, the circulation of returning and rebirthing is forever. The structural form of the work can be metaphorically compared to the "skylight" of a cave heaven, where the opening of each window is unlocking a "gateway of the divine," allowing for the free exploration and transformation of different storylines.

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展示在解群对面的作品是陈慧雯的绘画作品《鬼石》和《夜会》，作品围绕着一个传闻中的灵异事件发生地展开。画中人的形态，已经状似离形脱体后的「游魂」。在画面上诞生的那一刻，从有形的「在场」渐变至无形的精神空间，「出神」的瞬间被定格。

The works shown across from the Xie Qun are paintings by Crystal Chan titled "Ghost Stone" and " Night Meeting", which revolve around a rumored paranormal incident location. The people in the painting are already like “ghosts” out of bodies. At the moment of its inception on the canvas, the tangible "presence" gradually transitions into the intangible spiritual realm, freezing the "egress of the spirit" moment in time.

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处于解群和陈慧雯作品中间的是黄佩姗的装置《直至静止#2》，它展示了在「喷泉」与「时钟」永恒运动中的一个切片，遵循了他们相对静止的定律，循环的本质得以延续。作品潜在地表达了一些对当代社会结构影响下既定日常的否定，从展览的整个架构上看，它就好比是《盗梦空间》中的「陀螺」，具有时空穿梭转换的提示功能，即「神」能游走在不受限定的时间与次元中。

In between Xie Qun and Crystal Chan 's works is Huang Peishan's installation "Be Terminated #2", which presents a slice of perpetual motion between the "fountain" and "clock." It follows the law of relative stillness between them, allowing for the continuation of the cyclical nature. The works potentially express a negation of established routines under the influence of contemporary societal structures. From the overall architecture of the exhibition, it is like the "spinning top" in "Inception," with its suggestive function of time and dimension shifting, allowing the "spirit" to wander within unbounded time and dimensions.

悬挂在一楼展场中心位置的帘状装置是黄佩姗这次的委托新作：《景观#2：在世界中存在》。作品将世界景观作为图像压缩，一切存有物的相遇，新的事件的诞生，交织出一张珠帘般相互映射的网络。「珠帘」的古典意象，常作为闺房的装饰，珠帘的门洞同时也象征着洞穴，它背后所在文人精神空间，不再对女性艺术家的身份设限。

The curtain-like installation hanging in the center of the first-floor exhibition space is Huang Peishan's commissioned new work: " Landscape #2: Being-in-the-World". The piece compresses the world's landscapes into images, where encounters of all existing objects and the birth of new events weave together into a network of interlinked pearls. The classical imagery of "pearl curtains," often used as decoration in boudoirs, also symbolizes as a cave, transcending the limitations traditionally imposed on female artists within the intellectual space behind it.

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穿过帘状装置，观众的身份也被迭加重构，来到葛珣的《仿黄鹤山樵山水手卷》影像空间。艺术家沈蕊兰将明代道士的卧游长卷，以双屏影像的方式再现了古代船只行旅中的观画经历。这里是更具开放性的空间，为观众提供现场「出神」的场所。

Passing through the curtain-like installation, the identity of the audience is also overlaid and reconstructed, leading them to Ge Xun's " Fang Huang He Shan Qiao Shan Shui Shou Juan" video space. Artist Shen Ruilan reproduces the long scrolls of Ming dynasty Taoist in a double-screen video, presenting the viewing experience of ancient boat travels. This is more open space, providing a place for the audience to “egress of the spirit”.

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下一个场景的切换，是沈蕊兰的作品《所有的蝴蝶都是失落的火焰》所呈现的由在地植物组成的帐篷影像空间。影像由行车穿越隧道中的几段对话展开，话题从「禅诗」到「新闻播报」，最后谈及「辞世之诗」。一切信息和记忆交织回环，有节律地伴随着呼驰而过的光点，最终与洞口的那束光亮汇合，共同涌入时间的合流。影像周围放置着沈蕊兰的《带着那绿色的事物进入你的永远》系列摄影，是她在杭州夜游期间，对于夜间生态环境的记录。茂盛的自然生命在曝光下，代表了某种亘古不变力量的幻现与续存。这几件作品都位于一楼展场的尾端，与影片中「隧道的尽头」形成呼应，帐篷代表了某种脆弱而又临时的庇护所（个体生命的易逝），与张扬的植物（原始的自然力量）形成对比，「出神」已进入了万物循环。

The transition to the next scene is presented by Shen Ruilan's work "All butterflies are lost flames", featuring a tent-like video space composed of local plants. The video unfolds through several dialogues recorded during car driving through tunnels, covering topics from "Zen Poetry" to " News Broadcast," ultimately to the discussions of " Poem of Departure". All information and memories intertwine and loop rhythmically, accompanied by flashing dots rushing past, finally converging with the beam of light at the cave entrance, merging into the flow of time. Surrounding the video are Shen Ruilan's " The greens, slipped into your eternity" series of photographs, documenting the nocturnal ecological environment during her night walks in Hangzhou. The lush natural life, exposed under the light, represents a hallucination and continuity of some ancient and unchanging force. These works are located at the end of the first-floor exhibition space, echoing the "end of the tunnel" depicted in the film. The tent represents a fragile and temporary refuge (the fleeting nature of individual life), contrasting with the exuberant plants (the primal force of nature). “Egress of the spirit” has entered into the circulation of all things.

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如果说沈蕊兰的作品停留在到达洞口光亮的前一刻，那么展于二楼独立空间的刘毅的动画《度口》已经带领观众走进了那束光亮之中。作品讲述了某天出于对周而复始日常幻象的逃离，缩小后的自己游走于身体内部，回到最初的生命载体，进行再寻访，最终冲破身心茧壳，跳出虚妄之境。作为展览的最后一件作品，「神的出游」也到达了终点，重新返归于混沌：而混沌初开，是否也是一个新的开始？

If Shen Ruilan's work lingers just before reaching the bright light at the cave entrance, then Liu Yi's animation "A Travel Inward" displayed in the independent space on the second floor has already led the audience into that beam of light. The work narrates the escape from the illusion of recurring daily life one day, where the shrunken self wanders inside the body, returning to the original life carrier for further exploration. Ultimately, it breaks through the cocoon of body and mind, escaping from the realm of illusion. As the final piece of the exhibition, the "egress of the spirit" also reaches its conclusion, returning to chaos: and as chaos

unfolds, could it also mark a new beginning?

展览日期 Exhibition Period：2024/03/29-04/28

时间 Time：10:00-19:00

免费入场 Free Admission

地点 Venue：市政牧场旧址（牛房） Former Municipal Cattle Stable

澳门美副将大马路与罅些喇提督大马路交界 Intersection of Avenida do Coronel Mesquita and Avenida Almirante Lacerda

出神

Egress of the Spirit

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策展人 Curator：

李丁 Li Ding

学术总监 Academic Directors：

高世强 Gao Shiqiang

吴方洲 Noah, Ng Fong Chao（牛房仓库大会主席 President of Ox Warehouse）

艺术家 Artists：

张文心 Zhang Wenxin

解群 Xie Qun

陈慧雯 Crystal Chan

黄佩姗 Huang Peishan

葛珣（明代）Ge Xun (Ming Dynasty)

沈蕊兰 Shen Ruilan

刘毅 Liu Yi

策展人 Curator

李丁 Li Ding

中国美术学院艺术学博士候选人。主要研究方向涉及中国中古时期艺术的创作观念与视觉机制，关注「身体」文化面向的知识体系，并致力于将研究成果转化为当今社会语境下的艺术与策展实践。

China Academy of Art, Art Theory, Ph.D.candidate. Main research area includes the creation concepts and visual mechanisms of art during middle ancient times of China, focusing on the knowledge system towards“body” culture, and devoting to converting research achievements into art and the practice of curation under current social context.