「象罔之境」&「夢想之家」盧志榮、郭雨橋雙個展即將開幕

同期展覽「夢想之家」郭雨橋個展

象罔與觀看

——后圖像時代的感知

文/鮑禹

在當代視覺文化的快速轉變之中，圖像的地位正在被重新定義。隨著生成技術、數字媒介以及全球視覺網絡的擴展，人類所處的視覺環境已經從單純的“圖像世界”逐漸進入“后圖像時代”（Post-Image Era）。在這一階段中，圖像不再只是對現實的記錄，也不再僅僅作為觀看對象存在，而increasingly成為構成感知環境的一部分。圖像不只是被觀看的事物，它同時也在塑造我們觀看世界的方式。在這樣的背景下，當代藝術的任務也隨之發生變化。如果說過去的藝術不斷創造新的圖像，那么今天的問題則逐漸轉向另一層面：在圖像無處不在的時代，人如何重新學習觀看？本次展覽圍繞這一問題展開。

In the rapid transformation of contemporary visual culture, the status of the image is being redefined. With the expansion of generative technologies, digital media and the global visual network, the visual environment we inhabit has gradually shifted from a simple “world of images” to what may be called the Post-Image Era. In this phase, images are no longer merely records of reality, nor do they exist only as objects of viewing. Instead, they increasingly become part of the very perceptual field that surrounds us. Images are not only what we see; they also shape the way we see the world.Against such a background, the task of contemporary art has also changed. If art in the past was constantly creating new images, the question today has gradually moved to another level: in an age where images are everywhere, how does one relearn to see? This exhibition revolves around this question.

紅寶石獸 960x1210mm mixed media on fabric 2025

在盧志榮的創作中，建筑、雕塑與繪畫并不是彼此分離的媒介，而是同一思考系統中的不同階段。作為建筑師，他長期在一個強調精確與結構邏輯的領域中工作。一個建筑觀念必須通過材料、結構與技術逐漸獲得現實形態，并在建造過程中不斷被修正與完善。然而正如他所指出的，建筑并不僅僅是理性系統的產物。在比例、節奏、空間序列以及光影關系的選擇之中，始終存在著一種無法完全由邏輯推導的維度。這種維度來自直覺、經驗與審美判斷，使建筑從單純的技術實踐轉化為一種藝術與詩意的行動。

In the practice of Chi Wing Lo, architecture, sculpture and painting are not separate mediums, but different phases within a single system of thought. As an architect, he has long worked in a field that demands precision and structural logic. An architectural idea must gradually take concrete form through materials, structures and techniques, and be continuously revised and refined in the process of construction. Yet, as he has pointed out, architecture is not merely a product of rational systems. Within the choices of proportion, rhythm, spatial sequence and the relationship between light and shadow, there always exists a dimension that cannot be fully derived from logic. This dimension comes from intuition, experience and aesthetic judgment, transforming architecture from a purely technical exercise into an artistic and poetic act.

西穆爾格 720x870mm mixed media on fabric 2026

雕塑與繪畫正是在這一層面上進入他的創作體系。它們為想象提供了一片更加自由的領域，使藝術能夠在現實建造的約束之外展開探索。盧志榮早期以木質榫卯結構與材料創作的雕塑作品呈現出一種穩定而輕盈的空間形態。或細長或豐盈的構建在空間中相互支撐，形成一種向上延展的結構秩序。然而這些作品真正的核心并不在于材料或結構本身，而在于結構所圍合與指向的空間。雕塑在視覺上似乎由木材構成，但在體驗中卻更像是一種由“空”所形成的存在狀態

It is at this level that sculpture and painting enter his creative system. Theyoffer a freer and more speculative terrain for the imagination, allowing art to explore beyond the immediate constraints of physical construction.Chi Wing Lo’s early sculptural works, created in wood with mortise-and-tenon structures, present a spatial form that is at once stable and ethereal. Components, whether slender or voluminous, support one another in space, forming an upward-extending structural order. Yet the true core of these works lies not in the material or structure itself, but in the space enclosed and suggested by the structure. Visually, the sculptures appear to be made of wood, yet experientially, they are more like a state of being shaped by emptiness.

阿爾戈群水手去蒙扎 720x870mm mixed media on fabric 2026

在中國傳統思想中，“空”并不是缺失，而是一種使萬物得以生成與流動的條件。結構并不是為了填滿空間，而是為“虛”創造邊界。正是在這種虛與實之間的關系中，空間獲得了呼吸般的節奏，也使這些雕塑呈現出一種沉靜而開放的氣質。如果說雕塑通過結構構建空間，那么繪畫則在圖像層面展開另一種探索。新的繪畫系列延續了此前作品中關于未知世界的想象，同時將這種想象轉化為更加流動的視覺語言。畫面中的形象往往處于生成與消散之間，既像來自遠古文明的遺跡，又仿佛是尚未到來的未來圖像。許多作品的標題來自Jorge Luis Borges的文學世界，在那里，無數想象的生物構成了一部介于現實與幻想之間的百科全書。然而在盧志榮的畫面中，這些形象不再具有怪誕或恐懼的意味，而逐漸轉化為一種沉靜而內省的存在。在后圖像時代，這樣的圖像經驗顯得尤為重要。當視覺系統越來越傾向于生產清晰、快速與可識別的圖像時，藝術反而在創造一種更為緩慢的觀看方式。圖像在這里并不是明確敘事的終點，而是一種持續生成的感知空間，使觀看者在熟悉與陌生之間不斷移動。

This spatial consciousness resonates deeply with ideas in Eastern philosophy. In traditional Chinese thought, “emptiness” is not absence, but a condition through which all things come into being and flow. Structure is not meant to fill space, but to create boundaries for the void. It is within this relationship between the void and the solid that space acquires a rhythm like breathing, lending the sculptures a calm and open temperament.If sculpture constructs space through structure, painting embarks on another exploration at the level of the image. The new series of paintings continues the imagination of an unknown world from his earlier works, while translating such imagination into a more fluid visual language. Forms in the paintings often hover between emergence and dissolution, resembling relics from an ancient civilization or images of a future yet to come. Many works take their titles from the literary world of Jorge Luis Borges, where countless imaginary beings form an encyclopedia suspended between reality and fantasy. Yet in Chi Wing Lo’s paintings, these forms no longer carry grotesque or fearful connotations; they have gradually transformed into quiet and introspective presences. In the Post-Image Era, such an experience of the image is particularly significant. As visual systems increasingly tend to produce clear, fast and recognizable images, art instead cultivates a slower way of seeing. Here, the image is not the end of a fixed narrative, but a continuously unfolding perceptual space, moving the viewer between the familiar and the unfamiliar.

尤利西斯和塞壬 720x870mm mixed media on fabric 2026

標題“象罔與觀看”提供了理解這一實踐的重要哲學線索。“象罔”出自中國古代莊子的“象罔得珠”，象征一種擺脫既定知識框架的感知狀態。當人暫時放下分析、方法與概念時，世界反而能夠以更為開放的方式顯現。這種狀態并不是對知識的否定，而是一種使感知重新獲得自由的可能。在高度系統化的當代社會，這種觀看方式顯得尤為重要。當技術不斷提高效率與可預測性時，藝術仍然在維護另一種認知路徑：一種允許直覺、想象與未知存在的感知方式。因此，本次展覽并不是一個封閉的敘事，而更像是一種關于觀看的實驗，讓結構與圖像、理性與直覺、歷史與未來不斷相互折射。作品并不試圖給出明確答案，而是創造出一種開放的觀看環境，使觀眾能夠重新思考視覺經驗本身。讓我們像象罔那樣稍稍退后一步，重新理解我們自己與這個世界。

The title “Xiangwang and Seeing” offers an important philosophical clue to understanding this practice. “Xiangwang” comes from the ancient Chinese classic Zhuangzi, the episode of Xiangwang retrieving the pearl, symbolizing a state of perception freed from established frameworks of knowledge. When one temporarily sets aside analysis, method and concepts, the world can reveal itself in a more open manner. This state is not a rejection of knowledge, but a possibility for perception to regain its freedom. In a highly systematized contemporary society, this way of seeing is particularly crucial. As technology continuously advances efficiency and predictability, art still upholds an alternative path of cognition: a mode of perception that makes room for intuition, imagination and the unknown.This exhibition is therefore not a closed narrative, but rather an experiment in seeing, in which structure and image, reason and intuition, history and future continuously refract one another. The works do not attempt to provide clear answers, but create an open viewing environment that invites the audience to rethink visual experience itself.Let us stay back and comprehend ourselves and the world like Xiangwang.

雙頭蛇與巨蟾蜍 660x1210mm mixed media on fabric 2026

ABOUT ARTISTS關于藝術家

盧志榮 |Chi Wing Lo

2015年「世界杰出華人設計師」得獎人。盧志榮的豐富創作涵蓋了建筑、藝術、室內與家具設計等領域，他一直以對理念的凈化、詩意的詮釋、細節的關注，備受意大利及國際設計界推崇。

盧志榮創作了一系列反映他的建筑和設計理念的雕塑和畫作，他的藝術個展包括2011年在意大利圣塞維羅阿爾托·塔佛利埃博物館舉辦的物的靈與光、2012年在中國臺北儀畫廊的奇幻旅程、2013及2015年在中國香港季豐軒畫廊的文明愿景及建隆一零五五年、2014年在意大利米蘭三年展博物館的無時之域、2015年在中國杭州西泠印社美術館的文房新語、2017年在中國香港理工大學藝術廊的逸舍、2017年在中國北京達美藝術中心的合一：宏觀與微觀世界的緘默、2018年在泰國曼谷塞林迪亞美術館的靈氣、2019年在中國國際設計博物館的無華、2022及2024年在中國香港大館季豐沙龍和中國北京SIMPLEONE畫廊的驚鴻遠客和2026年在中國北京共同藝術中心的象罔之境。在2021至2023年期間，盧志榮創作并展出了三項用于冥想和身心煥發的大型空間藝術裝置：2021年的憧憬、2023年的雨后和插曲。他的作品廣受國際收藏家青睞。

盧志榮在中國香港長大，于1988年以最佳論文獎取得哈佛大學建筑系碩士學位，他曾任教于紐約錫拉丘茲大學，曾經是德國斯圖加特的索利突藝術學院的成員。他還經常出席設計和文化的講座及論壇，并在不同大學擔任主講和客座評論，他的創作涵蓋了藝術、建筑、室內、家具等設計領域，作品遍及米蘭、雅典、倫敦、伊斯坦布爾、迪拜、上海，北京和香港等地。

共同藝術中心誠邀您于2026年4月4日（周六）15:00出席「象罔之境」開幕式

同期展覽「象罔之境」盧志榮個展

夢想之家

文/鮑禹

所有的建筑，都是子宮的記憶。

All architecture carries the memory of the womb.

在人類進入世界之前，每個人都曾生活在一個封閉的空間之中：溫暖、黑暗、被液體包圍，沒有語言，也沒有邊界。這個最初的內部空間構成了人類關于“家”的原型想象。從洞穴到房屋，從城市到國家，人類不斷在外部世界中建造新的結構，以重新獲得這種被包裹的狀態。建筑不僅是居住的容器，也是人類試圖延續這一原初經驗的方式——一種對內部空間的持續復制。然而在當代社會，這種穩定的內部正在逐漸松動。

Before entering the world, every human being exists within a completely enclosed space: warm, dark, surrounded by fluid, without language or boundaries. This primordial internal space forms the archetypal imagination of “home.” From caves to houses, from cities to nations, humans have continuously constructed new structures in the external world, seeking to recreate the sense of being enveloped. Architecture is not only a container for dwelling but also a medium through which humans attempt to extend this original experience—a sustained reproduction of internal space. Yet in contemporary society, this stability of the internal has begun to loosen.

抽屜（家的記憶）51x72cm 布面油畫 2026

家庭結構持續變化，城市生活高度流動，親密關系不斷重組。與此同時，數字技術深入私人生活：經驗被記錄、傳播并轉化為數據，人與人之間的關系越來越依賴屏幕與網絡。社會學家Zygmunt Bauman將這種狀態稱為“液態現代性”。在這樣的社會結構中，穩定的關系逐漸溶解，一切都處于持續的流動與重組之中。傳統意義上的“家”不再是一個固定的地點，而更像一種臨時生成的結構——一種在不斷變化的世界中短暫形成的內部。技術同樣在改變身體本身。從輔助生殖到基因技術，生育逐漸從自然過程轉變為可以被規劃和管理的系統。理論家Donna Haraway在其關于“賽博格”的討論中指出，當技術進入身體內部時，自然與人工之間的界限開始變得模糊，身體不再只是生物學的存在，而成為一個不斷被重寫的結構。在這樣的歷史條件下，子宮也逐漸呈現出新的文化意義：它不僅是生命生成的器官，也是一種關于內部空間的原型模型。

Family structures are in flux, urban life is highly mobile, and intimate relationships are constantly being reorganized. At the same time, digital technologies penetrate private life: experiences are recorded, disseminated, and transformed into data, and interpersonal relationships increasingly rely on screens and networks. Sociologist Zygmunt Bauman describes this condition as “liquid modernity.” In such a social structure, stable relationships gradually dissolve, and everything exists in a state of continuous flow and reconfiguration. The traditional notion of “home” is no longer a fixed location, but rather a temporarily generated structure—an interior that forms fleetingly amid a changing world. Technology is also reshaping the body itself. From assisted reproduction to genetic technologies, the process of childbirth has shifted from a natural phenomenon to one that can be planned and managed. Donna Haraway, in her discussion of cyborgs, notes that as technology enters the body, the boundaries between the natural and the artificial blur, and the body becomes a structure continuously rewritten. Under these historical conditions, the womb acquires new cultural significance: it is no longer merely an organ of life generation but emerges as an archetypal model of internal space.

藍色畫像 25.4x30.5cm 布面油畫 2025

郭雨橋作為同時擁有建筑師與藝術家雙重身份的創作者，她的實踐長期在空間與身體之間思考“棲居”的問題。在她看來，身體本身就是一種居所：身體是精神的房子，既滋養和庇護個體，也在某種意義上形成限制與邊界。因此，在她的繪畫中，身體往往成為“家”的隱喻。這些身體被拉伸、變形或重新組合，有時像建筑結構，身體在這里不再只是個體形象，而是一種空間性的存在——一個不斷變化的內部環境。從某種意義上說，郭雨橋的繪畫可以被理解為一種“親密建筑”（intimate architecture）。這種建筑并不是由墻壁和結構構成，而是由身體、情感與想象共同形成的內部空間。它既具有庇護性，也包含某種不穩定的張力。

Guo Yuqiao, as both an architect and an artist, has long explored questions of “dwelling” between space and the body. In her view, the body itself is a residence: it is a house of the spirit, nourishing and protecting the individual while simultaneously establishing limits and boundaries. In her paintings, the body frequently functions as a metaphor for “home.” These bodies are stretched, transformed, or recombined, sometimes resembling architectural structures. Here, the body ceases to be a mere individual form and becomes a spatial entity—an internal environment in continuous flux.

避風港 35x30cm 布面油畫 2026

她的圖像很少直接來源于現實視覺，而更接近從記憶與夢境中生成的空間結構。夢境在其中發揮著重要作用：記憶在夢中被重新排列，而現實經驗也在這一過程中發生偏移。繪畫因此成為一種捕捉這種瞬間結構的方式——為那些原本短暫存在的念頭尋找具體形態。藍色構成了這些空間持續存在的氣氛。它既像深海，也像宇宙；既像身體內部的流體環境，也帶著電子屏幕般的冷光。生命體在這樣的空間中漂浮、游動、彼此可見，卻始終保持微妙的距離。這種距離既是心理的，也是結構性的：它暗示著當代個體在高度連接的社會中所體驗到的某種孤獨狀態——看似接近、親密，卻始終難以真正抵達彼此。

In this sense, Guo’s paintings can be understood as a form of intimate architecture. This architecture is not composed of walls and structural elements but emerges from the interplay of body, affect, and imagination. It possesses both sheltering qualities and a subtle instability.Her imagery rarely derives directly from visual references in reality; it is more closely generated from memory and dream. Dreams play a significant role: memories are rearranged in them, and experiences of reality shift in the process. Painting becomes a means of capturing these ephemeral structures—giving form to thoughts that otherwise exist only fleetingly.Blue constitutes the persistent atmosphere of these spaces. It evokes both the deep sea and the cosmos, the internal fluid environment of the body, and the cold light of digital screens. Life forms float and move within this space, visible to one another yet maintaining subtle distance. This distance is both psychological and structural, signaling the particular kind of solitude experienced by contemporary individuals in a highly connected society: seemingly close and intimate, yet ultimately unreachable.

父與子55.9x71.7cm布面油畫 2023

因此，《夢想之家》并不是對家庭或母性的再現，而更像是一種關于棲居方式的想象實驗。當穩定的家庭結構逐漸消失，當身體持續被技術改寫，人類仍然在尋找一種能夠安放自身精神的位置。如果說過去的“家”源自子宮這一原型空間，那么今天新的“家”或許正在出現。它既不完全屬于建筑，也不完全屬于身體與關系，而是一種在現實與想象之間不斷生成的結構。《夢想之家》正是這種空間的隱喻。一種尚未被完全命名的Dream Home。

Thus, Dream House does not aim to reproduce domestic life or motherhood; rather, it constitutes an imaginative experiment in modes of dwelling. As traditional family structures erode and the body is increasingly shaped by technology, humans continue to seek a location in which their spirit can reside. If the “home” of the past originated in the womb as an archetypal space, then today, a new form of home is emerging. It belongs neither entirely to architecture nor solely to the body, but is instead continuously generated in the interstice between reality and imagination. Dream House serves as a metaphor for this space—a structure still in formation, as yet unnamed.

撈 55.9x45.7cm 布面油畫 2024

ABOUT CURATOR關于策展人

彭鋒 | Peng Feng

彭鋒，現任北京大學藝術學院院長、北京大學歌劇研究院院長、北京大學中國畫法研究院院長，兼任國務院學位委員會藝術學理論學科評議組召集人、教育部高等院校藝術學理論本科專業類教學指導委員會秘書長、國際美學協會副會長、中華美學會副會長、中國文藝評論家協會理事、中國美術家協會理事。出版多本專著、教材和文集，策劃藝術展覽100余次，撰寫音樂劇、話劇、舞劇、電影等劇本。

鮑禹 | Brenda

鮑禹，策展人、出版人，共同藝術中心聯合發起人。2007年畢業于中央民族大學美術學專業，深耕中國當代藝術領域近20年，專注學術出版、展覽策劃與藝術機構創新運營。曾任《美術關注》副主編，創辦《流動藝術》學術品牌，與藝術理論家彭鋒合作主編出版《女性藝術家的自我鏡像》《超現實波普》《中式表現》《新水墨》等20余部學術專著，構建系統的當代藝術文獻體系。策展實踐成果豐碩，先后策劃出品《紙是》開館展、《材質與表達》、《灰色為什么重要》、《高考-李洪波個展》、《新抽象》、《隱士的凝視-葉恒貴個展》等學術展覽30余場，聚焦材質、民間技藝與傳統文化的當代轉換。2015年，以眾籌方式開創畫廊運營新模式“共享藝術合伙人”，提出“共同藝術·共享收藏”理念，重塑畫廊運營邏輯，打造藝術IP孵化與商業化運營體系，構建藏家深度參與、藝術價值共享的創新經營模式。2019年入駐798藝術區至今，累計舉辦高品質展覽近100余場，持續攜機構亮相ART021、北京當代、西岸藝博會、DnA深圳設計與藝術博覽會、Art Taipei（中國臺北）、Art Central（中國香港）、Art Dubai（阿聯酋）、Art Busan（韓國）、Art Miami（美國）等國內外核心藝博會，建立海內外藝術傳播通道。

關于藝術家

郭雨橋 | Yuqiao Guo

郭雨橋（1992年生于北京），成長于北京與美國之間，現居倫敦，是一名藝術家和建筑設計師；同時她也是倫敦本地手工冰淇淋品牌Matter at Hand的創始人。她在實踐獨立建筑設計的同時，也專注于油畫創作。郭雨橋在2019年獲得美國哈佛大學設計研究生院建筑學碩士學位，此前在2015年獲得美國波莫納學院藝術與環境分析雙學士學位。

共同藝術中心誠邀您于2026年4月4日（周六）15:00出席「夢想之家」開幕式