“线下”思维之一：
当代艺术面对中国传统民间编织手工艺的思维，或许应该是“切经断纬”,亦或是至少需要“切经断纬”式的思维模式。冲散、扔掉、重构、再拿来，确实需要在一个时间的长河里，时代的背景下反复的“切经断纬”，大胆的改变与颠覆。用一种从属于“进化论”式的方法，优胜劣汰出一个有着清晰脉络的传统与当代共生的一种艺术形态，所以我们需要用大胆的“切经断纬”，让我们中国传统手工艺进入一个“无经无纬”的状态。打散的细节如同一个个飘荡的魂魄，重新找寻到一个真实的载体，再次重生，这便是这个空间的构想生成之源。“切经断纬”后，用“无经无纬”的思维模式去构建一个当代的三维空间系统。
“Offline” Mentality 1：
Modern art, in collision with the thinking of traditional Chinese civil weaving crafts, may well to “sever longitude and latitude”, or, as a minimum, build on the mindset of “severing longitude and latitude”. Sure, it takes a long time in the setting of modern ages for “severing longitude and latitude” by repeated breakdown, discard, reconstruction and re-adoption, in aiming to change and subversion. From the approach of “Theory of Evolution”, we should select an art form of clear manifest of coexistent tradition and modernity, to do this, we need to fearlessly “sever longitude and latitude”, and lead traditional Chinese handicrafts to a “no longitude or latitude” state. The details, so broken down, find respective realistic carriers like daunting souls for renascence that is a headstream of spatial construction. By “disengaging from longitude and latitude”, we can construct a modern three-dimensional spatial system in the thinking of “no longitude or latitude”.
以上构想，所生成的空间体系，一定会遵循一种有度的释放和颠覆，这种“度”，便决定了空间里的“节奏”和“质感”，更是决定了这个现代三维空间系统的独有气质。所以，“回到民间”这一看似与“切经断纬”背道而驰的哲学性矛盾思维，中国传统空间的“节奏”和“质感”,必须回到本次展览空间构想的本源，因为这是空间的内在气质和法度。八位艺术家的艺术品分别被置于一个独立的空间单元，每一个空间单元被艺术家本身作品的特质所控制，形成自己独有的“场所精神”，从而艺术品之间没有了相互干扰。极度挑高的展览空间，被平面分割成看似无序的经纬线，又自由围合生成八个艺术院落，这种自由形态的院落感觉，至关重要，每个院落之间，靠各式各样的门洞相互连接、贯穿。参观的人，穿过这些门，从一个独院进入另一个独院，这便是我们传统民间三维空间里的节奏控制之一，也是中国传统空间体系最精彩的地方。通过人移动的路线，移步异景，参观完一个艺术家作品之后，自然的能感知到另一个艺术作品，所以人流不用导向，也不会产生路径迷惑感，似乎均是顺理成章而为。它精准的控制了参观者的心理状态，似乎在游园，又如回到过去大院生活的心理状态。再说说“质感”，空间质感我们选择了中国传统的极细的竹帘来表达，这种材料当下多用于现在的茶道，做茶席之用，这种极细的竹帘，精致地编织而成，非常精彩，与艺术的精致编织形成微妙的呼应关系。另外，我想这种材料，对于每一个中国人来讲它都是再熟悉不过的了，“竹帘”这个材料和“线下”展、“编织”，这一主题以及进入展场参观者的情绪，瞬间形成一种共鸣，无需太多文字、太多解释，这种材料本身的气质表达更胜过万语千言。其实，这个三维空间体系，它自己已经在静静的诉说着，关于“编织”手工艺与现代艺术碰撞后产生的一切，只不过每个人感知不同而已。
The spatial system constructed from foregoing concept will, unexceptionally, be subject to limited release and subversion. Such “limit” determines “rhythm” and “texture” in the space, and more unique disposition of such modern three-dimensional spatial system. Therefore, “going back to civil”, which seems as a concept of philosophical inconsistency that is opposite to “severing longitude and latitude”, but which represents traditional space of “rhythm” and “texture”, must return to the origin of space construction of this show, for which is a clear proof of inherent composition and law of space. Artworks of eight artists are separately put in independent spatial units; each unit is controlled by the particularity of their author and forms a particular “space spirit”, so that they’re not interfered with each other. The very high exhibition space, longitudes and latitudes in separate planes in apparent disorder, freely enclose eight art yards, this kind of free form is of utmost importance, and all yards are interconnected and traversed with various doors and holes. Visitors passing through these doors may take a view among these yards, which is one of the rhythm controls in traditional civil three-dimensional space in China, as well as the highlight of traditional China spatial system. Along their route of sightseeing movement, visitors can appreciate various landscapes. After experience of an artist’s work, they’re naturally empathetic to the work of another artist, thus no guided flow of visitors is necessary, nor they’re confused about their path, all is nothing but logic and natural in order. This kind of appreciation precisely controls the mental state of visitors in traveling among an artistic garden while going back to their emotion of yard lifestyle. Let’s talk about “texture”, we turn to express traditional Chinese spatial texture with fine bamboo shutters, which are made of material frequently seen in modern times in tea ceremony and tea feast. Exquisitely weaved, the bamboo shutters are so amazing that they subtly set off with the artistic fineness. This material, I believe, is so familiar to all Chinese, “bamboo shutters”, “offline” exhibition and “weaving works”, this theme and visitors’ mood, all resonate at one time, without giving unnecessary details and explanation, the temperament of this material is more expressible than any words in the world. Actually, this three-dimensional spatial system by itself tells a wordless story about the spark of “weaving” handicraft in collision with modern art, only in a different sense of feeling in our heart.
“线下”思维之二：
我们生活的这个世界，已经是“无经无纬”，从自然环境到社会意识形态，从无形到有形，真的是“无经又无纬”。不存在任何应有的秩序和状态，无论在家里，还是在路上；无论是在城市，还是在远方。人们如活着一样的生活，有钱的、没钱的，都在宣泄着各自理所当然式的各种不平衡，我们到底是在生活里活着，还是在活着里生活，一片茫然、一片混乱；结婚的结婚、离婚的离婚，每个人每天、每时、每刻，都在“线上”和“线下”转换着自己的思维，天上宫阙，今夕何年？秩序何堪，“经纬”何在？“无经无纬”，本来都有，本来都是。为何此时的我们四大皆空？一切皆是真如，彷如提前往生极乐般的喧杂和宣泄着一切的一切，“无经无纬”，我们无声无息的早已把自己、自己的生活、自己生活的社会“切经断纬”。放眼看看，一座座青山、一条条河流、一片片田野、一个个村庄、一条条街道、一张张面孔，哪有？哪还有？我们均知生而有涯，可我们却为何如此这般的极度无涯，生在这个世界、这个社会，我们的“经纬关系”到底是什么，又为何物？书卖的越来越多，看书的又有多少！茶卖得越来越贵，清醒而宁静的喝着茶的人的又有多少！亲人朋友的沟通越来越方便，可这个世界上真诚又有多少！我们的世界里，“经纬关系”还有没有？如果有，它又在哪里？在当下吗？在未来吗？在“线上”吗？在“线下”吗？
“Offline” Mentality 2:
We’re living a world “without longitude and latitude” from natural environment to social ideology and from intangibles to tangibles. No any order and state for taking it for grant of existence, regardless at home or in the way home, in the city or in remote area. People live as a creature, both the rich and the poor complain about these diverse dissatisfactions of their own. Are we living a meaningful life, or be live for a life? We’re confused and in disorder. We marry, and we divorce, everybody transforms our thought between “online” and “offline” at every moment, every time in every day, but how long do we suppose it is passed in the heaven? Where is the order in terms of “longitude and latitude? “Without longitude and latitude”, everything begins from none and originates from being. Why are we in vanity in modern times? All is thusness, as if all of us are indignant and Bohemian to be part of the pure land before we re dead; “Without longitude and latitude”, we’ve already “severed longitude and latitude” ourselves, our life and the society, quietly. Looking afar, there’re mountains, rivers, fields, villages, streets and faces, but where are them? And where are more of them? We all know life is finite in length, but why are we seeking for infiniteness without limit? Living in this world and the society, what is the relation of “longitude and latitude” between us? What is it? More books are sold, but how many of us read them? The tea price is higher, but how many of us sip it in a more peaceful and sober mind? It’s much easier to communicate with our relatives, but how much fidelity is accompanied with us? Does the relation of “longitude and latitude” exist in our world? If yes, where can we find it? At now? Or in the future? Is it “online”? Or is it “offline”?
