艺术头条 
雅昌拍卖图录 
“纵身跳入当下——环形运动的机械幻术”列思个展
8.0
展览时间：
2022-07-15 - 2022-09-20
展览城市：
厦门
展览机构：
TCCA红顶当代艺术中心
展览地址：
福建
艺术家自述
列思
我相信，在认识和启蒙之间存在着一个直接的联系。而如今，这两者的走向与我们和科技的关系相互勾连。这次展览将呈现一条有趣的、（在我个人成长中）有教育意义的走向觉悟、进入当下，以及理解自我幻象的道路。这是我在中国亲身体验的副产品：我在学习中国的语言、文化和哲学的过程中所经历的道路。
My belief is that there is a very direct link between the notion of awareness and enlightenment. And the direction toward one or the other is nowadays linked to our relationship to technology. The exhibition will sum up that there is a fun and educational ( in the sense of personal growth) path toward awareness, nowness and illusion of self. This is also a byproduct of my personal experience of China: going through this path myself while learning the Chinese language, culture and philosophy.
自我幻象的概念在中国文化中十分古老，并已被嵌入在人们的日常生活之中。西方文化则不然，现代科学才刚刚开始揭露围绕意识问题展开的谜团，而结论似乎与东亚古籍的记载殊途同归。与美元、卢布或人民币一样，“注意力”已经成为现代社会的流通货币。它反映了我们在与技术互动方面所投入的“时间”。注意力凝结的“时间”可以把我们彼此联系在一起，也可以将我们与外界隔离。然而，意识科学、理论物理学和形而上学研究了近千年的哲学问题有一个共同的结论，即 时间，在当下时刻之外，只是幻觉。
The concept of ego illusion is so long established in Chinese culture that it is part of everyday life. This is not the case in Western culture, where modern science is only beginning to unravel the mysteries surrounding the question of consciousness and is converging on the same conclusions as to the ancient texts from East Asia. As much as the dollar, the ruble or the RMB, “attention” has become a currency on which modern society’s exchanges are based. It reflects the time one invests in interacting with technology. This time that may seem to connect us can also distance us from our direct environment. Yet the science of consciousness, theoretical physics and the thousand-year-old philosophical baggage of metaphysical inquiries share the insight that time, outside the present moment, is an illusion.
我试图用一组富有机械美感和械构功能的作品，将观众带入一个技术狂热者的世界。作品中，幽默的气质与对起源的敬畏被结合在一起。我将创造一段启蒙的旅程，希望以一种玩味的方式将观众带回当下。
In a set of mechanical aesthetics and functional pieces, I try to plunge the spectator into the technophilic world. My set of works combines the lightness of humour with reverence due to the questions of the origins. I propose an initiatory journey that brings the spectator back to the present moment in a playful way.
我的作品从社会节奏影响下的外部时间，到身体的内部时间和个人节奏。它们因循着一条从光明到黑暗的路径被建构起来，这是对柏拉图洞穴和萨满教入会仪式的寓言。从美学角度来讲，我的作品通过反复使用圆形图像，对神圣几何学进行探索。我也使用象征时间流逝的符号，比如环形运动、沙子、镜子以及作为时间意象的节律声音和机械机制。这些元素是我作品中重要的美学组成。
My works start from the external time imposed by the rhythm of society to the internal time of the body and individual rhythms. They are organised around a path that passes from light to darkness, which is an allegory to Plato’s cave and the initiatory rites to reach the status of Shaman. Aesthetically, the pieces explore sacred geometry with repeated use of the circle figure. I also use symbols of time passage, such as circular movement, sand, mirrors, and the rhythmic sound and mechanics of time representation，which also play an essential aesthetic role in my works.
我关注催眠术及其与现代艺术的关系。我把我的作品看作是提供给观众的自我催眠工具。如果要我制定一个目标，便是通过我的作品将观众锚定在“当下”。
I have studied hypnosis and its relationship to modern art. I regard my works as tools of self-hypnosis made available to the viewer. My goal, if I were to formulate one, would be to allow the viewer to anchor himself in the present through my works.
列思
我相信，在认识和启蒙之间存在着一个直接的联系。而如今，这两者的走向与我们和科技的关系相互勾连。这次展览将呈现一条有趣的、（在我个人成长中）有教育意义的走向觉悟、进入当下，以及理解自我幻象的道路。这是我在中国亲身体验的副产品：我在学习中国的语言、文化和哲学的过程中所经历的道路。
My belief is that there is a very direct link between the notion of awareness and enlightenment. And the direction toward one or the other is nowadays linked to our relationship to technology. The exhibition will sum up that there is a fun and educational ( in the sense of personal growth) path toward awareness, nowness and illusion of self. This is also a byproduct of my personal experience of China: going through this path myself while learning the Chinese language, culture and philosophy.
自我幻象的概念在中国文化中十分古老，并已被嵌入在人们的日常生活之中。西方文化则不然，现代科学才刚刚开始揭露围绕意识问题展开的谜团，而结论似乎与东亚古籍的记载殊途同归。与美元、卢布或人民币一样，“注意力”已经成为现代社会的流通货币。它反映了我们在与技术互动方面所投入的“时间”。注意力凝结的“时间”可以把我们彼此联系在一起，也可以将我们与外界隔离。然而，意识科学、理论物理学和形而上学研究了近千年的哲学问题有一个共同的结论，即 时间，在当下时刻之外，只是幻觉。
The concept of ego illusion is so long established in Chinese culture that it is part of everyday life. This is not the case in Western culture, where modern science is only beginning to unravel the mysteries surrounding the question of consciousness and is converging on the same conclusions as to the ancient texts from East Asia. As much as the dollar, the ruble or the RMB, “attention” has become a currency on which modern society’s exchanges are based. It reflects the time one invests in interacting with technology. This time that may seem to connect us can also distance us from our direct environment. Yet the science of consciousness, theoretical physics and the thousand-year-old philosophical baggage of metaphysical inquiries share the insight that time, outside the present moment, is an illusion.
我试图用一组富有机械美感和械构功能的作品，将观众带入一个技术狂热者的世界。作品中，幽默的气质与对起源的敬畏被结合在一起。我将创造一段启蒙的旅程，希望以一种玩味的方式将观众带回当下。
In a set of mechanical aesthetics and functional pieces, I try to plunge the spectator into the technophilic world. My set of works combines the lightness of humour with reverence due to the questions of the origins. I propose an initiatory journey that brings the spectator back to the present moment in a playful way.
我的作品从社会节奏影响下的外部时间，到身体的内部时间和个人节奏。它们因循着一条从光明到黑暗的路径被建构起来，这是对柏拉图洞穴和萨满教入会仪式的寓言。从美学角度来讲，我的作品通过反复使用圆形图像，对神圣几何学进行探索。我也使用象征时间流逝的符号，比如环形运动、沙子、镜子以及作为时间意象的节律声音和机械机制。这些元素是我作品中重要的美学组成。
My works start from the external time imposed by the rhythm of society to the internal time of the body and individual rhythms. They are organised around a path that passes from light to darkness, which is an allegory to Plato’s cave and the initiatory rites to reach the status of Shaman. Aesthetically, the pieces explore sacred geometry with repeated use of the circle figure. I also use symbols of time passage, such as circular movement, sand, mirrors, and the rhythmic sound and mechanics of time representation，which also play an essential aesthetic role in my works.
我关注催眠术及其与现代艺术的关系。我把我的作品看作是提供给观众的自我催眠工具。如果要我制定一个目标，便是通过我的作品将观众锚定在“当下”。
I have studied hypnosis and its relationship to modern art. I regard my works as tools of self-hypnosis made available to the viewer. My goal, if I were to formulate one, would be to allow the viewer to anchor himself in the present through my works.
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策展人
漠娜、霍雨佳
展览备注
出品人：陈丹妮
总策划、艺术总监：申晨
项目统筹：马赛
展览执行：吴靖 唐文 黄维 李必豪
品牌宣传：方思梦
平面设计：石祥甫
总策划、艺术总监：申晨
项目统筹：马赛
展览执行：吴靖 唐文 黄维 李必豪
品牌宣传：方思梦
平面设计：石祥甫
... 展开
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