作者画廊 | 顾文璟个展《缓存》即将开幕

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作者画廊 | 顾文璟个展《缓存》即将开幕

来源：网络发布时间：2025-09-01 17:54

　　缓存 CACHE

　　艺术家Artist

　　顾文璟 Gu Wenjing

　　策展人Curator

　　钱文达 Qian Wenda

　　开幕Opening Time

　　2025.8.30 16：00

　　展览时间Exhibition Time

　　2025.8.30— 9.25

　　周二至周日Tuesday to Sunday

　　10:30am - 17:30pm

　　展览地址Exhibition Address

　　北京市798艺术区七星中街F01库作者画廊

　　Author Gallery,F01,Qixing Middle Street,798Art Zone,Chaoyang District, Beijing

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　　陷入日常

　　——如何观看顾文璟的绘画

　　文/钱文达

　　切入到对顾文璟作品观看的细密视角和路径可以分为很多，诸如摄影与绘画之间的生产关系，历史、时间与记忆所组构成的复合的视觉感知层次，私密情感中的普遍经验等等。但我觉得最为重要的，同时也恰好将以上这些讯息笼统囊括到一块的思考点，便是关于日常性问题的探讨与延伸。

　　如亨利·列斐伏尔所说：“熟悉不一定是已知。”熟悉是一场在日常经验上被认定的理所应当，这“应当”掩盖了对于事物关键部分的求索与思辨，去阻挡追问那个已然在不断更新的日常现实。因而当下现实的陷阱是，熟悉以千方百计的伪装去套取达成已知的可能性。如何去发现这熟悉和已知之间的缝隙，成为了顾文璟日常性绘画中隐秘交织的内容。

　　日常性仅仅是一种轻巧而单向的现实描绘吗？我看未然。在众所熟识的维米尔笔下，荷兰黄金时代的雍容、野心、静谧和隐秘的消颓从容演绎着。绘画里的日常性抓取更为深层的现实结构。

　　在夏尔丹那“平凡”的静物中，一方面，静物画从禁闭的历史厅堂中闪烁出魂灵的观念星光，日常成为一种普遍的真实；另一方面，物与人在以现实为线索的哲思框架内被置放到同等地位，凡尘之中就此消隐着执拗的华贵。在这一日常性的谱系延续中，塞尚进一步对其形式化，并将一种绘画的本质性探讨融于其中，日常便开始具有着纯化的审美话语。而到了后现代，日常性被日常政治或日常历史所填充。异化的日常被增补为内容更为丰富、层次更为多元的媒介话语空间。

　　Solitude IV 布面丙烯 100x80cm 2025

　　顾文璟对于图像所修饰产出的既成稳定的历史样式存疑，她的兴趣在于图像得以被构建出的历时的知识模式，而不是绝对无疑的单一内容。这种知识模式所带来的讯息带有更多混杂的不确定性，但同时，由于它的不够确定，它所带来的丰富层次和思想潜能就越是让顾文璟着迷。这一讯息让我想起休谟关于思想的一段论述：“思想是一种剧场，不同的感觉一个接一个地登台下场，并且在无尽的位置和秩序的多样性之中混合在一起。”这种混合体验让摄影与绘画之间的联动成为可能。

　　伪造一种充满历史象征意义的图像文献，并进一步由绘画进行佐证。在她的《三种修复的方法》系列中，她选取了家附近的圆明园作为绘画/摄影考古的素材。圆明园对于顾文璟来说有两种不同的指向，而这两种意义指向同时扎根于她的个体经验之中。一方面，作为民族历史的创痛记忆，这一景观始终以破败的姿态记录着挥之不去的时代屈辱（所以“修复”成为一种政治正确）；另一方面，作为日常景观，圆明园又以“公园”的现实公共属性参与到顾文璟的个人生活记忆之中。因此对其来说，圆明园既是历史意义上的，也是审美意义上的经验存在。而所谓的修复，只是一种概念上的戏谑，她并没有集中关注于修复的目的本身，而是假修复之名，来行就解构、纯化历史与记忆储存/生产机制之实。

　　经由摄影的中转，她将修复历史的实证经验落地为绘画的偶然性实践。看似两种截然相反的经验模式在顾文璟这里总和为一种来自传统的平衡：历史记忆作为世界的一部分，总是无休止地被客观和主观所缠绕，被理性和感性所裹挟。

　　这也就是为什么，顾文璟往往给人某种稚幼的不求甚解的老成感。她既是一个初入社会看似知之甚少的青年，又是一个始终顿悟的俯瞰众物的君主。在她大部分关于私密记忆表达的画作中，我们能轻易感受到看似温柔的狡黠，满布犹疑的暴力。那些空寂的画面部落仿佛被艺术家纯化的日常碎语所主导，所盘踞。一些出自间接经验的游戏深谙与其直感的情绪宣泄对冲为一种新鲜而不明的认知效果——艺术家懵懵懂懂地或是对这个世界发出无所谓地批判，或是对其产生无缘由地迷恋。

　　雪 Snow (3) 布面丙烯 120×100cm 2025

　　在顾文璟的《雪》系列里，雪景/人被置入到一种神秘的实存感知之中。这神秘之所以神秘来自每个人对自我记忆的探索、留驻与怀疑。在我个人的经验中，我未曾也未能精准确认过往记忆的全部细节，只残留一个未明而深刻的印象。而且事物在回忆中愈是残存，更是能显示其分明的真实，若要执意冷静地回到实地去翔实考据时，更只感其是为虚幻，是错觉，深感无趣。《雪》便将这记忆里的实存感知进行了强化，借由摄影媒介的中转，绘画既转瞬又稳固地抓取着“雪”这一回忆形式的每一段本质。回忆的价值恰恰在此：物仅仅是作为那个时候的主体经验的纯化储存而存在。回忆与时间的流动在其绘画中成为了集中鲜明的实存显现。

　　在顾文璟的实践系统中，记忆与绘画、摄影一同，并构为一座装置化的剧场。无形的感受、情绪、记忆、讯息与作为物质载体的绘画、摄影互为串联共融，逐步取消了先后、内外、有无的创作边界。就像她所喜爱的贝尔纳·弗孔一样，以无从抓取的意识尺度书写着精准而充满强度的日常狂欢。

　　在尚且初始而留有未知的时光里，顾文璟完成了自己对这个世界的充分已知。

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　　Falling into the Everyday: Ways of Seeing Gu Wenjing’s Paintings

　　By: Qian Wenda

　　There are many possible entry points into the work of Gu Wenjing: the interplay between photography and painting, the ways in which history, time, and memory shape our visual perception, or the intimate emotions that resonate as universal experiences. Yet perhaps the most crucial perspective—one that brings these threads together—is her profound inquiry into, and expansion of, the notion of everydayness.

　　The philosopher Henri Lefebvre once remarked: “The familiar is not necessarily the truly known.” Everyday experience often convinces us that things are “as they should be,” and this taken-for-granted attitude obscures the possibilities of critical questioning and reflection, preventing us from probing into reality itself in its constant flux. The trap of reality lies in this: “familiarity” disguises itself, tricking us into believing we already “understand.” The subtlety of Gu Wenjing’s painting rests precisely in exposing the fissure between what seems familiar and what is genuinely known.

　　Painting the everyday is far from a light or unidirectional record of reality. Looking back through art history, Vermeer’s images of Dutch Golden Age domestic life reveal grandeur, ambition, stillness, and the secret undercurrents of decline. Chardin’s still lifes made the “everyday” into a universal reality, shimmering with a spiritual resonance that transcends mere materiality; at the same time, he placed objects and people on equal footing, dissolving ostentation in the dust of ordinary life. Cézanne, by contrast, distilled the forms of the everyday, embedding within them the very essence of painting and elevating the quotidian to pure aesthetic value. By the postmodern era, everydayness had become saturated with political and historical concerns, an alienated realm transformed into a multi-layered, discursive space.

　　Gu Wenjing challenges historical styles that have been polished and fixed through imagery. She is less interested in the “content” that an image carries than in how images are constructed within the epistemic frameworks of different periods. Such processes of construction generate information rife with hybridity and uncertainty, and it is precisely this uncertainty—its layered richness and intellectual potential—that captivates her. This recalls David Hume’s metaphor of thought as a theater: sensations take turns appearing, mingling and intersecting in infinite arrangements. It is this very experience of “mixture” that underpins Gu Wenjing’s dialogue between photography and painting.

　　餐桌礼仪 Table manners 布面丙烯 90x70cm 2025

　　In her series Fix it, Gu uses the nearby Old Summer Palace (Yuanmingyuan) as material for a kind of “painterly/photographic archaeology.” For her, Yuanmingyuan carries a dual significance: as a symbol of national humiliation, its ruins embody a heavy historical memory; yet as part of her everyday surroundings, it also holds a place in her personal recollections. Her “restoration” is a conceptual play. She is not concerned with the literal goal of restoration, but rather with deconstructing and clarifying how history and memory are stored, produced, and represented. Through photography as an intermediary, she transforms the evidentiary mode of “restoring history” into the contingent practice of painting. What appear to be contradictory modes of experience—objective versus subjective, rational versus sensuous—reach a kind of traditional balance in her work: historical memory, as part of the world, is always entangled in both.

　　Gu Wenjing’s works embody a distinctive tension: at once like a youth naïvely entering the world, and like a sovereign surveying it with omniscience. Her depictions of private memories often radiate a “gentle slyness” alongside a “hesitant violence.” What seem like empty scenes are occupied by fragments of the everyday, distilled by the artist. The playfulness of mediated experience collides with the direct outpouring of emotion, creating a fresh and elusive cognitive effect—as if the artist were naïvely critiquing the world, or irrationally enamored with it.

　　In her Snow series, landscapes and figures are immersed in a mysterious “perception of existence.” This mystery stems from the individual’s exploration, preservation, and doubt of personal memory. Experience tells us that recollection can rarely recover details with accuracy; instead, it leaves behind blurred yet powerful impressions. Sometimes the more fragmentary a memory, the more real it feels; while empirical verification may reveal its illusory nature, stripping it of vitality. The Snow series amplifies this “existential” quality of memory. Through the mediation of photography, painting captures snow as a form of memory itself—ephemeral, yet firmly rooted in recollection. The value of memory lies precisely here: the object remains only as the pure deposit of a past subjective experience. In Gu Wenjing’s paintings, memory and the flow of time crystallize into vivid manifestations of existence.

　　Within Gu’s artistic system, memory, painting, and photography together compose a kind of theatrical installation. Intangible sensations, emotions, memories, and information intertwine with the material supports of painting and photography, dissolving the distinctions of before and after, inside and outside, presence and absence. Much like the photographer Bernard Faucon—whom she admires—she inscribes, with an elusive scale of consciousness, a precise yet tension-filled “carnival of the everyday.”

　　In these early stages of her artistic career, Gu Wenjing has thus crafted a unique and profound mode of cognition of the world.

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　　顾文璟 | Gu Wenjing