策展人：阳昕

艺术总监：李力

展览时间：2024年1月14日–2024年6月30日

展览地点：H18，当代艺术馆

平面设计：协调亚洲

Curator：Cathye Yang

Art Director: Lise Li

Duration: January 14, 2024 – October 7, 2024

Venue: H18, Contemporary Art Hall

Graphic Design: COORDINATION ASIA Ltd.

梁绍基，中国重要的当代艺术家之一。三十余年来，他潜心于艺术与生物学、装置与雕塑、新媒体、行为的临界点进行探索，持续以蚕的生命历程为媒介、以与自然互动为特征、以时间、生命为核心的“自然系列”的创作。蚕与蚕丝，也成为了他最代表性的艺术语言。而在此次上海玻璃博物馆“退火”项目中，他使用玻璃作为主要创作媒材，以实验态度破除工艺性的限制，探索全新材料的可能性。历达四年的项目合作过程不仅体现了“退火”项目的宗旨，即鼓励艺术家突破材料边界，开掘材料之上的精神性，也是梁绍基寻求自身艺术创作的再问和解放。

“溶”为水态，“熔”呈火性。水和火，自古以来被视为自然界中最基本的元素之一，它们不仅是玻璃诞生的关键条件，更深刻象征着生命的起源、变革和终结。在水火交织的复杂过程中，共同创造、映射了一个充满变化的世界。“幻”在此处亦成为了一个关键字，幻象叠嶂，光影迷离，正也暗合了玻璃这一独特第四态——既非固态、液态也非气态的隐喻。有机与无机、自然与城市、历史与当下、生命与死亡、创造与毁灭……大千世界永远存在于一种永恒流转之中的过程状态，永不停歇地循环转化，但又从未真正抵达终点。此般玄妙和不定，是生命多样且变幻无常的完美体现。

“万物并作，吾以观复”。 从蚕丝的柔和“丝光”到玻璃的透明“玻光”，这两种表面上截然不同的材料，实际上暗合了关于“生命”的本质探究。观者倒也不必过分讶异此次所使用创作材料的极大转变，因为对艺术家而言，一以贯之的是他始终关注的核心主题，即追寻那些既隐蔽又显现的关于生命、时间、自然、宇宙、历史与社会的奥义真谛。光纳万物，虚归实现。梁绍基不仅展现了“光”之科学特性，更在深挖其象征的丰富内涵，借以折射世间百态于水火相克相生间孕育的流变幻象之光。

水火之间，溶熔之幻

以幻入真，寓道于器。

Liang Shaoji is one of China’s prominent contemporary artists. For over thirty years, he has delved into the intersections of art and biology, installations and sculptures, new media, and performance, persistently exploring the juncture between them. His ongoing “Nature Series” revolves around the life cycle of silkworms, characterized by interaction with nature, with time and life at its core. Liang Shaoji regards silkworm silk, cocoons, chrysalises, silk moths, excrement, and urine, as well as the sounds and scents of silkworms feeding on mulberry leaves, spinning silk, and transforming into moths, as the remnants released by the life of silkworms. These elements not only serve as mediums for his creation but have also become his most representative artistic language. In the “Annealing” project at the Shanghai Museum of Glass, he employs glass as the primary creative medium, adopting an experimental approach to break the constraints of craftsmanship and discover the possibilities of this entirely new material. This four-year collaborative project not only embodies the purpose of the “Annealing” project—to encourage artists to transcend material boundaries and unearth the spirituality beyond materials but also represents Liang Shaoji’s quest for re-questioning and liberating his own artistic creation.

Flowing into liquid, melting into fire. Water and fire have been regarded as two fundamental elements in the natural world since ancient times. They are not only crucial conditions for the birth of glass but also deeply symbolize the origin, transformation, and culmination of life. In the intricate interplay of water and fire, they collectively create and reflect a world full of constant change. “Phantasmagoria” becomes a keyword here, where the interplay of optical illusions and the bewitching interplay of light and shadow resonates with the unique fourth state of glass—a metaphor that is neither solid, liquid, nor gas. Organic and inorganic, nature and the city, history and the present, life and death, creation and destruction… The vast universe perpetually exists in a state of eternal flux, continuously and endlessly transforming, yet never truly reaching an endpoint. This mystical and indefinite essence embodies the diverse and ever-changing nature of life perfectly.