长石艺术基金会  

长石空间驻留项目第一期 

艺术家：唐潮

策展人：阳昕

展览日期：2024年9月29日-2024年12月31日

展览地点：H17， 上海玻璃博物馆

Chance Art Foundation

Chance Space Residency Program No.1

Artist: Tang Chao

Curator: Cathye Yang

Duration: September 29,  2024 – December 31,  2024

Venue: H17, Shanghai Museum of Glass

长石艺术基金会将于2024年9月29日呈现唐潮个展“呜咽曲 Ⅲ”。艺术家唐潮是长石艺术基金会的“长石空间驻留”邀请的第一位驻地艺术家，此次展览创作背景正源于为期一个月的驻留项目。

在这段驻留期间，唐潮与环境之间产生了突如其来的交集。仲夏深夜，一只麻雀误入房间，随后意外死亡。唐潮为它举办了一个临时的葬礼，把它埋在驻留空间前院的杏树下。接着竹林开始掉落水滴，又或许是这只麻雀的同伴飞至树梢，在圆月下鸣叫了几声后离去。

尼采曾说：“美好的事物都是弯曲的”。而那些偏离常规、充满复杂性的事物是可贵的，弯曲象征着瑕疵和不确定，但正是在这种变动的形态中，生命才显得鲜活、有力。绵延或纯粹的时间往往是非线性的、难以被不连续的瞬间所掌握，甚至经常是自今而昔的。唐潮的创作以一种极度个人化的方式去解构时空的质量，带着对“轻”与“重”之间的长期思考，在此次展览中为大家呈现了4件/组全新作品，在细密如喃喃自语之间，期待与观众进行一次真诚的对话和分享。

《器物与身体（序）》由40件玻璃与动物遗体组成，所有动物遗体都是由唐潮在驻留期间捡拾，而后经由特殊处理。动物遗体被密封于玻璃制成的“棺木”之中，充满矛盾又不安的美感，一种对于死亡物质化的隐喻，不断提示存在与消亡的平行与交织。影像作品《椋鸟入林》像是一根串连起记忆琥珀的项链，里面有错位的时态、对控制与失控的戏谑表达，也包含着唐潮对创作惯性与即兴灵感的直接回应。《云中空镜》系列一反传统的绘画观看方式，散落在展览空间的地面，仅以朴素的方式排列、固定。画面刻画了西南地区和一些想象中的无人景象，借由影像语法中的“空镜头（Empty Shot）”延伸到思想层面的“空（Śūnyatā）”，进而反思风景与空间的关系，以及它们在我们感知和体验中的位置。

此外，唐潮将在展览空间中进行为期百天的行为《子夜守灵人》（2024年9月24日起），直至新年的第一天（2025年1月1日）结束。通过持续的行走坐卧与沉思，唐潮在展厅中构建了一个临时的守护仪式和精神场域。这期间上海的季节很快会由深秋转入初冬，晨露和草木也开始在星夜朦胧的素衣中聚合、隐退。展厅在他看来更像是一座象征性的墓园了，而他以守灵人的身份试着脱离钟表时间，重新唤起古人对于夜晚的文学性描述，并开始下一段时间的轮转。

展览《呜咽曲 Ⅲ》延续了艺术家多年来的思考和实践，并在贵州的自然人文环境中进行了扩展，又以一种“尚未完成”的状态打破了静止的叙事。等待观众在余白、间隙与意外中徘徊，或不自觉地融入其中，聆听这段未尽的心声。

The Chance Art Foundation will present Tang Chao’s solo exhibition,Whimper Song No. 3, on September 29, 2024. Tang Chao, the first artist invited to the foundation’s “Chance Space Residency” program, created the works for this exhibition during a month-long residency.

During the residency, Tang Chao had an unexpected encounter with the environment. One midsummer night, a sparrow accidentally flew into his room and died shortly after. Tang held an impromptu funeral for the bird, burying it beneath an apricot tree in the courtyard of the residency space. Soon after, droplets began falling from the bamboo grove—or perhaps it was the sparrow’s companions, perched on the treetops, letting out a few chirps under the full moon before flying away.

Nietzsche once said, “All good things are crooked.” Those that deviate from the norm and are full of complexity are valuable; their crookedness symbolizes flaws and uncertainty. Yet, it is within this changing form that life becomes vivid and powerful.  The artist presents four new pieces/series, each filled with intricate, murmuring details, inviting viewers to engage in a sincere dialogue and exchange.

Objects And Bodies (Intro)  consists of 40 pieces made from glass and animal remains, all of which were found and specially treated by Tang during his residency. The remains are sealed in glass “coffins,” evoking a fragile, uneasy beauty—a materialized metaphor for death that continuously hints at the parallel and intertwined nature of existence and dissolution. The video work  Birds Fly into the Forest is like a necklace stringing together amber memories, blending distorted temporalities and playful reflections on control and chaos, as well as Tang’s direct response to both creative habits and spontaneous inspiration. Empty Scene in the Clouds series departs from traditional ways of viewing painting, with works scattered on the floor of the exhibition space in a humble, unadorned arrangement. These pieces depict the landscapes of southwestern China as well as imagined, desolate scenes. Drawing from the concept of the “empty shot” in film, Tang extends this idea into a philosophical reflection on Śūnyatā (emptiness), pondering the relationship between landscapes and space, and their place in our perception and experience.

Additionally, Tang will perform a hundred-day durational piece titled Midnight Watch in the exhibition space, starting on September 24, 2024, and continuing until New Year’s Day, January 1, 2025. As the watchman, he seeks to transcend clock time, rekindling ancient literary descriptions of the night and initiating the next cycle of time’s rotation.