牛房倉庫｜《出神》展覽現場

本次展覽的主題「出神」，旨在強調：為「神」的出遊，預留出口。在中國古代語境中，「出神」最初指的是一種道教修煉方式，即「元神出體」。「出神」的行為，是身心進行氣化宇宙循環中的一部分。「出神」是為了最大限度地「遊」，而「神遊」是一種對自我精神性主體的超越。「出神」的前提是「觀想」，這是一門在中古時期開創的身體技藝（body techniques），要求人們遊體外之景，觀照自身的內景山水。通過這種方式，在能量的循環中，開啟內向心性的形塑，發現「自我」其實是自然的一部分，從而感受到最為深層的「情誌」，內在的「真我」在自然中得以成全。這對於解決20世紀初就被提出的當下社會 「心靈在場(presence of mind）的匱乏」問題以及當代社會媒體對於「註意力」的精準控製，具有一定的啟發意義。

The theme of this exhibition, “Egress of the Spirit”, aims to emphasize the concept of creating an exit for the “Spirit” to travel. In the linguistic context of ancient China, the term “egress of the spirit” originated from the Taoist tradition, which involves practices and training in Taoism, that is “liberating the inner spirit from the physics body”. The practice of “egress of the spirit” is a part of circulating mind-body in the qi cosmology. The purpose of “egress of the spirit” is to maximize the potential for “travel”, where the “travel of the spirit” represents the transcendence of one's spiritual self. The premise of this transcendence lies in “visualization”, which is a body technique during the medieval period. It requires people to experience external landscapes and reflect upon the visualization of their inner landscape. Through this way, in the circulation of energy, open the path for the formation of an inward-oriented character and discover that the “self” is actually a part of nature, enabling them to experience the deepest “emotions” when the innermost “true self” is fulfilled within nature. It has a certain inspirational significance in addressing the scarcity of the “presence of mind” in contemporary society raised in the early 20th century and confronting the precise control brought about by the profound datafication of modern media.

「出神」的剎那，構成了種種宏大或微小的意象，虛實含混的圖景，為參與本次展覽的7位藝術家提供了創作的靈感和方向。本次展覽一共展出了11組作品，作品類型涵蓋了繪畫、裝置、影像、攝影等媒介。

The fleeting moments of the “egress of the spirit” give rise to various grand or subtle imaginaries, which are scenes blending reality and illusion. These provide creative inspiration and direction for the seven artists participating in this exhibition. A total of 11 artworks are displayed, including paintings, installations, videos, photography, and other media.

作為展覽的開始，張文心的影像為「通往洞穴」提供了線索，「出神」的通道被開啟。《洞察之目》呈現的路徑來自一臺視覺機器，它所記錄的無機幻影是無序且詩性的；《Illusion》中的路徑則指代高效、開放、連通的孔隙結構，它對於塑造城市的社會空間具有積極作用。孔隙作為介質，吸收物質，促使有機體的潛能更大化。「兩條通道」其實並不強調是否要走出「洞穴」，「探洞」的過程足以讓「記憶中的圖景」放射出巨大的能量。

As the beginning of exhibition, the photographs by Zhang Wenxin give clues for “leading to caves” and open the passage to “egress of the spirit”. The passage displayed in HOGEN is from a visualization machine and its recording is disordered and poetic. The passage in illusion refers to an efficient, open and connected porous structure and it has a positive effect on constructing social spaces in cities. Pores absorb materials as mediums and maximize the potential of organisms. “Two Passages” does not emphasize on whether walking out of the caves or not. The process of exploring the caves is enough for “the mental imagery”to radiate immense energy.

在接下來的空間中，每一件作品，都是「出神」具體表現方式的一個分支。

In the following spaces, every work is a branch of the specific manifestation of “egress of the spirit”.

解群的《橐龠行旅圖》記錄了一次半虛構的「顱內神遊」，探索「橐龠世界」相當於勘尋外部的身體，「洞」就在「我」體內，在自我開合的過程中，回歸與重生，循環永續。作品的結構形態可比喻成洞天的「天窗」，每一扇窗戶的敞開，都相當於打開了「神的出口」，能夠自由變換探索不同的故事情節。

“TuoYue” Traveling map by Xie Qun records a semi-fictional “spirit traveling in mind”. Exploring “TuoYue world” is equivalent to exploring external body and the cave is inside “my”body. During the process of self opening and closing, the circulation of returning and rebirthing is forever. The structural form of the work can be metaphorically compared to the "skylight" of a cave heaven, where the opening of each window is unlocking a "gateway of the divine," allowing for the free exploration and transformation of different storylines.

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展示在解群對面的作品是陳慧雯的繪畫作品《鬼石》和《夜會》，作品圍繞著一個傳聞中的靈異事件發生地展開。畫中人的形態，已經狀似離形脫體後的「遊魂」。在畫面上誕生的那一刻，從有形的「在場」漸變至無形的精神空間，「出神」的瞬間被定格。

The works shown across from the Xie Qun are paintings by Crystal Chan titled "Ghost Stone" and " Night Meeting", which revolve around a rumored paranormal incident location. The people in the painting are already like “ghosts” out of bodies. At the moment of its inception on the canvas, the tangible "presence" gradually transitions into the intangible spiritual realm, freezing the "egress of the spirit" moment in time.

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處於解群和陳慧雯作品中間的是黃佩姍的裝置《直至靜止#2》，它展示了在「噴泉」與「時鐘」永恒運動中的一個切片，遵循了他們相對靜止的定律，循環的本質得以延續。作品潛在地表達了一些對當代社會結構影響下既定日常的否定，從展覽的整個架構上看，它就好比是《盜夢空間》中的「陀螺」，具有時空穿梭轉換的提示功能，即「神」能遊走在不受限定的時間與次元中。

In between Xie Qun and Crystal Chan 's works is Huang Peishan's installation "Be Terminated #2", which presents a slice of perpetual motion between the "fountain" and "clock." It follows the law of relative stillness between them, allowing for the continuation of the cyclical nature. The works potentially express a negation of established routines under the influence of contemporary societal structures. From the overall architecture of the exhibition, it is like the "spinning top" in "Inception," with its suggestive function of time and dimension shifting, allowing the "spirit" to wander within unbounded time and dimensions.

懸掛在一樓展場中心位置的簾狀裝置是黃佩姍這次的委托新作：《景觀#2：在世界中存在》。作品將世界景觀作為圖像壓縮，一切存有物的相遇，新的事件的誕生，交織出一張珠簾般相互映射的網絡。「珠簾」的古典意象，常作為閨房的裝飾，珠簾的門洞同時也象征著洞穴，它背後所在文人精神空間，不再對女性藝術家的身份設限。

The curtain-like installation hanging in the center of the first-floor exhibition space is Huang Peishan's commissioned new work: " Landscape #2: Being-in-the-World". The piece compresses the world's landscapes into images, where encounters of all existing objects and the birth of new events weave together into a network of interlinked pearls. The classical imagery of "pearl curtains," often used as decoration in boudoirs, also symbolizes as a cave, transcending the limitations traditionally imposed on female artists within the intellectual space behind it.

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穿過簾狀裝置，觀眾的身份也被疊加重構，來到葛珣的《仿黃鶴山樵山水手卷》影像空間。藝術家沈蕊蘭將明代道士的臥遊長卷，以雙屏影像的方式再現了古代船只行旅中的觀畫經歷。這裏是更具開放性的空間，為觀眾提供現場「出神」的場所。

Passing through the curtain-like installation, the identity of the audience is also overlaid and reconstructed, leading them to Ge Xun's " Fang Huang He Shan Qiao Shan Shui Shou Juan" video space. Artist Shen Ruilan reproduces the long scrolls of Ming dynasty Taoist in a double-screen video, presenting the viewing experience of ancient boat travels. This is more open space, providing a place for the audience to “egress of the spirit”.

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下一個場景的切換，是沈蕊蘭的作品《所有的蝴蝶都是失落的火焰》所呈現的由在地植物組成的帳篷影像空間。影像由行車穿越隧道中的幾段對話展開，話題從「禪詩」到「新聞播報」，最後談及「辭世之詩」。一切信息和記憶交織回環，有節律地伴隨著呼馳而過的光點，最終與洞口的那束光亮匯合，共同湧入時間的合流。影像周圍放置著沈蕊蘭的《帶著那綠色的事物進入你的永遠》系列攝影，是她在杭州夜遊期間，對於夜間生態環境的記錄。茂盛的自然生命在曝光下，代表了某種亙古不變力量的幻現與續存。這幾件作品都位於一樓展場的尾端，與影片中「隧道的盡頭」形成呼應，帳篷代表了某種脆弱而又臨時的庇護所（個體生命的易逝），與張揚的植物（原始的自然力量）形成對比，「出神」已進入了萬物循環。

The transition to the next scene is presented by Shen Ruilan's work "All butterflies are lost flames", featuring a tent-like video space composed of local plants. The video unfolds through several dialogues recorded during car driving through tunnels, covering topics from "Zen Poetry" to " News Broadcast," ultimately to the discussions of " Poem of Departure". All information and memories intertwine and loop rhythmically, accompanied by flashing dots rushing past, finally converging with the beam of light at the cave entrance, merging into the flow of time. Surrounding the video are Shen Ruilan's " The greens, slipped into your eternity" series of photographs, documenting the nocturnal ecological environment during her night walks in Hangzhou. The lush natural life, exposed under the light, represents a hallucination and continuity of some ancient and unchanging force. These works are located at the end of the first-floor exhibition space, echoing the "end of the tunnel" depicted in the film. The tent represents a fragile and temporary refuge (the fleeting nature of individual life), contrasting with the exuberant plants (the primal force of nature). “Egress of the spirit” has entered into the circulation of all things.

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如果說沈蕊蘭的作品停留在到達洞口光亮的前一刻，那麽展於二樓獨立空間的劉毅的動畫《度口》已經帶領觀眾走進了那束光亮之中。作品講述了某天出於對周而復始日常幻象的逃離，縮小後的自己遊走於身體內部，回到最初的生命載體，進行再尋訪，最終沖破身心繭殼，跳出虛妄之境。作為展覽的最後一件作品，「神的出遊」也到達了終點，重新返歸於混沌：而混沌初開，是否也是一個新的開始？

If Shen Ruilan's work lingers just before reaching the bright light at the cave entrance, then Liu Yi's animation "A Travel Inward" displayed in the independent space on the second floor has already led the audience into that beam of light. The work narrates the escape from the illusion of recurring daily life one day, where the shrunken self wanders inside the body, returning to the original life carrier for further exploration. Ultimately, it breaks through the cocoon of body and mind, escaping from the realm of illusion. As the final piece of the exhibition, the "egress of the spirit" also reaches its conclusion, returning to chaos: and as chaos

unfolds, could it also mark a new beginning?

展覽日期 Exhibition Period：2024/03/29-04/28

時間 Time：10:00-19:00

免費入場 Free Admission

地點 Venue：市政牧場舊址（牛房） Former Municipal Cattle Stable

澳門美副將大馬路與罅些喇提督大馬路交界 Intersection of Avenida do Coronel Mesquita and Avenida Almirante Lacerda

出神

Egress of the Spirit

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策展人 Curator：

李丁 Li Ding

學術總監 Academic Directors：

高世強 Gao Shiqiang

吳方洲 Noah, Ng Fong Chao（牛房倉庫大會主席 President of Ox Warehouse）

藝術家 Artists：

張文心 Zhang Wenxin

解群 Xie Qun

陳慧雯 Crystal Chan

黃佩姍 Huang Peishan

葛珣（明代）Ge Xun (Ming Dynasty)

沈蕊蘭 Shen Ruilan

劉毅 Liu Yi

策展人 Curator

李丁 Li Ding

中國美術學院藝術學博士候選人。主要研究方向涉及中國中古時期藝術的創作觀念與視覺機制，關注「身體」文化面向的知識體系，並致力於將研究成果轉化為當今社會語境下的藝術與策展實踐。

China Academy of Art, Art Theory, Ph.D.candidate. Main research area includes the creation concepts and visual mechanisms of art during middle ancient times of China, focusing on the knowledge system towards“body” culture, and devoting to converting research achievements into art and the practice of curation under current social context.