湖北美术馆

主办：湖北美术馆

Hosted by: Hubei Museum of Art

协办：北京电影学院美术学院

Co-organized by: School of Fine Art of Beijing Film Academy

策展人：冯博一、王晓松

Curators: Feng Boyi, Wang Xiaosong

展览总监：冀少峰

Exhibition Director: Ji Shaofeng

助理策展人：程然、贾羽明、于宛平

Assistant Curators: Cheng Ran, Jia Yuming, Yu Wanping

前言

中国传统文化资源是异常丰厚的，包括刘旭光艺术所利用的易经、占卜、卦象、术数论等等。但同时也是神秘不可测的。往往一不留神，深陷入其中而难以自拔。如果按照我们近代以来所接受的西方科学实证的理论方法，尤其是各种历史阶段所造成了中国传统文化被不断阉割的现状。我们更多的是在用理性的思维模式来理解我们所处的空间区位，并司空见惯地把传统中的一些所谓“迷信”空间与科学“理性”空间的理解对立起来。由此，将中国传统中的空间、场域的风水说法，视为一种巫术，甚至迷信来对待，致使我们远离我们的乡土传统，形成一种与我们自己的历史产生断裂的思维和话语的习惯。那么，把中国传统空间学说和现代文明并置起来思考，以艺术的一种方式，将风水、气场与当代物质的、视觉的文化相提并论，或许才不会画地为牢，避免线性思维的局限和坐井观天的狭隘。如同刘旭光的艺道一般。

而这种多维的思考与践行是能否将艺术创作的观念与多媒介的作品自然地融为一体，并能够顺利地将视觉艺术语言、形态，延展到传统文化的形而上的辨析之中，或者说是以一种新的话语方式来获得对人生、物语、空间秩序的“绝地天通”。这对于艺术家来说，无疑是一种格外的挑战。因为，将某些难以界定和实证的传统文化资源转化、提升为专业和普通观众能够接受的作品信息，并相对充分地开拓出一种具有带入感的传递创作观念的有效途径，而不止于难以言说，抑或难以释读的一种天马行空式的当代艺术，也就成为当代艺术创作的关键所在了。

因此，我们不妨以刘旭光多年的创作实践，作为这种现象的个案进行研究、比较和呈现，寻找出其中的复杂性关系。这既是我们探讨刘旭光艺术创作中关于空间、物识与艺道的问题，也是我们在湖北美术馆策划刘旭光个展的针对性和现实依据了。

冯博一    

Foreword

China boasts abundant traditional cultural resources, including the Book of Changes, divination, trigram and the theory of divination. They are mysterious and unpredictable, often making people crazily obsessed. Based on the scientific and empirical Western theories and methods that we have received since modern times, coupled with the current situation that traditional Chinese culture has been continuously castrated due to various historical reasons, we are using a rational model of thinking to understand our spatial location, habitually placing the so-called "superstitious" space of tradition in opposition to the "rational" space of science. Therefore, the geomantic omen of space and field in Chinese tradition is regarded as witchcraft and even superstition, which makes us stay away from our local tradition and form a habit of thinking and discourse that breaks with our own history. Maybe only by juxtaposing the traditional Chinese theory about space with modern civilization and drawing parallels between geomantic omen and aura and contemporary material and visual culture in an artistic way, can we break through the limitation of linear thinking and broaden our horizon, just like Liu Xuguang's way of art.

However, it is particularly challenging for artists to naturally integrate the concept of artistic creation with multi-media works through multi-dimensional thinking and practice, and smoothly extend the language and form of visual art to the metaphysical analysis of traditional culture, or achieve the "Isolation of Heaven and Earth" in life, stories and spatial order in a new way of discourse. Instead of willful creation which is unspeakable or hard to explain,  the key to contemporary artistic creation is to transform and upgrade traditional cultural resources which are difficult to define or demonstrate into work information that can be accepted by professional and ordinary audiences, and fully explore an effective way to convey the creation concept with a sense of engagement.

Therefore, we might as well take Liu Xuguang's years of creative practice as a case to study, compare and present this phenomenon, and find out the complexity therein. This is not only the topic of our discussion on the space, recognition of things and way of art in Liu Xuguang's artistic creation, but also the purpose and realistic basis for us to plan Liu Xuguang's solo exhibition in Hubei Museum of Art.

Feng Boyi