我们荣幸地宣布，艺凯旋画廊即将于2019年5月24日在北京798艺术区推出艺术家徐弘个展“其中有象”。展览由国际策展人艾墨思（Thomas Eller）担纲策划，呈现了这位多产的艺术家近期的三组创作。我们从中可以窥见徐弘对于空间的深刻理解和复杂运用，在此次展览中，空间不仅仅为造型提供素材，更通往一种心理的现实，乃至精神性的存在。

We are pleased to present the solo show of Xu Hong at the Triumph Gallery in 798 Art Zone in Beijing, entitled The Space Inside Within on May 24, 2019. Curated by the international curator Thomas Eller, the exhibition presents three work groups by the prolific artist for this exhibition grouped around the artist´s complex use of space as a pictorial element, psychological reality and as spiritual presence.

来自南京的艺术家徐弘深谙中国传统文化的精髓，本次展出的作品，是他力求在当代的绘画语言中打开传统文化通路的一种尝试，也是他自身绘画实践的再度拓展。非确定性的空间，一直是徐弘绘画中最能体现个人风格的元素之一。“其中有象”将从三个不同的侧面来讨论和展现艺术家发展出的三种关于空间的方法。其一可见于画面所塑造的空间内部的山水景致。通过内向性的逆转，外部的自然进入艺术家的内心，继而达于观者，成为一种心理性的现实。当我们看到徐弘画面上那些邈远的风景，往往会下意识地在内心寻找它的对应物。
In this exhibition the Nanjing-based artist, who is profoundly rooted in China´s cultural wisdom, connects to contemporary discourses in painting and pushes the boundaries of his artistic practice forward yet again. Uncertain spaces have been a signature element in the work Xu Hong for a long time. This exhibition discusses three different spatial methodologies the artist has developed.The first one shows land and seascapes within the (painted) interiors of his artwork. This inversion transforms outside nature into a psychological reality for the artist and therefore, by proxy also for the viewer. When we see the distant landscapes painted by Xu Hong, we immediately search for them within ourselves.

其二则体现为画面中出现的全新焦点，或者对景物细节的某种“放大”处理。如果说此前述及的那种处理手法在化风景为内在现实的同时，又拉开了它们的距离，那么在徐弘这些新的尝试中，空间以极近切的距离，携带一种张力包围了观者。这些绘画将观众吞没，将他/她放逐在一种由沼沼雾气和重重灌木所蕴酿的迷失之感中。

The second approach is a new focus, or “zooming in” onto details of landscapes. Differently to his previous work where landscape became an interior reality of the psyche and yet retained quite some distance, the new works seem to surround the viewer with an intensity at very close proximity. These paintings engulf the viewer and give him/her the feeling of getting lost in the dense undershrub of the woods on a foggy day.

第三种也是艺术家新近才开始尝试采用的手法，将材料的物质性现实融入绘画的平面中，破裂的复合板以及斑驳的颜料构成了另一种空间。当前述两种方法还在徘徊于风景的某种具象性暗示（比如，徐弘只需寥寥几笔就可以勾写出竹枝的风姿），新的方法却彻底放弃了这种绘画性的修辞。艺术家开始将全部的信念放在他手中的材料上，力求发掘出风景作为绘画性空间的别样可能性。换句话说，通过对复合板进行裁切、分解，剥离部分颜料，徐弘创造了一种不表现任何（风景的）空间的绘画，这些绘画本身就是风景，诉说着一个属于它们自身的空间的、绘画性的现实。

The third and most recent development incorporates the material reality of his artworks, broken plywood and scraped paint into the formation of space. When the previous two approaches still made representational suggestions to landscapes – with a few brush strokes the artist can invoke an image of a bamboo twig for example – the new approach forfeits this painterly rhetoric. Instead the artist has begun to fully trust his materials to invoke different notions of landscape as pictorial space. In other words: By shaping the plywood, splintering it, scraping the paint, Xu Hong creates art works that do not represent space (of a landscape), the painting “are” landscape and claim their own painterly reality of space.
在徐弘的艺术创作和图像实践中，艺术家通过对于空间的运用直接地表达了自身同世界的种种关联。作品内在的模糊不定从一个侧面反映出我们作为人类所必经的道路，并经过复杂的过程链接为一种共同的命运。是艺术家的成就让我们能够睁开眼睛，看到那些唤起我们当中绝大多数人的不安与沉重的东西。同样，他也给了我们直面这些东西的意念。

For Xu Hong the use of space in his artistic work and pictorial practice is a direct expression of his connection to the world. The ambiguities inherent in his work are part of the complex process of relating that we as humans all have to go through. It is the artist´s achievement to open our eyes to something that causes unease in most of us. He also gives us ideas on how to face this.