闞旻:溫暖的消融于《彩虹梯》
我們常常會(huì)在心中筑造特別的建筑，建筑隨著繁華與喧囂用來安放著什么。也許是那些在歲月中漸次厚重的、天真的、彷徨的、安靜的、抑或憧憬的心；也許是面對(duì)這個(gè)世界太多的誘惑和隨波逐流，仍堅(jiān)持著對(duì)高貴生命的尊重；也許是在一場虛妄跋涉后，如墳?zāi)挂话闼兰诺慕^望；也許是執(zhí)著在心底的熱切追求，始終不渝地追尋著理想的光芒；也許是儲(chǔ)存特別記憶瓶子們的情緒城堡。
All too often we tend to construct inour mind a special building to house something—depending on what we experiencein the sublunary glitz and glamour — a heart that is time-worn, innocent,hesitant, tranquil or hopeful; a sustained reverence for a noble life despiteall those temptations and herd-followers; a sense of ghoulish despair after awild goose chase; a deep desire for an ideal that takes un unyielding pursuit;or time capsules with special memories stowed away in them.
總而言之，我們覺得這里是隱秘的，安全的，不一定舒適的。并沒有人可以走進(jìn)去。唯有自己可以時(shí)常去修建一番，建成陽光普照的度假圣地？或是建成密不透風(fēng)的監(jiān)獄？或是給自己修一個(gè)永遠(yuǎn)走不出去的迷宮？又或者是精心打造一個(gè)充滿童真的游樂場？然后一個(gè)人在這里或安靜或熱烈，或寂寞或璀璨的呆著。
In a nutshell, we find the buildingprivate and safe, but not necessarily comfortable. No one is allowed in, exceptthat we ourselves go there from time to time for some revamping or renovation.What could be the fruit of our labor? A sunlit resort? A stuffy prison cell? A labyrinthwhere we will never find the way out? Or an amazing amusement park full ofchildlike innocence? Anyway it is in here that we will lead an existence — peacefulor passionate, solitary or sparkling.
但是這些也許都只是我們的心創(chuàng)造的，正如我們遇見的一切，因緣和合顯現(xiàn)出美妙的彩虹，我們總是想要借助彩虹尋找到更有安全感的地方，在那里再筑造自己的世界。但是當(dāng)我們?nèi)シ治鋈ニ褜さ臅r(shí)候，彩虹在哪里？就好比當(dāng)我們看見一道彩虹時(shí)，彩虹好像占據(jù)了一個(gè)特定的位置。似乎只要去尋找，就能找到彩虹和地面的接觸之處，一旦抵達(dá)自己先前看到彩虹接觸地面的地方，彩虹就消失了。其實(shí)我們都知道的，彩虹固然美麗，但無論如何辛苦的尋找，都無法找到彩虹末端的安寧。
However, these may be nothing more thanour mental creation, so are all that meets our eyes, including rainbows—an accidenceoccurrence. We are tempted to head in the direction of a rainbow, searching fora more secure place where we can build our own world. When a rainbow comes intoour view, it appears a physical existence that takes up a specific space. Butwhen we send ourselves on its quest, we cannot help but wonder—where is therainbow? Even when we reach where the rainbow seems to meet the earth, it’sgone. In fact, we know too well that despite all the painstaking search, theserenity of the end of the rainbow always eludes us.
我并不十分了解“心”與“心的對(duì)象”的關(guān)系，更加不能參透“一切事物的存在都僅只是心中的顯相。”但是我相信唯有喚起我們的慈悲，不再造作的到處筑造“快樂”，不再刻意的拼命尋找筑造的條件，而是溫暖的消融于彩虹，我們會(huì)認(rèn)識(shí)到更為深沉的內(nèi)在安寧，它不會(huì)因外在條件的改變而受干擾，時(shí)時(shí)安詳。近期的作品正是在探討喚起慈悲這一過程中的“我”與“我們”，“心”以及“心的對(duì)象”的關(guān)系。
Idon’t quite understand the relation between “mind” and “caitasika (mental factors)”, and the argument that “the existenceof everything is only a reflection of your mind” also remains Delphic for me.But I believe that only by arousing our compassion and sympathy, ceasingbuilding contrived “happiness” everywhere, stopping creating conditionsrecklessly for such contrivance, and instead warmly melting into the rainbow,can we gain permanent and profound inner peace immune from external influence.My recent works explore the relations between “me” and “us”, as well as between“mind” and “caitasika” in the processof arousing such compassion and sympathy.
《我》系列作品自述
About the “Me” Series
2015年開始嘗試“我”字與燈光、金屬、畫布等材料的結(jié)合，燈光的運(yùn)用是想試圖在不同的光線中尋找微妙的變化，金屬材質(zhì)的運(yùn)用是想嘗試在冰冷的純色視覺中傳達(dá)溫暖，畫布則是更易于平日里的記錄。然而這些都是為了表述關(guān)于“我”與“我們”的感觸。
In 2015, I began to try combining theChinese character for “me” with lamplight, metal and canvases. Lamplight isused to present the subtle changes in light; metal serves to bring a sense ofwarmth to cool-toned images; and canvases makes for easier daily recording. Allof these are meant to convey my feelings about “me” and “us”.
最初被觸發(fā)的點(diǎn)是與一位特別的人之間關(guān)系的微妙變化，要知道對(duì)于一個(gè)感性的人而言，在這個(gè)有波動(dòng)的過程中找到“我們”與“我”的平衡，實(shí)屬不易！所以我用不同方式的作品去表達(dá)的同時(shí)，感受到以“我”為中心是那么的習(xí)以為常且根深蒂固。“我”是最重要的且忽略他人這種想法如呼吸一樣自然，而這種自私的動(dòng)機(jī)才是經(jīng)驗(yàn)痛苦與問題的創(chuàng)造者。我們時(shí)常會(huì)經(jīng)歷逆境，但是我們不曾擁有智慧來轉(zhuǎn)化逆境。珍愛他人，將只關(guān)于“我”的專注慢慢轉(zhuǎn)向“我們”，把心融入溫暖的體驗(yàn)，提升我們愛的質(zhì)量，喚起慈悲，或許只有這樣才可以幫助我們找到久違的安寧！
Myinitial inspiration came from the subtle changes in my relationship withsomeone special. You should know how hard it would be for an emotional soul tostrike a balance between “us” and “me” in this process of swings! When tryingto express myself through various forms of works, I keenly feel that self-centrismis such a habitual and entrenched mentality that regarding oneself as thecenter of the universe at the expense of others seems to be natural as breath —which, however, is the origin of pain and problems. We meet with adversity fromtime to time, but we seldom have the wisdom to triumph over them. We will neverfind the long-lost inner peace, unless we shift the focus from “me” to “us” byarousing our sympathy and compassion to love and care for others with more “qualitytime” and more heart-warming experiences.
展覽現(xiàn)場：
布展過程：
闞旻簡介：
1986年生于中國·開封，現(xiàn)居住于北京
2006年畢業(yè)于中央美術(shù)學(xué)院附中
2015年畢業(yè)于北京語言大學(xué)
Profileof Kan Min
Bornin 1986,
Nowliving in Beijing
Graduatedfrom Fine Arts School Affiliated to China Central Academy of Fine Arts in 2006
Graduatedfrom Beijing Language and Culture University in 2015
工作是可以更新的，藝術(shù)則是需要一起生活一輩子的!闞旻做過自然療法工作室芳療師/催眠師助理，旁聽英國GHSC授證初級(jí)、中級(jí)催眠師課程。參與過北京地鐵6號(hào)線地鐵金臺(tái)路站壁畫《金臺(tái)求賢》。做過王華祥個(gè)人助理，統(tǒng)籌過中央美術(shù)學(xué)院《抱虎下山·王華祥師生展》。擔(dān)任過戲劇教育藝術(shù)中心藝術(shù)總監(jiān)，負(fù)責(zé)品牌形象的藝術(shù)傳達(dá)，品牌維護(hù)與管理，藝術(shù)活動(dòng)的策劃與執(zhí)行管理。跨界過珠寶品牌企劃部負(fù)責(zé)人，負(fù)責(zé)鉆石品牌總體架構(gòu)策劃與品牌設(shè)計(jì)�？刹还茉谧鍪裁�，都不曾與藝術(shù)分開！
Jobscan be changed, but art is a life-long pursuit! Kan Min was once an assistant aromatherapist and hypnotist at a naturopathy clinic, auditing elementary andintermediate hypnosis courses with certification by the GHSC (British GeneralHypnotherapy Standards Council). She participated in the program of the muralpainting “Recruiting Talent on the Golden Platform” for the Jintai Xizhaostation on Line 6 of the Beijing Subway. As personal assistant of the notedartist Wang Huaxiang, she coordinated the exhibition entitled “Carry the Tiger downthe Mountain: Works of Wang Huaxiang and His Students” by the Central Academyof Fine Arts. She served as art director with a theater education art center,responsible for the artist presentation, maintenance and management of thebrand image, and for the planning and executive management of artisticactivities. In addition, she even headed the planning department for a jewelrybusiness, in charge of the overall brand design. No matter what does, she neverleaves the world of art!
個(gè)展：
2015我·我們=遇見完整的我北京
Solo exhibition:
2015 “Me·Us=Meetinga Complete Me” Exhibition (Beijing)
聯(lián)展：
2016 空隙：關(guān)系 北京
Groupexhibitions:
2016 “Lacuna:Relationships” Exhibition (Beijing)
