我们荣幸地宣布2019年9月28日艺术家程婷婷、费亦宁、黄冰洁、夏乔伊的群展“欢腾、嘶叫、哺育后休憩”将在妙有艺术隆重开幕。

We are honored to announce that artist Cheng tingting, Fei yining, Huang bingjie, Xia Joey group exhibitions 'Jubilation, scream, rest after feed' will open on the 28th of Sept. in MOUart gallery.

一个关于生理变化必然性、事物缘起终了的隐喻。提示生态中发生的故事线索，时而平行时而交错。

——尊敬的先生序

可能我们全都是自索福克勒斯以来纹了身的野蛮人。不过大写的艺术中除了线条的垂直和表面的光滑外还该有别的什么。风格的可塑性远不及全部意志的可塑性空间那么大……我们脑子里有太多的东西却缺乏足够的表意形式。

——福楼拜：《作家生涯序》

德里达将尼采的风格比喻为马刺( éperons: Les Styles de Nietzsche),在法语里尖尖的船头和马刺是同一个词，于是作为风格的马刺是一个深深扎入海洋尔破浪的帆船，而风帆（la voile)也是面纱(le voile)。他用马刺隐喻尼采笔下的女性（真理），因为女人似乎永远只是存在于远处的面纱，真理如是。他认为不存在确定的女性（真理），或许仅仅只是“女人（真理）”们。同样，通常象征女性和真理的水果静物画也不存在确定的观看，理解和表现的真理（艺术史中的特定的）；它应当如同马刺的不确切的风格一样，既是锋利的匕首，同时又是永远等待揭开的模糊面纱。

紫色是一种暧昧的颜色，它使蓝色和红色之间的界限变得纤细。在艾丽丝沃克的的书信体小说中，紫色被赋予女性的觉醒和对独立自由的追求，我希望通过个体的叙事和物体的相互交织与纠缠来提炼的这种颜色中潜藏的美学，从而来探索地域与文明在世俗与抒情，熟悉与陌生之间的张力。

静物画是有多重含义和指向性和象征的，很多时候是作为一种被物化了的观看对象而存在，有点类似于“女模特”的功能。（对部分男性画家而言，水果可能暗示裸女）“观看”其实是“看见的自传”，它能反映出个体的趣味，价值，或者是渴望，恐惧等。水果题材对我来说，我希望捕捉它的变化（不同的时刻，比如黎明时即将被踏破的苹果）来呈现某种嗅觉甚至是联觉和想象。同时，水果也隐喻着女性形象被窥探的状态，正如穆尔维在《恋物与好奇》中所说女性形象作为凝视结构中“被观看”的一方，他者作为观看的承担者一样。

——程婷婷

Maybe we are all barbarians who have been tattooed since Sophocles. But in the art of capitalization, there should be something other than the verticality of the lines and the smoothness of the surface. The plasticity of the style is far less than the plasticity space of all the wills... There are too many things in our minds but not enough ideograms.

- Flaubert: "The Writer's Career"

Derrida compares the style of Nietzsche to the spurs (éperons: Les Styles de Nietzsche). In French, the pointed prow is the same word as the Spurs, so the style of the Spurs is a sailboat that is deeply plunged into the ocean. The sail (la voile) is also a veil (le voile). He used the Spurs to metabolize the women (truth) in Nietzsche's words, because women seem to be only veil in the distance, and the truth is also. He believes that there is no certain woman (truth), perhaps just "women (truths)". Similarly, the fruit still life, usually symbolizing women and truth, does not have a definite view, the truth of understanding and expression (specific in art history); it should be as sharp as a spur, not only a sharp dagger, but also It is the veil of waiting forever to uncover.

Purple is a dubious color that makes the line between blue and red slim. In Alice Walker's epistolary novel, purple is endowed with women's awakening and the pursuit of independence and freedom. I hope to abstract the hidden aesthetics in this color through the intertwining and entanglement of individual narratives and objects, and therefore explore the tension between the region and civilization in the secular, lyrical, familiar and strange.

Still life has multiple meanings, directivity and symbolism. It is often present as a materialized viewing object, somewhat similar to the function of a "female model." (For some male painters, fruit may suggest naked girls.) "Watching" is actually an "autobiography of sight" that reflects the individual's taste, value, or desire, fear, and so on. The fruit theme for me, is to capture its changes (different moments, such as the apples that will be broken at dawn) to present some sense of smell and even synesthesia and imagination. At the same time, fruit also metaphorizes the state in which female images are snooped, just as Murvi said in "Fetish and Curiosity" that the female image is the "watched" side of the gaze structure, and the other is the subject of viewing.

- Cheng tingting

Rosalyn Drexler，在成为一位画家前，她是职业摔跤运动员。人们也叫她“墨西哥喷火罗莎”。她说：“If you're never scared or embarrassed or hurt, it means you never take any chances.（如果你从来没有感到害怕或尴尬或受过伤害，那就意味着你从来没有冒过任何风险。）”我很喜欢。

——黄冰洁

"If you're never scared or embarrassed or hurt, it means you never take any chances." by Rosalyn Drexler, one of my favorite artists. Known as “Rosa Carlo, the Mexican Spitfire”, she was a professional wrestler before becoming a painter.

- Huang bingjie

光栅画是夏乔伊长期研究和探索的平面作品。他借助光栅的光学特征和观察方法，试图探讨图像作品中的时间性、空间性，还有观察与被观察者之间实时对峙的权力关系。

《一号洞》描绘的是一个发光的山洞，观众在空间中动态的观察作品时，画面便会闪烁出晶亮的高光。作品的名字源自动物降生时所穿过的第一个通道，即母体的阴道，而错杂的钟乳岩让人产生猛兽口腔的联想，这两者的蒙太奇关系是夏乔伊对古老的口生神话和现实生育的联想。

《九个闪电打得亮》同样是对闪电这一古老现象的再表现。九个大小不一的闪电不停的在画面中乍现。这使得闪电这种极短暂，不可重复的自然现象永远活在了光栅画里。艺术家认为这是肉眼占有“自然”的一种途径。

《三个巫婆飞得快》所呈现的是三个骑着扫把巫婆滞停在雨中的瞬间。而四周的木质窗框和和还未饮尽的红酒则在暗示着观众的空间位置。诡异的是画面中的“雨”还在滴落，而巫婆则是被施了魔法，永远定格在天空中。这种“对巫婆施法”的冲动则源于生活中“荒谬”的再度兴盛。

木质的框架同样也出现在了《旧金属，银》当中。中，艺术家借由银制子弹为出发点，试图串联吸血鬼化与SM文化的心理机制

——夏乔伊

Joey Xia's lenticular painting conduct a discussion around time, space and the tension between the subject and the viewer. In the exhibition, four lenticular painting are hang on the wall. Each painting depicts different motifs. And they unfolds their narrative along with the movement that the viewer made in the space.

Joey's painting are accumulations of materials, colors and fused together with a mixture of handcraft-based techniques, which he sees as materials of utterance in themselves – to convey story and emotion.

- Xia Joey

技术超速发展使我们得以在同时面对无限多的异质的，极端矛盾的、爆炸式的信流，世界在这个时代坍缩挨叠挤压成了一个包裹住你的平面图像，而因为系统过于巨大，这个平面的背后有什么、它为什么是这个样貌、你将被这啸叫沸腾的巨流裹挟着去向何方等等，是个体完全无法理解与想象的。人类的大脑本身也许并不能用来吸收与处理当下这样庞大的信息量，对我来说，这个时代就好像是再次遁入矇昧与混沌的new dark age，而我像是在这异常的混乱感中为自己寻找存有的确认一样 - 在这一注定无果的过程中，为自己编造一些“物语”来消解更宏大的“物语”、制作怪物来抵挡更莫可名状的怪物。

——费亦宁

My work is a reaction to a feeling of confusion, incompetence, and maybe despair. The advancement of technology has brought before us an infinite divergence of data streams — the world we exist in collapses into something flat and heterogeneous, and envelopes us through the enormity of the systems… but what's behind the big picture, why it is behind it, where you will be taken to, are all but utterly incomprehensible and beyond imagination. The human brain perhaps was never made to absorb and process information of this magnitude…

I believe, to some extent, we are in a new dark age. For me, making art against this background is like looking for meaning in the irregularity of noise. In this fruitless process, the fabrication of stories/narratives is like looking to the water for a trace of one's shadow, for a confirmation of one's existence.

- Fei yining

艺术家：程婷婷

Artist: Cheng tingting

程婷婷，于1993年出生，现生活工作于武汉

Born in 1993, Currently works and lives in Wuhan

艺术家：黄冰洁

Artist: Huang bingjie

黄冰洁，1994年出生于湖南，毕业于湖北美术学院油画系，现生活工作于北京

Huang Bingjie, born in Hunan Province, China in 1994. Graduated from Hubei Institute Of Fine Arts. Now lives and works in Beijing

艺术家：夏乔伊

Artist: Xia Joey

夏乔伊，（b.1992）现生活和工作于上海。他于2016年年获得美国芝加哥艺术学院的艺术学士学位

Joey Xia (b.1992) lives and works in Shanghai. He receives a BFA in 2016 from the School of the Art Institute of Chicago, Illinois.