手工活，气力活。如此精致的成品不仅是艺术界，在任何商品行业中都在随着时代的前进慢慢消逝。我们需要静下心来，深呼吸，用一种纯粹和回归的眼光看看那些承载了时间和精力的慢工所打磨出的细活。言为心之声，物也如此，艺术家细致入微的心思所创作出的作品。

这次展览我们邀请到五位来自中国日本和韩国的艺术家。中国艺术家裴晶的水粉笔触细腻，以一种政治和情色交织的艳俗，警示这个物欲横飞时代的世人。日本艺术家磯部勝士郎和水野亮延续日本的极致风格，一个用铅笔勾勒昆虫的世界，一个用圆珠笔营造异形的氛围。来自韩国的李升鉉的画风独特而诡异。作品飘渺虚幻，一缕青烟，欲穿物入天际，不料却永远留在了纸上（玻璃）。而Koo Bon-a的石头犹如天降，灵动并带有禅义。希望从中寻找到永世的源头和生生不息的规律。

展览题目为“Jing”，其作为汉语拼音反映出的汉字有许多，比如“精”“净”“景”“敬”“静”“镜”“境”“晴”“菁”“惊”“竞”等等。但是任何一种意译都可以从这次展览中找到诠释。另一方面，“汉语拼音”并不是古已有之，它出现在上个世纪中期，自其出现后就一直争议不断。同样，我们也用“拼音”这种新时代的产物来反映当代艺术或被人诟病或被人欣赏的现状。

 

 

Jing——China-Japan-Korea Artist Exchange Exhibition

 

Handwork needs strength. The delicate workmanship wore away through the time not only in the art field, but also in any business field. Now we need to slow down our pace and take a deep breath, to see how soft fire makes sweet malt with pure and back-to-zero eyes. It was said what the heart thinks, the tongue speaks, also can be used on one particular object that created by the artist.

 

This time, we invited five artists from three countries, China, Japan and Korea. Pei Jing, the only Chinese artist in the exhibition, wants to tell the world that what he wants to express in his delicate watercolor paintings are some garish politics and pornography. The Japanese artists ISOBE Katsushiro and MIZUNO Ryo continue to follow Japanese beau ideal style, one draws the insect world with his pencils, another builds the weird atmosphere with his ball pens. Lee seung-hyun, the Korean artist, has the unique and mysterious style. A purely and imaginary object or bits of smoke desiring to get through, but rests on the paper (some on glasses) to the end of time. Koo Bon-a, also from Korea, has focused on expressing the source and cycle of eternal life by her meaningful stones dropped from the sky.

 

The title of the exhibition will be “Jing”. A number of Chinese characters with same pronunciation, such as characters meaning “precise”, “clean”, “scenery”, “respect”, “silence”, “mirror”, “boundary”, ”clear”, “leek”, “wonderment”, “competition” and so on. Any word above has its own presentation in the exhibition. On the other hand, “Pinyin” did not arise from nowhere, but appeared in the middle of last century. Since that “Pinyin” is still in dispute. Here we use “Pinyin” as an example to reflect the current situation of the modern art. Is it to be appreciated or castigated?