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“是海，是沙丘”展陈空间设计 | 邬建安个人展

△展览现场照片 © 王子耕

“邬建安个展：是海，是沙丘”是艺术家邬建安于2021年9月在丝绸之路国际艺术交流中心举办的大型个人展览，PILLS建筑工作室受邀担任此次展览的空间设计工作。邬建安是一位具有国际影响力的中国当代艺术家。相较于单纯地在当代西方语境或传统东方语境下进行探索，邬建安以他独到的思想结构和逻辑体系，编织在时空与文明间纵横的叙事关系。他综合各种材料、语言和媒介，在当代艺术与古老的文化之间重新构建一条条可视纽带，赋予古代神话、图腾、民间技艺、志异故事、传统书写一种种全新的视观。本次展览展出了艺术家的大型装置作品，完整地呈现了邬建安近年来的几个创作高峰，系统性地梳理了艺术家的创作脉络。

The "Wu Jian'an Solo Exhibition: It's the Sea, It's the Dune" is a large-scale personal exhibition held by artist Wu Jian'an at the Silk Road International Art Exchange Center in September 2021. PILLS Architecture Studio was invited to undertake the spatial design work for this exhibition.Wu Jian'an is a contemporary Chinese artist with international influence. Compared to simply exploring in contemporary Western or traditional Eastern contexts, Wu Jian'an weaves a narrative relationship between time, space, and civilization with his unique ideological structure and logical system. He integrates various materials, languages, and media to reconstruct visual links between contemporary art and ancient culture, endowing ancient myths, totems, folk crafts, supernatural stories, and traditional writing with a whole new perspective. This exhibition showcases the artist's large-scale installation works, presenting several creative peaks of Wu Jian'an in recent years and systematically sorting out the artist's creative process.

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项目名称：邬建安大型个展“是海，是沙丘”展陈空间设计

项目地点：中央美术学院美术馆·廊坊馆

建筑面积：1122平方米

设计单位：PILLS工作室

“是海，是沙丘”展陈空间设计

"It's the Sea, It's the Dune" Exhibition Space Design

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时空场域的营造 | The Creation of Spatiotemporal Fields

我们在一千余平方米的展厅内营造了一个超现实的场域：五米高的沙丘、黑色的海洋、无尽的镜面、东升西落的太阳，和艺术家的作品共同完成了一场梦境的永恒轮回。我们希望用自然、几何、空间和尺度给观众带来真实且超现实的原始力量，用一种超越时空限制的空间量场，去承托艺术作品在时空与文明间纵横的叙事关系。

We have created a surreal space in the exhibition hall of over a thousand square meters: five meter high sand dunes, black oceans, endless mirrors, rising and setting suns, and together with the artist's works, we have completed an eternal cycle of dreams. We hope to bring the audience real and surreal primitive power through nature, geometry, space, and scale, and use a spatial field that transcends the limitations of time and space to support the narrative relationship of art works between time, space, and civilization.

△展览现场照片 © 王子耕

在策展人李振华看来，邬建安的作品尽管富于图像和叙事的营构，但不应忽视的是他创作中的超自然力——非图像的，非志怪的，绵延不懈的追问。从平面到立体，从具象到抽象，他的作品以天马行空的方式，通过远古的回响去激发和唤醒某种群体记忆，引发人对世界的遐想。因此，展览空间将不同的作品叙事弥合成为一个浸没着艺术家个人色彩的场域，使观者在空寂的沙丘内冥思，在镜像构成的森林中迷失，感知“日月交替”间时光的流转，凝望巨大的镜面对光影物象的幻化与返照。有限与无限、虚幻与现实交替在这里发生。

沙漠、镜面（包括水面）和光线是营造梦境的关键。展览空间以巨大的地面构筑划分展区，并不做分割，形成连续、有对望关系的空间体验。展陈团队经过多次实验，最终选择以泡沫切割板作为沙地肌理的基础，并在不同的面层适配不同颗粒度的河沙，形成既有耐久性又能保持良好流沙形态的地面。

In the view of curator Li Zhenhua, although Wu Jian'an's works are rich in imagery and narrative structure, what should not be ignored is the supernatural power in his creation - non visual, non supernatural, and persistent questioning. From flat to three-dimensional, from concrete to abstract, his works inspire and awaken a certain collective memory through ancient echoes in a wild and imaginative way, triggering people's imagination of the world. Therefore, the exhibition space bridges the narrative of different works into a field immersed in the artist's personal color, allowing viewers to meditate in the empty sand dunes, lose themselves in the forest composed of mirrors, perceive the flow of time between the "alternation of the sun and the moon", and gaze at the illusion and reflection of light and shadow objects on the huge mirror. The alternation between finite and infinite, illusion and reality occurs here.

Deserts, mirrors (including water surfaces), and light are the key to creating dreams. The exhibition space is divided into exhibition areas by a huge ground structure, without division, forming a continuous and visually related spatial experience. After many experiments, the exhibition team finally chose foam cutting board as the basis of sand texture, and adapted river sand with different particle sizes on different surface layers to form a ground with both durability and good quicksand morphology.

△展陈设计轴测及效果图 © 王子耕

我们以镜面将结构柱隐藏，并将作品“白日梦森林”置于平行镜面之间，使有限的作品在虚像空间中无限延伸，点缀点点星光，形成森林的广袤和幻想。面对沙丘的镜面将空间折叠，形成模糊真实与虚幻的界限，作品“九重天”的虚实两像构成梦境的主体。在沙丘的尽端，作品“素色的面孔”悬挂在黑色的墨池中，与静默的水面构成另一个维度的镜像关系，观者在这里凝视一场虚实的空间幻境。

We hide the structural columns with mirrors and place the work 'Daydream Forest' between parallel mirrors, allowing the limited work to extend infinitely in the virtual space, embellishing with scattered starlight, forming the vastness and fantasy of the forest. The mirror facing the sand dunes folds the space, forming a blurred boundary between reality and illusion. The virtual and real images of the work "Nine Heavens" form the main body of the dream. At the end of the sand dune, the work "Plain Face" hangs in a black ink pool, forming a mirror relationship with the silent water surface in another dimension, where the viewer gazes at a virtual and real spatial illusion.

△丘肌理的搭建过程 © 王子耕

场地对角线上的两盏探照灯构成展览的主光源，是东升西落的人造“太阳”。两盏主灯每间隔一分钟交替亮起，使有限的空间和作品在不同的光线环境下呈现不同的姿态，并将作品照射在锋利的光线之下，刻画出空间纯粹的几何形状。我们在沙丘顶端的洞口处悬置了两面镜子，将光源通过镜面反射引向沙丘内部，启示般的光影在顶部倾下，照亮沙丘内部的艺术作品。移动的人影，流动的沙地，变化的日光，虚构的反射，空间和作品一起，一层层地将观众卷入艺术家的神秘叙事之中。

The two searchlights on the diagonal of the venue form the main light source of the exhibition, which is an artificial "sun" that rises in the east and sets in the west. The two main lights light up alternately every minute, presenting different postures of the limited space and artwork in different lighting environments, and illuminating the artwork under sharp light, depicting the pure geometric shape of the space. We suspended two mirrors at the entrance of the top of the sand dune, directing the light source towards the interior of the dune through mirror reflection. The inspiring light and shadow tilted down from the top, illuminating the artwork inside the dune. Moving figures, flowing sand, changing sunlight, fictional reflections, space, and works together, layer by layer immerse the audience in the artist's mysterious narrative.

△灯光设计及模拟 © 王子耕

沉浸叙事的构建 | The Construction of Immersive Narrative

行走、运动、知觉，是展览体验的重心，整个观展过程就像一次远古世界或科幻世界的探秘之旅。整个展厅被沙所覆盖，我们在展厅中心建构了一个直径17米的巨大沙丘，展厅的流线通过沙的肌理引导，模仿了在真实沙丘中行走的蜿蜒曲折。观众走进被风侵蚀的沙之世界，跟随着作品的叙事开启一场神秘的漫游之旅。

Walking, movement, and perception are the focus of the exhibition experience, and the entire viewing process is like a journey of exploring the ancient world or science fiction world. The entire exhibition hall is covered by sand, and we have constructed a huge sand dune with a diameter of 17 meters in the center of the exhibition hall. The flow of the exhibition hall is guided by the texture of the sand, imitating the winding and twisting path of walking in real sand dunes. The audience enters the world of sand eroded by the wind and follows the narrative of the work to embark on a mysterious journey of wandering.

△展览现场照片 © 王子耕

从主入口进入后，首先映入眼帘的是艺术家代表作“九重天”，巨大的镜墙虚构出另一个世界，与现实之间幻化与返照。起伏的地形模糊了行进的路径和选择，你可以攀爬其上，也可以进入其中，跟随着光线的引领，行走在“永恒之境”的沙脊之上，踏入黄沙中的神秘洞口，变换的光线从黑色空间的上方洒落，分不清空间的边界，提示着“黑海”的入口。绕过屏风，将近四百个单体作品组成巨型矩阵的“素色的面孔”悬置在安静的黑色水面上。这一刻观者和作品永恒的对峙中，光线却提示着时间的缓慢流逝与轮回。

After entering from the main entrance, the first thing that catches the eye is the artist's representative work "Nine Heavens". The huge mirror wall creates another world, which transforms and reflects on reality. The undulating terrain blurs the path and choices of travel. You can climb on it or enter it, following the guidance of light, walking on the sand ridges of the "Eternal Realm", stepping into the mysterious cave in the yellow sand, and changing light falling from above the black space, unable to distinguish the boundaries of the space, indicating the entrance to the "Black Sea". Around the screen, nearly 400 individual works form a giant matrix of "plain faces" suspended on the quiet black water surface. At this moment, in the eternal confrontation between the viewer and the artwork, the light hints at the slow passage and cycle of time.

△展览现场照片 © 王子耕

绵延的沙地中，脚印是观者与这个世界对话的见证。当双足深陷其中，炙热的光线越过沙丘，作品“征兆”的异兽剪影会出现在润满墨汁的墙面上：九个脑袋的猛虎、生出四颗象牙的巨象、眼生于臀的梅花鹿。这些动物皆“身怀异像”，就如《山海经》中记叙的奇兽，预示着某种窥视未来的神秘信息。它们矗立在中央沙丘的坡面上，随着观者步伐的移动逐渐展现，带领我们坠入艺术家创造的世界之中。

In the sprawling sandy land, footprints are witnesses of the viewer's dialogue with the world. When both feet are deeply immersed, the scorching light passes over the sand dunes, and the silhouette of the exotic beasts in the work "Signs" appears on the ink filled wall: a tiger with nine heads, a giant elephant with four ivory tusks, and a spotted deer with eyes on its buttocks. These animals all carry strange images, just like the strange beasts described in the Classic of Mountains and Seas, indicating some mysterious information about peering into the future. They stand on the slope of the central sand dune, gradually unfolding as the viewer moves, leading us into the world created by the artist.

△展览现场照片 © 王子耕

从沙丘中的洞穴望去，眼前是一片坐落在沙中央的“黑色海洋”:无边的水面，开阔的空间感受，阵列的牛皮从水面一直延伸到无法抵达的对岸。太阳在眼前东升西落，在黑暗中走向了这一场永恒的轮回。

Looking out from the cave in the sand dune, before my eyes is a "black ocean" located in the center of the sand: boundless water surface, open space feeling, and arrays of cowhide extending from the water surface all the way to the unreachable opposite bank. The sun rises in the east and sets in the west, walking towards this eternal cycle in the darkness.

△展览现场照片 © 王子耕

在这一场梦境的最后，巨幕镜墙后方还隐藏着“镜像丛林”的秘密，一方由两幕平行矗立的镜墙围成的空间，作品“白日梦的森林”在镜面内外的沙地上投射出闪耀的光斑。这些承载着迷蒙、幻梦的精神切片阵列在空中星星点点的灯光中，星光和树阵在镜像的世界延展成一场醒不来的梦境。

At the end of this dream, behind the giant screen mirror wall lies the secret of the "Mirror Jungle", a space surrounded by two parallel mirror walls. The work "Forest of Daydreams" projects shining light spots on the sand inside and outside the mirror. These spiritual slice arrays carrying confusion and dreams are scattered in the sky with twinkling lights, and the starlight and tree array extend into a dream that cannot be awakened in the mirrored world.

△展览现场照片 © 王子耕

邬建安的艺术思辨和视觉创造，核心在于借助那些看似远离今日生活的情境，表达人类文明历史中永恒的部分，唤醒人内心感受中隐秘幽微却宏大磅礴的潜意识，进而引发对时代和人的反思与观照。此次展览中，整组逾300件单体作品以类似书籍陈列的方式展示出来，就像一座远古文明的图书馆，仿佛是对知识与经验尚需口口相传的洪荒时代的一种记录或记忆，又仿佛是远古时期的祖先衣钵和智慧，被收藏在一个矩阵般的时空之中。

似是而非，似象非象。是海，是沙丘。

The core of Wu Jian'an's artistic speculation and visual creation lies in using seemingly distant situations from today's life to express the eternal parts of human civilization history, awakening the hidden yet grand subconscious in people's inner feelings, and triggering reflection and observation of the times and people. In this exhibition, a group of over 300 individual works are displayed in a book like manner, like a library of ancient civilization, as if recording or remembering the prehistoric era when knowledge and experience still needed to be passed down orally, or as if the ancestral robes and wisdom of ancient times were collected in a matrix like space-time.

Seemingly plausible, resembling but not resembling. It's the sea, it's sand dunes.

项目信息

项目名称：邬建安大型个展“是海，是沙丘”展陈空间设计

项目类型：展览设计

项目地点：中央美术学院美术馆·廊坊馆

设计时间：2021年

建设时间：2021年

建筑面积：1122平方米

设计单位：PILLS工作室

主创建筑师：王子耕

艺术家：邬建安

策展人：李振华

展览总监：韩海艳

执行策展人：冯雪

展览统筹：陈澈、李世翠

主办单位：丝绸之路国际艺术交流中心

承办单位：中央美术学院美术馆·廊坊馆

学术支持：中央美术学院美术馆

特别支持：北京民生现代美术馆

设计团队： PILLS/汪曼颖、闫昱、张少敏、李申、张依婷、王玉竹、赵思涵

结构顾问：陆洋

设计顾问：徐迅君、欧智文、李洋

摄影：王子耕

投稿邮箱：cezn.cn@outlook.com

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