唐骁 TangXiao

“模型”一词是工业时代的产物，是对原型客体的结构、功能、属性、关系、过程等本质特征的物质形式或思维形式的再现，代表了系统化、自动化和生产效率。此次展览的“超模型”概念源于艺术家作品中的抽象特征和模块化的创作方式，他们对视觉图像的认知和处理机制可视为不同的“模型”，用差异化的艺术实践构建意义。

他们创造的‘模型’是人类智性的模型，抽象思维的编码，超越技术和思维体系框定的世界，超越画框和媒介的桎梏。可视为对‘机械复制时代’的逃逸与反思，以潜在的力量抵抗着工业文明的侵蚀与现代技术的霸权。

策展人：刘蕾

The word "model" is a product of the industrial age, which is the reproduction of the material form or thinking form of the essential characteristics of the structure, function, attribute, relationship, process, etc. of the archetypal object, representing systematization, automation and production efficiency. The concept of "hypermodel" in this exhibition is derived from the abstract features and modular creation methods in the works of artists. Their cognition and processing mechanisms of visual images can be regarded as different "models", constructed with differentiated artistic practices significance.

Model' is not only a physical visual representation, but also a thinking paradigm in an abstract sense; it is the intersection of what French philosopher Jacques Rancière called "organizational structure, code of conduct, emotional model and thinking paradigm". Different from the logic of the supremacy of industrial production efficiency, artists use traditional handmade and perceptual visual experience to mark the boundary between art and "artifacts as a model of the world", strengthening the artistic logic and artistic logic of their own works. The way it was generated.

The 'model' they created is a model of human intelligence, a code of abstract thinking, beyond the world framed by technology and thinking systems, beyond the shackles of picture frames and media. It can be regarded as an escape and reflection on the "era of mechanical reproduction", resisting the erosion of industrial civilization and the hegemony of modern technology with potential power.

Curator: Liu Lei

观众进入美术馆船沿着甲板走过时，用身体感受略与人等高的一列信号旗。在这个局部，国际航海的视觉符号已被挪用为一种抽象风格的“壁挂”，知性与感性同样重要。知性：不懂航海的观众需要自己去了解每一面旗单独指示什么；感性：纤维比木头更亲肤，可以把旗面覆在脸上用呼吸感受其温暖。信号旗在浩瀚的大海上作为船只沟通、互助的符号物，可以说是一种真正的命运共同体语言。加上甲板、舷窗、雾钟等装置构件，一艘船的情境摹拟出来了。这艘海运共同体船，也是长江流域的水文船。随着嵌入信号旗的《长江流域图》进入眼帘，美术馆船向观众展开了第二层语义。

《长江流域图》中何以嵌入航海的信号？一个地方的水文，是农业、交通、工业生产等国民经济所有方面存在和发展的基础。在全球化的背景下，长江流域早已与世界经济互嵌，难以脱钩。艺术家所忧甚广。此作品的良苦，可以联系到他留德多年，又归来寻求中国抽象的历程。他坚持保留体现西方艺术特质的空间性的面，而没有转向体现了时间性、笔墨感觉的密集劳动型的线（所谓极多主义），从质料入手突破形式，用土木建筑下的生命感受对现代性居住的异化展开批判。将河运纳入海运符号系统，用广阔大海中的协作信号介入长江流域的航行和灌溉，才是唐骁独特的地域性主张。如此，“山水”当发展为“山海”，而不是重复自给自足、难以容纳异质的笔墨境界。为了强化他的地域性观念的历史纵深，唐骁找到一本1983年有关部门编写的《湖北水运史志资料》，幸运的是，这本书竟然是手写油印本，为展览的“可读性”增色不少。根据T.S.艾略特在《传统与个人才能》中提出的观点，信号旗对内陆水运的观念性嵌入，必然也延伸到当地水运的历史中，即：如果有时间回头分析历史上的水运状况，我们会注意到国际物贸的潜在影响。当然，包括长江流域图的上述制作，也只是为表现一种艺术观念。

When the audience enters the museum ship and walks along the deck, they feel a row of signal flags that are slightly as high as people with their bodies. In this part, the visual symbols of international navigation have been appropriated as an abstract style of "wall hangings", where knowledge and sensibility are equally important. Intellectual: Audiences who don’t understand navigation need to understand what each flag indicates individually; emotional: fiber is more skin-friendly than wood, and you can put the flag on your face and feel its warmth with your breath. The signal flag is used as a symbol of communication and mutual assistance between ships on the vast sea, and it can be said to be a real language of a community of shared future. With the addition of decks, portholes, fog clocks and other installation components, the situation of a ship is simulated. This maritime community ship is also a hydrographic ship in the Yangtze River Basin. As the "Map of the Yangtze River Basin" embedded with signal flags comes into view, the museum ship unfolds a second layer of meaning to the audience.

Why is the signal of navigation embedded in the "Map of the Yangtze River Basin"? The hydrology of a place is the basis for the existence and development of all aspects of the national economy such as agriculture, transportation, and industrial production. In the context of globalization, the Yangtze River Basin has long been embedded with the world economy and it is difficult to decouple. Artists have a lot to worry about. The bitterness of this work can be related to his journey of seeking Chinese abstraction after staying in Germany for many years. He insisted on retaining the spatial aspect that embodies the characteristics of Western art, instead of turning to the labor-intensive line (so-called maximalism) that embodies the timeliness and feeling of pen and ink. Criticize the alienation of modern dwelling. It is Tang Xiao's unique regional proposition to incorporate river transportation into the maritime symbol system and use cooperative signals in the vast sea to intervene in the navigation and irrigation of the Yangtze River Basin. In this way, "landscape" should develop into "mountain and sea", instead of repeating the self-sufficient and difficult to accommodate heterogeneous pen and ink realm. In order to strengthen the historical depth of his regional concept, Tang Xiao found a copy of "Historical Records of Hubei Water Transport" compiled by relevant departments in 1983. Fortunately, this book turned out to be a handwritten mimeograph, which contributed to the "readability" of the exhibition. "It adds a lot of color. According to T.S. Eliot in "Tradition and Individual Talent", the conceptual embedding of pennants in inland water transportation must also extend into the history of local water transportation, that is: if there is time to go back and analyze the historical situation of water transportation , we will pay attention to the potential impact of international material trade. Of course, the above-mentioned production including the map of the Yangtze River Basin is only to express an artistic concept.

现在进入美术馆船的第三个语义层。那些不明觉厉地排列着的、密密麻麻的小信号旗，其实是歌德的一首小诗。根据关于信号旗的知识，每一种信号旗，固定地对应着一个字母，艺术家竟以此作为密码，把歌德的一首八行诗《大海的宁静》中的每一个德语字母依次替换成信号图。

此诗有著名德语翻译家、歌德的译者樊修章的译文：“大海凝然未醒，/海面统辖着沉静，/船夫揣着忧心/四顾是平滑万顷。/死寂令人心悸，/周遭没一点风声！/浩浩茫茫天外/觉不到波声涛影。”歌德的诗意与唐骁的意图之间关联的深度，不好说。诗文本向“抽象画”的转换，与其说是另类地引用了歌德的诗，不如说是向我们提示：作品所涉及的危机意识、全球化与本土、美术馆空间等，原本只是一种诗性的思考。艺术品的及物性，源于艺术语言的意识。因此不应迷失于作品的主题，即社会性的叙述，而应开放地感知以思想的名义聚拢的装置构件和情境。这些符号-物，被美术馆船装载着，试图唤醒观众的经验和想象。

《风平浪静》中含有作为抽象画家的唐骁带给观念性艺术的一种溯源性思考。观念性艺术并不是从抽象艺术中进化了，而是，二者共享着同一种艺术的源起。艺术家在疫情以来的三年中经历和思考的很多，已藏在这些看似遥远、与日常无关的符号-物中：信号旗提示的广阔的大海、凝视前方的敏锐反应、规则下的语言，流域图和水运资料表明的扎根本土、保持一颗开放心灵的意愿……这些都是在一种情感下蒸馏、提纯出来的意象。

2022.11.16

Now on to the third semantic level of the gallery ship. Those densely packed small signal flags lined up unknowingly are actually a little poem by Goethe. According to the knowledge about signal flags, each signal flag corresponds to a fixed letter. The artist actually used this as a code to replace each German letter in Goethe's octet "The Tranquility of the Sea" with a signal. picture.

There is a translation of this poem by Fan Xiuzhang, a famous German translator and translator of Goethe: "The sea is still unaware, / The sea governs the silence, / The boatman is worried / Looking around is smooth. / The dead silence is palpitating, / There is no wind around! /In the vast expanse of the sky/I can’t feel the sound of waves or shadows.” It’s hard to say the depth of connection between Goethe’s poetry and Tang Xiao’s intentions. The conversion of the poetic text to "abstract painting" is not so much a reference to Goethe's poems as an alternative, but rather a reminder to us that the crisis awareness, globalization and locality, and museum space involved in the work were originally just a kind of poetic thinking. The transitivity of artworks comes from the awareness of artistic language. Therefore, we should not get lost in the theme of the work, that is, the social narrative, but should openly perceive the installation components and situations gathered in the name of thought. These symbols-objects are loaded on the ship of the museum, trying to awaken the experience and imagination of the audience.

"The Calm Sea" contains a kind of retrospective thinking brought by Tang Xiao, an abstract painter, to conceptual art. Conceptual art did not evolve from abstract art, but both share the same origin of art. A lot of what the artist has experienced and thought about in the three years since the epidemic has been hidden in these seemingly distant and irrelevant symbols-objects: the vast sea prompted by signal flags, the sharp reaction of staring ahead, the language under the rules, The willingness to stay rooted in the soil and maintain an open heart, as indicated by the watershed map and water transportation data... These are all images distilled and purified under one emotion.

2022.11.16