艺料之外展讯：《无人的玫瑰》正式开幕
参展艺术家：郭工、高伟刚、雷本本、李昕、欧阳文东、任芷田、吴鼎、萧潇（按姓名A-Z字母顺序排列）
开幕：2018年11月24日下午2点
展期：2018年11月24日-12月17日
主办：艺料之外Wonder Space x 其门THE DOOR
地址：上海市溧阳路611号1933老场坊1-311单元
11月24日下午2点，“艺料之外”与“其门艺术”携手呈现群展“无人的玫瑰”，此次参展有郭工、高伟刚、雷本本、李昕、欧阳文东、任芷田、吴鼎、萧潇共八位艺术家。作为其门艺术的第五回，本次展览遵循前四回一贯的理念，即关注艺术、艺术家及艺术界的诸多问题，并试图从学术、生存与生态的角度寻求自由、尊严与透明的价值。
艺术家们各自带着自身独特的视角，使展览得以呈现出丰富多样的艺术家个体面貌与创作视角。欧阳文东的作品《走调》回归人类最原初的嗅觉官能，试图从嗅觉经验带来的审美与出离，修复城市文明对作为整全人的压抑与割裂。吴鼎持续关注形成于时间与空间中的“规则”，探讨真正隐藏在这个世界中那些只能被感知但无法被言说的内在秩序。
李昕的水墨绘画不仅在于绘画者身体的延伸，更依赖于墨在宣纸上的天成趣味呈现的水相，这一实践视角的改变，呈现出一个不同于传统文人水墨的新的水墨实践表现空间，亦创造出一个水墨视觉的心性舞台。
郭工顺着树木内部的纹理，通过手工的缓慢切割，让树干内部每一根年轮的生长轨迹都纵向——而不是以通常所见的横截面的方式——呈现出来。“顺应”看似比“破坏”容易，顺应某种“真理”或者接近“真理”的规律，比一般意义上的“破坏”似乎更简单，却需要更多的精准和审慎，并付出更多努力。
当代艺术本质上是对话性的，它试图给予它的相遇者所有的关注。任芷田基于回归身体的理念强调感性与直观，却使用极其冷峻精准纯粹的形式去表达。“世上本无艺术，艺术只是身体绽放其情志的修辞”，任芷田通过不断深挖细微感知并创造性地赋予其辩证的形式，促成了作品与观者间无言的一次对话。
当我们一遍遍追问：这是一个怎样的时代？为何玫瑰与美被掩盖于层层灰垢，每一次对话、每一个词语都深陷于黑暗之中？一次注定相对寂寞没有概念喧哗的展览，却依靠尝试回归原始的身体、挖掘心性的直观，使人切身感受到具有穿透力的人的存在，或许真正的言说正在走来。
THE DOOR 5th：DIE NIEMANDSROSE
Artists：GUO GONG， GAO WEIGANG， LEI BENBEN， LI XIN， OUYANG WENDONG， REN ZHITIAN， WU DING， XIAO XIAO
Opening：2pm， Nov.24， 2018
Time：Nov.24- Dec.17， 2018
Host：Wonder Space x THE DOOR
Address：1-311， LIYANG Rd， OLD MILLFUN 1933， HONGKOU District， Shanghai， China
On Nov.24 2pm， Wonder Space and The Door will present the group exhibition DIE NIEMANDSROSE jointly。 Eight artists， GUO GONG， GAO WEIGANG， LEI BENBEN， LI XIN， OUYANG WENDONG， REN ZHITIAN， WU DING， XIAO XIAO， participate in this exhibition。 As the fifth exhibition of The Door， DIE NIEMANDSROSE follows last four previous idea which focusing on the problems of art， artists as well as the art circles， and trying to seek the values of freedom， dignity and transparency from the perspectives of academics， survival and ecology。
The artists each have their own unique perspective， which makes the exhibition present a rich and diverse range of artist personalities and creative perspectives。 OUYANG WENDONG‘s work Out of Tune returns to the most original olfactory function of human being， trying to heal people’s depression and separation as a whole person which caused by urban civilization through aesthetics and dissociation brought by the olfactory experience。 WU DING continues to focus on the “rules” formed in time and space， exploring the inner order that is truly hidden in the world that can only be perceived but cannot be said。
LI XIN‘s ink painting is not only the extension of the painter’s body， but also depends on the water phase of the ink on the rice paper。 This changing of perspective presents a new practice space of ink painting that is so different from the traditional literati’s work。 It also creates a spiritual stage of ink vision。
GUO GONG follows the texture inside the trees and slowly cuts it by hand， so that the growth trajectory of each annual ring inside the trunk is vertical， not in the way of the cross section normally seen。 “Adaptation” seems to be easier than “destruction”。 Following and closing to certain “truth” seems simpler than general “destruction”， but requires more precision and prudence and needs to work much harder。
Contemporary art is essentially conversational， and it tries to give all its attention to its encounters。 REN ZHITIAN emphasizes sensibility and intuition based on the idea of returning to the body， meanwhile expresses in an extremely cold， precise and pure form。 “There is no art in the world， art is just the rhetoric of emotions blooming by the body。” REN ZHITIAN makes a dialogue between his works and its encounters through digging deep into subtle perception continuously and giving them dialectical forms creatively。
When we ask time after time： What kind of era is this？ Why are roses and beauty covered in layers of ash， each conversation and word is buried deeply in the dark？ An exhibition that is doomed to be lonely， but relies on trying to return to the original body and digging into the intuitiveness of the mind， so that viewers can feel the penetrating Being of People， and perhaps the real words are coming。
