展览推荐 | 群展「渴望的表达」

策展人｜CURATOR

刘轩源

艺术家｜ARTISTS

魏周琳、吴彦晓、孙宁蕊、李海洋、吴雨涵、陈瑞昕、孙圆圆、金淑怡、王焱

展览时间｜DURATION

2024.5.18-6.18

11:00-22:00

开幕时间｜OPENING

2024.5.18

19:30-22:00

主办｜线加艺术空间

出品人｜罗隶

策展助理｜周周

项目执行｜陈sir

地址｜南京市水西门大街291号万达金街西区3楼311

对于渴望，我们的认知是对于某件事物的极度追求，但是环境进行了一个阻碍或者暂缓的作用。这样的情况下，表达便无法顺畅，我们会失去群居动物的必要的交流—这一过程，由此心理层面会产生更加深度的渴望，言语和精神会自主地推动作者的意识。

Longing, as we perceive, is an intense quest for something that tantalizes our thoughts and desires. However, it can often find itself shackled or hindered by the environment. In such situations, our expressions may falter, and we may find ourselves bereft of vital communication which forms the essence of our social existence. This can intensify our innate yearning, transforming it into a deep-seated psychological longing, and words and spirit will autonomously drive the author's consciousness forward.

本次展览是一场集体意识的吸引，是必然的时尚产物。

This exhibition has a compelling appeal that brings together shared awareness or experiences among its audience. It is a product of fashionable creation.

展览的开始便是设计师对于19岁的诗，对于神佛的思考，对于遗憾的回望。我们会发现服装设计师都有回顾过去的习惯，以此来获得对未来的展望。魏周琳予以自己的文字以视觉形象，向我们展示了诗歌的力量，文字的力量，诗人与时装的力量。展区以被诗印花过的纱，依偎在展柱上结束。

The exhibition starts with the designer's reflection on the 19-year-old poem, the reflection on the divine, and on regret. We will find that fashion designers have the habit of looking back to the past in order to get a vision of the future. Zhoulin Wei imbues her own words with visual embodiment, unfolding the potency of poetry, the resonance of language, and the palpable connection between poets and the realm of garments. The exhibition draws to a close in an area dressed in the musings of verse imprinted on yarn, nestling by a silent display post.

给十九岁的诗，魏周琳，时尚系列，2024，面料，诗集

the poem for 19-year-old，Zhoulin Wei， Fashion Collection，2024，Fabrics，collection of poems

展区中部由吴彦晓的秘境（打版桌）和孙宁蕊的占星系列为一组。呈现出服装设计师平时的工作状态。因为设计师需要站立打版，所以打版桌的高度有特殊要求，吴彦晓以服装设计师的工作环境为出发点，设计出了能让设计师舒适打版且与自然形成构筑关系的打版桌。透明的外壳下是两位背对背的人形半身，周围是设计师构筑的包含了苔藓和自然景观的地表。人与自然，设计师和观众，工具与技艺。

The central area of the exhibition features a pair of artworks: Yanxiao Wu's "Mystic Realm (patternmaking table)" and Ningrui Sun's "Astrology Series," presenting the typical working state of fashion designers. The patternmaking table must be adjusted to a specific height to accommodate designers that remain standing while drafting patterns. Drawing inspiration from the work environment of fashion designers, Yanxiao Wu has envisioned and brought to life a patternmaking table that is more than just a workspace, but an avenue for designers to not only work comfortably but also resonate with nature. Enveloped beneath a crystal shell lie two humanoid torsos, steadfast in their back-to-back stance. Encircling them, the terrain is a tapestry of elements, meticulously crafted by the designer, that includes moss and captivating natural landscapes. This unique ensemble serves as a poignant symbol of the union of mankind and nature, the intimate dialogue between the designers and observers, and the profound interplay between the tools and the art of craftsmanship.

秘境，吴彦晓，打版桌，2024，亚克力板，石膏，水泥，苔藓，人台

Secret Space，Yanxiao Wu，Pattern Cutting Table， 2024，Acrylic, gypsum， Cement，mannequin

占星师，孙宁蕊，时尚系列，2024，面料

Stargazer, Ningrui Sun, Fashion Collection, 2024, Fabrics

悬吊于墙面的雕塑服装，减少了人体的衬托，人们会更加关注服装本身。吴雨涵的作品具有独特的“皮革”质感。不仅仅是简单的软硬材质的结合。裙摆内添加了柔软棉花，铁丝从肩膀出发，超出了身体，纱从腰身处出发，与地面保持稳定的距离。中间位是木质版片，面料从中溢出，展示了服装从版片向面料延伸的过程。以地面的物体接触为结束，因为穿着服装的人类，屹立于大地上。

Suspended from the wall, the sculptural garments are less of a backdrop for the human body but attract more attention to the garments themselves. Yuhan Wu's work features a unique "leather" texture that goes beyond a simple combination of soft and hard materials. Inside the skirt hem, soft cotton is incorporated, and wires extend from the shoulders, surpassing the body, while yarns emerge from the waist, maintaining a stable distance from the ground. In the middle are wooden panels, with fabric overflowing from them, showcasing the extension of the garment from pattern pieces to fabric. It ends with the object touching the ground, as man in costume stands firmly on the ground.

童年室内关系，吴雨涵，时尚系列，2024，面料，木板

Interior Interaction of Childhood，Yuhan Wu，Fashion Collection， 2024，Fabrics，wood

李海洋的两件男装系列与表现当代压力的综合墙面材料同时展出。压力是每个时代的年轻人都要面对的话题，仿佛是拔不掉的刺，折磨着成长的每一天。但成长其实是终身的话题，我们不妨直面它，于是就有了别针与纤维的撕扯，激光切割出的与车辆印花的灯光。分崩离析的面料在墙面上整合成一体。对应着海洋两套完整的服装系列，中间隔着其他展品，就像穿过压力与迷茫而逐渐坚毅的，面对压力的成长过程。

Two of Li Haiyang's men's collections were exhibited, pairing alongside integrated wall elements that echo the pressure and strains of modern times. Pressure is an inescapable issue that young people in every era have to face, as if it is an unremovable thorn that torments each individual every day. Yet, growth itself is actually a lifelong subject and we may as well face it. This is poignantly portrayed through the frayed fibers and the piercing pins, the precision of laser cuts, and the illuminative vehicular print lights. The fragmented pieces of fabric, much like puzzle pieces, are unified on the wall. Corresponding to the designer's two complete clothing series, separated by other exhibits, one can sense a journey through the fog of pressure and confusion, eventually forging determination - a testament to the process of growth under unyielding pressure.

压力，李海洋，时尚系列，2024，面料

Stress, Haiyang Li，Fashion Collection，2024，Fabrics

把目光转向通体被白色羽毛包裹着的，展现的视觉效果是含蓄的一套服装。陈瑞昕觉得在国内外语境下，很多人对于性，或者某个特定族群的认知很多时候都是被包装过的。我们对于贤良淑德的女性，激烈勇敢的女性，对身材自信的女性甚至是男性的认知仿佛是包裹在这套设计外的沉重面料，如枷锁般的刻板印象。设计师反复提出“Identity”一词，强调着服装设计师的独特风格，在我们想成为设计师之前，一定要先成为自己。

As attention is shifted to a visually subtle ensemble entirely enveloped in white feathers, Ruixin Chen's display of clothing offers a restrained visual effect. Within both domestic and international contexts, Chen believes that preconceived notions of gender or particular demographics are prevalent. Our perceptions of virtuous, courageous women, or those who exude body confidence, and even men, seems to be wrapped in heavy fabrics outside of this design, akin to rigid stereotypes. The designer repeatedly emphasizes the word "identity," underscoring the unique style of a fashion designer, and stresses that before aspiring to be a designer, one must first become oneself.

花瓶，陈瑞昕，时尚系列，2022，面料

Vase，Ruixin Chen，Fashion Collection，2022，Fabrics

孙圆圆的拼贴视觉统一为黑色。但与设计师沟通下来，我发现她是一位善于表达，具有独立思考能力的女性。我们聊到了纽约这座高现代化的城市带给她的感受，人与人的交流会变少，会想念温存与暂缓。于是前往多米尼加共和国，波多黎各等地，在体验过自然化，城市化，具有一定规则的东方文化，自由但快节奏的西方文化后，可以看出圆圆的作品中有颜色与结构的变化，思考在逐渐盛开。

Yuanyuan Sun's collage visual is unified in black. However, after communicating with her, I discovered that she is a woman adept at expression and possesses independent thinking skills. We discussed her notions about New York, a highly modernized city where interpersonal communication can decrease, leading to a yearning for warmth and warmth and tranquility. Then, she traveled to places like the Dominican Republic and Puerto Rico. Upon immersing herself in the East's naturalistic, urban, and regimented societal rhythm, juxtaposed with the free-spirited yet fast-paced Western ideology, a transformation gradually unfolded in Yuanyuan's craft – a subtle change of color and structure within her work, indicating the evolution of her cognition and creative self-expression.

分裂关系，孙圆圆，2024，拼贴，纸，硫酸纸，胶带

Dissociated Relationship，Yuanyuan Sun，2024，Collage，Paper，Tracing Paper，Tape

关注中国女留学生群体与在地性的金淑怡的作品中结合了南京与伦敦文化。她多次穿梭于南京与伦敦。在旅途中，因为经常搭乘交通工具，短程或长时间地接触与离开养育自己的地面。这似乎有解决一些她自己对时尚，对城市的迷茫。因为时尚是南京极度缺失的一个元素，作为大热的旅游城市，如何自发地吸取本地元素转化成设计元素且与国际接轨，这是每一个想要与国际接轨的设计师都会遇到的问题。淑怡用电子建模的形式，绘制了两国的水流，将两个城市组建在了一起，完成了自己的乌托邦。

Centered on the local community of Chinese international female students, Shuyi Jin's work is an elegant amalgamation of Nanjing and London cultures. Continually traveling between these two cities, Shuyi marks time and space with her myriad travels, unraveling and resolving her perplexities about fashion and urban character. Given that the sphere of fashion still remains a missing thread in Nanjing's vibrant tapestry, a city renowned as a popular tourist destination, the challenge lies in seamlessly integrating local elements into design aesthetics and aligning it with global standards – a conundrum any designer with global aspirations grapples with. Employing electronic modelling as her canvas, Shuyi crafted a map of water currents emblematic of the two nations. This artistic endeavor symbolically entwines the two cities, culminating in the realization of her own Utopia.

家乡的距离，金淑怡，拼贴，2024，拼贴，纸，硫酸纸，胶带

Distance of hometown，Shuyi Jing，Collage， 2024，Paper，Tracing Paper，Tape

接下来是设计师和艺术家在成长和设计环境中都会遇到的问题—外界的准则。王焱将回收的肥皂融合成了角度较低的三角体，将事先染完色的冰球放在斜边上，使用刷子等工具反复摩擦冰球与肥皂，为了让冰球完美地沿着三角体的斜边滑落至白布上。但我们知道，这是不可能完成的。顺利滑落的冰球是外界规定好的“优秀”的模版，我们会被一遍一遍地要求按照模版去生活，但王焱展示的破碎的肥皂和染色面料以及影像告诉我们，规则是可以被打破的，无助是可以被消解的，只要自己愿意。

Next is a challenge that both designers and artists encounter in their growth and creative environments—external standards. Yan Wang masterfully breaches this impediment in an exhibit which features recycled soap sculpted into low-angled triangles and a pre-tinted hockey puck on the slanted edge. Using brushes and other tools, she repeatedly rubbed the ice balls against the soap to make them slide perfectly down the slanted edge onto white fabric. However, as we know, this is an impossible task. The smoothly sliding puck represents the predetermined "excellent" template imposed by external standards, where we are repeatedly asked to conform to these templates in life. But Wang's display of broken soap, dyed fabric, and imagery tells us that rules can be broken, and helplessness can be dissolved, as long as one is willing to do so.

习得性无助，王焱，行为，2024，肥皂，冰块，水，面料

Learned Helplessness，Yan Wang，Performance，2024，Soap，Ice，Water，Fabric

吴彦晓的创作领域包括但不限于新材料，装置，服装，家具，电子影像。是一位具有前瞻视野的服装设计师，她的创新面料分别展示于三个由红色亚克力板切割重组成的桌、椅、台上。服装系列探讨了疫情时期的安全感，在时尚杂志的工作经历，服装的极度功能性，服装的面料硬度等方面。随着时尚各领域探索的深入，就会发现我们不应该遵从杂志或者任何媒体向我们展示的准则而活，我们或许可以尝试去寻找脱离具有强传播性质的信息，如果那样的信息与被发现者有连接的话，那或许才是时尚本来的样貌。

Yanxiao Wu's creative fields include, but are not limited to, new materials, installations, garment, furniture, and electronic imagery. As a forward-thinking fashion designer, her innovative fabrics are displayed on three separate tables, chairs and platforms made of cut and reconstituted red acrylic panels. Her fashion collections explore the sense of security during the pandemic, drawing from her experience in fashion magazines, extreme functionality of clothing, and the hardness of fabrics used in clothing. As fashion exploration deepens across various fields, it becomes apparent that we should not simply conform to the guidelines presented by magazines or any media. Instead, we might try to seek out information that breaks away from highly propagandized content. If this kind of information connects with the discoverer, perhaps that is the true essence of fashion.

模块化的时尚立方体，吴彦晓，装置，2023，亚克力板

Modularize fashion cube ，Yanxiao Wu，Installation， 2023，Acrylic

我幻想中的婚礼，吴彦晓，2023，电子影像

My Imaginary Wedding ，Yanxiao Wu，2023 ，Digital Media （Video）

模块化的时尚立方体，吴彦晓，时尚系列，2023，面料

Modularize fashion cube ，Yanxiao Wu，Fashion Collection， 2023，Fabric

时尚与文化，东西方艺术的交流，设计师与艺术家，是永远讨论不完的话题。我希望本次展览具备引人思考的功能，九位艺术家和一位策展人都是东西方文化的体验与践行者，我期待越来越多的，纯粹的可能性。

Fashion and culture, the exchange between Eastern and Western art, and the relationship between designers and artists are topics that can never be exhausted. This exhibit is an invitation to immerse in these conversations, to challenge long held beliefs, and to kindle the fire of contemplation. The nine artists and one curator find their roots scattered across East and West, each bringing a unique intercultural narrative. It is the hope that this venture will continue to delve into the enchanting depths of pristine possibilities, unearthing pearls of wisdom and artistry along the way.

所有照片均由刘轩源拍摄All Photos shooting by Xuanyuan Liu

魏周琳

本科毕业于南京艺术学院服装设计系，研究生就读于皇家艺术学院女装设计。周琳关注于自己丰富的人生体验，一直保持诗歌的创作并将文字的力量视觉化，探索自己的语言和观众的交互关系。对于神学，遗憾关系，服装的哲学性思考有着强烈且灵活变化的理解。

Wei holds a bachelor’s degree in fashion design from Nanjing University of the Arts (NUA) and is currently studying for her master's degree from Royal College of Art. She demonstrates rich life experiences through her works. She has been an ardent poet, believing in the power of words and their visual impact. Her artworks explore a dynamic interaction between her expressive language and her audience. Her philosophical contemplation of theology, and the nuances of regretful relationships observed through the lens of fashion design, embody a strong and flexible understanding that defines her work.

吴彦晓

本科毕业于University of Technology Sydney 悉尼科技大学，研究生就读于伦敦时尚学院时尚与未来。彦晓有着独特的学术调研背景，对于材料，面料，社会人文关系，时尚公共关系有着丰富的理解和实践经验。作为时尚从业者，从不被广义的时尚概念定义，作品涵盖了服装设计，电子影像，时尚家具产品等领域，是当代时尚的践行者。

Wu holds a bachelor’s degree from the University of Technology Sydney and is pursuing a master's degree in fashion futures from the London College of Fashion. With a unique academic research background, Wu has a comprehensive understanding of materials, fabrics, socio-cultural relationships, and public relations in fashion, backed by rich practical experience. Far from being confined by the generalized concept of fashion, Wu’s works span across various domains, including fashion design, electronic imaging, and trendy furniture products, epitomizing Wu as a practitioner in contemporary fashion.

孙宁蕊

出生于江苏南京，将于2024年前往英国就读服装专业本科。以电影故事背景为媒介作为创作的入口，以东方的视角去诠释西方电影，面料装置再表现了阿凡达中的奇幻植物与海洋的共生关系，以共同创作的形式赋予作品二次生命。

Sun is born in Nanjing, Jiangsu , and will pursue a degree in fashion in the UK this year. Using film narratives as a creative medium, Sun interprets Western movies from an Eastern perspective and uses fabric installations to portray the symbiotic relationship between fantastic flora and marine life in “Avatar.” Through collaborative creation, Sun breathes secondary life into the artwork.

李海洋

本科就读于伦敦艺术大学伦敦时尚学院高级定制成衣专业。海洋对于社会阶层，工薪阶级，权贵阶级以及人类情绪的外向表达有着敏锐的洞察力，其作品有着丰富的手工和机械缝纫手法，具像化表现了不同层面（精神，肉体，形状，工作）的压力。

As an undergraduate majoring in bespoke tailoring in the London College of Fashion at University of the Arts London (UAL), Li exhibits keen insight into social stratification, the working-class, and elite, and the outward expressions of human emotions. His works showcase a blend of intricate handcraft and mechanical sewing techniques, symbolizing pressures experienced across various aspects of life, from spiritual and physical to visibly embodied pressures at work.

吴雨涵

本科就读于伦敦艺术大学配饰设计。钻研于服装结构在人体之间的交错关系，其作品结合了皮革的韧性，具有坚硬的直线设计语言，同时结合棉花和弹力纤维与纱质面料的软硬结合，将服装带入了虚实结合的创作意境。是装置艺术与服装语言结合的实验者。

Studying cordwainers fashion bags and accessories for her bachelor’s degree from the University of the Arts London, Wu delves into the interplay of garment structures and the human body. Her works demonstrates a stark linear design based on leather's toughness. Along with the softness of cotton, elastane fiber, and sheer fabrics, Wu brings the clothing into a realm of creative juxtaposition between reality and virtuality, making her an experimentalist in the fusion of installation art and fashion languages.

陈瑞昕

本科就读于帕森斯设计学院。设计师，模特，妆容艺术家。瑞昕对自我的认知十分清晰。对于性别、东方的内敛、西方的自由等文化有着离经叛道的当代认识。本次展示的悬吊服装代表了设计师处于文化的壁垒与隔阂之间的挣扎状态，与地面，天空都有辩证性的接触。

Chen is a designer, model, and makeup artist pursuing his bachelor’s degree from Parsons School of Design. He has a clear self-awareness and a contemporary understanding that challenges conventional notions of gender and cultural dichotomies between Eastern reserve and Western liberty. The exhibited garments reflect the designer's struggle straddling the cultural barriers and the dialectical thinking of earth and heaven.

孙圆圆

本科就读于纽约大学经济学。以大数据的缜密思维去理解服装，从根源上给时尚带来新鲜的思维和表现手法。本次展览的拼贴艺术表现了当代年轻人的迷茫与八卦，和圈层的战争，是硝烟，也是规整自我的开始。

Studying economics at New York University for her bachelor’s degree, the artist employs meticulous insights from big data to comprehend fashion, pioneering fresh perspectives and expressive techniques in the domain from its core. The collage art in this exhibition portrays the confusion and gossip of today’s youth, signaling both the warfare within social circles and a genesis of self-regulation.

金淑怡

南京人，南京艺术学院戏剧影视美术设计本科在读。曾参加众多校内外大戏舞美、道具设计、服化道执行。曾获国内设计一等奖。擅长使用虚拟现实的手法将女性力量与故乡、欧洲、河流、建筑等元素相互构成，创造独有的乌托邦。

As a Nanjing native, Shuyi Jin is currently pursuing a bachelor's degree in Theater, Film and Television Art Design at Nanjing University of the Arts. Jin has participated in numerous on-campus and off-campus productions involving stage art, costume, make-up, and props， and has won the first prize in national design. Jin excels in leveraging virtual reality techniques to juxtapose feminine strength with elements such as her hometown, Europe, rivers, and architecture, thereby creating a unique utopia.

王焱

本科毕业于悉尼大学The University of Sydney 经济学与银行学双学位。研究生就读于皇家艺术学院当代艺术实践。焱有着丰富的精神世界，创作媒介包括但不限于面料纤维，装置，行为表演，绘画。本次展出的染色纤维是艺术家使用肥皂，冰块，身体这三种媒介相互杂糅，挤压，挣扎，放弃，最终归于平静的产物。

Graduated from the University of Sydney with a dual degree in Economics and Banking, Wang is pursuing her master’s degree in contemporary art practice at the Royal College of Art. Endowed with a rich inner world, Wang’s creative mediums include textile fibers, installations, performance art, and painting. The dyed fibers exhibited are a result of the artist's use of soap, ice, and the body as mediums—a portrayal of mixing, struggling, and eventually settling into tranquility.

About The Curator

刘轩源

刘轩源，95年，南京人，毕业于伦敦艺术大学女装设计，策划并参与过伦敦时装周，上海时装周。曾为驻地伦敦的艺术家策划并参与过时装，珠宝、陶瓷等展览。独立艺术家，策展人，艺术设计教育与策划从业者。致力于以时尚为原点的美与文化的传播，不拒绝任何形式的“美”的表达。

Born in 1995 and as a Nanjing native, Liu graduated from the University of the Arts London with a B.A. degree in Fashion Design Technology: Womenswear. Liu has been part of the planning and execution of events like London Fashion Week and Shanghai Fashion Week. He has also planned and participated in exhibitions for artists based in London in fields including fashion, jewelry, and ceramics. As an independent artist, curator, and professional in art design education and planning, Liu is dedicated to the communication of beauty and culture with fashion as the starting point and embraces all forms of expression for the concept of "beauty."