门紧紧闭着，像熟睡时的眼皮。门的咬合让洞口又回到了墙面的状态，闻不到任何的气息，如同在沙漠中行进，眼前的一切都变成了死寂状态。进入 GALLERY FUNC 画廊空间的参观者至少要闯过两道“门”：第一道是进入建筑大楼的暗号；第二道是用门铃召唤的门童。此机制并非出于画廊的设计，而是反映了这座建筑最初的建造是为了私密而非公共的意图。画廊的进驻使其内部属性发生翻转，在罅隙间形成了微妙的语义。对于参观者而言，进入画廊的方式丰富了他们的心理体验，甚至在一定程度上改变了关系的格局，使展览更具主体性。
门是一堵可变的墙，它允许我们在不破坏墙壁的情况下进入建筑物，并给我们重建它的机会。根据拉图尔的理论，门连同铰链等物质作为行动者的潜力，对我们的行为施加一种限制，规定了我们应以一定的速度通过，并且只能从固定的洞口通过。在本次展览“把门打开”中，不止两道门等你打开。当观众把置于空间内部的门打开后，门会被弹簧装置自动回弹（请注意），重返成墙的封闭状态。由此，门的语义在墙与洞之间频闪，观众自己开凿出了观看的空间。皮埃尔·阿尔贝-比罗在《自然的娱乐》中有一首短诗：“敞开的门，我们踏入；紧闭的门，如入虎穴。世界在我的门外脉动。”此刻，借由他的诗句，我们可以说“艺术在我的门内脉动”。
黎佳仪 Joy LI, 最好中的最好 The Best of the Best, 2024, 树脂、蚂蚁标本、LED灯 Resin, ant specimens, LED lights, 35 × 35 × 50 cm. 图片 © 艺术家
通过与门的游戏，展览将空间构筑成三层意向：第一层是公共空间，画廊的象征；第二层是私密空间，再现了建筑原有的的家宅内部结构；第三层则是隐藏空间，隐现的“居住者缺席”的房间——有一个包含真实前台的“大厅”和两个艺术家房间。借由这三重影，展览唤起了游荡在公共记忆中的危机与我们因而异化的心理生存空间。在展览中，黎佳仪寻找到商品与公共物件中蕴含的诱惑与权力，物欲纵流的商品世界中，“一个假的蝴蝶杀死了一群真的蝴蝶”，真的蚂蚁爬向了假的樱桃。翟宇辉将视觉语言以“景观”的形式更直接的对应到这个世界作为图景性的虚构方式，狭小的空间被巨大的纸箱所进驻，轻便易得的材料与纪念碑式的形象产生碰撞，异化了感官的体验。董龙跃通过对古老生物鲎（马蹄蟹）的戏仿和刻画，反复运用鲎的形状及其变体，指涉其穹顶形状与运动轨迹的双重问题，成为了一种广泛参照的尺度。艺术家们在门内的空间阐述了一个比眼前更广泛的故事，它们的存在使我们面对的俨然已是一次行动纲领，一份解救使命。打开门，纵身一跃。
文｜黄童
翟宇辉 ZHAI Yuhui, 自由落体 Free Fall, 2023, 电缆、石膏像、故障灯 Cables, plaster statues, trouble lights, 60 × 50 × 55 cm. 图片 © 艺术家
The door is closed, so tightly like the eyelid of a soundly sleeping man. The closure of the door let the opening return to the state of a wall. There’s no smell at all, as if we were marching in the desert with everything in front of us turning into a dead zone. To enter GALLERY FUNC one has to go through at least two “doors”: the first requires a password gained beforehand to get into the building; and to go through the second, one needs to ring the doorbell and ask the doorman to open the door. It’s not a design by the gallery but reflects that the building was initially built for private rather than public use. The presence of the gallery has transformed the nature of the building, creating subtly new meanings from within. To the visitors, the way to enter the gallery space enriches their psychological experience, and to some extent, even changes the pattern of relations, making the exhibition all the more subjective.
Door is a wall in a different form, which allows us to enter a building without destroying its walls and gives us the opportunity to reconstruct it. According to Latour’s theories, doors together with hinges, as potential of actors, impose restrictions upon our actions and stipulate that we have to pass at a certain speed and only through a particular and fixed hole. In Open the Door, there’re more than two doors waiting to be open. When visitors open the door inside the space, the door hinge will automatically spring back (please watch out) and the door will return back to the closed state as if it were a wall. Hence, the door’s role shifts constantly between “wall” and “hole”, letting viewers to carve out their own viewing space. In Les Amusements Naturels, Pierre Albert-Birot wrote a short poem: “An open door, we enter. A closed door, a den. The world pulse beats beyond my door.” In this context, we may change it a little bit and say “The art pulse beats inside my door”.
董龙跃 DONG Longyue, 模仿鲎（部分）Mimicking horseshoe crabs (Part), 2024, 铝、氧化剂、清漆 Aluminum, oxidizing agent, varnish, 30 × 45 × 2 cm. 图片 © 艺术家
Playing with the door, the exhibition creates a three-layered experience: the first is a public space, the experience of a gallery; the second is a private space, the experience of the original residential structure; and the third is a hidden space, the “absent” occupants of this residence– with a “lobby” with a real reception desk and two artists’ rooms. Through this three-layered experience, the exhibition evokes the crisis of wandering public memory and the psychological space in which we are alienated. In the exhibition, Joy LI searches for the temptation and power embedded in commodities and public objects; in the materialistic world of commodities, "a fake butterfly kills a swarm of real butterflies", and real ants crawl towards fake cherries. ZHAI Yuhui's visual language in the form of "landscape" corresponds more directly to this world as a pictorial fictional approach, where the small space is occupied by huge cardboard boxes, and the collision of lightweight and easy-to-access materials with monumental images alienates the sensory experience. DONG Longyue's parody and portrayal of the ancient horseshoe crab epeatedly uses its dome shape and its varitaions to refer to the dual issue of connection, using the dome and trail of the horseshoe crab as a scale. They expound upon a broader narrative inside the doors to wake us from our silence and their presence confronts us with an action agenda and a rescue mission. Open the door and dive in.
Text: WONG Tone
董龙跃，2020年研究生毕业于中央美术学院动态影像与绘画研究方向，现居上海。他的个人创作习惯于从语言的角度入手，处理各种可见和不可见的形状，并试图以特定的结构游戏规则，完成写作、行为表演、影像、装置等媒介的实践。
展览演出经历：“我们是复形叠影中的一个，我是整体中部分的集合。”，上海纽约大学当代艺术中心，2023；“美好生活”，上海外滩美术馆，2022；“青策计划：未有名目的言说”，上海当代艺术博物馆，2022；“焦虑的空间档案——从地洞到桃花源记”，OCAT研究中心，2021；“集散地”，上午艺术空间，2021。
DONG Longyue graduated from Central Academy of Fine Arts MFA program in the study of moving image and painting in 2020, lives and works in Shanghai. In his art practice, he deals with visible and invisible shapes from the perspective of language, and attempts to carry out the creative practices of writing, performance, video, installation and other artistic media through the rules of his specific structural game.
Recent exhibitions include “We the singular in multiple ghosts. I the multiple as part of whole.”, Institute of Contemporary Arts at NYU Shanghai, 2023; “RAM Highlights: The Good Life (tgl)” , Rockbund Art Museum Shanghai, 2022; “The Dwelling Place of the Other in Me”, the Power Station of Art Shanghai, 2022; “the Archiving the Spaces of Anxiety—— From the Burrow to the Peach Colony”, OCAT Institute, 2021; “Meeting Point III: The Unanswered Question”, AM Art Space, 2021.
黎佳仪，1999年出生于中国甘肃, 目前生活工作于中国深圳。2021年毕业于⻢里兰艺术学院跨学科雕塑系，辅修戏剧。她将在2024年研究生就读于耶鲁大学艺术学院雕塑系。她的作品包括雕塑、行为、剧场、音乐与影像等多种媒介，她通过作品重新诠释物品与身体，放大日常之物中的诱惑与危险性，让观众用一种陌生的方式去观看和体验他们熟悉的事物。
其近期个展和项目包括：“绿水”, 2023, LINSEED, 上海; “金色线条和白色光点”, 2023, 阿那亚, 承德; “莎乐美”, 2022, 33ml OFFSPACE, 上海; “Collective Dreaming”, 2020, BBOX, 巴尔的摩; “26th Benefit Fashion Show: Catalyst”, 2019, Falvey Hall, 巴尔的摩; “The Skin of a Human Being”, 2019, Gateway Gallery 1, 巴尔的摩; “You’ll Never Meet Mac DeMarco”, 2018, 巴尔的摩。其近期群展包括: “一开始 是无功而返的”, 2024, Petitree, 深圳; “仪式躯体”, 2024, 广东时代美术馆, 广州; “人类之后: 兽的印记”, 2024, Tomorrow Maybe, 香港; “纪念品橱窗”, 2024, 树美术馆, 北京; “绑住”, 2023, 武溪园, LINSEED, 首尔; “2号实验室:联合办公室”, 2022, 刘海粟美术馆, 上海; “青年100”, 2021, 嘉德艺术中心, 北京; “饥饿艺术家”, 2021, 宴会 Élysée, 上海; “兔子洞”, 2021, Arkila 艺术中心, 上海; “众”, 2021, 金臣亦飞鸣美术馆, 上海; “出席/缺席”, 2021, 上海喜马拉雅美术馆, 上海; “从跳棋到复杂系统”, 2021, 成都时代美术馆, 成都; “正在重新规划路线”, 2021, 树美术馆, 北京; “Identity:Smashing Labels”, 2019, Main 0 Gallery, 巴尔的摩; “Humanscape”, 2019, Fox Building, 巴尔的摩; “Coordinates”, 2019, Piano Gallery, 巴尔的摩。
Joy LI was born in 1999 in Gansu, China. She currently lives and works in Shenzhen, China. She obtained her BFA degree in Interdisciplinary Sculpture with a Theater minor at Maryland Institute College of Art in 2021. She will be receiving her MFA in Sculpture from the Yale School of Art in 2026. Her works include sculpture, performance art, theater, video, and music, exploring the tension of interactions between objects, emotions, and relationships. In her works, she reinterprets objects and bodies to magnify the allure and danger inherent in everyday items, allowing the audience to re-experience and interact familiar things in unfamiliar ways.
Her recent solo exhibitions include: “Green Water”, 2023, LINSEED, Shanghai; “Golden Lines and White Lightings”, 2023, Aranya, Chengde; “Salomé”, 2022, 33ml OFFSPACE, Shanghai; “Collective Dreaming”, 2020, BBOX, Baltimore; “26th Benefit Fashion Show: Catalyst", 2019, Falvey Hall, Baltimore; “The Skin of a Human Being”, 2019, Gateway Gallery 1, Baltimore; “You’ll Never Meet Mac DeMarco”, 2018, BBOX, Baltimore. Her selected group exhibitions include: “At the beginning, you find nothing there 24, Petitree, Shenzhen; “Embodies Rituals”, 2024, Guangdong Times Museum, Guangzhou; “After Human: Marks of the Beasts”, 2024, Tomorrow Maybe, Hong Kong; “The Nostalgic Collection”, 2024, Tree Art Museum, Beijing; “Tie Up”, 2023, Mugyewon, LINSEED, Seoul; “LAB 2: Co-Working Space”, 2022, LIU HAISU Art Museum, Shanghai; “Art Nova 100”, 2021, Guardian Art Center, Beijing; “A Hunger Artist”, 2021, Élysée, Shanghai; “Rabbit Hole”, 2021, Arkila Art Center, Shanghai; “The Crowd”, 2021, Jin Chen Yi Fei Ming Art Gallery, Shanghai; “Absence/Attendance”, 2021, Himalayas Museum, Shanghai; “Communication Strategies: From Checkers to complex systems”, 2021, Time Art Museum, Chengdu; “Redirecting”, 2021, Tree Art Museum, Beijing; “Identity:Smashing Labels”, 2019, Main 0 Gallery, Baltimore; “Humanscape”, 2019, Fox Building, Baltimore; “Coordinates”, 2019, Piano Gallery, Baltimore.
翟宇辉，1996年出生于河南，现生活和工作于杭州。2020年保送至中国美术学院跨界雕塑工作室，并于 2023年获得硕士学位。2021年成为“铜场 T-project”的一员，空间现场组的工作特点也同样启发了他。如今，他的作品呈现出一种特殊的结构状态，其中又凝结了材料、工作方法、以及图像的暗喻等，最终形成一种平行于现实的感性世界。由此，他通过这种方式践行了对广泛社会问题的关注。
ZHAI Yuhui, Born in 1996 in Henan Province, he now lives and works in Hangzhou. In 2020, he was recommended to the Cross-border Sculpture Studio of China Academy of Art, and received his master's degree in 2023. In 2021, he became a member of the Copper Yard T-project, and the characteristics of the work of the space field group also inspired him. Today, his work presents a special structural state, in which materials, working methods, and metaphors of images are condensed, and finally form a perceptual world parallel to reality. In this way, he embodied his concern for a wide range of social issues.
黄童，1997年生，毕业于中国美术学院公共艺术专业，现工作生活于上海和深圳。2022年创立策展组织“情中局 214agency”，致力于展览与艺术项目策划工作，将鲜明的艺术并流于复杂的场域中，并通过友好的合作机制整合社会资源。
WONG Tone, born in 1997, graduated from the China Academy of Art and majored in Public Art, and works and lives in Shanghai and Shenzhen. She founds and runs the artist curatorial organization 214agency, pioneering in merging vibrant artists into versatile spaces and venues, and integrating art resources into a commercially friendly portfolio.
