策展人 | Curator
余思羽 Siyu Yu
參展藝術家 | Artists
Calvin Guo
姜海容 Hairong Jiang
金一麟 Yilin Jin
金一諾 Yinuo Jin
安琪牛 Angel Niu
歐陽俊賢 Junxian Ouyang
孫劭珺 Shaojun Sun
王偉洋 William Wang
吳欣迪 Xindi Wu
余思羽 Siyu Yu
周欣然 Xinran Zhou
執(zhí)行策展| Executive Curator
孫劭珺 Shaojun Sun
策展助理｜Curatorial Assistants
金一諾 Yinuo Jin
崔凌波 Lingbo Cui
喬渺 Miao Qiao
展期 | Duration
2025.8.3 - 2025.8.17
周二至周日 Tuesday - Sunday, 11:00-18:30
開幕時間 | Opening
2025.8.3 周日 Sunday
15:00-17:00
美術館地址 | Address
北京市昌平區(qū)順沙路中海尚湖世家東區(qū)B42
B42, Eastern District,
Zhonghai Lagoon Manor, Shunsha Road,
Changping District, Beijing
觀展提示 | Notice
展覽期間周邊停車位緊張，
駕車前來請?zhí)崆耙?guī)劃；
乘坐地鐵昌平線至沙河站B2出口，
出站步行約18分鐘至北門，專車接送等候。
觀展請?zhí)崆爸码娀蛭⑿蓬A約：
15611115700
13120036134
展覽前言｜Preface
《閾限之中｜In the Limen》展覽匯集十一位青年藝術家，作品涵蓋裝置、雕塑、繪畫、攝影與影像。展覽以“閾限”（limen）為關鍵詞，探討個體在系統(tǒng)性結構之內(nèi)所處的臨界狀態(tài)。
“Limen（閾限）”原意為門檻，在本展覽中，指涉不穩(wěn)定的邊界狀態(tài)，并象征觀念與感知發(fā)生轉(zhuǎn)變的臨界空間。它既不屬于某一明確的范疇，也未被完全歸類，是一種尚未穩(wěn)定卻充滿生成力的存在狀態(tài)。在作品構筑的語境中，“裂縫”不再是破損或缺失的隱喻，而成為抵達另一種思維路徑的入口。模糊性與開放性不被視為不足，而被視為對確證、歸類與穩(wěn)定性的溫和抗拒。因此，臨界狀態(tài)既構成存在方式，也轉(zhuǎn)化為方法論，引導我們重新思考結構邊緣的可變性。
當下社會，意義的生成方式已深度嵌入算法、媒介、身份制度與消費機制中。視覺不僅是感官過程，更是權力的運作機制，規(guī)范著人們?nèi)绾斡^看、表達與想象自身及他者。面對這種語境，創(chuàng)作本身成為一種積極的行動，它通過分析、解構與符號轉(zhuǎn)化，參與對視覺權力與社會機制的再思考與再構造。
《閾限之中》是一場感知實驗，也是一種批判性知識實踐。藝術家們不止于問題呈現(xiàn)，而進一步構建出與問題共生的語言系統(tǒng)，將作品轉(zhuǎn)化為回應結構的論述空間。當藝術摒棄語言的裝飾性，將成為重新分配感知與意義的手段。我們邀請觀眾在“觀看”中辨認自身的系統(tǒng)性位置，思考圖像秩序與現(xiàn)實結構之間那些未被言明的關系。
藝術家自述｜Artist Statement
Calvin Guo
我能畫的題材不多，也不擅長任何一種。未能成為工程師，不善社交，回避自然，讀書靠強迫，嗅覺遲鈍，運動平庸，唱歌跑調(diào)。我始終試圖清醒地認知自身的局限。這不是悲觀，而是為了揭示每個選擇背后的框架與路徑。我的繪畫關注個體在體制中的情緒。這些作品不是批判制度，而在探尋當我們的存在與欲望始終受限于某種結構時，哪些經(jīng)驗被壓抑、隱去或變得不可想象。
There are very few things I can paint. I’m not an expert in any subject. I failed at becoming an engineer. I’m not very good with people. I avoid nature. I have to force myself to read. I like to cook, but my sense of smell isn’t great. I’m mediocre at sports. I enjoy listening to music but can’t even hum in tune.
I’ve always been aware or desired to be aware of my limitations. Not to say I am pessimistic about what I’m capable of, but rather, hoping to unveil the context and beaten paths that influence my every action.
Through my paintings, I explore sentiments about existing within institutions. They are not attempts to critique or supplant institutions, but instead, contend with what is implicated, unseen, or made inconceivable when our existence and desires are always contained within an establishment, system, or convention.
Walking Room
布面油畫
24 × 36 inches / 60 × 90 cm
金一麟
Yilin Jin
金一麟，2003年生于浙江溫州，現(xiàn)生活和工作于芝加哥、溫州，就讀于芝加哥藝術學院，主修攝影與印刷。 由于曾輾轉(zhuǎn)生活于多個城市，其創(chuàng)作關注城市生活的精神體驗與個人歷史、地理之間的關系。攝影是他溝通自身內(nèi)在情感與外部物質(zhì)世界的一座橋梁，不再以展現(xiàn)客觀現(xiàn)實的鏡像表面為目的，而是用于通過視覺引發(fā)疑問。他的實踐包括攝影書，寫作與表演。
Jin Yilin (b. 2003, Wenzhou, China) is an artist currently based in Chicago and Wenzhou. He is pursuing his BFA in Photography and Printmaking at the School of the Art Institute of Chicago.
Having lived in multiple cities, his practice explores the psychological experience of urban life and its interplay with personal history and geography. Photography serves as his bridge between inner emotions and the external world. Not as a mirror of objective reality, but as a medium to provoke visual inquiry.
In works like Asian Pears (ongoing), Jin examines subtle cultural dissonances between his homeland and foreign environments, investigating the entanglement of cultural identity and personal sentiment.
Untitled, From the Series of Asian Pears (Ongoing)
無題，來自于系列《亞洲梨》（持續(xù)創(chuàng)作系列）
攝影, 多張藝術微噴打印
尺寸可變
金一諾
Yinuo Jin
我的創(chuàng)作圍繞“世界是一個巨大的謊言”展開，通過荒誕艷麗的視覺語言，描繪人類社交活動中的故事交換。我把人類交流中的不坦誠視為一種自我保護機制，并將這種無法真實表達自己而說謊的行為看作交換故事來自我安慰。謊言反向揭露真相，每個故事都折射著創(chuàng)造者的獨特性。這種個體差異，正是故事多樣性的來源，并讓畫布成為這場交換故事的見證場域。
I am reacting to stories that ignite my imagination. My paintings depict my perspective of seeing the world as a big lie, with bizarre and motley images painting the distorted reality. I see lies that people made up in social activities being a story exchanging, and this exchange of stories drives my paintings.
她的頭發(fā)散發(fā)出夏天、黑莓、和甘草的味道；
他在無花果樹下得到一杯紅酒和一個吻
布面油畫
42 × 43 inches / 106 × 110 cm
#77
布面油畫
55 × 44 inches / 140 × 112 cm
安琪牛
Angel Niu
安琪牛善于以荒誕獨特的視角解剖被神化與被忽視的社會現(xiàn)象。她通過構建層出不窮的認知陷阱，迫使觀眾直面熟悉與陌生、缺席與在場的糾纏，察覺那些近在咫尺的悖論；通過干擾慣性行為與認知模式來揭示潛藏在社會肌理下的隱性敘事，并尖銳質(zhì)詢權力、規(guī)訓與個體關系等堅固部分，在看似平靜的表象下隱藏著對秩序的幽默挑釁。
Angel Niu is a Chicago based contemporary artist known for her absurd yet unconventional critiques on the overpraised and the neglected. She incorporates interdisciplinary mediums to instruct the viewer without instructions, leading them to conceptual head spaces where they don’t quite visit. Her practice is driven by a fascination with the tension between the absence and the present, the familiar and the distant, here and elsewhere, exploring paradoxes hidden in plain sight. She likes to describe her visual language as ‘interference of habitual patterns’, unveiling overlooked social motifs and challenging systemic narratives of ownership.
A Pair of Knees / 一雙膝蓋
男士皮鞋
同實物尺寸 / Life-size
歐陽俊賢
Junxian Ouyang
他的創(chuàng)作于精神完美與物質(zhì)衰敗之間踟躕。他以AI圖像抹除主觀痕跡，追求冷靜、理性的形式美學。這些圖像被轉(zhuǎn)印至不穩(wěn)定的介質(zhì)，在物質(zhì)中緩慢瓦解。破壞是細微而不可逆的，削蝕著“理想”的外殼。他在秩序與混沌之間建構語言，將衰敗視為完成而非終結。完美的生成終將導向毀滅，這場悖論便是他視覺實踐的起點也是歸宿。
Ouyang’s practice hovers between ideals of perfection and the slow erosion of material form. By using AI-generated images, he strips away the traces of subjective authorship, pursuing an austere, rational aesthetic. Yet these images are printed onto fragile, unstable surfaces — materials that resist, decay, and undo the very ideals they carry. In his work, destruction is not dramatic but gradual, precise, and irreversible. It is through this subtle dismantling that the idea of the “ideal” is tested and hollowed. Navigating between order and chaos, Ouyang constructs a visual language in which decay is not a failure, but a form of resolution. The inevitability of ruin is not an end point, but the origin and destination of his visual logic.
On Tar, On Couch
混合材料
60 × 60 inches / 152 × 152 cm
孫劭珺
Shaojun Sun
我對短暫易逝之物的迷戀，成為了一種通過其無常性尋求慰藉與頓悟的方式。于我而言，“轉(zhuǎn)瞬即逝”即是飄搖不定、若即若離、剎那生滅。光影徘徊，枝葉零落，街巷與我都存在著一種悲憫悸動的無常感。正是這種事物消逝的哀傷吸引著我，仿佛世間萬物終非我有。
My attraction towards ephemeral objects became a way to seek comfort and realization through their impermanence. To me, "ephemeral" means being indefinite, unstable, and transient. Whether it's the light and its shadows, the tree and its leaves, or the sidewalk and me, there's a sense of impermanence that intrigues the sadness in me. It's this sadness of things slipping away that captures my interest, as if nothing truly belongs to me.
氣流
木板油畫
22 × 12 × 2 inches / 56 x 30 x 4.5 cm
角落
布面油畫
20 × 17 × 2 inches / 51 x 42 x 5 cm
余暉
木板油畫
12 × 9 × 1 inches / 30 x 23 x 2 cm
王偉洋
William Wang
我曾深陷精神牢籠，被惡意詞句囚禁。恐懼如半透帷幕籠罩神智，思考遙不可及。時隱時現(xiàn)的霧遮蔽渴望突破的出口。正是揭開迷霧、重塑自我的渴望，構成創(chuàng)作核心。無論何種媒介，作品皆拼湊碎片，映照確立自我真相的探尋——如鏡像般反射。這是對內(nèi)心深淵的探索，直至肌膚表層，如永動機運轉(zhuǎn)，卻困于自身囹圄。
There was a time I thought I had gone completely insane. I was imprisoned within the parentheses composed of infinite, fragmented, and malignant phrases. The fear at that time was overwhelming, like low signals not dissimilar to those sentences, shrouded my mind like a translucent veil. So impenetrable that the very act of thinking became undulations of a dead ocean, utterly unattainable. There always existed a fog that, from time to time, conceals entrances or memories I yearn to breach. Yet I believe this attempt of unveiling, or reassembling oneself represents the heart of my practice. Across all mediums, my works themselves piece fragments together. Every work reflects the repeated gesture of solidifying a personal truth that mirrors itself. It is an exploration of one’s depth to those peripheral physical layers of skin—like perpetual motion machines, forever in motion yet eternally confined to their own prisons.
Nostalgic Reinterpretation: Note ①
紙本丙烯
86 × 40 inches / 262 × 121 cm
Negative Coordinate Summary: Note ②
日本紙上丙烯，水彩，高光馬克筆
86 × 40 inches / 262 × 121 cm
吳欣迪
Xindi Wu
吳欣迪以油性及水性顏料為媒介，以敘事風景為依托，企圖創(chuàng)造一個表面平靜但暗流涌動，夢幻燦爛又腐朽糜爛的世界。在那個世界里，人們彷徨而無助。他們常被大大小小的骷髏腦袋圍繞，但從來沒有人問過這些散落在各個角落里的，樹上的，街角的，水里抑或天上的骷髏從何而來。一如那自誕生之初就伴隨著我們，人類所共有的，無處遁形，無可回避的集體記憶。
Using oil-based and water-based paints as my medium, narrative landscapes emerge through me into a world that appears peaceful on the surface but hides danger beneath. It is dreamlike and radiant, yet decayed and decadent. The people living in this world are always lost and helpless, but no one ever asks where the skulls come from. They are everywhere — on street corners, in trees, in the water, or even in the sky. Like the existential anxiety that has accompanied us since the moment we were thrown into the world, it is an inescapable and unavoidable collective memory for humanity.
Anxiety Lake
亞麻布面油畫
66 × 54 inches / 167 × 137 cm
Sketch for Anxiety Lake
木板水彩
10 × 8 inches / 25 × 22 cm
To Devour To Embrace
亞麻布面油畫
80 × 50 inches / 203 × 107 cm
余思羽
Siyu Yu
余思羽是芝加哥藝術學院的跨媒介藝術家，創(chuàng)作涵蓋裝置、影像與繪畫。她以現(xiàn)成物為媒介，關注控制機制、集體行為與異議美學，并通過克制的形式語言和空間介入，探索“生存”在權力結構中的象征性意義。作為一位年輕藝術家，她的作品常處于審美與結構、現(xiàn)實與隱喻之間的臨界地帶。
Siyu Yu is an interdisciplinary artist based at the School of the Art Institute of Chicago. Working across installation, moving image, and painting, she uses found objects as her primary medium to examine mechanisms of control, collective behavior, and the aesthetics of dissent. Through a restrained formal language and spatial interventions, her work explores the symbolic dimensions of “survival” within structures of power. As an emerging artist, her practice often dwells at the threshold between aesthetics and structure, reality and metaphor.
Untitled / 無題
布面丙烯
24 × 31 inches / 60 × 80 cm
周欣然
Xinran Zhou
熟悉卻?能為?的境遇留下震顫。被稱之為物品“精神”的東?通過?得以誕?，但卻?法再次被?所介?。?舊的物件是居住者?瞬間的念頭和?久的習慣之載體，材料與?彩在?類活動與秩序下被施與特定作?及意義。我通過對材料及物品的選擇、改變與編排，挑戰(zhàn)?們對?常事物的習慣性感知，同時強調(diào)被熟悉所遮掩的?落。這樣對湮沒的重現(xiàn)，也是將湮沒以?的?式進?延續(xù)。
The familiar yet powerless condition leaves behind a tremor. What is called the “spirit” of an object is born through people, yet cannot be re-entered by them. Old objects are vessels of the residents’ fleeting thoughts and long-standing habits. Materials and colors are endowed with specific functions and meanings through human activities and order.Through the selection, alteration and arrangement of materials and objects, I challenge people’s habitual perception of everyday things while emphasizing the hidden corners obscured by familiarity. This act of revealing the oblivion is also a way to extend its existence in a living form.
愛人
布面油畫
35 × 47 inches / 90 x 120 cm
姜海容
Hairong Jiang
姜海容通過攝影和影像去凝視并對她的日常生活做出回應。那些看似平凡的空間、物件與習慣，常常承載著被忽視的情感痕跡與象征意涵。她嘗試挖掘日常物品與情緒之間的隱秘關聯(lián)。它們往往以微小的姿態(tài)折射出內(nèi)心狀態(tài)。她創(chuàng)作的出發(fā)點往往源于單純的靈感，而非宏大敘事。
Jiang Hairong’s artistic practice begins with a meticulous observation of everyday life—those seemingly mundane spaces, objects, and routines that often carry overlooked emotional residues and symbolic significance. She is drawn to the subtle entanglement between personal emotions and lived environments, where even the smallest disruptions in routine can become sparks for reflection and expression.
She explores the hidden connections between ordinary objects and emotional states, where these items often mirror internal experiences in quiet, understated ways. Her creative process often starts from something small and simple; in the monotony of daily life, any slight change can become a lifeline during moments of creative drought. Her current practice primarily involves photography and moving image.
在芝加哥的South Loop三個大三女生的合租公寓里
攝影八張
尺寸可變 / Size Variable
A Little Heartbreaking Story of One Night
視頻影像
時長: 4分52秒
