夏日群展：出口
Summer Group Exhibition “Exit”
展期：2025年07月26日—08月31日
开幕：2025年07月26日
艺术家：袁运生、马可鲁、景柯文、孙瑶瑶、肖江、汤大尧、张业兴、代洲、陈柏豪、亓文章、许永城、葛辉、朱逸舟、王一龙、毕建业、付经岩、叶恒贵、黄亮、汪子博、何可人、邱锡鹏、叶庆、刘彦湖、劳大伦、任诒春、龚剑、谢堃、尹齐、邱瑞祥、刘港顺
地点：站台中国当代艺术机构｜北京798艺术区中二街D07
站台中国｜夏日群展《出口》将于7月26日启动
本次展览汇聚30位艺术家，以“出口”为主题，从边界与出离视角呈现作品。出口有多重含义，既关联个人与时代，也蕴藏于日常，还指向对边界秩序的提炼，展览未给“出口”下定论，而是呈现诸多可能性。
This exhibition features the works of 30 artists under the theme of “Exit”, presenting from the perspectives of boundaries and departure. “Exit” has multiple meanings, relating to individuals and the era, hiding in daily life, and referring to the refinement of boundaries and order. The exhibition doesn’t define “Exit” but shows various possibilities.
站台中国当代艺术机构将于7月26日开幕夏日群展《出口》，呈现以边界与出离为视角的 30 位艺术家各具面貌的作品。出口，是物理意义上的位移，是空间结束与开启的边界，也是自内而外的直面与抉择。作为一种意象，出口并非是一个可以按图索骥的位置，而更像是一个持续发生的动词，一种在寻找中不断生成的状态。它甚至呈现出一种流动性———不再是线性路径的终点，而是持续生成的中间态，甚至成为出走决心的本身，既指向未知，也意味着挣脱，它悠远而开阔。
出口，既是个人的际遇，也回应着时代的价值追逐。袁运生1985年的一组素描，创作于刚刚前往美国的时间节点。他深感人类共同体的牵一发而动全身，将生命激情与因势利导的生机落笔于具有强烈速度感的线条中。马可鲁的写生同样是在历史节点中的选择，创作于1975年的作品在当下看来自然且闲适，但对当时的无名画会成员而言，却意味着对常规现实题材的主动游离。时代的回音在景柯文的作品中，则蕴藏着一种对“美”与“新”判断的回归。他画过去的物件和过往的时光，在故事中抵达人的选择与境遇。而孙瑶瑶的作品则是当下发生的时光，它们有着可贵的“感觉”与“天性”，由脚下的路而弥漫着脱离规训的生命力。
抑或者，出口常蛰伏于日常的间隙。如同肖江、汤大尧、张业兴、代洲的作品，其叙事源于日常，又从中游离开外。他们将人物放置于情景之中，如同被忽略的日常褶皱，由时间自然的铺展至此时此地。而在陈柏豪、亓文章、许永城、葛辉、朱逸舟、王一龙的创作中，具体的故事从中抽离，转向一种超现实而高度提炼的状态，构建起更具普遍性的精神图景。毕建业与付经岩的作品或化身为狩猎，或形成物化的速度，这是一种对于稳定的破坏，在力的角逐与冲突之间构成张力。在更微观的视野中，叶恒贵、黄亮、汪子博、何可人则将目光投向日常物的肌理。依托于一种视角的微妙偏移，它们在庸碌的平常中兀自闪烁。邱锡鹏、叶庆的作品介于一种偶然与不经意之间，以精微的笔触与细节的异化而形成陌生的真实。
出口，同样指向一种对边界与秩序的提炼。如同刘彦湖的九宫格书法作品，在笔画与字形的疆理之中构建结构，于字意骈联的空间中生成丰富的文本。而劳大伦则在技术特征的美学中搭建一个新的系统，在虚拟世界中形成对现实世界的选择性再现与新生。任诒春的绘画让关系成为了画面的主体，它们指涉着物与物、人与物，自身与世界的复杂互动，而生长为内在的共生与连结。龚剑将公共的现实与艺术史的信息如同链条般构成隐藏于画面之外的叙事，它与造型的建立既黏合又分离。谢堃则以身体为起点，以拆解的目光观看既定的主体，让边界在敞开与剥离中形成新的交互逻辑。
这种状态的质变不仅面向身体的外部，也同样源于自我的观测。就如尹齐与邱瑞祥的绘画，形象由混沌的内部生长，而逐渐显现出形状。画布就像是一道镜子般的出口，既向内明晰感知的沃野，又在其中倾吐而照见自身。正如刘港顺的作品《出口》中所引用的，现代建筑大师密斯·凡·德·罗那些拥有天幕式屋顶和巨大落地玻璃的建筑，曾象征着开放与自由的无界流动。然而，这种极致的通透性本身也构成了新的隐喻：当出口在视觉上显而易见，甚至成为一处景观时，真正的出口在何处反而成为了下一个难题。
这场汇聚30位艺术家视角的群展，并非旨在为“出口”提供一个明确的定义或终点，而是让诸多的可能性蜕皮般从已有的桎梏中生长。它呈现了立身于临界点内外的诸多选择，亦或是岔路逼近之时的迟疑。也许，我们既是寻找出口的旅人，也可以是创造出口的造物者。展览最终呈现的也并非结论，而是无数个悬而未决的提问。它们来源于淤塞和迷思，而转身为行动与生机。
Platform China Contemporary Art Institute will launch its summer group exhibition “Exit” on July 26, featuring the works of 30 artists who explore themes of boundaries and departure from diverse perspectives. An exit, in its physical sense, signifies displacement—a boundary where one space ends and another begins. It also represents a confrontation and decision made from within. As a metaphor, an exit is not a fixed location to be pinpointed but rather an ongoing verb, a state of being continuously generated through the act of searching. It even assumes a fluid quality—no longer the endpoint of a linear path but a perpetually evolving intermediate state, becoming the very embodiment of the resolve to leave. It points toward the unknown while symbolizing liberation, expansive and far-reaching. An exit is both a personal encounter and a response to the values of an era. Yuan Yunsheng’s 1985 series of sketches were created shortly after his arrival in the United States. Deeply aware of the interconnectedness of humanity, he channeled his passion for life and adaptive vitality into dynamic, swift brushstrokes. Similarly, Ma Kelu’s sketches from 1975, seemingly natural and leisurely today, represented a deliberate departure from conventional realist themes for members of the No Name Group at the time. The echoes of history resonate in Jing Kewen’s works, which embody a return to judgments of “beauty” and “newness.” He paints objects and moments from the past, using narrative to explore human choices and circumstances. In contrast, Sun Yaoyao’s works capture the present, brimming with precious “sensibility” and “instinct,” exuding a vitality that defies discipline through the paths they tread. At times, an exit lurks in the gaps of the everyday. The narratives in the works of Xiao Jiang, Tang Dayao, Zhang Yexing, and Dai Zhou emerge from the mundane yet drift beyond it. They place figures within scenarios, like overlooked folds of daily life, naturally unfolding over time to the present moment. In the creations of Skyler Chen, Qi Wenzhang, Xu Yongcheng, Ge Hui, Zhu Yizhou, and Wang Yilong, specific stories dissolve into surreal and highly refined states, constructing universal spiritual landscapes. Bi Jianye and Fu Jingyan’s works transform into hunts or materialized speed—destabilizing the static, generating tension through clashes of force. On a more microscopic scale, Ye Henggui, Huang Liang, Wang Zibo, and He Keren turn their gaze to the textures of ordinary objects. Through subtle shifts in perspective, these objects shimmer within the monotony of routine. Qiu Xipeng and Ye Qing’s works hover between chance and spontaneity, crafting an uncanny realism through delicate brushwork and distorted details. An exit also points toward the distillation of boundaries and order. Liu Yanhu’s calligraphic grid compositions structure strokes and characters within defined frameworks, generating rich textual interplay in the spaces between meanings. LODTALAD constructs a new system within the aesthetics of technical features, selectively recreating and reinventing the real world in the virtual realm. Ren Yichun’s paintings make relationships the focal point, depicting the intricate interactions between objects, people and objects, and the self and the world, growing into an intrinsic symbiosis. Gong Jian weaves public reality and art-historical references into chains of narrative hidden beyond the canvas, both adhering to and detaching from the forms he constructs. Xie Kun takes the body as a starting point, dismantling the gaze directed at the established subject, allowing boundaries to form new interactive logics through exposure and dissolution. This qualitative shift in state is not only directed outward but also stems from self-observation. In the paintings of Yin Qi and Qiu Ruixiang, forms emerge from internal chaos, gradually taking shape. The canvas acts as a mirror-like exit, clarifying the fertile ground of perception inward while simultaneously reflecting the self. As Liu Gangshun’s work Exitreferences, modernist architect Mies van der Rohe’s buildings—with their vast glass facades and skylight roofs—once symbolized boundless openness and freedom. Yet this very transparency has become a new metaphor: when an exit is visually obvious, even a spectacle, the question of where the true exit lies becomes the next conundrum. This group exhibition, bringing together the perspectives of 30 artists, does not seek to provide a definitive answer or endpoint for the concept of “exit.” Instead, it allows myriad possibilities to shed the constraints of the known and emerge anew. It presents the choices that arise at critical junctures, or the hesitation at the approach of a crossroads. Perhaps we are both travelers in search of an exit and creators capable of forging one. What the exhibition ultimately offers is not a conclusion but countless unresolved questions—born from stagnation and confusion, yet turning into action and vitality. Images copyright © Platform China & Artist