南京｜大气层空间群展：未济那卦

Atmosphere Space于2025年11月8日下午15点00分呈现群展「未济那卦」NOT YET，展览持续至2026年1月8日，将呈现9位艺术家的架上绘画与装置。

「NOT YET」

未济那卦

未济，尚未渡过水面。将渡过，尚未渡过，必然渡过。趋势无阻，故亨通。

“Weiji” (未济) signifies not yet crossing the water. To cross, yet not yet cross; inevitably to cross. As the current flows unimpeded, so comes auspiciousness.

《易经》六十四卦的最后一卦，是“未济”。这一卦象征万事未成之际，亦即循环的尾声与新的开端。——一切尚未抵达彼岸，却已在渡的途中。以“未”为核心语义，指向一种持续生成的艺术状态。展览关注艺术家在创作过程中所处的渡河之境——在未完成与将成之间，在行动与思考的交织中。创作犹如一条渡河：有的顺流而下，水面平静；有的逆流而上，碎光闪烁；有的则停泊在水中央，倾听两岸的回声。

The final hexagram of the I Ching’s 64 symbols is “Weiji.” This hexagram represents all things yet unfulfilled, the end of one cycle and the dawn of another—a state of not yet reaching the far shore, yet already midstream in the crossing. Centering on the semantic core of “not yet,” it gestures toward an ongoing state of artistic creation. The exhibition focuses on the artists’ liminal space of river-crossing: suspended between the unfinished and the emergent, in the interplay of action and contemplation. Creation is like fording a river: some glide downstream on calm waters; others struggle upstream, scattering shards of light; others still linger mid-current, listening to echoes from both banks.

苑慧楠与维奥拉·莱蒂（Viola Leddi）的创作从成长经验出发，呈现出“未济”之中对自我与世界的感知。莱蒂以喷枪绘画与雕塑探讨女性的成长与处境，她的作品是现实与幻想之间的中介，构图玩味着集体记忆和个人记忆的概念，如同在社会权力与文化机制的波浪中寻找平衡的身体。苑慧楠以花朵为象征，花开的炽烈与花落的静默皆是疗愈的语言，映照出成长中孤独、恐惧与渴望的流动。

Yuan Huinan and Viola Leddi anchor their practices in lived experience, mapping perceptions of self and world within “Weiji.” Leddi employs spray gun paintings and sculptures to interrogate female growth and societal positioning. Her works act as intermediaries between reality and fantasy, their compositions toying with collective and personal memory, akin to bodies seeking equilibrium amid waves of cultural and institutional power. Yuan Huinan adopts flowers as symbols, where the blaze of blooming and the silence of falling petals become a language of healing, reflecting the currents of solitude, fear, and longing in human growth.

危险与亲密一同在的噪点中涌动，是塞西莉亚·德尼斯科（Cecilia De Nisco）的作品模糊身体与欲望的边界，如渡暗流，不识深浅；张尚丰则以拒绝叙事的方式，从日常片段中凝固忧伤的情绪，让“未成之事”成为一种持续生成的可能；何可人借由隐喻构建图像，让被构造的价值在虚实之间浮现，使得作品涌现出诱人、晦暗的神秘是对存在与真实的追问。刘丽君在凝重与破坏性的肌理中以曲线构筑出女性感知与记忆的新形态，浑厚的黑色漆艺提炼自人类工业文明的抽象符号，这种突破在反复修补的过程中完成自我渡越。

In the static where danger and intimacy surge, Cecilia De Nisco’s works dissolve boundaries between body and desire, as if navigating unseen undercurrents of unfathomed depths. Zhang Shangfeng freezes melancholic fragments from daily life through narrative refusal, transforming “the unformed” into generative possibility. He Keren constructs metaphors within imagery, allowing fabricated values to surface between reality and illusion, her works exuding alluring, obscure mysteries that interrogate existence and truth. Liu Lijun reshapes female perception and memory through sinuous curves set against heavy, disruptive textures. Her lacquer art, distilled into abstract symbols of industrial civilization, achieves transcendence through cycles of repair.

胡顺香的画面则如一场悬停的剧场，时间被凝结在光影的缝隙中，情感的张力不断延展，悄然设计“未渡之河”成为情绪与记忆的舞台。孙子垚的风景游走于现实与记忆之间，童真的视角与水性的透明质感，让时间在光的流动中慢慢融解；吴笛借助古典绘画符号为渡河之帆，在重组与分解之间追寻精神性的回响，让温柔与沉静的色调成为一种时间的呼吸。

Hu Shunxiang’s paintings resemble suspended theaters, time crystallized in fissures of light and shadow, their emotional tension stretching endlessly as the “uncrossed river” becomes a stage for memory and feeling. Sun Ziyao’s landscapes drift between reality and recollection, dissolving time in liquid light through a childlike gaze and aqueous translucence. Wu Di navigates classical painting motifs as sails for crossing, chasing spiritual echoes between fragmentation and reassembly, her serene hues becoming breath-like measures of time.

艺术家以创作剖开现如今⼈们存在的⽭盾与困境：作品中的⼈物或凝视虚空，或与模糊的阴影共存，或身处于被篡改的视觉语境中。这些作品不仅是对“⼈”的形态的再现，更是对记忆脆弱性的捕捉。笔触、⾊彩与结构亦在重构观者对“真实”的感知框架。恰是创作的呼吸。那些不必命名的形象是有待回应的思考，构成了构成“我”之所以为“我”的脆弱瞬间。

Through their practices, the artists dissect contemporary contradictions: figures gaze into voids, coexist with blurred shadows, or inhabit altered visual contexts. These works transcend mere representations of human form to capture the fragility of memory. Brushstrokes, colors, and structures reframe viewers’ perceptions of “truth”—this is the breath of creation. Nameless forms become questions awaiting answers, fragile moments that compose the “self.”

未曾有岸，渡意依然。因为感受有影无踪，艺术家使其显形，灵光一现后的营造并非靠岸，只是为观者与自己留下再度知觉的剪影，由此在这不断生成的过程中，延展着“未济”的意义。

There is no shore, yet the crossing persists. Feelings, shadow-like and untraceable, are given shape by the artists. Ephemeral glimpses of clarity are not destinations but silhouettes left for viewers and creators to re-perceive, endlessly extending the meaning of “Weiji” in this perpetual becoming.