多余的早晨

黃嘉彥藝術(shù)中的時(shí)間容器與意義懸置

文/米諾

當(dāng)“早晨”被冠以“多余”之名，成為一個(gè)充滿悖論的隱喻。這多余，并非剩余與無用，而是溢出既定秩序、掙脫功能束縛的時(shí)間切片，又是懸浮于“有用”的日常秩序之外，一片可供思考與重塑的空白。展覽《多余的早晨》圍繞藝術(shù)家近十年重要部分的創(chuàng)作線索，通過“形狀史”、“不舍晝夜”、“做什么都保佑你”、“多余的早晨”、“深色黎明”五個(gè)相互關(guān)聯(lián)的系列之間，織就一張關(guān)于時(shí)間、物性與精神痕跡的感知之網(wǎng)，引領(lǐng)觀眾探尋其間隱現(xiàn)的藝術(shù)觀念與工作方法。

“多余的早晨”首先指向一種對(duì)標(biāo)準(zhǔn)時(shí)間感的偏離，晝夜的清晰邊界被有意模糊。作品捕捉晨昏交界時(shí)那無法歸類、轉(zhuǎn)瞬即逝的天光，或是用持續(xù)性的勞作來消解白天與黑夜的二元對(duì)立。這種對(duì)線性時(shí)間的抵抗，與“形狀史”系列形成對(duì)話。黃嘉彥的工作方法，常常始于對(duì)最樸素物質(zhì)與最日常時(shí)間的“凝視”與“再塑造”。土地的宏大敘事被解構(gòu)為具體而微的物質(zhì)形態(tài)與痕跡。藝術(shù)家通過對(duì)現(xiàn)成物的改造、對(duì)材料的觸感探索，將時(shí)間壓縮、折疊進(jìn)物質(zhì)的“形狀”之中。

這種對(duì)“地質(zhì)”的考古學(xué)興趣，并非為了復(fù)原某個(gè)確切的歷史，而是為了釋放物質(zhì)內(nèi)部沉默的、褶皺化的時(shí)間層理，通過拓印、雕塑或裝置，探討“形狀”如何作為一種痕跡，承載著自身生成、磨損、變異的非編年史。時(shí)間不再是一條直線，而是一個(gè)可被反復(fù)折疊、挖空、重新賦形的場(chǎng)域。

這種對(duì)時(shí)間的重塑，自然導(dǎo)向?qū)θ粘Ｒ饬x系統(tǒng)的懸置與重構(gòu)。“做什么都保佑你”以其近乎禱詞般，流露出一種溫柔的儀式感與微弱的反諷。藝術(shù)家在此將最瑣碎、最無功利性的日常動(dòng)作或物件，通過拓印的方式“圣化”，置于被凝視的境地。保佑，在這里成為一種對(duì)無目的性行為的肯定，一種對(duì)“多余”之價(jià)值的祝禱。它呼應(yīng)著“多余的早晨”那種脫離了生產(chǎn)循環(huán)、允許精神漫游的狀態(tài)。

然而，黃嘉彥的創(chuàng)作并未停留在輕盈的懸浮之上。“深色黎明”，以一塊狀似如刀、已經(jīng)看不出事物本身的現(xiàn)成品/食物，揭示了身體與現(xiàn)實(shí)之間蘊(yùn)藏的深邃與沉重。黎明前的黑暗，是光明確立前最濃稠的階段，充滿了不確定性與潛伏的沖突。在觀念上則觸及肉身的基底、存在的孤寂或欲望的暗流。它提醒我們，“多余”并非真空，而是我們孱弱的身體，其實(shí)并不需要那么多欲念喂養(yǎng)。

縱觀這五個(gè)系列，黃嘉彥的藝術(shù)觀念核心之一，或許在于將藝術(shù)創(chuàng)作本身視為一種“多余”的實(shí)踐——一種不急于產(chǎn)出確定答案、不服務(wù)于外在功利目的的精神活動(dòng)。他的工作方法也與此相應(yīng)：無論是通過“拓印”去直接轉(zhuǎn)譯土地表面流逝的痕跡，還是在多種媒介間自由跳躍以打破表達(dá)的定式，都體現(xiàn)出一種對(duì)“過程”的忠實(shí)，對(duì)“生成”狀態(tài)本身的迷戀。他在不同系列和媒介間建立的聯(lián)系，不是線性的進(jìn)化敘事，而是彼此映射、補(bǔ)充的共振網(wǎng)絡(luò)，共同編織關(guān)于感知、時(shí)間與存在的思考。

因此，《多余的早晨》這個(gè)展覽，最終向我們揭示的，是黃嘉彥如何以其藝術(shù)實(shí)踐，為我們這個(gè)被效率與功能全面殖民的時(shí)代，開辟出一片“多余”的飛地。在這里，早晨得以恢復(fù)其原初的開放性，時(shí)間可以被浪費(fèi)、被凝滯、被重塑；形狀擺脫了固定的所指，意義在“保佑”的輕聲吟誦中變得柔軟而多元。觀眾步入其中，亦被邀請(qǐng)暫時(shí)懸置自己的目的，讓感知在作品間自由游走，去體驗(yàn)?zāi)欠N“多余”所帶來的豐饒與解放——那是一種在深色黎明中等待，并深知光之意義恰恰源于這片晦暗的清醒。

Superfluous Mornings

Time Containers and Suspended Meanings in Huang Jiayan's Art

Text/Mino

When "morning" is labeled "superfluous," it becomes a paradoxical metaphor. This superfluity is not redundancy or uselessness, but a time slice that overflows established orders and breaks free from functional constraints—a blank space suspended outside the "useful" daily order, available for reflection and reshaping. The exhibition Superfluous Mornings centers on the artist's key creative threads over the past decade. Through five interrelated series—"Shape History," "Day and Night Unceasing," "May All Your Deeds Be Blessed," "Superfluous Mornings," and "Dark Dawn"—it weaves a perceptual network of time, materiality, and spiritual traces, guiding audiences to explore the emerging artistic concepts and working methods within.

"Superfluous Mornings" first points to a deviation from standardized perceptions of time, where the clear boundary between day and night is intentionally blurred. The works capture the unclassifiable, fleeting light at dawn and dusk, or dissolve the binary opposition of day and night through sustained labor. This resistance to linear time dialogues with the "Shape History" series. Huang Jiayan's working method often begins with the "gaze" and "reshaping" of the simplest materials and most ordinary time. The grand narrative of the land is deconstructed into specific, subtle material forms and traces. Through the transformation of ready-made objects and tactile exploration of materials, the artist compresses and folds time into the "shapes" of matter.

This archaeological interest in "geology" is not aimed at restoring a specific history, but at releasing the silent, folded time layers within materials. Through rubbings, sculptures, or installations, it explores how "shape" serves as a trace, carrying the non-chronological narrative of its own generation, wear, and mutation. Time is no longer a straight line but a field that can be repeatedly folded, hollowed out, and reshaped.

This reshaping of time naturally leads to the suspension and reconstruction of daily meaning systems. "May All Your Deeds Be Blessed," with its almost prayer-like quality, exudes a gentle sense of ritual and subtle irony. Here, the artist "sanctifies" the most trivial, non-utilitarian daily actions or objects through rubbings, placing them in a state of contemplation. "Blessing" becomes an affirmation of purposeless behavior, a prayer for the value of the "superfluous." It echoes the state of "superfluous mornings"—detached from the production cycle, allowing spiritual wandering.

Yet Huang Jiayan's creations do not linger in lightweight suspension. "Dark Dawn," featuring a ready-made/food item shaped like a blade, stripped of its original form, reveals the depth and weight inherent between the body and reality. The darkness before dawn, the densest phase before light is established, is filled with uncertainty and latent conflict. Conceptually, it touches on the physical substrate, the loneliness of existence, or the undercurrents of desire. It reminds us that "superfluity" is not a vacuum—our fragile bodies do not need to be fed by so many desires.

Across these five series, a core of Huang Jiayan's artistic concept lies in regarding artistic creation itself as a "superfluous" practice—a spiritual activity that does not rush to produce definite answers or serve external utilitarian purposes. His working method aligns with this: whether directly translating the passing traces on the land's surface through "rubbings," or freely moving between multiple media to break expressive patterns, it reflects a fidelity to "process" and an obsession with the state of "becoming" itself. The connections he establishes between different series and media are not linear evolutionary narratives, but a resonant network of mutual reflection and complementarity, collectively weaving thoughts on perception, time, and existence.

Thus, the exhibition Superfluous Mornings ultimately reveals how Huang Jiayan, through his artistic practice, has carved out an "extraterritory" of the "superfluous" for our era fully colonized by efficiency and functionality. Here, mornings regain their original openness—time can be wasted, stagnated, reshaped; shapes break free from fixed signifiers; meanings become soft and diverse amid the whispered chant of "blessing." As audiences step into this space, they are invited to temporarily suspend their purposes, letting perception wander freely among the works to experience the abundance and liberation brought by the "superfluous"—a clarity that waits in the dark dawn, knowing well that the meaning of light arises precisely from this obscurity.

部 分 參 展 作 品

《蛇》 攝影 165x110cm 2018

《光》 攝影 100x150cm 2018

《兩只蠟燭》 攝影 75x50cm 2018

《兩只蠟燭》 攝影 100x66cm 2018

《多余的早晨》 攝影 100x56cm 2025

《做什么都保佑你》 宣紙拓片 245x35cm 2021

《父母，母親》 宣紙拓片 90x30cm 2018

《形狀史》 宣紙拓片 32x32cm 2018

《形狀史》 雕塑/白銅 37x43x7cm 2018

《形狀史》 雕塑/黃銅 14x32 x19cm 2018

《形狀史》 雕塑/黃銅 13x28x18cm 2018

《巴爾扎克》 雕塑/石膏 39x97x29cm 2021

開 幕 現(xiàn) 場(chǎng)

展覽持續(xù)至2026年1月18日，展廳開放時(shí)間：每周三至周日。

多余的早晨

One Too Many Mornings

藝術(shù)家：黃嘉彥

Artist：Huang Jia Yan

策展人：米諾

Curator：Mino

開幕 Opening：2025.12.28, 4:00pm

2025.12.28- 2026.1.18

懸浮空間

Lev.Space

北京市朝陽區(qū)798藝術(shù)園區(qū)中一街D06

ChaoyangDistrict,798 Zhong Yi Street DO6,Beijing

北京市朝陽區(qū)798藝術(shù)園區(qū)中一街D06

D06 798 Zhong Yi Street,Chaoyang District, Beijing