同期展覽「夢(mèng)想之家」郭雨橋個(gè)展

象罔與觀看

——后圖像時(shí)代的感知

文/鮑禹

在當(dāng)代視覺(jué)文化的快速轉(zhuǎn)變之中，圖像的地位正在被重新定義。隨著生成技術(shù)、數(shù)字媒介以及全球視覺(jué)網(wǎng)絡(luò)的擴(kuò)展，人類所處的視覺(jué)環(huán)境已經(jīng)從單純的“圖像世界”逐漸進(jìn)入“后圖像時(shí)代”（Post-Image Era）。在這一階段中，圖像不再只是對(duì)現(xiàn)實(shí)的記錄，也不再僅僅作為觀看對(duì)象存在，而increasingly成為構(gòu)成感知環(huán)境的一部分。圖像不只是被觀看的事物，它同時(shí)也在塑造我們觀看世界的方式。在這樣的背景下，當(dāng)代藝術(shù)的任務(wù)也隨之發(fā)生變化。如果說(shuō)過(guò)去的藝術(shù)不斷創(chuàng)造新的圖像，那么今天的問(wèn)題則逐漸轉(zhuǎn)向另一層面：在圖像無(wú)處不在的時(shí)代，人如何重新學(xué)習(xí)觀看？本次展覽圍繞這一問(wèn)題展開(kāi)。

In the rapid transformation of contemporary visual culture, the status of the image is being redefined. With the expansion of generative technologies, digital media and the global visual network, the visual environment we inhabit has gradually shifted from a simple “world of images” to what may be called the Post-Image Era. In this phase, images are no longer merely records of reality, nor do they exist only as objects of viewing. Instead, they increasingly become part of the very perceptual field that surrounds us. Images are not only what we see; they also shape the way we see the world.Against such a background, the task of contemporary art has also changed. If art in the past was constantly creating new images, the question today has gradually moved to another level: in an age where images are everywhere, how does one relearn to see? This exhibition revolves around this question.

紅寶石獸 960x1210mm mixed media on fabric 2025

在盧志榮的創(chuàng)作中，建筑、雕塑與繪畫并不是彼此分離的媒介，而是同一思考系統(tǒng)中的不同階段。作為建筑師，他長(zhǎng)期在一個(gè)強(qiáng)調(diào)精確與結(jié)構(gòu)邏輯的領(lǐng)域中工作。一個(gè)建筑觀念必須通過(guò)材料、結(jié)構(gòu)與技術(shù)逐漸獲得現(xiàn)實(shí)形態(tài)，并在建造過(guò)程中不斷被修正與完善。然而正如他所指出的，建筑并不僅僅是理性系統(tǒng)的產(chǎn)物。在比例、節(jié)奏、空間序列以及光影關(guān)系的選擇之中，始終存在著一種無(wú)法完全由邏輯推導(dǎo)的維度。這種維度來(lái)自直覺(jué)、經(jīng)驗(yàn)與審美判斷，使建筑從單純的技術(shù)實(shí)踐轉(zhuǎn)化為一種藝術(shù)與詩(shī)意的行動(dòng)。

In the practice of Chi Wing Lo, architecture, sculpture and painting are not separate mediums, but different phases within a single system of thought. As an architect, he has long worked in a field that demands precision and structural logic. An architectural idea must gradually take concrete form through materials, structures and techniques, and be continuously revised and refined in the process of construction. Yet, as he has pointed out, architecture is not merely a product of rational systems. Within the choices of proportion, rhythm, spatial sequence and the relationship between light and shadow, there always exists a dimension that cannot be fully derived from logic. This dimension comes from intuition, experience and aesthetic judgment, transforming architecture from a purely technical exercise into an artistic and poetic act.

西穆?tīng)柛?720x870mm mixed media on fabric 2026

雕塑與繪畫正是在這一層面上進(jìn)入他的創(chuàng)作體系。它們?yōu)橄胂筇峁┝艘黄幼杂傻念I(lǐng)域，使藝術(shù)能夠在現(xiàn)實(shí)建造的約束之外展開(kāi)探索。盧志榮早期以木質(zhì)榫卯結(jié)構(gòu)與材料創(chuàng)作的雕塑作品呈現(xiàn)出一種穩(wěn)定而輕盈的空間形態(tài)?；蚣?xì)長(zhǎng)或豐盈的構(gòu)建在空間中相互支撐，形成一種向上延展的結(jié)構(gòu)秩序。然而這些作品真正的核心并不在于材料或結(jié)構(gòu)本身，而在于結(jié)構(gòu)所圍合與指向的空間。雕塑在視覺(jué)上似乎由木材構(gòu)成，但在體驗(yàn)中卻更像是一種由“空”所形成的存在狀態(tài)

It is at this level that sculpture and painting enter his creative system. Theyoffer a freer and more speculative terrain for the imagination, allowing art to explore beyond the immediate constraints of physical construction.Chi Wing Lo’s early sculptural works, created in wood with mortise-and-tenon structures, present a spatial form that is at once stable and ethereal. Components, whether slender or voluminous, support one another in space, forming an upward-extending structural order. Yet the true core of these works lies not in the material or structure itself, but in the space enclosed and suggested by the structure. Visually, the sculptures appear to be made of wood, yet experientially, they are more like a state of being shaped by emptiness.

阿爾戈群水手去蒙扎 720x870mm mixed media on fabric 2026

在中國(guó)傳統(tǒng)思想中，“空”并不是缺失，而是一種使萬(wàn)物得以生成與流動(dòng)的條件。結(jié)構(gòu)并不是為了填滿空間，而是為“虛”創(chuàng)造邊界。正是在這種虛與實(shí)之間的關(guān)系中，空間獲得了呼吸般的節(jié)奏，也使這些雕塑呈現(xiàn)出一種沉靜而開(kāi)放的氣質(zhì)。如果說(shuō)雕塑通過(guò)結(jié)構(gòu)構(gòu)建空間，那么繪畫則在圖像層面展開(kāi)另一種探索。新的繪畫系列延續(xù)了此前作品中關(guān)于未知世界的想象，同時(shí)將這種想象轉(zhuǎn)化為更加流動(dòng)的視覺(jué)語(yǔ)言。畫面中的形象往往處于生成與消散之間，既像來(lái)自遠(yuǎn)古文明的遺跡，又仿佛是尚未到來(lái)的未來(lái)圖像。許多作品的標(biāo)題來(lái)自Jorge Luis Borges的文學(xué)世界，在那里，無(wú)數(shù)想象的生物構(gòu)成了一部介于現(xiàn)實(shí)與幻想之間的百科全書。然而在盧志榮的畫面中，這些形象不再具有怪誕或恐懼的意味，而逐漸轉(zhuǎn)化為一種沉靜而內(nèi)省的存在。在后圖像時(shí)代，這樣的圖像經(jīng)驗(yàn)顯得尤為重要。當(dāng)視覺(jué)系統(tǒng)越來(lái)越傾向于生產(chǎn)清晰、快速與可識(shí)別的圖像時(shí)，藝術(shù)反而在創(chuàng)造一種更為緩慢的觀看方式。圖像在這里并不是明確敘事的終點(diǎn)，而是一種持續(xù)生成的感知空間，使觀看者在熟悉與陌生之間不斷移動(dòng)。

This spatial consciousness resonates deeply with ideas in Eastern philosophy. In traditional Chinese thought, “emptiness” is not absence, but a condition through which all things come into being and flow. Structure is not meant to fill space, but to create boundaries for the void. It is within this relationship between the void and the solid that space acquires a rhythm like breathing, lending the sculptures a calm and open temperament.If sculpture constructs space through structure, painting embarks on another exploration at the level of the image. The new series of paintings continues the imagination of an unknown world from his earlier works, while translating such imagination into a more fluid visual language. Forms in the paintings often hover between emergence and dissolution, resembling relics from an ancient civilization or images of a future yet to come. Many works take their titles from the literary world of Jorge Luis Borges, where countless imaginary beings form an encyclopedia suspended between reality and fantasy. Yet in Chi Wing Lo’s paintings, these forms no longer carry grotesque or fearful connotations; they have gradually transformed into quiet and introspective presences. In the Post-Image Era, such an experience of the image is particularly significant. As visual systems increasingly tend to produce clear, fast and recognizable images, art instead cultivates a slower way of seeing. Here, the image is not the end of a fixed narrative, but a continuously unfolding perceptual space, moving the viewer between the familiar and the unfamiliar.

尤利西斯和塞壬 720x870mm mixed media on fabric 2026

標(biāo)題“象罔與觀看”提供了理解這一實(shí)踐的重要哲學(xué)線索?！跋筘琛背鲎灾袊?guó)古代莊子的“象罔得珠”，象征一種擺脫既定知識(shí)框架的感知狀態(tài)。當(dāng)人暫時(shí)放下分析、方法與概念時(shí)，世界反而能夠以更為開(kāi)放的方式顯現(xiàn)。這種狀態(tài)并不是對(duì)知識(shí)的否定，而是一種使感知重新獲得自由的可能。在高度系統(tǒng)化的當(dāng)代社會(huì)，這種觀看方式顯得尤為重要。當(dāng)技術(shù)不斷提高效率與可預(yù)測(cè)性時(shí)，藝術(shù)仍然在維護(hù)另一種認(rèn)知路徑：一種允許直覺(jué)、想象與未知存在的感知方式。因此，本次展覽并不是一個(gè)封閉的敘事，而更像是一種關(guān)于觀看的實(shí)驗(yàn)，讓結(jié)構(gòu)與圖像、理性與直覺(jué)、歷史與未來(lái)不斷相互折射。作品并不試圖給出明確答案，而是創(chuàng)造出一種開(kāi)放的觀看環(huán)境，使觀眾能夠重新思考視覺(jué)經(jīng)驗(yàn)本身。讓我們像象罔那樣稍稍退后一步，重新理解我們自己與這個(gè)世界。

The title “Xiangwang and Seeing” offers an important philosophical clue to understanding this practice. “Xiangwang” comes from the ancient Chinese classic Zhuangzi, the episode of Xiangwang retrieving the pearl, symbolizing a state of perception freed from established frameworks of knowledge. When one temporarily sets aside analysis, method and concepts, the world can reveal itself in a more open manner. This state is not a rejection of knowledge, but a possibility for perception to regain its freedom. In a highly systematized contemporary society, this way of seeing is particularly crucial. As technology continuously advances efficiency and predictability, art still upholds an alternative path of cognition: a mode of perception that makes room for intuition, imagination and the unknown.This exhibition is therefore not a closed narrative, but rather an experiment in seeing, in which structure and image, reason and intuition, history and future continuously refract one another. The works do not attempt to provide clear answers, but create an open viewing environment that invites the audience to rethink visual experience itself.Let us stay back and comprehend ourselves and the world like Xiangwang.

雙頭蛇與巨蟾蜍 660x1210mm mixed media on fabric 2026

ABOUT ARTISTS關(guān)于藝術(shù)家

盧志榮 |Chi Wing Lo

2015年「世界杰出華人設(shè)計(jì)師」得獎(jiǎng)人。盧志榮的豐富創(chuàng)作涵蓋了建筑、藝術(shù)、室內(nèi)與家具設(shè)計(jì)等領(lǐng)域，他一直以對(duì)理念的凈化、詩(shī)意的詮釋、細(xì)節(jié)的關(guān)注，備受意大利及國(guó)際設(shè)計(jì)界推崇。

盧志榮創(chuàng)作了一系列反映他的建筑和設(shè)計(jì)理念的雕塑和畫作，他的藝術(shù)個(gè)展包括2011年在意大利圣塞維羅阿爾托·塔佛利埃博物館舉辦的物的靈與光、2012年在中國(guó)臺(tái)北儀畫廊的奇幻旅程、2013及2015年在中國(guó)香港季豐軒畫廊的文明愿景及建隆一零五五年、2014年在意大利米蘭三年展博物館的無(wú)時(shí)之域、2015年在中國(guó)杭州西泠印社美術(shù)館的文房新語(yǔ)、2017年在中國(guó)香港理工大學(xué)藝術(shù)廊的逸舍、2017年在中國(guó)北京達(dá)美藝術(shù)中心的合一：宏觀與微觀世界的緘默、2018年在泰國(guó)曼谷塞林迪亞美術(shù)館的靈氣、2019年在中國(guó)國(guó)際設(shè)計(jì)博物館的無(wú)華、2022及2024年在中國(guó)香港大館季豐沙龍和中國(guó)北京SIMPLEONE畫廊的驚鴻遠(yuǎn)客和2026年在中國(guó)北京共同藝術(shù)中心的象罔之境。在2021至2023年期間，盧志榮創(chuàng)作并展出了三項(xiàng)用于冥想和身心煥發(fā)的大型空間藝術(shù)裝置：2021年的憧憬、2023年的雨后和插曲。他的作品廣受國(guó)際收藏家青睞。

盧志榮在中國(guó)香港長(zhǎng)大，于1988年以最佳論文獎(jiǎng)取得哈佛大學(xué)建筑系碩士學(xué)位，他曾任教于紐約錫拉丘茲大學(xué)，曾經(jīng)是德國(guó)斯圖加特的索利突藝術(shù)學(xué)院的成員。他還經(jīng)常出席設(shè)計(jì)和文化的講座及論壇，并在不同大學(xué)擔(dān)任主講和客座評(píng)論，他的創(chuàng)作涵蓋了藝術(shù)、建筑、室內(nèi)、家具等設(shè)計(jì)領(lǐng)域，作品遍及米蘭、雅典、倫敦、伊斯坦布爾、迪拜、上海，北京和香港等地。

共同藝術(shù)中心誠(chéng)邀您于2026年4月4日（周六）15:00出席「象罔之境」開(kāi)幕式

同期展覽「象罔之境」盧志榮個(gè)展

夢(mèng)想之家

文/鮑禹

所有的建筑，都是子宮的記憶。

All architecture carries the memory of the womb.

在人類進(jìn)入世界之前，每個(gè)人都曾生活在一個(gè)封閉的空間之中：溫暖、黑暗、被液體包圍，沒(méi)有語(yǔ)言，也沒(méi)有邊界。這個(gè)最初的內(nèi)部空間構(gòu)成了人類關(guān)于“家”的原型想象。從洞穴到房屋，從城市到國(guó)家，人類不斷在外部世界中建造新的結(jié)構(gòu)，以重新獲得這種被包裹的狀態(tài)。建筑不僅是居住的容器，也是人類試圖延續(xù)這一原初經(jīng)驗(yàn)的方式——一種對(duì)內(nèi)部空間的持續(xù)復(fù)制。然而在當(dāng)代社會(huì)，這種穩(wěn)定的內(nèi)部正在逐漸松動(dòng)。

Before entering the world, every human being exists within a completely enclosed space: warm, dark, surrounded by fluid, without language or boundaries. This primordial internal space forms the archetypal imagination of “home.” From caves to houses, from cities to nations, humans have continuously constructed new structures in the external world, seeking to recreate the sense of being enveloped. Architecture is not only a container for dwelling but also a medium through which humans attempt to extend this original experience—a sustained reproduction of internal space. Yet in contemporary society, this stability of the internal has begun to loosen.

抽屜（家的記憶）51x72cm 布面油畫 2026

家庭結(jié)構(gòu)持續(xù)變化，城市生活高度流動(dòng)，親密關(guān)系不斷重組。與此同時(shí)，數(shù)字技術(shù)深入私人生活：經(jīng)驗(yàn)被記錄、傳播并轉(zhuǎn)化為數(shù)據(jù)，人與人之間的關(guān)系越來(lái)越依賴屏幕與網(wǎng)絡(luò)。社會(huì)學(xué)家Zygmunt Bauman將這種狀態(tài)稱為“液態(tài)現(xiàn)代性”。在這樣的社會(huì)結(jié)構(gòu)中，穩(wěn)定的關(guān)系逐漸溶解，一切都處于持續(xù)的流動(dòng)與重組之中。傳統(tǒng)意義上的“家”不再是一個(gè)固定的地點(diǎn)，而更像一種臨時(shí)生成的結(jié)構(gòu)——一種在不斷變化的世界中短暫形成的內(nèi)部。技術(shù)同樣在改變身體本身。從輔助生殖到基因技術(shù)，生育逐漸從自然過(guò)程轉(zhuǎn)變?yōu)榭梢员灰?guī)劃和管理的系統(tǒng)。理論家Donna Haraway在其關(guān)于“賽博格”的討論中指出，當(dāng)技術(shù)進(jìn)入身體內(nèi)部時(shí)，自然與人工之間的界限開(kāi)始變得模糊，身體不再只是生物學(xué)的存在，而成為一個(gè)不斷被重寫的結(jié)構(gòu)。在這樣的歷史條件下，子宮也逐漸呈現(xiàn)出新的文化意義：它不僅是生命生成的器官，也是一種關(guān)于內(nèi)部空間的原型模型。

Family structures are in flux, urban life is highly mobile, and intimate relationships are constantly being reorganized. At the same time, digital technologies penetrate private life: experiences are recorded, disseminated, and transformed into data, and interpersonal relationships increasingly rely on screens and networks. Sociologist Zygmunt Bauman describes this condition as “l(fā)iquid modernity.” In such a social structure, stable relationships gradually dissolve, and everything exists in a state of continuous flow and reconfiguration. The traditional notion of “home” is no longer a fixed location, but rather a temporarily generated structure—an interior that forms fleetingly amid a changing world. Technology is also reshaping the body itself. From assisted reproduction to genetic technologies, the process of childbirth has shifted from a natural phenomenon to one that can be planned and managed. Donna Haraway, in her discussion of cyborgs, notes that as technology enters the body, the boundaries between the natural and the artificial blur, and the body becomes a structure continuously rewritten. Under these historical conditions, the womb acquires new cultural significance: it is no longer merely an organ of life generation but emerges as an archetypal model of internal space.

藍(lán)色畫像 25.4x30.5cm 布面油畫 2025

郭雨橋作為同時(shí)擁有建筑師與藝術(shù)家雙重身份的創(chuàng)作者，她的實(shí)踐長(zhǎng)期在空間與身體之間思考“棲居”的問(wèn)題。在她看來(lái)，身體本身就是一種居所：身體是精神的房子，既滋養(yǎng)和庇護(hù)個(gè)體，也在某種意義上形成限制與邊界。因此，在她的繪畫中，身體往往成為“家”的隱喻。這些身體被拉伸、變形或重新組合，有時(shí)像建筑結(jié)構(gòu)，身體在這里不再只是個(gè)體形象，而是一種空間性的存在——一個(gè)不斷變化的內(nèi)部環(huán)境。從某種意義上說(shuō)，郭雨橋的繪畫可以被理解為一種“親密建筑”（intimate architecture）。這種建筑并不是由墻壁和結(jié)構(gòu)構(gòu)成，而是由身體、情感與想象共同形成的內(nèi)部空間。它既具有庇護(hù)性，也包含某種不穩(wěn)定的張力。

Guo Yuqiao, as both an architect and an artist, has long explored questions of “dwelling” between space and the body. In her view, the body itself is a residence: it is a house of the spirit, nourishing and protecting the individual while simultaneously establishing limits and boundaries. In her paintings, the body frequently functions as a metaphor for “home.” These bodies are stretched, transformed, or recombined, sometimes resembling architectural structures. Here, the body ceases to be a mere individual form and becomes a spatial entity—an internal environment in continuous flux.

避風(fēng)港 35x30cm 布面油畫 2026

她的圖像很少直接來(lái)源于現(xiàn)實(shí)視覺(jué)，而更接近從記憶與夢(mèng)境中生成的空間結(jié)構(gòu)。夢(mèng)境在其中發(fā)揮著重要作用：記憶在夢(mèng)中被重新排列，而現(xiàn)實(shí)經(jīng)驗(yàn)也在這一過(guò)程中發(fā)生偏移。繪畫因此成為一種捕捉這種瞬間結(jié)構(gòu)的方式——為那些原本短暫存在的念頭尋找具體形態(tài)。藍(lán)色構(gòu)成了這些空間持續(xù)存在的氣氛。它既像深海，也像宇宙；既像身體內(nèi)部的流體環(huán)境，也帶著電子屏幕般的冷光。生命體在這樣的空間中漂浮、游動(dòng)、彼此可見(jiàn)，卻始終保持微妙的距離。這種距離既是心理的，也是結(jié)構(gòu)性的：它暗示著當(dāng)代個(gè)體在高度連接的社會(huì)中所體驗(yàn)到的某種孤獨(dú)狀態(tài)——看似接近、親密，卻始終難以真正抵達(dá)彼此。

In this sense, Guo’s paintings can be understood as a form of intimate architecture. This architecture is not composed of walls and structural elements but emerges from the interplay of body, affect, and imagination. It possesses both sheltering qualities and a subtle instability.Her imagery rarely derives directly from visual references in reality; it is more closely generated from memory and dream. Dreams play a significant role: memories are rearranged in them, and experiences of reality shift in the process. Painting becomes a means of capturing these ephemeral structures—giving form to thoughts that otherwise exist only fleetingly.Blue constitutes the persistent atmosphere of these spaces. It evokes both the deep sea and the cosmos, the internal fluid environment of the body, and the cold light of digital screens. Life forms float and move within this space, visible to one another yet maintaining subtle distance. This distance is both psychological and structural, signaling the particular kind of solitude experienced by contemporary individuals in a highly connected society: seemingly close and intimate, yet ultimately unreachable.

父與子55.9x71.7cm布面油畫 2023

因此，《夢(mèng)想之家》并不是對(duì)家庭或母性的再現(xiàn)，而更像是一種關(guān)于棲居方式的想象實(shí)驗(yàn)。當(dāng)穩(wěn)定的家庭結(jié)構(gòu)逐漸消失，當(dāng)身體持續(xù)被技術(shù)改寫，人類仍然在尋找一種能夠安放自身精神的位置。如果說(shuō)過(guò)去的“家”源自子宮這一原型空間，那么今天新的“家”或許正在出現(xiàn)。它既不完全屬于建筑，也不完全屬于身體與關(guān)系，而是一種在現(xiàn)實(shí)與想象之間不斷生成的結(jié)構(gòu)?！秹?mèng)想之家》正是這種空間的隱喻。一種尚未被完全命名的Dream Home。

Thus, Dream House does not aim to reproduce domestic life or motherhood; rather, it constitutes an imaginative experiment in modes of dwelling. As traditional family structures erode and the body is increasingly shaped by technology, humans continue to seek a location in which their spirit can reside. If the “home” of the past originated in the womb as an archetypal space, then today, a new form of home is emerging. It belongs neither entirely to architecture nor solely to the body, but is instead continuously generated in the interstice between reality and imagination. Dream House serves as a metaphor for this space—a structure still in formation, as yet unnamed.

撈 55.9x45.7cm 布面油畫 2024

ABOUT CURATOR關(guān)于策展人

彭鋒 | Peng Feng

彭鋒，現(xiàn)任北京大學(xué)藝術(shù)學(xué)院院長(zhǎng)、北京大學(xué)歌劇研究院院長(zhǎng)、北京大學(xué)中國(guó)畫法研究院院長(zhǎng)，兼任國(guó)務(wù)院學(xué)位委員會(huì)藝術(shù)學(xué)理論學(xué)科評(píng)議組召集人、教育部高等院校藝術(shù)學(xué)理論本科專業(yè)類教學(xué)指導(dǎo)委員會(huì)秘書長(zhǎng)、國(guó)際美學(xué)協(xié)會(huì)副會(huì)長(zhǎng)、中華美學(xué)會(huì)副會(huì)長(zhǎng)、中國(guó)文藝評(píng)論家協(xié)會(huì)理事、中國(guó)美術(shù)家協(xié)會(huì)理事。出版多本專著、教材和文集，策劃藝術(shù)展覽100余次，撰寫音樂(lè)劇、話劇、舞劇、電影等劇本。

鮑禹 | Brenda

鮑禹，策展人、出版人，共同藝術(shù)中心聯(lián)合發(fā)起人。2007年畢業(yè)于中央民族大學(xué)美術(shù)學(xué)專業(yè)，深耕中國(guó)當(dāng)代藝術(shù)領(lǐng)域近20年，專注學(xué)術(shù)出版、展覽策劃與藝術(shù)機(jī)構(gòu)創(chuàng)新運(yùn)營(yíng)。曾任《美術(shù)關(guān)注》副主編，創(chuàng)辦《流動(dòng)藝術(shù)》學(xué)術(shù)品牌，與藝術(shù)理論家彭鋒合作主編出版《女性藝術(shù)家的自我鏡像》《超現(xiàn)實(shí)波普》《中式表現(xiàn)》《新水墨》等20余部學(xué)術(shù)專著，構(gòu)建系統(tǒng)的當(dāng)代藝術(shù)文獻(xiàn)體系。策展實(shí)踐成果豐碩，先后策劃出品《紙是》開(kāi)館展、《材質(zhì)與表達(dá)》、《灰色為什么重要》、《高考-李洪波個(gè)展》、《新抽象》、《隱士的凝視-葉恒貴個(gè)展》等學(xué)術(shù)展覽30余場(chǎng)，聚焦材質(zhì)、民間技藝與傳統(tǒng)文化的當(dāng)代轉(zhuǎn)換。2015年，以眾籌方式開(kāi)創(chuàng)畫廊運(yùn)營(yíng)新模式“共享藝術(shù)合伙人”，提出“共同藝術(shù)·共享收藏”理念，重塑畫廊運(yùn)營(yíng)邏輯，打造藝術(shù)IP孵化與商業(yè)化運(yùn)營(yíng)體系，構(gòu)建藏家深度參與、藝術(shù)價(jià)值共享的創(chuàng)新經(jīng)營(yíng)模式。2019年入駐798藝術(shù)區(qū)至今，累計(jì)舉辦高品質(zhì)展覽近100余場(chǎng)，持續(xù)攜機(jī)構(gòu)亮相ART021、北京當(dāng)代、西岸藝博會(huì)、DnA深圳設(shè)計(jì)與藝術(shù)博覽會(huì)、Art Taipei（中國(guó)臺(tái)北）、Art Central（中國(guó)香港）、Art Dubai（阿聯(lián)酋）、Art Busan（韓國(guó)）、Art Miami（美國(guó)）等國(guó)內(nèi)外核心藝博會(huì)，建立海內(nèi)外藝術(shù)傳播通道。

關(guān)于藝術(shù)家

郭雨橋 | Yuqiao Guo

郭雨橋（1992年生于北京），成長(zhǎng)于北京與美國(guó)之間，現(xiàn)居倫敦，是一名藝術(shù)家和建筑設(shè)計(jì)師；同時(shí)她也是倫敦本地手工冰淇淋品牌Matter at Hand的創(chuàng)始人。她在實(shí)踐獨(dú)立建筑設(shè)計(jì)的同時(shí)，也專注于油畫創(chuàng)作。郭雨橋在2019年獲得美國(guó)哈佛大學(xué)設(shè)計(jì)研究生院建筑學(xué)碩士學(xué)位，此前在2015年獲得美國(guó)波莫納學(xué)院藝術(shù)與環(huán)境分析雙學(xué)士學(xué)位。

共同藝術(shù)中心誠(chéng)邀您于2026年4月4日（周六）15:00出席「夢(mèng)想之家」開(kāi)幕式