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入鏡
米諾
當藝術潛伏著一種秘密和生機，幻化到各種藝術表現形式上，氣息隨之流露傳遞，浸入到生活的本質裡面，從而抵達“入鏡”的狀態----當藝術的觸角伸延到你我的皮膚，匍伏在周身，得到的是快意還是憂傷？是思考還是為之所動？無論如何，藝術同生活一樣，終將被消融。可在這個過程之中，所有的體驗都成為印跡，停留在心上。
這是藝術的魅力。在這個充釋著消費和被消費、價值觀越來越虛妄的時代，為當下年輕藝術家的創作帶來更多複雜的多重考驗。可即使如此，總有少數藝術家從未脫離內在世界和精神層面的探索，從未受到市場的引誘而堅持自我的塑造，把他們積極正面的能量釋放到藝術作品之中，為我們帶來一場心靈的歡宴。
陳彧君作品指向寬廣的亞洲地鏡，他可能對靜止的空間內部向外伸延的錯踪迷離有著無限的興致，也可能對於蓬勃茁壯的自然生長物帶有莫名敬意。
陳彧凡作品布上的針眼，不知是化繁為簡還是化簡為繁的肆意轉化，他的美學藏在不可言喻的形狀之中。
尹朝輝的《無題》系列，運用很多變形突出的手法，來誇大某種形態的失真。
尹朝宇成熟詩意的繪畫，使這個世界顯出朦朧的美感以及那些不易覺察的危機。
曾揚的《圓》系列，顯現了藝術家對“結構”和“秩序”的濃厚興趣，既是對兩者的顛覆也是一個重塑。在同一個視覺形式表達之中，循環的敘事結構和視覺分割是其成立的最為主要的因素。這使我們不由自主會考慮，是否早就應該換個角度和姿勢來觀察藝術？
李建明類似自畫像的作品，靈感來自於藝術家第一次到海邊是晚上，黑暗中天與海成一線的地方因為海面的顫動而顫動著，那種不知是肉體還是心靈顫動的感覺鋪面而來。
鄢振義運用更貼近大腦皮層的臆想式繪畫手法，他的作品富有擴散和縵延的氣質，將意境的張力表現的淋漓盡致。
張春迎作品裡的靈動在於，光亮隱於黑暗又遠大於黑暗。花亦如人，細嫩的枝干支撐起一顆龐大的靈魂，分明能感覺到它們內在蘊藏的力量正在迸發，這種力量足以將一切邪惡的思想毀滅。
任航做為當下最年輕活躍的新生代獨立攝影師，他的作品總是帶有多重想像空間，或詭異或分裂。鏡頭在他這裡，是淺意識的替代物，隱在相機的背後，他同青春一樣因愛欲的感知而焚毀了情感。
李爻堅信人以前是有翅膀的，石頭比人類更古老。從天空中被放逐，沒有巫術，沒有蒼涼洞悉自然的心靈。人類的神性逐漸喪失殆盡，進而只能從文學裡尋些幻想和安慰，在夢裡撫摸幾只赤裸白鳥。李爻自言他的雕塑過去的藝術，寶瓶時代來臨前我們空了，他在懷念。如果生活是一個大夢場，藝術也可以是。
只是藝術以它特有的方式比我們先行入鏡，因此才指引我們更敏銳地去捕捉生活的真諦。
IN TO THE MOOD
When art has a secret and life, and change to various forms of artistic expression, breath followed revealed transmission, immersion into the nature of life, to reach "into the mirror" state ---- When art extends to you my skin, prostrate the whole body, joyful or not? Is it moved or you have to think? Anyhow, art same with life, it will eventually be ablation. In this process, all the experiences have become imprinted, stay in the heart.
This is the charm of art.The age whish has more and more false values, brings more complex tests for the young artists. However, there is always a small number of artists never out of the inner spiritual world exploration, they have never been lured by the market but adhere to self-shaping, their positive energy have been released into the artwork, bring us a spiritual feast.
Chen Yujun’s works point to Asia, he may has a unlimited interest in extending out of space, may also respect for the natural growth of things.We don’t know if the needle trace on Chen Yujun’s work, is simplified converse randomly, his aesthetic hidden inside of some undescribable shape.
Yin Zhaohui's used a lot of prominent deformation methods to to exaggerate certain forms of distortion in his “Untitled” series.
Yin Zhaoyu’s mature and poetic painting, make the world show the beauty of obscure and the crisis which not easily be perceived.Zeng Yang has a "round" series, it shows the great interest of the artist on the "structure" and "order", and it is a remodeling of both and also subversion. In the same form of visual expression, cycle of narrative structure and visual segmentation is the major factor. This allows us to consider whether we should change another angle and position to observe the art?
Li Jianming’s “similar self-portrait works”, the inspired came from the 1st visit to a beach, and it was a night, the sky line keep trembling, so he also had a kind of soul or body tremor.
Yan Zhenyi used imaginary-style painting technique, his works full-proliferation and unadorned extension of temperament, has a very strong mood of the tension.
The smartness of Zhang Chunying’s works is hidden in the dark. Flowers as people, delicate branches support from a large soul, clearly feel their inner reserves of strength are going to burst, this force is sufficient to destroy all evil thoughts.
Ren Hang, as the current youngest generation active independent photographer, his work always with multiple imaginations, strange, or split. It is a substitute for shallow sense in his lense and hidden behind the camera.
Li Yao believes people used to have wings, and stone more ancient than people. Be banished from the sky, there is no magic, no bleak insight into the nature of the soul. The divinities of humanity gradually lost, and then only find some comfort from literature. Li Yao said his sculptures are the art of the past, before the “Aquarius Age” we are empty, he is remembering.
If life is a dream world, art can be as well.
Art goes ahead of us in its unique way, so it is more sensitive to guide us to capture the essence of life.by Mino
April 2010, Beijing
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IN TO THE MOOD
入鏡
開幕時間/Opening Time：2010年5月29日下午三時 PM 3:00, May 29, 2010
開幕地點/Opening Address：香港銅鑼灣耀華街30號1樓 A藝術中心
No. 30 Yiu Wa Street,，Causeway Bay，Hong Kong，1st Floor A-ARTCENTER
策展人 CURATUR： 米諾 Mino
聯繫人 CONTACT PERPON： 朱高文 Mr.Zhu Gaowen
参展艺术家/Artists：陈彧君 Chen Yujun
陈彧凡 Chen Yufan
尹朝辉 Yin Zhaohui
尹朝阳 Yin Zhaoyang
鄢振兴 Yan Zhengxing
曾 扬 Zen Yang
李建明 Li Jianming
张春迎 Zhang Chunying
任 航 Ren Hang
李 爻 Li Yao
Mail:a_artcenter@yahoo.cn
Phone：+86-13701039979