henning olav espedal // a sudden liberating thought

HENNING OLAV ESPEDAL

www.amyligallery.com

A Sudden Liberating ThoughtA Sudden Liberating Thought

A Sudden Liberating ThoughtA Sudden Liberating Thought

HENNING OLAV ESPEDALHENNING OLAV ESPEDAL

Curated by Bjørn Inge FollevaagCurated by Bjørn Inge Follevaag

豁然开朗豁然开朗海宁·奥拉夫·艾斯佩达海宁·奥拉夫·艾斯佩达策展人：毕昂·弗勒沃戈策展人：毕昂·弗勒沃戈

My current work explores the cosmic perspective by My current work explores the cosmic perspective by juxtaposing it with my immediate and earthbound juxtaposing it with my immediate and earthbound environment. This exploration is founded in the environment. This exploration is founded in the laws of physics as well as in obscure mystery, and laws of physics as well as in obscure mystery, and embedded in the shroud of abstraction. I strive to embedded in the shroud of abstraction. I strive to give these hybrid ideas a humanized form. Most of give these hybrid ideas a humanized form. Most of the pieces in this show were conceived by turning the pieces in this show were conceived by turning observations from my immediate surroundings into observations from my immediate surroundings into sculpture, sound, installation and painting. Further, sculpture, sound, installation and painting. Further, the instrumental function of these pieces comes to the instrumental function of these pieces comes to life when it can stimulate to a contemplation on life when it can stimulate to a contemplation on the magnitude of macrocosm, shifting the attention the magnitude of macrocosm, shifting the attention from the personal to the cosmic perspective. I from the personal to the cosmic perspective. I envision a passage, through my own mind and envision a passage, through my own mind and towards what lies beyond — “The percept is the towards what lies beyond — “The percept is the landscape before man, in the absence of man.” landscape before man, in the absence of man.” ((Deleuze & Guattari, Qu'est-ce que la philosophie? Deleuze & Guattari, Qu'est-ce que la philosophie? 19911991) )

PREFACE: A Sudden Liberating ThoughtPREFACE: A Sudden Liberating Thought

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exhibition and walk down the street: evident on exhibition and walk down the street: evident on the days when the smog envelops the city and the days when the smog envelops the city and you experience the light but distinct physical you experience the light but distinct physical discomfort of inhaling the densely polluted air. A discomfort of inhaling the densely polluted air. A potent reminder that the image of a dystopic future, potent reminder that the image of a dystopic future, residing in our collective imagination, in many residing in our collective imagination, in many ways exists as a current reality. ways exists as a current reality.

Today the air quality again reached hazardous Today the air quality again reached hazardous levels. Looking out through the windows one might levels. Looking out through the windows one might imagine emancipation in the form of a strong, imagine emancipation in the form of a strong, liberating wind, which sweeps the city clean. We liberating wind, which sweeps the city clean. We all know better days will come, as a temporary all know better days will come, as a temporary reprieve — days when the contour of the Yan reprieve — days when the contour of the Yan mountains again appear as nature's hallmark at the mountains again appear as nature's hallmark at the horizon.horizon.

HENNING OLAV ESPEDALHENNING OLAV ESPEDAL 11. Oct. 201411. Oct. 2014

The exhibition can be seen as an introverted view of The exhibition can be seen as an introverted view of themes spun out of the anthropocentric hypothesis. themes spun out of the anthropocentric hypothesis. It holds its relevance as a subjective impression It holds its relevance as a subjective impression of the forces unfolding. We, as human beings of the forces unfolding. We, as human beings are in a privileged position and hold therefore a are in a privileged position and hold therefore a responsibility. Not only for the future generations responsibility. Not only for the future generations of our species but for the ecological system as a of our species but for the ecological system as a whole. One can imagine that, in the end, the Sun whole. One can imagine that, in the end, the Sun will devour us all in an inconceivable cataclysmic will devour us all in an inconceivable cataclysmic event. A more plausible scenario, however, is that event. A more plausible scenario, however, is that we will cause our own extinction. In the meantime, we will cause our own extinction. In the meantime, we will all have the chance to prudently influence we will all have the chance to prudently influence the course forward. the course forward.

Beijing is an ideal location for my exhibition A Beijing is an ideal location for my exhibition A Sudden Liberating Thought. Ideal because here Sudden Liberating Thought. Ideal because here the work extends its impact into an experience the work extends its impact into an experience beyond the walls of the gallery. Bridging the gap beyond the walls of the gallery. Bridging the gap between the abstract and reality, as you leave the between the abstract and reality, as you leave the

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我目前的创作是通过将身边最直接世俗的环境与宇宙的我目前的创作是通过将身边最直接世俗的环境与宇宙的

视角并置而对其进行探究。这探究既建立在物理学法则视角并置而对其进行探究。这探究既建立在物理学法则

的基础上，也存在于晦暗不明的奥秘之中，更深植于抽的基础上，也存在于晦暗不明的奥秘之中，更深植于抽

象的外表之下。我努力给这些混杂的想法以人性化的形象的外表之下。我努力给这些混杂的想法以人性化的形

式。此次展览中大部分作品的构思都来自我对身边事物式。此次展览中大部分作品的构思都来自我对身边事物

的观察，我将它们转变为雕塑、声音、装置以及绘画。如的观察，我将它们转变为雕塑、声音、装置以及绘画。如

果这些作品能够激发出一种对宏观世界的思考，将关注果这些作品能够激发出一种对宏观世界的思考，将关注

点从个人扩展至宇宙的视角，那这些作品才真正具备了点从个人扩展至宇宙的视角，那这些作品才真正具备了

生命的活力。我设想这样一条路，穿越自我的思维而一生命的活力。我设想这样一条路，穿越自我的思维而一

直通向思维之外 ——“认知是存在于人类之前的景观。”直通向思维之外 ——“认知是存在于人类之前的景观。”

（（Deleuze & GuattariDeleuze & Guattari，，《什么是哲学》《什么是哲学》19911991））

这个展览可被视为对人类中心说的一些主题的自我检这个展览可被视为对人类中心说的一些主题的自我检

视。它具有相当的主观性。作为人类，我们处在一个优视。它具有相当的主观性。作为人类，我们处在一个优

越的位置，也因此而肩负一份责任，不仅为将来人类的越的位置，也因此而肩负一份责任，不仅为将来人类的

后代，也为整个的生态系统而负有责任。我们可以想象，后代，也为整个的生态系统而负有责任。我们可以想象，

在世界末日，太阳以不可思议的灾难性事件将我们统统在世界末日，太阳以不可思议的灾难性事件将我们统统

吞噬；然而，还有一种更合理的情节，那就是由我们自吞噬；然而，还有一种更合理的情节，那就是由我们自

己造成了物种灭绝。而此时此刻，我们仍有机会来谨慎己造成了物种灭绝。而此时此刻，我们仍有机会来谨慎

地规划未来的道路。地规划未来的道路。

前言：豁然开朗前言：豁然开朗

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举办“豁然开朗”这个展览，北京是最理想的地方。因为举办“豁然开朗”这个展览，北京是最理想的地方。因为

在这里，作品的效果能够延伸至画廊的四壁之外。当你在这里，作品的效果能够延伸至画廊的四壁之外。当你

离开展厅踏上街道时，抽象与现实之间的差距已荡然无离开展厅踏上街道时，抽象与现实之间的差距已荡然无

存。尤其是在雾霾锁城的日子里，你隐约感到光亮，同存。尤其是在雾霾锁城的日子里，你隐约感到光亮，同

时因为吸入重度污染的空气而感到身体不适。这正是一时因为吸入重度污染的空气而感到身体不适。这正是一

个有力的提示，提示我们一个糟糕的未来景象不仅存在个有力的提示，提示我们一个糟糕的未来景象不仅存在

于在我们的集体想象中，也某种程度上已经成为了现实。于在我们的集体想象中，也某种程度上已经成为了现实。

今天北京的空气再次达到高危指数。透过窗户望出去，今天北京的空气再次达到高危指数。透过窗户望出去，

我们会想象着一阵强劲自由的风，将城市的雾霾席卷一我们会想象着一阵强劲自由的风，将城市的雾霾席卷一

空，让我们得以解放。而我们也知道雾霾过后会有晴空，让我们得以解放。而我们也知道雾霾过后会有晴

天——如同一个短期缓刑。在那些晴天里，燕山的轮廓天——如同一个短期缓刑。在那些晴天里，燕山的轮廓

会再次作为自然的标志出现在地平线上。会再次作为自然的标志出现在地平线上。

海宁·奥拉夫·艾斯佩达海宁·奥拉夫·艾斯佩达 HENNING OLAV ESPEDALHENNING OLAV ESPEDAL

20142014 年年 1010 月月 1111 日日

翻译：刘聪翻译：刘聪

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The Norwegian artist Henning Olav Espedal The Norwegian artist Henning Olav Espedal addresses themes such as predestination, addresses themes such as predestination, determinism and the possibility of escape in his determinism and the possibility of escape in his exhibition “A Sudden Liberating Thought”. In exhibition “A Sudden Liberating Thought”. In a monumental, industrial field installation of a monumental, industrial field installation of sculptures and sound as well as in his paintings, sculptures and sound as well as in his paintings, Espedal documents a state of collapse and constant Espedal documents a state of collapse and constant regeneration. regeneration.

The American artist Robert Smithson made a series The American artist Robert Smithson made a series of works in Britain, among them the unrealized of works in Britain, among them the unrealized “Sprawling Mounds” in which he approached the “Sprawling Mounds” in which he approached the strip-mining industry in a massive environmental strip-mining industry in a massive environmental art project. The sculptor Roelof Louw wrote an essay art project. The sculptor Roelof Louw wrote an essay where he imagined how a visit to such a site would where he imagined how a visit to such a site would unfold: Visiting the project was like “setting out on unfold: Visiting the project was like “setting out on a pilgrimage to a wasteland” with enormous white a pilgrimage to a wasteland” with enormous white mounds of eroded misshapen surfaces of gravel mounds of eroded misshapen surfaces of gravel

A Sudden Liberating Thought A Sudden Liberating Thought Curated by Bjørn Inge FollevaagCurated by Bjørn Inge Follevaag

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In their work Dialectic of Enlightenment (1944) the In their work Dialectic of Enlightenment (1944) the German philosophers Theodor W. Adorno and Max German philosophers Theodor W. Adorno and Max Horkheimer, writing from their exile in the US, Horkheimer, writing from their exile in the US, stated: “What we had set out to do was nothing less stated: “What we had set out to do was nothing less than to explain why humanity, instead of entering than to explain why humanity, instead of entering a truly human state, is sinking into a new kind of a truly human state, is sinking into a new kind of barbarism”. The alienation in our modern times is barbarism”. The alienation in our modern times is seen as rooted in the instrumentality of reason and seen as rooted in the instrumentality of reason and technological manipulation as a precursor to the technological manipulation as a precursor to the entire history of mankind. But in our times, they entire history of mankind. But in our times, they write, it is no longer rooted in a specific historical write, it is no longer rooted in a specific historical formation, but has become blind. And yet, as the formation, but has become blind. And yet, as the philosopher Sloterdijk notices, «humans are beings philosopher Sloterdijk notices, «humans are beings that cannot not practice». The vita active is the way that cannot not practice». The vita active is the way of being-in-the-world, it resides deep inside the of being-in-the-world, it resides deep inside the human psyché. So how to act better? As Adorno human psyché. So how to act better? As Adorno wrote in Minima Moralia (1951): «Life is not yet wrote in Minima Moralia (1951): «Life is not yet life», das Leben leben niche.life», das Leben leben niche.

and rubble in an abominable mess – “a place where and rubble in an abominable mess – “a place where social values have fallen into disorder, where wealth social values have fallen into disorder, where wealth has turned into waste”. [From the article To the Ends has turned into waste”. [From the article To the Ends of the Earth: Art and Environment (2012) Tate.org.of the Earth: Art and Environment (2012) Tate.org.uk] What Smithson refers to is the term entropy; a uk] What Smithson refers to is the term entropy; a doctrine of inevitable decline and degeneration in doctrine of inevitable decline and degeneration in which our use of resources and raw material at some which our use of resources and raw material at some stage cannot rely on recycling. He says ”there's a stage cannot rely on recycling. He says ”there's a kind of equation between the enjoyment of life and kind of equation between the enjoyment of life and waste. Probably the opposite of waste is luxury. Both waste. Probably the opposite of waste is luxury. Both waste and luxury tend to be useless”.waste and luxury tend to be useless”.

Espedal approaches the concept of entropy through Espedal approaches the concept of entropy through painting and gives us here a panoramic view of painting and gives us here a panoramic view of entropic forces in action. The distant view leads us entropic forces in action. The distant view leads us to reflect on our position as part of a larger cosmic to reflect on our position as part of a larger cosmic story as well as our day to day life by using bricks, story as well as our day to day life by using bricks, a familiar illustrative form.a familiar illustrative form.

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outside their soon to be abandoned houses, Mu outside their soon to be abandoned houses, Mu Chen+Shao Yinong portray assembly halls in rural Chen+Shao Yinong portray assembly halls in rural villages falling into disrepair, Wang Qingsong villages falling into disrepair, Wang Qingsong with his “Follow Me” blackboard of logos of major with his “Follow Me” blackboard of logos of major international corporations, Yao Lu with his beautiful international corporations, Yao Lu with his beautiful classical Chinese landscapes made from waste at classical Chinese landscapes made from waste at construction sites, or as in the works of Jin Jiangbo construction sites, or as in the works of Jin Jiangbo whose images depict abandoned production whose images depict abandoned production facilities which are no longer profitable. facilities which are no longer profitable. (“Never (“Never Equal Distance to the Moon”, Stiftelsen314.com)Equal Distance to the Moon”, Stiftelsen314.com)

In his work Henning Olav Espedal easily falls into In his work Henning Olav Espedal easily falls into a category of concerned artists discussing possible a category of concerned artists discussing possible future scenarios. His sculptures have references to future scenarios. His sculptures have references to manmade disasters, to power stations or impending manmade disasters, to power stations or impending danger. In his sound-work we can vaguely register danger. In his sound-work we can vaguely register a faint whisper suggesting that our civilization a faint whisper suggesting that our civilization is fading into oblivion. And his brick paintings, is fading into oblivion. And his brick paintings, where he paints with concrete, carry references to where he paints with concrete, carry references to

The human impact on the world as such, The human impact on the world as such, exemplified by the growing human influence on exemplified by the growing human influence on land use, ecosystems, biodiversity, and species land use, ecosystems, biodiversity, and species extinction have made some geologists suggest that extinction have made some geologists suggest that we can replace the holocene with a new geological we can replace the holocene with a new geological epoch, the anthropocene. There is no turning back, epoch, the anthropocene. There is no turning back, they say, now it is time to ackowledge how – and they say, now it is time to ackowledge how – and to what extent – human activities have had global to what extent – human activities have had global impact on the Earth's ecosystems.impact on the Earth's ecosystems.

Many Chinese artists, especially within Many Chinese artists, especially within contemporary photography, have addressed contemporary photography, have addressed environmental issues in their work. Artists such environmental issues in their work. Artists such as Hong Hao with his images composed from as Hong Hao with his images composed from reassembled wastes, Chi Peng’s images of excessive reassembled wastes, Chi Peng’s images of excessive and non-sustainable growth, Liu Jin who portrays and non-sustainable growth, Liu Jin who portrays scaffolds around newly constructed high-rises scaffolds around newly constructed high-rises in cities, Ma Hongjie with his photographs of in cities, Ma Hongjie with his photographs of families with their meager belongings assembled families with their meager belongings assembled

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We cannot define the future, yet that is exactly what We cannot define the future, yet that is exactly what our politicians aim to do, by implementing change. our politicians aim to do, by implementing change. China’s politicians have also changed the future. China’s politicians have also changed the future. Some would say with tremendous success, but Some would say with tremendous success, but all will agree that this change has come at a price. all will agree that this change has come at a price. Former Chairman of the Communist Party, Deng Former Chairman of the Communist Party, Deng Xiaoping, defined China’s future with the slogan: Xiaoping, defined China’s future with the slogan: “One change a year, one big change in three years, “One change a year, one big change in three years, and one unidentifiable transformation in five years.” and one unidentifiable transformation in five years.” China’s lifting of millions of citizens from poverty to China’s lifting of millions of citizens from poverty to affluence is an impressive achievement in itself. The affluence is an impressive achievement in itself. The introduction of a liberal market economy, within the introduction of a liberal market economy, within the existing political system, has to a large extent been a existing political system, has to a large extent been a success. But the unidentifiable transformation Deng success. But the unidentifiable transformation Deng speaks of involves massive structural changes to the speaks of involves massive structural changes to the social, economic and cultural fabric of China. In the social, economic and cultural fabric of China. In the timespan of less than a generation China has gone timespan of less than a generation China has gone from bicycle to car, road to highway, hutong to high-from bicycle to car, road to highway, hutong to high-rise, enterprise to industry and village to metropolis. rise, enterprise to industry and village to metropolis.

the destruction of heritage, like the demolishing of the destruction of heritage, like the demolishing of China’s hutongs. Their traces are removed. Giving China’s hutongs. Their traces are removed. Giving space to superstructures of our time, mastodonts of space to superstructures of our time, mastodonts of concrete, glass and steel -the ruins of the future. A concrete, glass and steel -the ruins of the future. A future based on the concept of perpetual material future based on the concept of perpetual material growth, which in itself is unsustainable, and its growth, which in itself is unsustainable, and its inevitable consequence is suffering.inevitable consequence is suffering.

Even if one agrees that ours is a culture dominated Even if one agrees that ours is a culture dominated by insensivity to pain and a loss of memory, it is by insensivity to pain and a loss of memory, it is also true that there is simply no laying to rest the also true that there is simply no laying to rest the scars of violence and the ghosts of past suffering. scars of violence and the ghosts of past suffering. Espedal epitomizes Hegel’s thesis: “as long as there Espedal epitomizes Hegel’s thesis: “as long as there is an awareness of suffering among human beings is an awareness of suffering among human beings there must also be art as the objective form of that there must also be art as the objective form of that awareness.” But as Viriginia Woolf wrote: “But for awareness.” But as Viriginia Woolf wrote: “But for pain words are lacking.”pain words are lacking.”

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China’s authorities. Some of these issues are already China’s authorities. Some of these issues are already being addressed. Affluence increases consumption. being addressed. Affluence increases consumption. On its current development path food, water, oil, gas, On its current development path food, water, oil, gas, minerals, transport and energy become commodities minerals, transport and energy become commodities China's population increasingly requires, and China's population increasingly requires, and all of these resources are limited in supply. With all of these resources are limited in supply. With increased affluence comes increased use of these increased affluence comes increased use of these shared resources, but also increased responsibility. shared resources, but also increased responsibility. The way we handle our resources, our waste and The way we handle our resources, our waste and our environment eventually becomes a question of our environment eventually becomes a question of survival. It is a collective responsibility where key survival. It is a collective responsibility where key capitalist elements such as personal gain eventually capitalist elements such as personal gain eventually must yield to the needs of the many. must yield to the needs of the many.

This exhibition by Henning Olav Espedal offers an This exhibition by Henning Olav Espedal offers an artist’s perspective on some of the choices we have artist’s perspective on some of the choices we have made and what lies ahead.made and what lies ahead.

BJØRN INGE FOLLEVAAGBJØRN INGE FOLLEVAAG Oct. 2014Oct. 2014

An example of the scale of China’s development An example of the scale of China’s development can be observed in such projects as the Three Rivers can be observed in such projects as the Three Rivers Dam project or in the flattening of 700 mountains in Dam project or in the flattening of 700 mountains in Lanzhou to build a new metropolis. So perhaps the Lanzhou to build a new metropolis. So perhaps the folk tale about the old peasant Yu Gong, who decided folk tale about the old peasant Yu Gong, who decided to move two inconveniently located mountains away to move two inconveniently located mountains away from blocking the entrance to his home, is true: He from blocking the entrance to his home, is true: He struggled terribly, but ultimately succeeded. Hence struggled terribly, but ultimately succeeded. Hence the Chinese idiom “Yu Gong moves the mountains.”the Chinese idiom “Yu Gong moves the mountains.”

China’s role as production hub for the world has China’s role as production hub for the world has also had consequences beyond improving the also had consequences beyond improving the population’s living conditions; Consequences for population’s living conditions; Consequences for its air, water and soil. The never ending desire for its air, water and soil. The never ending desire for cheap labor and enterprise expansion by the West cheap labor and enterprise expansion by the West has also affected China. has also affected China.

The struggle to cope with progress, to foresee The struggle to cope with progress, to foresee possible futures and find solutions, is a vital issue for possible futures and find solutions, is a vital issue for

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挪威艺术家海宁挪威艺术家海宁··奥拉夫奥拉夫··艾斯佩达艾斯佩达（（Henning Olav EsHenning Olav Es--pedalpedal 以下简称：海宁）以下简称：海宁）在他的展览“豁然开朗”在他的展览“豁然开朗”（（A SudA Sud--den Liberating Thoughtden Liberating Thought））中强调了缘分、宿命及遁世的可中强调了缘分、宿命及遁世的可

能性等一系列主题。在其规模惊人的工业雕塑装置作品、能性等一系列主题。在其规模惊人的工业雕塑装置作品、

声音作品以及画作中，海宁展现了一种瓦解和持续再生声音作品以及画作中，海宁展现了一种瓦解和持续再生

的状态。的状态。

美国艺术家罗伯特美国艺术家罗伯特··史密森史密森（（Robert SmithsonRobert Smithson））在英国创在英国创

作的一系列作品中，有一件未能实现的“无计划扩展的山作的一系列作品中，有一件未能实现的“无计划扩展的山

丘”丘”（（Sprawling MoundsSprawling Mounds））。在该作品中，他通过巨大的环。在该作品中，他通过巨大的环

境艺术项目来表现露天开采行业。雕塑艺术家鲁洛夫·洛境艺术项目来表现露天开采行业。雕塑艺术家鲁洛夫·洛（（Roelof LouwRoelof Louw））在一篇文章中描述了其对于在这个地方在一篇文章中描述了其对于在这个地方

展开参观的设想：参观这个艺术作品仿佛是“开启一段展开参观的设想：参观这个艺术作品仿佛是“开启一段

前往荒原的朝圣之行”，由一片凌乱畸形且被侵蚀的砂砾前往荒原的朝圣之行”，由一片凌乱畸形且被侵蚀的砂砾

和碎石组成的巨大白色土丘——“使社会价值陷入动荡和碎石组成的巨大白色土丘——“使社会价值陷入动荡

骚乱的地方，使财富变得一文不值的地方”骚乱的地方，使财富变得一文不值的地方”（来自文章（来自文章 To To the Ends of the Earth: Art and Environment (2012) Tate.org.the Ends of the Earth: Art and Environment (2012) Tate.org.

豁然开朗豁然开朗毕昂·弗勒沃戈毕昂·弗勒沃戈 BJØRN INGE FOLLEVAAGBJØRN INGE FOLLEVAAG独立策展人独立策展人

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的异化疏远似乎已根植于理性工具和技术操纵，而作为的异化疏远似乎已根植于理性工具和技术操纵，而作为

人类整个历史的先驱。但是在我们的时代，他们写道，这人类整个历史的先驱。但是在我们的时代，他们写道，这

种疏远已经不再根植于某个特定的历史构造，而完全变种疏远已经不再根植于某个特定的历史构造，而完全变

得盲目。然而，正如哲学家斯劳特戴克得盲目。然而，正如哲学家斯劳特戴克（（Peter SloterdijkPeter Sloterdijk））所说， “人类是无法停止实践的存在”。积极的生活态度所说， “人类是无法停止实践的存在”。积极的生活态度

是存活于世的方式，它深藏在人类的灵魂深处。那么如是存活于世的方式，它深藏在人类的灵魂深处。那么如

何表现得更好？正如阿多诺在《最低限度的道德》何表现得更好？正如阿多诺在《最低限度的道德》((19511951))((Minima MoraliaMinima Moralia)) 中所写： “生命还不是生命”,“das Leb中所写： “生命还不是生命”,“das Leb--enleben niche”。enleben niche”。

人类对于世界的冲击 , 诸如在土地利用、生态系统、生物人类对于世界的冲击 , 诸如在土地利用、生态系统、生物

多样化和物种灭绝方面不断扩大的影响，已经促使一些多样化和物种灭绝方面不断扩大的影响，已经促使一些

地质学家呼吁用一个新的地质年代——人类世地质学家呼吁用一个新的地质年代——人类世（（the anthe an--thropocenethropocene））来替换全新世来替换全新世（（the holocenethe holocene））。他们指出，人。他们指出，人

类没有退路可走，是时候去承认人类的活动在何种程度类没有退路可走，是时候去承认人类的活动在何种程度

上、如何对地球的生态系统产生了全球性的广泛影响。上、如何对地球的生态系统产生了全球性的广泛影响。

许多中国艺术家已经在他们的作品中强调了环境问题，许多中国艺术家已经在他们的作品中强调了环境问题，

尤其是当代摄影。例如艺术家洪浩通过废弃品重组制作尤其是当代摄影。例如艺术家洪浩通过废弃品重组制作

ukuk））。史密森在作品中所涉及到的概念是术语“熵”，关于。史密森在作品中所涉及到的概念是术语“熵”，关于

不可避免的递减和退化的学说，即是说我们对于资源及不可避免的递减和退化的学说，即是说我们对于资源及

原材料的利用到达一定程度后就无法再进行循环利用。原材料的利用到达一定程度后就无法再进行循环利用。

他说“生活的乐趣和废弃物之间存在着一个等式。废弃他说“生活的乐趣和废弃物之间存在着一个等式。废弃

物的对立面大概是奢侈品，但废弃物与奢侈品都趋向于物的对立面大概是奢侈品，但废弃物与奢侈品都趋向于

无用之物。”无用之物。”

艾斯佩达透过绘画来表现“熵”的概念，同时在这里给艾斯佩达透过绘画来表现“熵”的概念，同时在这里给

我们一个全方位视角的“熵”力实施行动。长远来看引我们一个全方位视角的“熵”力实施行动。长远来看引

导我们反思自己作为一个更大宇宙故事中的一部分，在导我们反思自己作为一个更大宇宙故事中的一部分，在

其间所占据的位置，以及我们在日常生活中所占据的位其间所占据的位置，以及我们在日常生活中所占据的位

置——通过砖块这种熟悉又直观的形式。置——通过砖块这种熟悉又直观的形式。

在德国哲学家西奥多在德国哲学家西奥多··阿多诺阿多诺（（Theodor W. AdornoTheodor W. Adorno））和和

马克斯马克斯··霍克海默霍克海默（（Max HorkheimerMax Horkheimer））的著作《启蒙的辩的著作《启蒙的辩

证法》证法》((19441944)()(Dialectic of EnlightenmentDialectic of Enlightenment)) 中提到，也是他中提到，也是他

们在被流放到美国的时候：“我们决心要做的事业就是们在被流放到美国的时候：“我们决心要做的事业就是

要解释为何人类不能进入到一个真正意义上的人文境要解释为何人类不能进入到一个真正意义上的人文境

界，反而在一种新型的愚昧野蛮间越陷越深”。现代社会界，反而在一种新型的愚昧野蛮间越陷越深”。现代社会

27272626

的未来是以物质永久增长的概念为基础，那么饱受苦楚的未来是以物质永久增长的概念为基础，那么饱受苦楚

则是它无可避免的下场。则是它无可避免的下场。

即便有人同意我们的文化是由对痛苦的麻木和记忆的丧即便有人同意我们的文化是由对痛苦的麻木和记忆的丧

失所主导，但我们无法轻易将暴行的疮痍抹去，将饱受苦失所主导，但我们无法轻易将暴行的疮痍抹去，将饱受苦

楚的鬼魂安葬。艾斯佩达如此概括黑格尔的理论：“只楚的鬼魂安葬。艾斯佩达如此概括黑格尔的理论：“只

要人类有饱受苦难的意识，艺术就一定会以这种意识的要人类有饱受苦难的意识，艺术就一定会以这种意识的

客观形式而存在。”而又如弗吉尼亚 · 伍尔芙客观形式而存在。”而又如弗吉尼亚 · 伍尔芙（（Viriginia Viriginia WoolfWoolf））所说：“但语言远不足以表达痛苦。”所说：“但语言远不足以表达痛苦。”

我们无法定义未来，但这恰恰是我们的政治家们通过实我们无法定义未来，但这恰恰是我们的政治家们通过实

行改革，决心要做的事情。中国的政治家同样改变了未行改革，决心要做的事情。中国的政治家同样改变了未

来。有人或许会说中国的改革取得了惊人成就，但无可来。有人或许会说中国的改革取得了惊人成就，但无可

否认的是改革也付出了一定代价。中国共产党前国家主否认的是改革也付出了一定代价。中国共产党前国家主

席邓小平通过一句口号明确了中国的未来：“一年一小席邓小平通过一句口号明确了中国的未来：“一年一小

变，三年一大变，五年换新颜。”中国数以百万计的人民从变，三年一大变，五年换新颜。”中国数以百万计的人民从

贫穷到富足的腾飞本身就是一个伟大成就。在现行政治贫穷到富足的腾飞本身就是一个伟大成就。在现行政治

体制下，自由市场经济的引入在很大程度上取得了成功。体制下，自由市场经济的引入在很大程度上取得了成功。

但是邓小平所谈到的“新颜”，牵涉到了对于中国社会、但是邓小平所谈到的“新颜”，牵涉到了对于中国社会、

而成的影像作品；迟鹏作品中的过度发展和不可持续的而成的影像作品；迟鹏作品中的过度发展和不可持续的

增长；刘瑾在城市新建成的庞大楼宇间刻画的脚手架；增长；刘瑾在城市新建成的庞大楼宇间刻画的脚手架；

马宏杰镜头下许多家庭在即将被遗弃的房前及其贫寒的马宏杰镜头下许多家庭在即将被遗弃的房前及其贫寒的

家当；慕辰和邵译农记录了农村地区年久失修的礼堂；家当；慕辰和邵译农记录了农村地区年久失修的礼堂；

王庆松的作品“跟我学”中各大国际企业商标的牌匾；姚王庆松的作品“跟我学”中各大国际企业商标的牌匾；姚

璐通过建筑工地的废弃物拍摄合成美丽的中国古典山水璐通过建筑工地的废弃物拍摄合成美丽的中国古典山水

风景；以及金江波作品中展现的由于不再盈利而被遗弃风景；以及金江波作品中展现的由于不再盈利而被遗弃

的生产设施。的生产设施。((“Never Equal Distance to the Moon”, Stif“Never Equal Distance to the Moon”, Stif--telsen314.comtelsen314.com))

艾斯佩达的作品令他毫无疑问被归于重视并探讨未来各艾斯佩达的作品令他毫无疑问被归于重视并探讨未来各

种可能性的艺术家行列。他的雕塑涉及到了人为灾难、种可能性的艺术家行列。他的雕塑涉及到了人为灾难、

发电站或是迫在眉睫的危险。在他的声音作品中，我们发电站或是迫在眉睫的危险。在他的声音作品中，我们

可以依稀听到一个微弱的声音诉说着我们的人类文明正可以依稀听到一个微弱的声音诉说着我们的人类文明正

在逐渐湮没。他在砖块上用混凝土所绘制的作品引用了在逐渐湮没。他在砖块上用混凝土所绘制的作品引用了

传统遗产所遭到的破坏，例如中国不断被拆除的胡同。传统遗产所遭到的破坏，例如中国不断被拆除的胡同。

它们的痕迹已被抹除，而被今天随处可见的上层建筑所它们的痕迹已被抹除，而被今天随处可见的上层建筑所

替代，被混凝土、玻璃和钢筋这些庞然大物所替代——未替代，被混凝土、玻璃和钢筋这些庞然大物所替代——未

来的废墟。物质本身的增长是不可持续的，若一个社会来的废墟。物质本身的增长是不可持续的，若一个社会

29292828

随之而来的是不断增长的责任。我们处理资源的方式、我随之而来的是不断增长的责任。我们处理资源的方式、我

们对资源的浪费和我们的生活环境最终会演变成一个生们对资源的浪费和我们的生活环境最终会演变成一个生

存问题。这是一个集体责任，其中诸如个人利益这样的资存问题。这是一个集体责任，其中诸如个人利益这样的资

本主义核心要素必须服从于多数人的需要。本主义核心要素必须服从于多数人的需要。

海宁海宁··奥拉夫奥拉夫··艾斯佩达的这个展览以艺术家的视角阐艾斯佩达的这个展览以艺术家的视角阐

述了某些我们已做的选择和将要面对的选择。述了某些我们已做的选择和将要面对的选择。

毕昂·弗勒沃戈毕昂·弗勒沃戈 BJØRN INGE FOLLEVAAGBJØRN INGE FOLLEVAAG

20142014 年年 1010 月月

翻译：刘聪翻译：刘聪

经济和文化上的巨大结构性转变。在不到一代人的时间经济和文化上的巨大结构性转变。在不到一代人的时间

跨度内，中国已经用汽车替代了自行车，用高速公路替代跨度内，中国已经用汽车替代了自行车，用高速公路替代

了马路，用高楼大厦替代了胡同，用企业替代了工业，用了马路，用高楼大厦替代了胡同，用企业替代了工业，用都市替代了村庄。中国发展规模之大不难从一些项目工都市替代了村庄。中国发展规模之大不难从一些项目工

程中看出，例如三峡大坝工程，或在兰州铲平几百座大山程中看出，例如三峡大坝工程，或在兰州铲平几百座大山

来修建一个新的都市。或许中国民间故事中决心铲除家来修建一个新的都市。或许中国民间故事中决心铲除家

门口的两座险峻大山的老农愚公，真实地存在：他竭力门口的两座险峻大山的老农愚公，真实地存在：他竭力

斗争，而终究取得了成功。从此有了成语“愚公移山”。斗争，而终究取得了成功。从此有了成语“愚公移山”。

中国作为世界生产枢纽的角色，在提升人民生活水平之中国作为世界生产枢纽的角色，在提升人民生活水平之

外，也对空气、水和土地造成后果。而西方国家对于廉价外，也对空气、水和土地造成后果。而西方国家对于廉价

劳动力和企业拓展的无止境欲望也同样影响着中国。劳动力和企业拓展的无止境欲望也同样影响着中国。

努力应对发展、预见未来可能的问题及找到解决办法对中努力应对发展、预见未来可能的问题及找到解决办法对中

国当局来说是一个至关重要的议题。这其中的一些问题国当局来说是一个至关重要的议题。这其中的一些问题

已经被提出。富裕提高了国民消费水平。在它目前的发已经被提出。富裕提高了国民消费水平。在它目前的发

展路径来看，中国人对食物、水、汽油、天然气、矿产、交通展路径来看，中国人对食物、水、汽油、天然气、矿产、交通

和能源商品的需求在日益增长，但所有这些资源都是限量和能源商品的需求在日益增长，但所有这些资源都是限量

的。随着富裕的增长，对这些共享资源的使用率也在上升，的。随着富裕的增长，对这些共享资源的使用率也在上升，

31313030

Sculptures

UMBRA / Six sculptures, variable sizes. Six loudspeakers with amplifiers and three so

HYPERBOLOID双曲线体

# 1CONCRETE, IRON REBAR,

PIGMENT AND WAX 水泥 , 钢筋 , 颜料 , 蜂蜡

124×74×29cm

2012

37undtracks. 本影 / 6 件雕塑，尺寸可变。6 个带放大器的 3声道扩音器。




104×59×68cm

2012

41




141×97×95cm

2012

45




106×36×36cm

2013

49




161×65×63cm

2013

53




192×47×46cm

2014

57

Paintings

ENTROPY PAINTING 熵画 # 1 CONCRE TE ON CANVAS 布面水泥 Diptyque 双联 140×90×4cm [70×90×4cm×2] 201360

ENTROPY PAINTING 熵画 # 2 CONCRE TE ON CANVAS 布面水泥 Diptyque 双联 140×90×4cm [70×90×4cm×2] 201362

ENTROPY PAINTING 熵画 # 3 CONCRETE ON CANVAS 布面水泥 Diptyque 双联 200×162×5cm [100×162×4cm×2] 201364

ENTROPY PAINTING 熵画 # 4 CONCRETE ON CANVAS 布面水泥 230×145×5cm 201366

ENTROPY PAINTING 熵画 # 5 CONCRETE ON CANVAS 布面水泥 Triptyque 三联 180×60×5cm [60×60×5cm×3] 201468

ENTROPY PAINTING 熵画 # 6 CONCRETE ON CANVAS 布面水泥 9 pieces 九联 300×300×5cm [100×100×5cm×9] 201470

GRAVITATION 引力 # 1 CONCRETE ON CANVAS 布面水泥 9 pieces 九联 190×190×6cm 201472

GRAVITATION 引力 # 2 CONCRETE ON CANVAS 布面水泥 9 pieces 九联 190×190×6cm 201474

Drawing

CAVEMAN 野蛮人INK AND COAL ON CANSON PAPER炭 ,水墨 ,法国康颂纸140×110cm2012

78

SPRING 春天INK AND COAL ON CANSON PAPER炭 ,水墨 ,法国康颂纸250×110cm2014

80

AN ARMFUL 抱抱INK AND COAL ON PAPER炭 ,水墨 ,纸本109×79cm2014

82

THE UNDERTAKING 承诺INK AND COAL ON CANSON PAPER炭 ,水墨 ,法国康颂纸240×220cm2014

84

HENNING OLAV ESPEDALHENNING OLAV ESPEDAL

Born in 1980 in Gjøvik, Norway. Born in 1980 in Gjøvik, Norway. Lives and works in Beijing since 2009Lives and works in Beijing since 2009

EDUCATION:EDUCATION:2004 – 2006 Master in Sculpture 2004 – 2006 Master in Sculpture National College of Art and Design National College of Art and Design Oslo, Norway Oslo, Norway 2001 – 2004 Bachelor in Metal Art 2001 – 2004 Bachelor in Metal Art National College of Art and Design National College of Art and Design Oslo, Norway Oslo, Norway 2003 - 2004 Sculpture 2003 - 2004 Sculpture Florence Academy of Art Florence Academy of Art Florence, Italy Florence, Italy 1999 – 2000 Creative arts 1999 – 2000 Creative arts Nansen Academy Nansen Academy Lillehammer, Norway Lillehammer, Norway

EXHIBITIONS:EXHIBITIONS:2014 A SUDDEN LIBERATING THOUGHT2014 A SUDDEN LIBERATING THOUGHT Amy Li Gallery, Beijing, ChinaAmy Li Gallery, Beijing, China 2013 FOREIGN POSITION 2013 FOREIGN POSITION ShangDong Contemporary, Nanjing, ChinaShangDong Contemporary, Nanjing, China 2013 SHARPER IMAGE II 2013 SHARPER IMAGE II artSTRAND, Provincetown, USA artSTRAND, Provincetown, USA

2012 UNTITLED 2012 UNTITLED Fjordheim Gallery, Biri, Norway Fjordheim Gallery, Biri, Norway

2012 ROOM FOR ART 2012 ROOM FOR ART Peder Balke-Center, Kapp, Norway Peder Balke-Center, Kapp, Norway

2011 INCUBATOR 2011 INCUBATOR Li-Space, Beijing, ChinaLi-Space, Beijing, China

2011 GLASS 2011 2011 GLASS 2011 Gjøvik ART Association, Norway Gjøvik ART Association, Norway

2010 MIRRORED 2010 MIRRORED True Color Museum, Suzhou, China True Color Museum, Suzhou, China

2009 THREE YOUNG ARTISTS 2009 THREE YOUNG ARTISTS Peder Balke-Center, Kapp Norway Peder Balke-Center, Kapp Norway

2008 FIGURATION 2008 FIGURATION Sculpture Arena East, Oslo, Norway Sculpture Arena East, Oslo, Norway

2008 SUMMERSHOW 2008 SUMMERSHOW Svae Gallery, Gjøvik, Norway Svae Gallery, Gjøvik, Norway

2007 GROUPSHOW 2007 GROUPSHOW The Art House, Oslo, Norway The Art House, Oslo, Norway

2006 LATEST ISSUANCE 2006 LATEST ISSUANCE The Canvas Factory, Oslo, Norway The Canvas Factory, Oslo, Norway

2005 ENGELSEN 2005 ENGELSEN Peder Balke-Center, Kapp, NorwayPeder Balke-Center, Kapp, Norway

2004 DROP IN 2004 DROP IN Podium, Oslo, NorwayPodium, Oslo, Norway

87878686

海宁海宁 · · 奥拉夫奥拉夫 · · 艾斯佩达艾斯佩达

19801980 年生于约维克 , 挪威年生于约维克 , 挪威

20092009 年至今生活工作于北京年至今生活工作于北京

学历：学历：

2004 – 2006 2004 – 2006 硕士 , 雕塑系国家艺术与设计学院 , 奥斯陆 , 挪威硕士 , 雕塑系国家艺术与设计学院 , 奥斯陆 , 挪威

2001 – 20042001 – 2004 学士 , 金属工艺系国家艺术与设计学院 , 奥斯陆 , 挪威学士 , 金属工艺系国家艺术与设计学院 , 奥斯陆 , 挪威

2003 - 20042003 - 2004 雕塑系，佛罗伦萨艺术学院，佛罗伦萨 , 意大利雕塑系，佛罗伦萨艺术学院，佛罗伦萨 , 意大利

1999 – 20001999 – 2000 创意艺术，南森学院，利勒哈默 , 挪威创意艺术，南森学院，利勒哈默 , 挪威

展览：展览：

20142014 豁然开朗豁然开朗艾米李画廊 , 北京 , 中国艾米李画廊 , 北京 , 中国

20132013 外来的姿态外来的姿态尚东当代艺术 , 南京 , 中国尚东当代艺术 , 南京 , 中国

20132013 更清晰的图像之二更清晰的图像之二 artSTRANDartSTRAND, 普洛，美国, 普洛，美国

20122012 无题无题 FjordheimFjordheim 画廊 , 比里 , 挪威画廊 , 比里 , 挪威

20122012 空间艺术空间艺术 Peder BalkePeder Balke 中心 , 中心 , KappKapp，挪威，挪威

20112011 孵化器孵化器荔空间 , 北京 , 中国荔空间 , 北京 , 中国

20112011 玻璃玻璃 2011 2011 约维克协会，挪威约维克协会，挪威

2010 2010 镜象镜象本色美术馆 , 苏州 , 中国本色美术馆 , 苏州 , 中国

2009 2009 三位年轻艺术家三位年轻艺术家 Peder BalkePeder Balke 中心，中心，KappKapp，挪威，挪威 2008 2008 成形成形东雕塑场 , 奥斯陆，挪威东雕塑场 , 奥斯陆，挪威

2008 2008 夏季展夏季展 SvaeSvae 画廊 , 约维克，挪威画廊 , 约维克，挪威

2007 2007 群展群展艺术之家，奥斯陆，挪威艺术之家，奥斯陆，挪威

2006 2006 最新发布最新发布帆布工厂，奥斯陆，挪威帆布工厂，奥斯陆，挪威

2005 ENGELSEN 2005 ENGELSEN Peder BalkePeder Balke 中心 ,中心 , KappKapp，挪威，挪威

2004 2004 放下放下主席台 , 奥斯陆，挪威主席台 , 奥斯陆，挪威

89898888

p.35HYPERBOLOID / 双曲线体# 1CONCRETE, IRON REBAR, PIGMENT AND WAX 水泥 , 钢筋 , 颜料 , 蜂蜡124×74×29cm2012


p.60-61ENTROPY PAINTING / 熵画 # 1CONCRE TE ON CANVAS 布面水泥 Diptyque 双联140×90×4cm [70×90×4cm×2] 2013

p.62-63ENTROPY PAINTING / 熵画 # 2CONCRE TE ON CANVAS 布面水泥 Diptyque 双联140×90×4cm [70×90×4cm×2] 2013

p.64-65ENTROPY PAINTING / 熵画 # 3CONCRETE ON CANVAS 布面水泥 Diptyque 双联200×162×5cm [100×162×4cm×2] 2013





Index

9190

p.64-65ENTROPY PAINTING / 熵画 # 3CONCRETE ON CANVAS 布面水泥 Diptyque 双联200×162×5cm [100×162×4cm×2] 2013

p.68-69ENTROPY PAINTING / 熵画 # 4CONCRETE ON CANVAS 布面水泥230×145×5cm 2013

p.85THE UNDERTAKING / 承诺INK AND COAL ON CANSON PAPER炭 , 水墨 , 法国康颂纸 240×220cm 2014

p.83AN ARMFUL / 抱抱INK AND COAL ON PAPER 炭 , 水墨 , 纸本109×79cm 2014

p.79CAVEMAN / 野蛮人INK AND COAL ON CANSON PAPER炭 , 水墨 , 法国康颂纸 140×110cm 2012

p.72-73GRAVITATION / 引力 # 1CONCRETE ON CANVAS布面水泥 9 pieces 九联190×190×6cm2014

p.81SPRING / 春天INK AND COAL ON CANSON PAPER炭 , 水墨 , 法国康颂纸250×110cm2014

p.74-75GRAVITATION / 引力 # 2CONCRETE ON CANVAS布面水泥 9 pieces 九联190×190×6cm2014p.70-71

ENTROPY PAINTING / 熵画 # 6CONCRETE ON CANVAS 布面水泥 9 pieces 九联300×300×5cm [100×100×5cm×9]2014

9392

A SUDDEN LIBERATING THOUGHTHenning Olav Espedal solo exhibition

Exhibition Duration: 16. Nov-31. Dec 2014

Editor in Chief: Amy Y. LiProduced By: Amy Li Gallery Translator:Liu CongDocumentation: Xue Lian Documentation Proofreading: Pierre-Yves Martinez, Xue Lian Photo: Dong LinEngraved and printed in: Beijing QL-ART printing Co.LTD Designer: typo_dSize: 148×196mmPrinted Matters: 3Images: 31Words: 10,000Publishing Date: Nov.2014Special Thanks: Hugh Kater, Johannes & Tore, Li Daiyun, Liu Liyun, Luo Hongru, Yu Fan

豁然开朗海宁 · 奥拉夫 · 艾斯佩达个展

展览时间 : 2014 年 11 月 16 日 – 12 月 31 日

主编 : 李颖监制 : 艾米李画廊翻译 : 刘聪资料整理 : 薛莲资料校对 : PYM, 薛莲摄影 : 董林制版印刷 : 北京奇良海德印刷有限公司装帧设计 : typo_d成品尺寸 : 148×196mm印张 : 3图片 : 31字数 : 3,020印次 : 2014 年 11 月第一次印刷特别感谢 : Hugh Kater、Johannes & Tore、李岱昀、刘俐蕴、雒宏茹、于凡

版权所有 , 翻版必究All rights reserved. No part of the work may be reproduced or transmitted in any form or by any means without permission in writing.

henning olav espedal // a sudden liberating thought

Art & Photos