前言/ 贾廷峰

从2016年俞心樵个展《安静》至今己过了半年之久，似乎命运的捉弄，关於此次展览及俞心樵本人在极不安静的状况下发生许多惊涛骇浪的变化，正如俞诗中所说：用安静批判一切安静。这种悖论构成当下这个浮燥而喧嚣的时代一种奇异的风景。

基於对悲观的社会现实及生存现状的深刻考量，艺术家俞心樵以近作《命运》系列给予了回应。他认为集体价值观的大面积坍塌，不可仅仅诉诸於政治形态、社会环境、历史遗传的外部藉口，其根本问题在於个体自我意识的觉醒。他将掌纹这一具有特定象徵内涵的文化符号置於画面中心并加以放大，从而形成一种局部特写的陌生化效果，一方面是对掌纹所承载的命运指涉意义的消减，一方面又是对掌纹所影射的个体意识的强化与肯定。衬於绚烂底色之上的盲文，同样是俞心樵作品中不可或缺的符号，零星凸起的图钉，紮根於画板之下，一股喟叹命运多舛的扼腕感随之而生。盲文似枷锁，掌纹似伤痕，盘亘在每一位观者的灵魂深处，将其引渡到意志与肉身的对决中，去扼住命运的咽喉。神性与人性，宿命与搏命，个体与众生，在俞心樵的观念表达中，渐己突显悲情英雄主义情怀。

显然，俞心樵不信命。所有的苦难和荆棘於其而言，只是磨刀石，是为了让他警觉周遭的黑暗，保持在一种锋利的状态，时刻准备破开庸常世界的精神雾霾。他的艺术同样如此，饱含深刻的思想厚度与锐度和鲜明的诗学质感，显示出极其强烈的人文情怀及知识份子的忧患意识、悲悯家国情怀，俞心樵一直在探索艺术如何能行之有效地介入到社会现实中来，从而为空洞乏味的中国艺术界提供优质的别样思考与实验。相较於那些光彩夺目的浮夸炫技与矫情造作的无病呻吟，俞心樵从纯粹的人性出发，去触及与揭开本质层面的真相，以深邃的智慧去涤荡迷途的羔羊。从其作品中，体察到强烈的批判意识，有一种拷问内心的灼烈痛感，这种痛感反复地提醒我们，必须跳出生理官能的局限，才能获得超越感觉世界的心性自由。在可喟、可叹、似控、非控的情绪中，俞心樵抛出了一个世人皆不可回避的选择，是安於现状，还是突破樊笼？在其看来，一切昨日似已命中注定，明朝又物是人非，其实，全由自由意志的选择和心灵深处的指引。

太和艺术空间打破常规，再次举办俞心樵 个展《命运》，实际上是经过谨慎考量後的决定。一方面本次展览作品是对《安静》的延续和深入，在语言风格上具有一定的承接和拓展，在作品精神内核上更富针对性的人文思考。另一方面，由於《安静》所带来的不同凡响，太和艺术空间接收到来自广泛领域对俞心樵的拳拳期待，於是特以2017迎春展的方式为大家奉上俞心樵的新作展。此展之後，俞心樵即将离京远行，因此，这也将是一次为了重聚的告别。

PrologueBy Tingfeng JIA

It has already been more than 6months since 2016 Yu xinqiao’s (hereby as Yu) solo exhibition passed， it seems that the fate has been playing a trick on him， about this exhibition and the changes that has happened through the extremely un-peaceful conditions. Just as Yu’s poem once said： ”May the peace critique on peace.” This paradox has become a phenomenon of this superficial and noisy era today。

Based on the consideration of pessimistic reality of the society， Yu’s recent work “fate” series has answered to it. He believes that the vast collapse of the collectivism shouldn’t be only explained and excused by external excuse such as the political point of view， social environment， and history， because the core problem is the awakening of our individualistic consciousness. He puts the palm print that represents the culture symbol in the middle of the painting and enlarges it， this is in order to create a kind of “defamiliarization” to the feature of a specific part. On one hand it is a subtraction towards the fate that the palm prints carry (palm prints are usually infer to one’s life and fate in Chinese superstition beliefs)， while on the other hand it’s to reflect palm prints strengthening influence towards individualistic consciousness. Braille that was set on the magnificent paint is also an important part of Yu’s symbols； dots that are fragmentally goes up and down were rooted on the surface of the palette that creates a feeling of pity. Braille is like chains， and palm prints are like scars， they are lingering in the deepest part of every viewer’s soul， and guide them towards the conflict between physical body and the consciousness， strangling the throat the fate. Divinity and mortality， fate and defy fate，individual and all living， under the expression and concept of Yu， and it all highlights the pathos sentiment on the work.

It is obvious， that Yu doesn’t really believe in fate. Through all kinds of pain and suffering to him were just honing for his life， and the purpose is to let him aware of the darkness that’s surrounding him， and it keeps him sharp all the time， makes him prepare to break through the mediocre haze of our world. His art is the same， full of deep thoughts and sharp poetic texture that expresses his strong humanism concern， and sympathy to his nation as an intellectual person. Yu has always been searching for a way to use art as interference towards the social reality， which would bring in some new thoughts and experiment to today China’s doleful art circle. Compare with those colorful， magnificent， and “skillful” works and their fake groaning， Yu’s works are all based on pure humanity， to touch and reveal the truth within， to guide those “lost sheep” with his wisdom. From his works， we could feel his strong criticism， and the pain of torture； this “pain” has been repeatedly reminding us to obtain the freedom of our soul that surpasses the world， we must step out of the physical limitations first. In those complicated emotions of sigh， praise， controllable， and incontrollable， Yu has thrown out an inevitable option， is it to stay where we are？ Or to break through the cage of our heart？ To his point of view， what has happened has happened， what are going to happen we might never know， the guidance is the freewill and the decisions in your mind.

Tai he art gallery break down the rules and once again opens Yu Xinqiao’s solo exhibition “Fate”， is actually a well thought decision. In one hand this exhibition is the continue and embed of Yu’s previous exhibition “peace”， and has extended the art language， and style towards the previous exhibition， and adds more humanism thoughts to the core spirit of the work. In another hand， because of the impact that “peace” has brought， Tai he art gallery has received many expectations and hopes from many areas. Therefore， we are proudly present Yu’s newest works on the 2017 Spring exhibition， after the exhibition， Yu is going to leave Beijing for a faraway journey， so it’s a farewell for the reunion.