司博闻个展“ 物种园中的人 ”已于新氧艺O2art空间开幕，展览将持续至2020年5月26日。
- 展览作品 -
在此次于新氧艺O2art的展览《物种园中的人》中，司博闻共展出了十多件作品，其中他对于身体的处理格外引人注目。在艺术家笔下，几乎所有的身体都没有头部或部分肢体，他们如同静物，被剥离了具体身份，回到一种更“自然”的状态里。例如《握手》这件作品，两个形体坐在一片看似会议室的空间内，而形体本身却被艺术家处理地裸露且扭曲，如同未开化的动物，使得握手这一被人类文明赋予意义的行为显得格外荒诞。在《开车时候的两个人》中，男性与女性以一种平行关系呈现在画面中，后者如同位于乌尔比诺维纳斯( Venus of Urbino），而前者男性却背对观众，在背景闪现的一片蓝绿风景和简单的汽车轮廓中，应带有某种暧昧关系的两者因缺乏叙事暗示而彼此独立起来。这种独立的个体性在《冲突》中更为显著，只不过以一种更剧烈的方式表现出来：他们分别被艺术家留下了一个被截取的动作，但在两片不同的阴影中，两者似乎在不相干地面对各自困境。在表面讨论的性别问题下，艺术家更注重的是单独个体所带来的沉思：作为具有思考能力的一种生物，人类是如何面对、激发、判定、理解所面对的客体的，以及如何回望自身。
Si Bowen: Body of the Anonymous
Compared with those of the previous years, Si Bowen's recent works are purer, or in other words, what they convey now is simpler and closer to the reality, while preserve the depth. Anonymous subjects still exist, but the previous grand narrative of seemingly myth or dreams was gradually dismantled by the artist. They are replaced by a multi-dimensional presentation of one certain action, which might be traced to what he has experienced in daily life or news photos he has read. His creation is like the Heterotopia proposed by Foucault, where a road to existence has been opened. In his recent works, there are less stories but more images of reality. They are received, smashed, interpreted and finally transplanted to the pictures by the artist's subconscious.
Si Bowen, who came from the First Oil Painting Studio of the Central Academy of Fine Arts, had studied abroad in France for two years. His study experiences partly explained the classical visual language and preferred themes that has been running through his works. When talking about his work, the artist emphasizes the importance of "relationship". Indeed, we can see arrys of different relationships in his paintings: between colors, bodies, human and environment, self and others, etc.. All these make his paintings filled with implicit and subtle balance. On the other hand, the strong, broken and distorted bodies painted by Si Bowen also carry his most intuitive feelings during the creation process, just as what Deleuze elaborated as the "painting sensation" in Bacon's paintings, where the "sensation" is gradually unfolded in the details of the works: both the tension and rhythm are hidden in the brushwork and occasionally bright colors. They seem like opportunities provided by the artist for us to appreciate the real intention behind the work, from which the viewers peer into the work and embark on the journey step by step.
In the exhibition In the Garden of Species at O2art, Si Bowen has displayed more than 10 recent works, among which his treatment of the body was undoubtedly noticeable. In these works, bodies have no heads or limbs, turning themselves as inanimate objects that has been stripped of their specific identities and back to a more "natural" state. For example, in the work Handshake, the two bodies are sitting in a space that looks like a conference room, while the bodies themselves are exposed and distorted by the artist, just like uncivilized animals. All of these make handshaking, an cultured act endowed with meaning, absurd. In Two People While Driving, the man and woman are presented in a parallel relationship in the painting. The latter is like Venus of Urbino, while the former turns his back to the audience. In the blue green scenery in the background and the simple outline of the car, the two people, who are supposed to have an affair, become independent due to lack of narrative hints. This independent individuality is even more obvious in Conflict, which is shown in a more intense way: each of them is left with an intercepted action by the artist, but in two different shadows, the two seem to be facing their respective dilemmas without interfering each other. Behind the discussion on gender issues, the artist put more attention on the discussion of individuals: as a creature with thinking ability, how human beings face, stimulate, judge and understand the objects they confront and how to observe the reflection of themselves.