无秀波 — 董大为个展 新闻稿

《无秀波》是董大为在空间站年底推出的最新个展，是自去年《果园和梨园之间有九棵树》展览的发展和延续，将于2013年11月23日开幕，持续至12 月20 日。此次展览为您呈现董大为从一个墨点开始衍生为一个系统的马克笔系列作品的最新研究的阶段性成果。

董大为此次展览的新作继续主动地寻求限制与戒律，作为创作的基本动能。通过个人对限制的适应与变通，发明新的技术手段。他并非先有设想再寻求实现的方式，而是借自我实施的限制起步，通过操作去发现和梳理那些错过的可能。所以他称之为技术的实际是技术的初始，这种技术无用却是激发想象的手段，带来看待同样事物的奇妙视角。

此次展出的马克笔系列作品中，每一笔接触纸张只一次机会。手在静止中密切掌握着墨点洇开的时机，笔移开之后，墨点在目光的注视中继续洇开直到刚刚碰触到前一个墨点停止。从第一笔到最后一笔完成不得松气，最终结果视纸背面的情况才得知。董大为如同一个狩猎的原始人——弯弓瞄准、等待、放箭，注视箭在空中的飞行直至射中猎物。最终他执行作品时没有出错的余地，现实的不可预测（缺陷）必须得到应对和改造，一切皆在他的考虑之中。在董大为改造现实的实践中，他自身意图的转向（应变力）才是真正的焦点而非手头经验的增长。艺术家是位借力高手，他在他的画作中选择了不现身，他的手与我们看到的画面一纸之隔。现实和虚拟之间，图像与观念之间，意图是那只飞行的箭，越是明晰，射程越远。

Achromatic Ripples - Dong Dawei Solo Exhibition   Press Release

"Achromatic Ripples" is Dong Dawei's most recent effort at Space Station. The exhibition opens from Nov. 23rd, 2013 to Dec. 20th 2013. It is a continuation of the development of his body of work from last year's exhibition "Repetition and Multiplicity". This exhibition will present Dong Dawei's experiment with marker pen on paper, from an accidental ink stain to an impeccable technical scheme.

Dawei continues in his recent drawings to employ obstruction and dogma as basic driving force. Through a personal effort to cope and wrestle with obstructions, he strives to invent a new technique, not to achieve specific goals, he has no preconceived objectives; instead, to discover and comb through the possibilities that might have been otherwise overlooked. Thus what he meant by technique is a primitive kind, which is not particularly useful but instrumental to imagination and presents him curious new angles to see the familiar.

In the recent series of drawings created with marker on paper, there is only one chance to do it right. The artist's hand is kept as still as possible, while scrutinizing the growing stain to control timing, once the marker is lift off paper surface, the ink stain continue to grow until it just touches the previous one and stops. No adjustments is possible once marker and paper have made contact; the result would remain mysterious until the backside is revealed. Taking a long breath, from the first touch to last, Dawei is like a primitive hunter, bending the bow to take aim, waiting, let fly of the arrow, look on as arrow flies in the air until it reaches the quarry. Eventually he leaves no room for error. All unpredictable irregularities in the real world must be responded and everything considered. During Dawei’s reconfiguration of reality, his own shift of will is the center of focus, not the accumulation of empirical skill. Dawei chose to stay invisible in his own work. Between real and virtual, conceptual and visible worlds, idea is the flying arrow, clarity equals range.

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