承露无际 Endless Dew 前言
卢征远特别艺术项目 Lu Zhengyuan Art Project
如韩国哲学家韩炳哲所指出的，在当代社会，数字化与技术进步正致使一种范式的转变——即从事物客体的物质性，到非物质数据和信息的短暂性。当代艺术家总对所在世界的变化饱有敏感，并将这种社会哲学辩论内在化，将艺术对象的物质性作为他们探索的重心。
As pointed out by Korean philosopher Byung-Chul Han, in contemporary society digitalization and technological advancement are determining a paradigm shift from the materiality of things and objects to the ephemerality of the non-things, namely data and information. Contemporary artists, always sensitive to the transformations of the world we live in, internalize this socio-philosophical debate, often bringing back the materiality of the artistic object at the centre of their exploration.
艺术家卢征远通过广泛的材料和实验，用一种独特且多元的、概念主义的艺术实践，探索了未知领域与当代现实的复杂性。承露无际 – 卢征远特别艺术项目，从北京怡亨酒店的太空舱延伸到芳草地画廊，是艺术家从客观物质性到主观感性的探索延续。
Lu Zhengyuan, through a unique and multifaceted artistic practice imbued with conceptualism, explores the realm of the unknown and the complexity of contemporary reality through a wide range of materials and practices. Lu Zhengyuan Art Project titled Endless Dew, stretching from the Cocoon Room of the Éclat Hotel to Parkview Green Art, represents the continuation of the artist’s exploration of objective materiality and subjective emotionality.
承露无际在宏观上从美学和概念的角度呈现了一个多面、多元化且迷离的空间供观者体验。卢征远让观者反思客观印象与主观认知之间的相互关系，鼓励观者解构艺术的视觉物质性，以解读其中的意义、寓言和隐喻，使作品成为神秘而生动的艺术。
Endless Dew represents a multifaceted, diversified and puzzling space open to be experienced by the viewers, both from an aesthetic and conceptual point of view. Lu Zhengyuan, encouraging the viewers to reflect upon the relationships between objective impressions and subjective cognitions, invites them to deconstruct the visual materiality of the artistic object, to decipher meaning, allegories and metaphors and to grasp the magic aura of the work of art that makes it mysterious and alive.
近年来，卢征远的艺术实践充满了实验性，他将多元材料赋予观念意义，同时引入“剧场”概念，通过调动观者的五维感官，试图呈现一个可信的奇幻纬度，同时开辟新的评释框架和可理解视角。
In the latest years, Lu Zhengyuan’s praxis has been imbued with experimentation: the artist, using a wide range of material bestowed with new meanings, introduces the concept of “theatre” in his works, thus stimulating the viewers’ senses and trying to create a credible and at the same time fantastic dimension to open new interpretative possibilities and conceptual frameworks.
承露无际，在与观众建立互动关系的同时，激活了多感官体验，唤醒了观众联结精神和情感的能力，同时开启了全新表达和解释的可能性。
Endless Dew, while establishing an interactive relationship with the viewers, activates a multisensorial experience which awakens the viewers ability of creating mental connections and emotional associations, while opening new expressive and interpretative possibilities.
作品介绍Introduction
天地相合，以降甘露。”——《老子》
“When heaven and earth mingle, sweet dew will fall.”——LaoZi
在中国古代，甘露被视作“德惠之泽”与“太平之兆”，其亦被帝王将相当成延年益寿的瑞物，历史上更有汉武帝建承露盘的记载。甘露降祥，润泽万物，古人通过采撷甘露承接天地之福禄。《承露无际》试图捕捉定格“承露盘”承接“甘露”降下的瞬间意象，激活人们的感知、视觉及语义间的融合体验，亦呈现天地自然、天人合一的东方哲思。
In Ancient China, Sweet Dew was associated with the idea of “virtue and goodness leading to prosperity” and was a symbol of peace. It was also considered as an auspicious object for Emperor longevity. There are historical records of the realization of Chenglupan (a dew plate) used to collect Sweet Dew during the reign of the Emperor Wu of the Han Dynasty. The Ancients believed that they could inherit the blessing of earth and heaven by gathering Sweet Dew. Endless Dew, in the attempt to crystalize the moment when the falling Sweet Dew is collected into the Changlupan, provides the viewers with a sensorial, visual, and semantic, while also representing the Eastern philosophical concept of the harmonious relationship between heaven and nature, the unity of Heaven and Humanity.
作品依托侨福芳草地怡亨酒店太空舱所处的顶层语境，将清透易碎的琉璃“水露”，璀璨坚固的“承露盘”，富有生命力的水、阳光及植物糅合成一个打破五官经验的剧场空间，从而探索人、物质、空间、生态自然与周围环境间所存在的复杂关系。
The work, specifically created for the unique space of the Cocoon Room on the top floor of Éclat Hotel, combines transparent glass- containers, bright and solid golden- colored structures, vibrant and lively water, light and plants to create a multi-sensorial theatre- like space to explore the complex relationship between humans, material, space, nature and surrounding environment.
艺术家引用后人类主义哲学原则，摆脱一切以人为中心的世界观，基于多物种共生的新愿景，将中国传统思维体系与西方后人类哲学语境相结合，引发人们思考人与自然的共生问题。近年来，卢征远的艺术实践充满了实验性，他将多元材料赋予观念意义，同时引入“剧场”概念，通过调动观者的五维感官，试图呈现一个可信的奇幻纬度，同时开辟新的评释框架和可理解视角。
The artist, referencing principles of posthumanism, attempts to break away from anthropocentrism with the aim to embrace a multi- species perspective: combining Chinese traditional thinking system with western posthuman philosophical discourse, Lu Zhengyuan encourages the viewers to think about the symbiosis between human beings and nature. In the latest years, Lu Zhengyuan’s praxis has been imbued with experimentation: the artist, using a wide range of material bestowed with new meanings, introduces the concept of “theatre” in his works, thus stimulating the viewers’ senses and trying to create a credible and at the same time fantastic dimension to open new interpretative possibilities and conceptual frameworks.
《承露无际》在宏观上从美学和概念的角度呈现了一个多面、多元化且迷离的空间供观者体验。卢征远让观者反思客观印象与主观认知之间的相互关系，鼓励观者解构艺术的视觉物质性，以解读其中的意义、寓言和隐喻，使作品成为神秘而生动的艺术。
Endless Dew represents a multifaceted, diversified and puzzling space open to be experienced by the viewers, both from an aesthetic and conceptual point of view. Lu Zhengyuan, encouraging the viewers to reflect upon the relationships between objective impressions and subjective cognitions, invites them to deconstruct the visual materiality of the artistic object, to decipher meaning, allegories and metaphors and to grasp the magic aura of the work of art that makes it mysterious and alive.