Caelis Galería 恪理画廊欣然宣布，筹备多时的M50新空间将于2023年8月15日开幕，⻅证恪理画廊 将迈向新的里程碑。开幕展「在川之畔」(Musing by the Riverbank) 将于2023年8月15日至9月28日呈现，展出来自世界各地的十位艺术家的作品。

「在川之畔」，源自“不会两次踏进同一条河流”引发的跨时代对话。古希腊时代，赫拉克利特的“万物流变”从哲学的基本问题出发，承载感官经验基础上的宇宙生成论的普遍性。罗森茨威格则将世界观比作“浸到河流中的碗”，通过凝思这只碗进行观世，认为我们所捧起的碗，舀起的只是世界川流 中一个孤立静止的片段。上世纪四十年代，毛姆写道“河水流去，继之流来的水仍旧一样，清凉沁人”，进而绕过社会时间的范畴，展开对精神内在与个体意识的探讨。客观与主观之辩交相辉映下的 河畔之思，何以绽放着永恒的魅力?

若拨开表面流淌的川流，时间的母体问题在此凸显。它往往与社会的深层结构相连，从古代自然经济赋予的时空属性、非抽象性，到弥赛亚主义 (Messianism) 渲染下的不可逆线性矢量时间，再到手工工场影响下的标准化匀质时间。标尺之下，似可瞥⻅现代时间的特征:时间公共化带来的个体自 由压迫、未来至上的上升直线。据此，海德格尔的“四维空间”理论——外来、现在、过去，与它们之间的相互游戏 (Zuspiel)——构成对现代时间观的本质性批判:时间是“此在” (Dasein) 的存在状态， 因“到时” (Zeitung) 而存在。这种对主客二元对立的突破性探讨，以及对“在时间之内”状态的重视， 成为本次展览的伏笔之一。

艺术家在创作中，需要面对一条条深浅未知的川流，它们或呈现湍急、蜿蜒、壮阔的不同状态，但无一不是充斥着变化，琅琅地奔向前方。本次展览的十位艺术家植根于不同的文化环境，他们的作品相聚于苏州河畔，向引发先哲沉思的奔流发问，求解错综复杂的当代问题。

找寻时间与存在共同规定的“此在” (Dasein)，可⻅于阿罗尔 (Arol) 对速度崇拜的反思，突破时间的支配力量，将计算机绘画的分层实验进行转嫁，再现过程带来的视觉隐喻美学。黛比·瑞达 (Debbie Reda) 在经典卡通书籍的插图美学惯例中展开色彩探索，分享集体记忆与共时性的诠释。而以“红色 女孩”闻名的斯克列谢夫 (Skolyshev) 则带来两幅暗⻩色背景的极简主义作品，其中的女孩退去了公式化的笑容，以一种另类的突变激荡起个体力量的疾呼。尼尔·坎⻉尔 (Niall Campbell) 在硬纸板、 喷漆、丙烯和木材上展现人类世的警示喻言，构建起动物在人类控制外自行进化的世界。斯尼库斯 (Sniqus) 以球鞋为媒介定格上世纪八十年代，探讨亚文化背后渗透的期待、荣耀与反叛情结。

另一方面，部分作品以一种鲜明的轻松情绪，回应海德格尔对“此在”的状态界定，即“关怀” (Sorge)。 在亚当·汉德勒 (Adam Handler) 即兴写就的⻜碟绑架案现场中，大⻩蜂女孩被迫踏上背井离乡的旅程，标志性的幽灵形象呈现粉彩状的云雾外观，隐喻与命运建立柔和的联系。塞斯克·阿巴德 (Cesc Abad) 擅于编织表现主义的视觉意象，他的比利牛斯山脉景象同时引用后印象派技巧，徐徐敞开反乌托邦世界的大⻔。哈维·卡波内 (Xavi Carbonell) 对生命初始视⻆的回归令笔触生辉，引导观者在跃动迷幻的元素建自主地创办关联。刚铎 (@GONHDO) 此次的画面空间感实验呈现出餐碟、地图、 桌布元素的并置，破除相框后造就的是一场意式盛宴，和着韵律迷失在历史的街巷中。埃丝特·⻬赫尔 (Esther Ziher) 致敬生活中的光明一面，为人物打造特有的“Googly eyes”，借以抒发对于琐碎日 常背后的诙谐礼赞。
 

Caelis Galería is delighted to announce the grand opening of its long-awaited new space at M50 on August 15, 2023, marking a significant milestone for the gallery. The inaugural exhibition, "Musing by the Riverbank," will run from August 15 to September 28, 2023, featuring works from ten diverse artists.

"Musing by the Riverbank" draws its inspiration from the timeless dialogue sparked by the saying, "No man ever steps in the same river twice." In ancient Greek times, Heraclitus' philosophy of "everything flows" laid the foundation for a universal cosmogony based on sensory experiences. Franz Rosenzweig compared the worldview to a bowl immersed in a river, contemplating the world through this bowl, where he believed that what we hold and scoop from the river is but an isolated and static fragment of the flowing world. In the 1940s, Somerset Maugham wrote, the river flows on, and the water you dip into is as refreshing as the water flowing by, exploring the inner realm of the spirit and individual consciousness, transcending the confines of societal time.

If we delve beyond the surface flow of the river, the fundamental question of time comes to the fore. Often interconnected with the deep structures of society, it ranges from the spatiotemporal attributes and non-abstract nature bestowed by ancient economies to the irreversible linear vector of time rendered by messianism and the standardization of homogeneous time influenced by the industrial revolution. Under the yardstick, we can glimpse the features of modern time: individual freedom compressed by the publicization of time and the elevation of the future. It is in this context that Heidegger's "Four-Dimensional Time" - the foreign, the present, the past, and their interplay (Zuspiel) - constitutes a profound critique of the modern conception of time: time is the existential state of "being-there" (Dasein) due to the "being-together" (Zeitung). This breakthrough exploration of the duality of subject and object, as well as the emphasis on the state of "being-in-time," serves as a prelude to this exhibition.

The quest for the "being-there" (Dasein) jointly defined by time and existence is evident in Arol's reflection on the worship of speed, transcending the dominating power of time by transferring the stratified experiments of computer painting, resulting in a reenactment of visual metaphoric aesthetics. Debbie Reda embarks on a color exploration through the aesthetic conventions of classic cartoon illustrations, sharing interpretations of collective memory and synchronicity. Skolyshev, renowned for "Red Girl," presents two minimalist works with a dark yellow background, wherein the girl abandons her formulaic smile, heralding an alternative and stirring call for individual power. Niall Campbell presents warning allegories of the human world on cardboard, spray paint, acrylic, and wood, constructing a world where animals evolve outside of human control. Sniqus employs sneakers as a medium to freeze the 1980s, delving into the desires, glories, and rebellions that permeate subcultures.

Moreover, some works respond to Heidegger's definition of the state of "being-there" (Dasein), namely "care" (Sorge), with a distinct light-hearted mood. In Adam's impromptu creation of a UFO abduction scene, the Bumblebee Girl embarks on a journey away from home, and the iconic ghostly figure

exhibiting a pastel cloud-like appearance, metaphorically symbolizing the gentle relationship established with destiny. Cesc Abad, skilled in weaving expressive visual intentions, employs Pyrenees landscapes, simultaneously referencing post-impressionist techniques, gradually unveiling the gateway to a dystopian world. Xavi Carbonell's return to the perspective of life's inception illuminates his brushstrokes, guiding viewers through the shimmering and psychedelic elements to establish a self-constructed connection. @GONHDO's spatial experiment in the paintings presents juxtaposed elements of plates, maps, and tablecloths, breaking free from the confines of frames to create an Italian feast, losing oneself in the historical corners amidst rhythmic beats. Esther Ziher pays tribute to the brighter side of life, crafting unique "Googly eyes" for characters, conveying humorous praise for the mundane daily life.