陳一男的個展《觀察者手記》在德國漢堡 BARLACH HALLEK (巴爾拉赫))美術館開幕，策展人漢堡大學東亞學院的倪少峰老師對一男的作品做了學術性的評價以及藝術性的解讀，非常的專業(yè)和客觀！對陳一男的作品，給予了高度的肯定！策展人Rolf Krieger(沃爾夫)對展覽展示以及作品與空間的關系，還有作品之間的關系，以及特別的展示方式做了詳細介紹，策展人Rolf Krieger（沃爾夫） 有著近四十的策展經驗，對作品與空間的關系把控十分清晰而又深刻到位。觀眾們對陳一男作品的理解，熱情以及評價都令人感動！被陳一男作品的幽默和深度抓住，有的觀眾遲遲不愿離去，幾個小時的觀展和討論，甚至還有離開后又返回的，繼續(xù)討論和研究！這次陳一男的個展，讓我們看到了德國人的認真，對藝術的真誠與尊重，他們的低調與深沉令人著迷！

直觀神會，契之在心

——倪少峰在陳一男德國漢堡BARLACH HALLEK（巴爾拉赫美術館）<觀察者手記>(The Observer’s Notes)個展開幕儀式上的發(fā)言

尊敬的各位來賓、親愛的漢學家會成員們：

今天，能在Barlach Halle K歡迎各位參加陳一男展覽的開幕，我深感榮幸。我要衷心感謝美術館團隊的卓越合作，特別要感謝藝術家的母親戈魯女士——是她親自將這批作品從北京帶到漢堡。戈魯女士本人就是一位杰出的藝術家，在后續(xù)展覽中大家將有機會欣賞到她的作品。陳一男生于藝術世家，從小受到外婆與母親的藝術熏陶，后來又在英國接受了系統(tǒng)的美術教育。

很遺憾，今晚藝術家本人無法親臨現(xiàn)場。但恰恰在他的缺席中，陳一男的作品獲得了強烈的在場感。

我們能在巴爾拉赫展廳(Barlach Halle K)舉辦此次展覽具有特殊意義。恩斯特·巴爾拉赫的藝術始終在人類的脆弱性與社會批判之間巡弋，而我們所在的這個藝術空間正是獻給他的。與此相似，陳一男也在詩意與挑釁之間徜徉。巴爾拉赫通過雕塑探索人類存在的困境，而陳一男則通過繪畫解構我們當代的圖像世界。兩位藝術家都擁有那種微妙的銳利，他們不去對觀者指手畫腳地說教，而是和風細雨地邀請他們進行藝術審視。

去歲在北京之行中，我初次邂逅陳一男的藝術。馬上就被他的藝術所吸引住了。令我著迷的是作品中那種直抒胸臆的特質——那種隱含的幽默、銳利的諷刺與溫柔詩意的獨特交融。他的畫面初看上去輕松隨意，卻蘊藏著令人流連忘返的深度。在這舉重若輕的表達背后，是對繪畫本質的深刻反思。

陳一男致力于探索圖像的真實屬性與深層邏輯：事物與關系如何轉化為圖像？繪畫作為創(chuàng)造圖像最直接的路徑，又如何揭示其多重含義？正是這種單刀直入的手法，賦予他的藝術以難以抗拒的力量——在我們試圖解釋之前，作品已開始了對我們的訴說。畫作與觀者間的距離被打破了，形成了一種近乎身體接觸的親密體驗。

從符號學視角看，他的創(chuàng)作是持續(xù)演化的過程——即符號不斷生成的意義之流。符號學家皮爾斯（Charles S. Peirce）將其描述為從符號、解釋項到對象的運動。而陳一男恰恰致力于使這一過程變得明晰可見：他的畫作不是封閉的陳述，而是開放的意義場。

皮爾斯的符號類型學——像似符、指示符、規(guī)約符——在他的作品中達成精妙的綜合。他的繪畫元素既是像似的（喚起相似性），又是指示的（展現(xiàn)真實行動的痕跡），同樣是規(guī)約的（指向文化慣例）。但他更進一步：通過質疑慣例本身，揭示出圖像背后的深層邏輯。

符號學家米克·巴爾（Mieke Bal）強調，一件藝術作品不應被視作靜態(tài)客體，而應看作是一場事件。圖像不是固定的符號，而是在每次觀看中重新建構的東西。陳一男的作品正體現(xiàn)了這種動態(tài)的特質：他邀請我們不僅去觀，去看，而是參與對所見之物的持續(xù)重構。

在這個圖像過剩的時代，視覺符號常被淺薄地消費著，陳一男卻提供了一種罕見的體驗：在思考之前去感受藝術。他的作品如莫勒斯（Abraham Moles）所說的"弱信號"——避開表面的喧囂，深入感知的深深之所。

今夜，他的作品在漢堡鮮活地存在著——即便他本人未能親臨。愿這些作品在觀者心中回響，激發(fā)對話，并提醒我們：真正的藝術無需闡釋。它使用的是一種超越語言的語言——直接、多義，且詩意盎然。

祝愿大家度過一個啟迪心靈的夜晚，感謝各位的聆聽！

倪少峰（策展人）2025年10月27日于漢堡大學亞非學院

繪藝求旨

——陳一男

我對繪畫的興趣，是從看繪畫作為圖畫開始的。圖畫讓?看到不在這?，或者根本不存在的事物。?繪畫可能是做圖畫最直接的?式。因為畫有這樣神奇的能?，所以我覺得任何?張簡單的畫，都是?個奧秘。

最近?年我更多畫畫，更少做裝置。我發(fā)現(xiàn)以往做的很多裝置，其實是圖。當我把材料或事物，當作作品去?的時候，就算我沒有改變它的形態(tài)，它也不被當成它??了?？此鼤r，我期待看到的是不在那里的。因此那些裝置本質是圖。但裝置作為圖，要?繪畫作為圖，多很多混淆與困惑。我渴望清晰。

我創(chuàng)作中的想法?致可以分成兩類。

?類想法是“可以成為圖畫的事物”。?在經驗中發(fā)現(xiàn)?數(shù)的事物，和事物之間?數(shù)的聯(lián)系。在事物和聯(lián)系的海洋中，某些會跳出來被?注意到，似乎?其他更重要。?多數(shù)是因為它們對?命的實?價值。比如發(fā)現(xiàn)?可以?熱，熱可以取暖。?有些跳出來的事物和聯(lián)系，價值卻耐?尋味。圖畫和被當成圖畫的事物和關系，就屬于這?類。山，花，鳥，樹，日月，星星，等等……這些事物除了它們的對?實?價值之外，也被當成畫。我這?類的想法，就是在經驗中發(fā)現(xiàn)可以成為圖畫的事物和聯(lián)系。

另?類是基于某些前提的虛構想法，形式是“如果……那么就……”這些前提多少基于我體驗的現(xiàn)實。這些虛構的想法，有些是圖畫，有些是?語。有些想法似乎既可以是圖畫也可以是?語。有些似乎只能是其中?種。這讓我開始注意?語和圖畫之間的關系。有不少畫是帶著這種注意畫的。

除了這兩類想法之外，在持續(xù)的繪畫體驗中，我開始注意繪畫體驗本身。即從有?個意圖到通過繪畫看到這個意圖，這之間的體驗。

展覽海報

策展人：倪少峰（德國）Rolf Krieger(德國)

展覽主題：《觀察者手記》當代藝術展

學術主持： Dr. Marc Cremer(史學博士)

參展藝術家：陳一男

展覽地：德國漢堡

展覽館：BARLACH HALLEK

展覽期間：10月29日到11月5日

藝術家｜陳一男

陳一男 Chen Yinan

b.1995,生活工作于北京，現(xiàn)為西班牙皇家藝術協(xié)會會員。

2015–2018:純藝術BA，倫敦大學金史密斯學院

部分展覽：

個展:

2025:Indie Game,巴塞羅那皇家藝術協(xié)會,巴塞羅那

2024:Random Bullshit, a Memoir, Volume XII,華億?典空間,北京

群展:

2025:第三文化原住民， 頌空間，北京

2024: 無法分割之地,周空間，上海

2023:Beyond Borders, The Bridge Art Foundation,洛杉磯

2023:在陌生的地方總有熟悉的月亮， 茂空間，北京

2023:Puddle， 戈魯空間，北京

b.1995, lives and works in Beijing.

Education

2015–2018: Bachelor of Fine Arts, Goldsmiths, University of London Selected

Exhibitions

Solo shows:

2025:Indie Game,Reial Cercle Artistic of Barcelona, Barcelona

2024:Random Bullshit, a Memoir, Volume XII, HuaYiJinDian, Beijing

Group shows:

2025:Z Generation of Third Culture: Interculture Child,Song Space, Beijing

2024:The Place of Indivisible Exisitence,Chow Space, Shanghai

2023:Beyond Borders, The Bridge Art Foundation, Los Angeles

2023:In a Strange Place, You Can Always See the Familiar Moon, Mao Space, Beijing

2023:Puddle/Standing in Different Places to See the Moon, Golou Space, Beijing

Today, Chen Yinan’s solo exhibition The Observer’s Notes opened at Barlach Halle K (Barlach Museum) in Hamburg, Germany. Professor Ni Shaofeng from the Institute of East Asian Studies, University of Hamburg—who served as the curator—provided an academic evaluation and artistic interpretation of Yinan’s works, which were highly professional and objective. He also expressed high recognition and encouragement for Chen Yinan’s creations.

Another curator, Rolf Krieger (Wolf), gave a detailed introduction to the exhibition presentation, including the relationship between the works and the space, the connections among the works themselves, and the special display methods. With nearly 40 years of curatorial experience, Rolf Krieger (Wolf) has a clear and profound grasp of the relationship between artworks and space.

The audience’s understanding, enthusiasm, and comments regarding Chen Yinan’s works were truly touching. Captivated by the humor and depth of his pieces, some viewers were reluctant to leave for a long time; they spent hours visiting the exhibition and engaging in discussions, and some even returned to continue their conversations and exploration after initially leaving.

This solo exhibition by Chen Yinan allowed us to witness the conscientiousness of the German people, their sincere dedication to and respect for art. Their modesty and profoundness are truly fascinating!

——Ge lu

• Intuitive Understanding, Heartfelt Connection

——Speech by Ni Shaofeng at the Opening Ceremony of Chen Yinan’s Solo Exhibition The Observer’s Notes at Barlach Halle K (Barlach Museum) in Hamburg, Germany

Distinguished Guests, Dear Members of the Sinologists' Association,

It is a great honor to welcome all of you to the opening of Chen Yinan’s exhibition here at Barlach Halle K today. I would like to express my sincere gratitude to the museum team for their outstanding collaboration, and a special thank-you to the artist’s mother, Ms. Ge Lu—who personally brought this collection of works from Beijing to Hamburg. Ms. Ge Lu is an accomplished artist herself, and you will have the opportunity to appreciate her works in subsequent exhibitions. Born into a family of artists, Chen Yinan was immersed in art from an early age by his grandmother and mother, and later received systematic art education in the United Kingdom.

Regrettably, the artist himself cannot be present tonight. Yet precisely in his absence, Chen Yinan’s works have gained a powerful sense of presence.

Hosting this exhibition at Barlach Halle K carries special significance. Ernst Barlach’s art has always navigated between human vulnerability and social criticism, and this artistic space we are in is dedicated to him. Similarly, Chen Yinan moves between poetry and provocation. While Barlach explored the predicament of human existence through sculpture, Chen Yinan deconstructs our contemporary visual world through painting. Both artists possess a subtle sharpness—they do not lecture viewers dogmatically, but gently invite them to engage in artistic contemplation.

During my trip to Beijing last year, I encountered Chen Yinan’s art for the first time, and was immediately drawn to it. What fascinated me was the straightforward nature of his works—the unique blend of implicit humor, incisive satire, and tender poetry. At first glance, his paintings appear casual and effortless, yet they hold a depth that lingers in the mind. Behind this “effortless” expression lies profound reflection on the essence of painting.

Chen Yinan is committed to exploring the true nature and underlying logic of images: How are things and relationships transformed into images? And how does painting— the most direct way to create images—reveal their multiple meanings? It is this straightforward approach that endows his art with irresistible power—before we even attempt to interpret, the works begin to speak to us. The distance between the paintings and the viewer is broken down, creating an intimate experience akin to physical contact.

From a semiotic perspective, his creation is an ongoing evolutionary process—a flowing stream of meanings generated by signs. The semiotician Charles S. Peirce described this as the movement from sign, to interpretant, to object. Chen Yinan, precisely, strives to make this process visible: his paintings are not closed statements, but open fields of meaning.

Peirce’s typology of signs—icon, index, symbol—achieves a delicate synthesis in his works. The elements in his paintings are at once iconic (evoking similarity), indexical (showing traces of real action), and symbolic (referring to cultural conventions). But he goes further: by questioning the conventions themselves, he reveals the underlying logic behind images.

The semiotician Mieke Bal emphasizes that a work of art should not be viewed as a static object, but as an event. Images are not fixed signs; they are reconstructed with each viewing. Chen Yinan’s works embody this dynamic quality: he invites us not merely to “see” or “l(fā)ook,” but to participate in the continuous reconstruction of what we perceive.

In an era of image overload, where visual signs are often consumed superficially, Chen Yinan offers a rare experience: feeling art before thinking about it. His works are like the “weak signals” described by Abraham Moles—avoiding the noise of the surface, and reaching deep into the realm of perception.

Tonight, his works exist vividly here in Hamburg—even though he himself cannot be present. May these works resonate in the hearts of viewers, inspire dialogue, and remind us: true art needs no explanation. It speaks a language beyond words—direct, ambiguous, and profoundly poetic.

Wish you all an enlightening evening. Thank you for your attention!

Ni Shaofeng (Curator)

October 27, 2025, at the Institute of Asian and African Studies, University of Hamburg

"My interest in painting began with viewing paintings as pictures. Pictures allow one to see things that are not here, or that don't exist at all. And painting might be the most direct way of making pictures. Because of this magical ability of paintings, I feel that every simple picture is a mystery.

In recent years, I've been painting more and doing fewer installations. I've realized that many of the installations I've done in the past are actually pictures. When I use materials or objects as artworks, even if I don't change their form, they are nolonger seen as they are. Looking at them, I expect to see what's not there. Therefore, those installations are essentially pictures. But as pictures, installations create much more confusion and ambiguity than paintings. I craved clarity.

The ideas in my creations can be roughly divided into two categories.

One category is 'things that can become pictures.' In experience, people discover countless things and numerous connections between them. Among the sea of things and connections, some stand out and are noticed, seemingly more meaningful than others. Most are because of their practical value to life. But some values are not so clear. Pictures and things treated as pictures and connections belong to this category. For example, mountains are always painted. Trees are always painted, not just cut down for use. Discovering in experience what can become pictures and connections is one of my types of ideas.

The other category is 'if... then...', fictions based on certain premises. These premises are somewhat based on the reality I've experienced. Some of these fictional ideas are pictures, some are words. Some seem to be both pictures and words. Some seem to be only one of them. This makes me start to pay attention to the relationship between language andpictures. Many paintings are drawn with this attention.Apart from these two types of ideas, in the continuous experience of painting, I began to pay attention to the experience of painting itself. That is, the experience from having an intention to seeing this intention through painting."

——Chen yinan