摘要：动物尸骨作为材料在丰富艺术表达的同时，也通过对材料自身生命线索的追问强化了当代艺术在社会性批判上的直接了当，典型如玛丽娜·阿布拉莫维奇1997年在威尼斯双年展上实施的《巴尔干巴洛克》（Balkan Baroque）。作为曾经的社会主义阵营的兄弟，以及一度被卷入
庞海龙：隐力
Pang Hailong: Invisible Force
上海狮語画廊
Leo Gallery Shanghai
艺术家 Artist｜庞海龙 Pang Hailong
策展人 Curator｜王晓松 Wang Xiaosong
开幕 Opening｜2025.09.21 4-7PM
展期 Duration｜2025.09.21- 11.02
地点 Venue｜上海徐汇区武康路376号武康庭内三层
3F, Ferguson Lane, 376 Wu Kang Road, Xuhui District, Shanghai
临摹与变形
——
庞海龙的社会批判路线
Imitation and Transformation:
Pang Hailong’s Route of Social Critique
动物尸骨作为材料在丰富艺术表达的同时，也通过对材料自身生命线索的追问强化了当代艺术在社会性批判上的直接了当，典型如玛丽娜·阿布拉莫维奇1997年在威尼斯双年展上实施的《巴尔干巴洛克》（Balkan Baroque）。作为曾经的社会主义阵营的兄弟，以及一度被卷入欧洲火药桶的中国，我们大概或许应该能够理解阿布拉莫维奇洗去牛骨血污时的悲情。虽然国际政治事件与艺术之间未必有必然的因果关系，但恰在此时，中国的艺术现场也在经历了“当代”与“国际”引入的初震颤之后，在经历了1980年代创作与表述里诱人的戏剧感后，从主体或艺术史建构而非简单的暴力革命意识逐渐增强，有意识地寻找应对自身问题的方法——不同在于前一时期对世界认识原始的、偏执的狂热，后一时期中得以冷静地思考新一轮全球浪潮中“左翼”思想、在地大小文化传统、日常生活等对包括艺术在内的影响。显然，目前专注于围绕1980年代的艺术史叙述是有缺陷的，原因或是因为讲述者对自我价值的迷恋，或是我们被其语言艺术感染力所迷惑。
The use of animal remains as an artistic material not only broadens the scope of artistic expression but—through probing the traces of life embedded within the material—also sharpens the immediacy of social critique in contemporary art. A paradigmatic example is Marina Abramović’s Balkan Baroque (1997), performed at the Venice Biennale. As a former “brother” within the socialist bloc, and once entangled in Europe’s“powder keg,” China could, perhaps, understand the pathos in Abramović’s act of scrubbing the blood from ox bones. While there is no inevitable causal link between international political events and art, it was precisely at this moment that China’s art scene—having endured the first tremors brought by the importation of the“contemporary”and the“international”—was emerging from the seductive theatricality of 1980s creation and discourse. Artists were beginning to deepen their engagement with subjectivity and the construction of art history, rather than relying on the blunt consciousness of violent revolution, and were consciously searching for ways to address their own conditions. The difference lay in a shift from the raw, obsessive fervor of the earlier era toward a more composed reflection on how a new wave of global currents—leftist thought, diverse local cultural traditions, and the textures of everyday life—were shaping art and beyond. Clearly, the present fixation on narrating the art history of the 1980s alone is flawed, whether due to the narrator’s self-fascination or because we remain under the spell of their rhetorical force.
《隐力》安仁双年展，四川，中国
Invisible Force, Anren Biennale, Sichuan, China
2019
庞海龙没有赶上中国当代艺术的1980年代，但是1990年代的大学时期被“后革命时代”的反思所波及，他与大多数中国的艺术生一样，几乎都经历了从材料、形式去理解观念的过程。对有中国传统文化或艺术教育的人来说，这个过程又显得顺理成章，不事张扬而从“身边”的小世界入手理解大千世界，既没有像此前那样的冲动也没有此后移植过来的观念先行；不过，在繁杂的观念信息源轮番轰炸中，大多数人都还是会迷失，说到底，路终究是个人、时代与原生环境等多重作用相互影响的结果。生长于中药世家且有制药厂开办经历的庞海龙，自有他对“材料”与“生命”关系的特别理解，过去十几年间用的材料无论是动物尸骨、灰尘，都与他从生活与生命的小处着眼理解社会的习惯有关，庞海龙以今天的视觉方式为这些材料撰写的“后史”，既是艺术经验的技术积累，也带有个人艺术宿命的色彩。
Pang Hailong did not live through the 1980s in Chinese contemporary art. But during his university years in the 1990s, he was swept into the“post-revolutionary”atmosphere of reflection. Like most Chinese art students, he passed through the process of approaching ideas via material and form. For those grounded in Chinese cultural traditions or art education, this path felt almost inevitable—unshowy in manner, beginning from the small, familiar world at hand to comprehend the greater world beyond—without the impetuousness of the earlier era or the imported, ready-made concepts that followed. Yet amid the bombardment of proliferating conceptual influences, most would still lose their way. In the end, one’s artistic path is shaped by the interplay of personal temperament, historical moment, and native environment. Born into a family steeped in traditional Chinese medicine, and with experience running a pharmaceutical factory, Pang has his own particular understanding of the relationship between “material”and“life.”Over the past decade and more, whether using animal remains or dust, his focus on life’s minute particulars has informed his way of reading society. With today’s visual vocabulary, he has composed a“post-history”for these materials—part technical accumulation, part the unfolding of an artistic fate.
《隐力》Invisible Forece
2018 - 2025
牛骨, 水泥
Ox Bones, Cement
尺寸可变 Dimensions variable
60 x 60cm（单块 each）
以牛骨为材料进行的创作与其“大棒”作品在早期是齐头并进的，因语言的日常性使其简单的形式冲突能传递更直接的批判，多少有1980年代的暴力回响，然而在“牛骨”、“粉笔”等作品创作时，庞海龙“识趣地”把自己作为问题，通过美颜术来改造、挑衅或戏弄既有的系统性表达，从still-life到“宅生记”，形成了由关键词向段落、篇章的缓慢展开。但这些作品并没有明确的规划，更多地是艺术家对社会变化的一种应激反应，它们既是同源的，又有内在纠葛。作为这一时期的典型性作品，“隐力”系列从2018年开始，在形式和内容上都双双转入“地下”。对比此前挥舞的“大棒”，它显然是对当时诸多社会事件背后的隐藏结构的“临摹”，而“隐力”则是在“临摹”中向社会底层话语及表达权力问题的批判——艺术家以艺术的方式所做社会性“临摹”与17世纪董其昌对古典作品临摹以实现语言再造的“仿”的意义一样，只不过它跳出了艺术形式自洽的小圈层。因此，必不能将“隐力”视为一件静态的“装置”，而要与阿布拉莫维奇对待牛骨那样强行控制情感的精神自残同等视之——所有铺在地上的标准尺寸的牛骨地板都来自庞海龙的手工制作，它们谦卑地铺在展厅的地面，如同所有被利用、被抛弃、被遗忘的生命被人踩在脚下无从发声。在“正常”匮乏的大环境下，想必大家都会理解，相对于肉体伤害，无意识的精神施暴造成的伤害更为永久。
《隐力》安仁双年展，展览现场
Invisible Force, Anren Biennale, Installation View
2019
Pang’s Ox Bone works developed in parallel with his Big Stick series. The everyday directness of the latter’s language allowed their simple formal collisions to convey sharper critique—echoing faintly the violence of the 1980s. Yet in works such as Ox Bone and Chalk Pang, with a certain tact, placed himself at the center of the problem, using a kind of beautifying transformation to provoke, challenge, or play with entrenched systems of expression. From the still-life series to ZHAISHENGJI®, his practice expanded slowly—growing from single key words into paragraphs, then into full chapters. These works were never the product of a clear, long-term plan; rather, they were instinctive responses to social change—sharing common origins yet carrying internal entanglements.
A representative work of this period, the Invisible Force series, began in 2018, taking both form and content “underground.”Compared to the earlier, swinging Big Stick Invisible Force can be read as an “imitation”of the hidden structures underlying many social events of its time. Yet through imitation, it becomes a critique of the issues of discourse and the power of expression belonging to society’s lower strata. Pang’s act of social“copying”through art is akin to Dong Qichang’s seventeenth-century practice of copying classical works to reconstruct pictorial language—except that Pang steps outside the self-contained circuits of artistic form. Invisible Force must not be regarded as a static“installation,”but as an act akin to Abramović’s controlled, self-wounding suppression of emotion in her handling of ox bones. Every standard-sized ox bone floorboard covering the gallery floor is handmade by Pang himself. They lie humbly beneath the feet of visitors, like all those lives used, discarded, and forgotten—trampled without a voice. In an environment of chronic scarcity of the“normal,”it should be clear that wounds inflicted by unconscious spiritual violence are far more enduring than those of physical harm.
其实，我们作为作品的第三者是无法准确理解和描述艺术家的意图的，尤其是在这类行为作品中，一定有大量被扭曲、被消耗的部分无法完全呈现，它只属于创作者甚至有限的创作时间里，所以需要有渠道提示人们留意那些本应有的愤怒的、绝望的与喜悦的、疑惧的信息。庞海龙的作品并不是孤立的，其他露骨的、不合时宜的作品恰恰提供了晦涩阅读的有效线索，穿过“隐力”的暗门，才能发现隐藏着的生命流转的形变以召唤荒诞形式背后的力量。
As third-party viewers, we can never fully grasp or articulate the artist’s intent—especially in works with performative elements. Inevitably, much will be distorted, consumed, and remain untranslatable, belonging solely to the creator and to the brief span of creation itself. This is why we need channels that can draw attention to signals—of rightful anger, of despair, of joy, of doubt and fear—that ought to be there. Pang Hailong’s works are not meant to comfort. Other raw, untimely works provide the very clues needed for navigating their opacity. Only by passing through the hidden doorway of Invisible Force can we discover the transformations of life, and summon the latent force that lies behind the absurdity of form.
文/王晓松
Text/Wang Xiaosong
关于艺术家 | About the Artist
Pang Hailong
庞海龙1974年生于黑龙江，自1998年先后毕业于哈尔滨师范大学艺术学院和清华大学美术学院，现生活工作于上海。其创作涉及雕塑、装置、绘画和策展。此外，庞海龙于2020年创办宅生记®艺术展览品牌并组织策划系列展览项目至今。
庞海龙拥有从记者工作到创办企业；再于2010年回归艺术创作的丰富经历，这使其作品以关注生存现实、艺术介入社会为切入点。他善于通过对材料媒介的物性转译，来表现对于观者感知领域的干预，给观者提供一个无为而为的异景，去感知能“感知”到的现象，去忽略将被“忽略”的本质，从而让他的作品超越了艺术本身，具有广泛的人文意义。
其个展包括：“隐力”，赛麟空间，上海（2020）；“叠园”，朱家角古镇课植园，上海（2018）；“灰·尘”，上海大学美术学院99创意中心，上海（2011）。
Pang Hailong was born in Heilongjiang in 1974. He graduated from the School of Art at Harbin Normal University in 1998 and later from the Academy of Arts & Design, Tsinghua University. He currently lives and works in Shanghai. His creative practice spans sculpture, installation, painting, and curating. In addition, he founded the art platform ZHAISHENGJI® (宅生记) in 2020, through which he curates experimental projects.
With a diverse background that includes working as a journalist and establishing a business before returning to artistic creation in 2010, Pang’s work focuses on reality and social engagement through art. He is skilled at transforming the physical properties of materials to intervene in the viewer's perceptual field, presenting an effortlessly intriguing vision that invites the audience to perceive what is “perceivable” and overlook what is destined to be “overlooked.” Through this approach, his work transcends mere artistic expression and takes on broader humanistic significance.
His solo exhibitions include: Invisible Force, SAILING SPACE, Shanghai(2020); Over the Landscape Gardens, Zhujiajiao Art Project, Shanghai(2018); Grey • Dust, 99 Creative Center, Fine Arts College of Shanghai University, Shaghai(2011).
关于策展人 | About the Curator
王晓松
Wang Xiaosong
艺术评论人、策展人。
曾策划：大型双/三年展、艺术家个案研究展及近现代艺术史专题展逾五十场次，发起并主持策划了此后六届“全球华人艺术展”，是目前唯一以华人艺术家的全球离散为研究与展览对象的综合性项目。著有《制造现代：晚清的设计与视觉文化》（2024）、《视线之下》（2016）以及其他各类出版物三十余种。
Art critic and curator.
Curated projects include: large-scale biennials and triennials, solo artist case studies, and hematic exhibitions on modern and contemporary art history over fifty exhibitions.He initiated and has curated six editions of the Global Chinese Art Exhibition, currently the only comprehensive project worldwide dedicated to the research and exhibition of the global Chinese-artist diaspora. His publications include: Fabricating Modernity: Design and Visual Culture in the Late Qing Dynasty (2024), Under the Line of Sight (2016), and over thirty other publications.
来源：艺术时间ArtTime
