展览|荒原狼:甘志鹏个展

荒原狼

——甘志鹏个展

策展人：和丽斌

学术观察：罗菲

学术主持：尹小龙

展览视觉：小绵羊

主办：金鼎1919文化创意园

承办：空空间

协办：废酷美学工作室

开幕时间：2026 年 1 月 27 日（周二） PM  20:00

展览时间：2026 年 1 月 27 日 - 2 月 27 日

                10：00 — 18：00 （周一闭馆）

开幕剧场：《荒原狼》  实验剧场首演

演出时间：2026.01.27 （周二）PM 20:00—20:30

地址：昆明市五华区金鼎山北路15号，金鼎1919文化创意园C区，空空间

The Wild Wolf.

——Gan Zhi-Peng’s Solo Exhibition

Curator: He Li-bin 

Academic Observation: Luo Fei

Academic Chair: Yin Xiaolong 

Exhibition Design: Little Sheep

Sponsored by Jin Ding 1919 Cultural and Creative Park.

Sponsored by: Space Space.

Co-organizer: Fuke Aesthetics Studio

Opening Date: Tuesday, January 27, 2026, at 20:00 PM

Exhibition dates: January 27 – February 27, 2026   

                       10:00 – 18:00 (closed on Mondays)

Opening play: “The Werewolf in the Wasteland” – world premiere at the Experimental Theatre.

Performance Date: 2026.01.27 (Tuesday) 20:00 – 20:30

Address: No. 15, Jinding Mountain North Road, Wuhua District, Kunming City, Zone C, Jinding 1919 Cultural and Creative Park, Kong Space.

前言 PREFACE 

荒原狼（ The Wild Wolf ）

荒原狼的本质，首先是一种无法调和、无法归类的“之间”存在。它既非纯粹的“人”，也非纯粹的“狼”；既渴望市民社会的秩序与温情，又蔑视其虚伪与平庸；既怀有精神超越的崇高冲动，又无法摆脱肉身与欲望的拖拽。这种状态，正是现代乃至后现代个体处境的深刻写照：在传统价值崩塌、宏大叙事失效后，个体被抛入一个价值碎片化的世界，成为失去清晰坐标的游荡者。身份不再是稳固的给予，而成为一种持续的焦虑和未完成的表演。这种“之间性”不是过渡，而是本体；不是病症，而是我们这个时代健康灵魂的真实状态——一种永恒的、创造性的不适。

黑塞的荒原狼哈里，是一个“个体化进程”失败的案例。然而，在今天看来，这种“失败”具有了新的英雄色彩。在一个试图将所有人平滑整合进消费与绩效体系的社会里，保持一种无法被整合的、痛苦的独特性，恰恰是一种抵抗。荒原狼的孤独、疏离与痛苦，不再是需要治愈的缺陷，而可能是一种清醒的代价，一种忠于内在复杂性的诚实。它所面对的虚无，也因此可以从消极转为积极：既然没有给定的意义和价值（“不确定价值”），那么意义就必须在“缝隙”与“边缘”的游荡与创造过程中被锻造出来。每一次艺术行动，每一次身体的冒险表演，都是一次在虚无荒原上留下足迹的尝试，其价值正在于行动本身的坚韧与真实，而不在于能否抵达某个预设的终点。

这次作为我的首次个展梳理和呈现，我想拒绝风格与媒介的单一归属，主动处于绘画与行为、影像与现场、叙事与抽象的“交叉点”，让形式本身呈现内在的冲突与不协和。不固守于工作室或既定艺术系统，而是像荒原狼一样，在社会的缝隙、被遗忘的空间或日常的断裂处游荡，从中发现创作的契机。将每一次表演或展示，都视为一场应对精神困境的微型仪式。仪式不是为了获得救赎，而是为了面对、显影并暂时性地安置那些无法解决的矛盾，为参与者（包括艺术家和观众）提供一次共同的“通过”体验。

“荒原狼”，是一个背负分裂、勇于直面自身废墟的现代灵魂肖像。它不提供慰藉，而是提供一种深刻的共鸣与严峻的邀请：邀请我们承认自身内部的异己者、多重性与战场，并将这种充满张力的状态，转化为一种不妥协的、富有生产性的艺术与生命姿态。它不是关于变成狼，而是关于在人的疆域内，如何诚实地容纳那头始终嚎叫的、不安的狼，并学会在它的嚎叫中，辨识出属于自己的、真实的歌声。在这次展览《荒原狼》中，我将集合绘画图像、摄影、装置、文本文字、参与式互动、行为影像、剧场现场表演在空间中汇聚，构建一个时代荒原的一次精神仪式的实验现场。

——甘志鹏

The essence of the Wild Wolf is, first and foremost, a kind of “in-between” existence that cannot be reconciled or categorized. It is neither purely “human” nor purely “wolf”; it yearns for the order and warmth of civil society while despising its hypocrisy and mediocrity; it harbors a noble impulse for spiritual transcendence yet cannot escape the pull of the flesh and desires. This state is a profound depiction of the predicament of modern and even postmodern individuals: after the collapse of traditional values and the failure of grand narratives, individuals are cast into a world of fragmented values, becoming wanderers without clear direction. Identity is no longer a stable endowment but rather a constant source of anxiety and an unfinished performance. This “in-betweenness” is not a transition but an essence; it is not a pathology but rather the authentic state of a healthy soul in our era – an eternal, creative sense of discomfort.

Hesse’s The Desert Wolf, Harry, is a case study of a failed “process of individuation.” However, in today’s context, this “failure” has taken on a new heroic quality. In a society that seeks to seamlessly integrate everyone into a system of consumption and performance, maintaining an unintegrable, painful uniqueness becomes a form of resistance. The solitude, alienation, and suffering of The Desert Wolf are no longer perceived as flaws in need of healing but rather as a sobering cost and an act of honesty in embracing inner complexity. The void it confronts can thus shift from negative to positive: since there are no predetermined meanings or values (“indeterminate values”), meaning must be forged through the process of wandering and creation within the “gaps” and “peripheries.” Every artistic endeavor, every act of physical risk-taking, is an attempt to leave a mark on the barren expanse of nothingness. Its value lies in the resilience and authenticity of the action itself, rather than in the ability to reach a predetermined endpoint.

As my first solo exhibition, I want to reject the idea of a single affiliation with a particular style or medium. I aim to be proactive at the “intersection” of painting and performance, image and presence, narrative and abstraction, allowing the forms themselves to reveal internal conflicts and disharmonies. Rather than adhering to a studio or established artistic system, I wander like a wolf in the wilderness, exploring the gaps in society, forgotten spaces, and the fractures of daily life, seeking opportunities for creative expression. Each performance or exhibition is viewed as a micro-ritual to address spiritual challenges. The ritual is not meant to achieve salvation, but rather to confront, reveal, and temporarily accommodate unresolved contradictions. It provides a shared “passage” experience for participants, including both the artist and the audience.

“The Wild Wolf” is a modern portrait of a soul burdened by division and daring to confront its own ruins. It does not offer comfort but rather provides a profound resonance and a stern invitation: to acknowledge the alien within ourselves, our multiplicity, and the battlefield, and to transform this state of tension into an uncompromising, productive artistic and life stance. It is not about becoming a wolf, but about how to honestly accommodate the perpetually howling, restless wolf within human territory and learn to discern one’s own authentic voice within its cries. In this exhibition, “The Wild Wolf,” I will gather visual art, photography, installations, textual elements, participatory interactions, performance videos, and live theater performances to create an experimental site for a spiritual ritual of our times.

——Gan Zhipeng

「 荒原狼 」实验剧场 

剧场概念 （ Theater concept ）

“荒原狼”不仅是一种文学意象，更是现代人精神处境的尖锐隐喻。本次剧场受赫尔曼·黑塞笔下的哈里·哈勒的启发，游移于人性与狼性、秩序与狂野、社会规范与内心呼喊之间，恰恰呼应了当下个体在现实夹缝中的生存状态——那种深刻的无力感、自觉的荒诞，以及在断裂处悄然滋长的戏剧性。此次剧场和展览以“荒原狼”为名，并非对小说的直接转译，而是试图在黑塞所揭示的精神图景之上，展开一场以身体为媒介、以剧场为场域的探索实验语言和精神现场。

阿尔托的“残酷戏剧”理念，为解读荒原狼提供了一把手术刀。阿尔托要呈现的，并非表面的血腥，而是生命本身不可避免的冲突、欲望与痛苦这一“残酷”真理。荒原狼的内心，正是这样一个不间断上演的残酷剧场。社会规范与野性本能、崇高理想与卑下冲动、对联系的渴望与对孤独的执着，在其中激烈厮杀。而“身体”，就是这个剧场的唯一舞台和承受者。在当代艺术实践中，对这种内在戏剧的探索，必然导向对“身体性”的极致追问：身体如何记录并展演这些分裂？它如何成为社会规训的铭文表面，同时又成为反抗与自我解构的爆破点？对荒原狼的表达，因此必须是一种形体的哲学，用痉挛、重复、极限状态或极度静默，来言说那些语言无法抵达的内在真实。

在安托南·阿尔托“残酷戏剧”的理念牵引下，现场性的表演情境——都试图剥去日常生活的伪装，直抵生存的原始冲突与仪式本质。阿尔托所呼唤的，是一种通过身体、声音、空间等直接冲击感官的“形体语言”，以打破表象的幻象，暴露生命内部的真实张力。这正与“荒原狼”内在的分裂与搏斗不谋而合。在此，艺术家的关注焦点从单纯的视觉呈现，转向了“身体性”的深度挖掘与“剧场性”的沉浸构建。身体，不再是表达的工具，而成为承受现实压力、展演内在矛盾的直接现场，是精神困境的物质化载体。

《荒原狼》实验剧场，是对个体在当代现实中精神漂泊的一次聚焦与显影。它通过综合媒介的交互与身体行动的痕迹，邀请观者共同面对那些我们时代共有的孤独、分裂与对超越的渴求。在这里，艺术成为在荒原中跋涉的狼群的嚎叫，既是痛苦的宣泄，也是在无边旷野中，确认彼此存在、寻找微弱共鸣的仪式性努力。展览所追寻的，正是在这确定的荒诞与不确定的追寻之间，生命所迸发出的、充满韧性的戏剧光芒。

"The wolf of the wilderness" is not only a literary image, but also a sharp metaphor for the spiritual situation of modern people. The theatre is inspired by Hermann Hesse's Harry Halle and moves between human and wolf nature, Between order and wildness, between social norms and inner cries, there is precisely the state of the individual's present existence within the constraints of reality - the profound powerlessness, the conscious absurdity, and the drama that grows quietly where the rupture is. The theater and exhibition, titled "The Wolf of the Waste," are not a direct translation of a novel, but an attempt to explore experimental language and spiritual scenes, using the body as a medium and the theater as a venue, above the spiritual landscape revealed by Hesse. Arto's concept of "brutal drama" provides a surgical knife to interpret the wilderness wolf. Arto is trying to present not the blood on the surface, but the "brutal" truth of the inevitable conflict, desire and pain of life itself. The very heart of a wild wolf is such a cruel theater that uninterruptedly plays out. Social norms and wild instincts, lofty ideals and humble impulses, a desire for connection and a fixation on solitude, wage fierce battles in them. The body is the only stage and recipient of this theater. In contemporary art practice, the exploration of this inner drama necessarily leads to the ultimate question of "physicality": how does the body record and exhibit these divisions? How does it become an inscription on the surface of social discipline and, at the same time, a bursting point of resistance and self-deconstruction? The expression of a wild wolf must therefore be a philosophy of form, using spasms, repetitions, states of limitation, or extreme silence to speak of inner truths that language cannot reach.Under the concept of Antonán Aalto's "cruel drama," live performance situations attempt to strip the disguise of everyday life to the primal conflict and ritual nature of existence. Artho called for a "form language" that directly impacts the senses through body, voice, space, etc., to break the illusion of appearance and reveal the true tension within life. This coincides with the division and struggle within the "wilderness wolf." Here, the artist's focus shifts from simple visual presentation to the deep digging of "physicality" and the immersion construction of "theatre." The body is no longer a tool of expression, but becomes a direct scene under real pressure, displaying internal contradictions, and is a materialized vehicle for mental distress. The experimental theater "The Wolf of the Waste" is a focus and a reflection of the spiritual wandering of individuals in contemporary reality. It invites viewers to come together to face the loneliness, division, and desire for transcendence that are common to our times through combined media interactions and traces of physical action. Here, art becomes the howl of a pack of wolves trudging through the wasteland, both a catharsis of pain and a ritual effort to confirm one's existence and find a faint resonance in the boundless wilderness. What the exhibition seeks is the resilient dramatic light of life that shines between the certain absurdity and the uncertain search.

剧本介绍 （Description Of The Script）

一个被世界和社会遗弃的小丑，他每天穿梭着各种各样的巷子里表演，以此来展现自己的生命价值，突然有一天他丧失了表达和思考，他再一次被这个现实做抛弃，他进进出出精神病中心，不知他的生命还会上演什么的故事⋯⋯

A clown who had been abandoned by the world and society, who performed in various alleys every day to demonstrate the value of his life. One day, he lost the ability to express and think. Once again, he was abandoned by reality. He went back and forth between psychiatric centers, wondering what other stories his life might yet unfold…..

展览部分作品

Exhibiting selected works.

Keep watch/《守望》

High-quality matte photographs print./ 高质量哑光照片打印

Dimensions 尺寸（W × H）：5x54cm x36cm

Floral garlands, Kunming City History, white paper, carbon paper, gold leaf./ 花环、昆明市志、白纸、复写纸、金箔

Jiangnan Chun Racecourse Park，Kunming/ 江南春赛马场公园，昆明Gan Zhipeng /甘志鹏

2026年