未显的黑：漆与水墨的暗域实践
Unmanifest Black: Dark-Field Practices in Lacquer and Ink
2026.03.21-2026.05.29
地点：广东省广州市黄埔区悦榕路65号
(珍宝大厦) 7楼 S33空间
主办单位：广州33美术馆
7F, No.65 Yuerong Road,Huangpu District,Guangzhou
Presented by Guangzhou 33 Art Museum
2026年3月21日下午，由广州33美术馆主办的“星丛对话Cap.2：未显的黑：漆与水墨的暗域实践”展览在33美术馆正式开幕。开幕式汇集了多位艺术家、批评家、策展人、媒体代表及艺术爱好者共同参与。广州33美术馆创始人刘奕、艺术史学者皮道坚、艺术家郭小一、艺术家谢震、33美术馆执行馆长张艺川出席开幕活动。
On the afternoon of March 21, 2026, the exhibition “Constellation Dialogue Cap02: Unmanifest Black: Dark-Field Practices in Lacquer and Ink,” organized by Guangzhou 33 Art Museum, officially opened at the museum. The opening ceremony brought together artists, art critics, curators, media representatives, and art enthusiasts. Liu Yi, founder of Guangzhou 33 Art Museum, art historian Pi Daojian, artists Guo Xiaoyi and Xie Zhen, and Zhang Yichuan, Executive Director of 33 Art Museum, attended the opening event.
展览现场，33美术馆执行馆长张艺川为到场嘉宾进行了展览导览。艺术家郭小一与谢震分别介绍了各自参展作品《器之方圆VI》与《天问·双子》，围绕作品背后的创作理念与工艺语言展开了分享。
At the exhibition, Zhang Yichuan, Executive Director of 33 Art Museum, gave a guided tour to the guests. Artists Guo Xiaoyi and Xie Zhen introduced their respective works, Square and Round Vessels VI and Heavenly Questions Twins , sharing insights into the creative concepts and artistic techniques behind them.
艺术家：郭小一｜Artists: Guo Xiaoyi
艺术家郭小一在导览中介绍了她的《器之方圆》系列。作品以脱胎漆艺的繁复工序，将天圆地方的东方哲思凝练于器物之中，内留麻布肌理，外施朱漆推光，传递出宁静悠远的东方审美意境。
Artist Guo Xiaoyi shared during the guided tour her work Square and Round Vessels VI. Through the intricate processes of bodiless lacquer technique, the work distills the Eastern philosophy of “round heaven and square earth” into the form of vessels. The interior retains the raw texture of linen, while the exterior is coated with vermilion lacquer and polished to a subtle sheen, evoking the tranquil and profound aesthetic realm of Eastern craftsmanship.
艺术家：谢震｜Artists: Xie Zhen
艺术家谢震在导览中分享了他对作品《天问·双子》的思考。这组作品最初以悬空形式呈现，玻璃折射出星空的幻象，仿佛陨石正从天际坠落。而当展陈方式从悬空转向落地，作品的语境也随之改变——它不再是坠落中的天外来客，而是一块沉静于大地之上的太空石。同一件作品，因观看方式的不同，被赋予了两种截然不同的叙事。
细观作品表面，一百多层大漆层层沉积，打磨后显露出的纹理如同时间的年轮。漆的累积，亦是时间的累积，这与本次展览将“漆”作为“激活想象力的器物”这一核心理念形成了内在的呼应。
Artist Xie Zhen shared his reflections on the work Heavenly Questions Twins during the guided tour. Initially presented as a suspended installation, the work used glass to refract an illusion of the starry sky, as if a meteorite were falling from the heavens. When the display format shifted from suspension to placement on the ground, the context of the work transformed as well—it was no longer a meteorite in descent, but a space stone quietly resting on the earth. The same piece, through a change in viewing perspective, acquired two distinctly different narratives.
A closer look at the surface reveals over a hundred layers of lacquer, accumulated and polished to unveil textures reminiscent of the rings of time. The layering of lacquer is also the layering of time, forming an intrinsic resonance with the exhibition’s core concept of employing lacquer as a vessel to reawaken the imagination.
开幕式嘉宾合影｜Opening Ceremony Group Photo
开幕尾声，广州33美术馆创始人刘奕在分享中回顾了自己与漆艺的缘分。
在她看来，漆器是她的艺术启蒙。她对这份艺术的热爱与感动，源于三点：一是漆艺绵延八千年的历史厚度，二是战国乱世中漆器所承载的身份与精神，三是大漆这样一种易致过敏的材质，却穿越千年融入日常的东方哲思。这种看似矛盾却又圆融自洽的历程，正是一种东方哲学的体现——在时间的循环中，万物各归其位，各得其所。
从十年前美术馆首次举办漆器展览，到十年后再度以漆为题，她始终热爱并持续投入漆器的收藏与研究。知识的积累、审美的沉淀、精神的追求，在这条路上不断生长。
As the dialogue drew to a close, Liu Yi, founder of Guangzhou 33 Art Museum, reflected on her personal connection with lacquer art.
In her view, lacquerware has been her artistic awakening. Her love and emotional connection to this art form stem from three aspects: the eight-thousand-year historical depth of lacquer art; the identity and spirit that lacquerware embodied during the turbulent Warring States period; and the Eastern philosophy inherent in a material like lacquer—one that can easily cause allergies, yet has transcended millennia to become woven into the fabric of daily life. This seemingly paradoxical yet harmonious journey reflects an Eastern philosophy—within the cycle of time, all things find their place, each content in its own being.
From the museum’s first lacquerware exhibition a decade ago to once again centering on lacquer ten years later, her dedication to the collection and study of lacquerware has endured for over a decade. Knowledge accumulates, aesthetic sensibility refines, and spiritual pursuit deepens—all continuously growing along this path.
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