旺无名画廊 | Nobody Gallery
营业时间 Opening Hours：
周二至周日 上午10:00 – 下午7:00
开幕时间 Opening:
2026.04.26 15:00
展期 Duration:
2026.04.26-2026.05.31
地址 Address：
上海市金山区亭卫公路8255号（金山展厅）
No. 8255, Tingwei Road, Jinshan District, Shanghai
第二期驻留展览
风景加工之后
When Landscapes were Processed
[展览前言]
规模化工业生产制度的建立与完善在历史上从多方面改变了世界。相较于正被有意识修复的气候影响，该制度所确立的进步主义世界图景带来了更深刻且长远的影响，使土地乃至其上的凌空到行星轨道空间都应以理性为中心进行加工。“进步”与“加工”的同源关系（这两个概念都源自拉丁文词“cedere - 前进”）鼓励生活在土地上的人只有持续加工承载其具体生活的背景——风景，才能适应日益进步的生活形态，并寻获下一个可预测的、确定的时空前景。此般愿景也体现在旺无名（金山）驻留基地致力打造艺术基础设施的理性运营逻辑中。通过向青年艺术家全面展示重塑世界图景的工厂内部结构，「无名计划」以艺术实践为楔，邀请创作者重新审视"加工"与"进步"的共谋关系，并在工业风景中探索另一种前行的可能。
本次展览着重围绕本期三位驻地艺术家创作中的“加工”手势进行讨论，结合驻地工厂为展览组织工人使用包装箱材料制作的特定场域装置，构建了一条“风景加工”流水线邀请观众在真实运作的工厂环境中重新思考图像、经验与现实之间的关系。
在风景图像加工的最终环节，艺术家李璨颖使用手工绘制布面纹理的方法作为“装裱”技术，从而解决了风景图像与人工制造的白立方展示空间之间的断裂问题。这些布纹不仅提亮了主体画面，还制造了一条过渡带，使作品必须被认知为一个整体，一个在人造空间中被织造的物品，而非对自然或诗意风景的野蛮框取。在此背景下，李璨颖在绢布上使用传统青绿山水画的章法测量、经营空间，于方寸间重现历史上曾被洞悉的每一处理想人居环境的地层切片，甚至更进一步探索了山水风景如何借助画框加工方式与人造展示空间发生更巧妙的联系。
直接将空白画布作为待处理工件进行加工，是艺术家罗自然独特的个人工作方法：他先在画布上书写涌入生活的宏大事件与情绪，接着以自动书写与泼墨构建画面，并跟随绘画材料的自然流动、结晶、疏离与剥落，不断修缮抽象图景，时而述及宇宙洪荒的壮美与不仁，时而端详一场及时雨的甘美或肆意。俨然手把手同人类试图超越的自然一起描绘她的模样。艺术家梅朝银则以设计性语言拆解具体视觉对象进行，并将我们熟悉的形象加工为由寓言及悖论的结构构成的视觉系统，从而揭示其内部逻辑。
为突出这些作品在创作过程中的加工手势，工厂工人还在展厅内用包装纸箱搭建了一组特定场域装置：它们框取展厅一侧窗景形成了两件由工厂加工的风景画，并不断穿插进出展览动线，重新组织三位艺术家的创作关系。如此，这条由材料、记忆、身体与空间共同构成的"风景加工"流水线并非意在复制工业生产的闭环逻辑，而是试图在其内部打开裂隙——让观者在真实运转的工厂现场意识到，所谓"加工"从未只有一种方向，风景亦从未只是等待被处理的对象，它始终携带着抵抗与生长的余地。
[Foreword]
The rise of large-scale industrial production transformed the world in lasting ways. Beyond its environmental consequences, it established a progressive worldview in which land, airspace, and even orbital space are all subject to rational processing. In this logic, landscape is no longer a passive natural backdrop, but something continually shaped, organized, and reworked in order to support modern life. This vision is also reflected in the rational operational logic of Nobody Gallery (Jinshan) Residency Base as it develops an artistic infrastructure. By exposing young artists to the internal structures of the factory as a machine for remaking worldviews, the Nobody Project uses artistic practice as a wedge to reconsider the complicity between “processing” and “progress,” while searching for other ways of moving forward within industrial landscapes.
The exhibition focuses on the “gestures of processing” in the work of three resident artists. Together with a site-specific installation made by factory workers from packing-box materials, it constructs a “landscape-processing” assembly line that invites viewers to reconsider the relationship between image, experience, and reality inside a functioning factory.
In the final stage of landscape-image processing, Li Canying use hand-painted textile textures as a form of framing, softening the divide between landscape imagery and the artificial white-cube exhibition space. These textured surfaces create a transition zone, allowing each work to be seen as a constructed object rather than a simple framing of nature. Their artistic approaches, however, differ greatly. Li Canying, by contrast, uses the spatial logic of traditional blue-and-green landscape painting to reconstruct fragments of ideal human environments, while exploring more subtle relations between landscape, framing, and exhibition space.
Luo Ziran treats the blank canvas itself as a workpiece to be processed. He begins by writing major events and emotions onto the canvas, then develops the work through automatic writing, splashed ink, and the natural behavior of materials as they flow, crystallize, and peel away. Mei Chaoyin, meanwhile, uses a design-based visual language to break down familiar images and reorganize them into visual systems structured by fable and paradox.
To highlight these gestures of processing, factory workers built a cardboard installation in the gallery that frames the view outside the windows as two factory-processed landscapes. Intersecting with the exhibition route, this installation reorganizes the relationship among the three artists’ works. Rather than reproducing the closed logic of industrial production, the exhibition seeks to open a gap within it, reminding viewers that processing is never one-directional, and that landscape is never merely something waiting to be acted upon.
[关于艺术家]
（按入驻顺序）
梅朝银
May Joy
梅朝银，青年艺术家。曾担任A4国际艺术驻留中心REC+核心策划，2020年《搞》第五届废墟在地艺术项目；2019年《好消息》梅朝银个展，成都肆空间；2019年《搞》成都“窑”在地艺术；2018年“新物种”新媒体艺术展第二届；2017年“新物种”新媒体实验影像第一届展览；2015年“介入空间”观念摄影展等。
Mei Chaoyin is a young artist who previously served as a core curator of the REC+ program at the A4 International Residency Art Center. His selected projects and exhibitions include Gao (2020), the 5th Ruins Site-Specific Art Project; Good News (2019), a solo exhibition at Si Space, Chengdu; Gao (2019), the Chengdu “Kiln” Site-Specific Art Project; New Species (2018), the 2nd New Media Art Exhibition; New Species (2017), the 1st Experimental Video Exhibition; and Intervening Space (2015), a conceptual photography exhibition……
▲《Face To Face II》60×60cm 布面油画 2026
罗自然
LUO Ziran
罗自然，出生于云贵高原，非具象艺术探索者。2025年获得亚洲新生代艺术榜 Top100 艺术家，库艺术“星丛”计划年度艺术家；2025年《艺行无界》，林荫画廊，吉隆坡；《多维的眼光》，798 国际艺术交流中心，北京；作品被OFA 新锐艺术设计大赛（OFA World Award）收藏；2024年《重获新生》，东进国际中心，北京；《希望是个有羽毛的东西》，蓝骑士艺术，上海；《回响，亚洲创想者》，亚洲国际博览馆，香港等。
Luo Ziran, born in the Yunnan–Guizhou Plateau, is a non-representational artist. In 2025, he was named one of the Top 100 Emerging Artists in Asia and selected as an annual artist of the Ku Art “Star Cluster” Program. His recent exhibitions include Art Without Boundaries (2025) at Linyin Gallery, Kuala Lumpur; Multidimensional Perspectives (2025) at the 798 International Art Exchange Center, Beijing; his works were collected by the OFA World Award (OFA Emerging Art & Design Competition); Reborn (2024) at Dongjin International Center, Beijing; Hope Is the Thing with Feathers (2024) at Blue Rider Art, Shanghai; and Echo: Asian Creators (2024) at AsiaWorld-Expo, Hong Kong……
▲《夺取致幻的权力》120×60cm 布面油画 2026
李璨颖
LI Canyin
李璨颖，湖南湘潭人，跨媒介艺术家、演员、民间舞蹈艺术家。2025年替云朵上釉的星期三——李璨颖个展，南昌，黑匣引力艺术空间；MINININI展[银河你要去几次]，三亚，东岸麓洲；首届香格里拉普达措国家公园生态艺术季，迪庆，普达措国家公园；"何以为家"——2025年许钦松创作奖，广州，广州艺术博物馆；无界——粤港澳青年艺术作品展，深圳，深圳会展中心；2024年游生——李璨颖艺术展，苏州，华贸姑苏里等。
Li Canying, born in Xiangtan, Hunan, is an interdisciplinary artist, actress, and folk dance artist. In 2025, she held her solo exhibition Wednesday Glazing the Clouds, Nanchang, Heihe Gravity Art Space; participated in MINININI Exhibition [How Many Times Will You Go to the Galaxy], Sanya, Dong’an Luzhou; the First Shangri-La Pudacuo National Park Ecological Art Season, Diqing, Pudacuo National Park; What Makes a Home? — 2025 Xu Qinsong Creation Award, Guangzhou, Guangzhou Museum of Art; Boundless — Guangdong-Hong Kong-Macao Youth Art Exhibition, Shenzhen, Shenzhen Convention and Exhibition Center. In 2024, she presented Wandering Life — Li Canying Art Exhibition, Suzhou, Hemao Gusu Li……
▲《山海浮世·框境》60×60cm 综合材料 2026
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关于旺无名画廊 Nobody Gallery
出身德国的阿什肯纳兹犹太裔哲学家、文化评论家和散文家瓦尔特•本雅明（Walter Benjamin, 1892—1940）他生前最后一部作品《历史哲学论纲》中提到：“纪念无名者比纪念知名者更困难。历史的构建是献给对无名者的记忆。“纪念无名者比纪念知名者更困难”提示我们，历史更多地由无名者的贡献构成，而非仅仅是那些备受瞩目的人物。无名者往往代表了一种不被轻易看到劫至关重要的存在，他们的努力和创造可能未被历史铭记，都不可或缺。这种对无名者的关注与尊重，正是一种超越名气与标签的价值判断。纪念无名者比纪念知名者更困难，因为他们的价值往往被掩盖在历史的洪流中。然而，历史的构建，归根结底是献给无名者的记忆。在旺无名画廊，我们坚持“nobody is somebody”的信念。艺术的意义不该被名气定义，而是由作品本身去触动人心。我们致力于发现和支持那些“尚未被发现”的艺术家，用行动打破艺术生态中的壁垒，推动一个更包容、更多元的艺术世界。在这里，生活与艺术融为一体，我们相信每一位“nobody”都有成为“somebody”的可能性，因为艺术属于所有人。“nobody is somebody”的理念，是一种对艺术生态多样性和包容性的坚持。我们希望让更多有才华的艺术家被看到，从而推动艺术市场更健康、更开放的发展。同时，藏家也将在这个过程中，收获一段与多元艺术碰撞的丰富体验。我们希望通过画廊的平台，将那些可能尚未被发现但具有非凡潜力的艺术家介绍给社会和藏家。这不仅仅是在发掘“nobody”的艺术价值，更是推动艺术界向更多元、更开放的方向发展，让艺术的可能性超越名气本身。无论您是否是资深艺术家，作品本身永远是我们关注的重点，而不是背景或资历的堆砌。在旺无名画廊，艺术为所有人而生，我们相信生活即 艺术，艺术即生活。只要您的作品能触动人心，我们愿意倾注资源支持您。画廊长期招募艺术家，欢迎积极联系，加入我们。
The German-born Ashkenazi Jewish philosopher, cultural critic, and essayist Walter Benjamin (1892–1940) noted in his final work Theses on the Philosophy of History:" Commemorating the nameless is more difficult than commemorating the renowned. The construction of history is dedicated to the memory of the nameless." This statement reminds us that history is shaped more by the contributions of the unknown than by the celebrated figures alone. The nameless often embody an unseen yet vital presence—those whose efforts and creations, though unrecorded by history, are indispensable. To recognize and respect the nameless is to embrace a value system that transcends fame and labels. It is precisely because their significance is obscured by the tides of history that commemorating the nameless is so challenging. Yet the true construction of history ultimately honors their memory. At Nobody Gallery, we hold firmly to the belief that "nobody is somebody." The meaning of art should not be dictated by fame, but rather by its ability to resonate with the human heart. We are dedicated to discovering and supporting “yet-to-be-recognized” artists, breaking barriers within the art ecosystem, and fostering a more inclusive and diverse art world. Whether you are an established artist or a budding creator, if your work holds the power to move hearts, we are here to support you. At Nobody Gallery, we blur the lines between art and life, believing that every "nobody" carries the potential to become "somebody" for art belongs to everyone. Our philosophy of "nobody is somebody" represents a commitment to the diversity and inclusivity of the art world. We aim to give more talented artists the visibility they deserve, promoting a healthier and more open art market. In this process, collectors can enjoy the richness of engaging with diverse artistic expressions. Through our platform, we introduce society and collectors to extraordinary artists who may yet be undiscovered, driving the art world toward a more open and dynamic future—where the possibilities of art transcend fame itself. Regardless of background or accolades, we focus on the art itself. At Nobody Gallery, art is born for everyone, and life is art. If your work moves hearts, we will invest the resources to support you. We are continuously seeking passionate artists—join us in shaping a more inclusive and boundless art community.
旺无名画廊展览免责声明
尊敬的艺术家、藏家及合作伙伴：
感谢您对旺无名画廊的信任与支持！为确保展览期间的顺利进行并明确双方责任，特此发布以下免责声明。请您仔细阅读并确认接受本声明内容。
一、展览期间的责任划分
旺无名画廊责任：1. 旺无名画廊名称将尽最大努力为参展艺术品提供专业的展示环境，包括但不限于温湿度控制、灯光设计、安防措施等，以确保艺术品的安全与展示效果。
不可抗力免责：如因以下不可抗力事件导致艺术品受损或灭失，旺无名画廊将不承担赔偿责任：
自然灾害（如地震、洪水、台风等）；
火灾、爆炸等意外事故；
战争、恐怖袭击、社会动乱等社会事件；
政府行为或政策变更；
其他无法预见、无法避免且无法克服的客观情况。
保险保障：旺无名画廊将为参展艺术品购买相应的保险，保险范围包括但不限于火灾、盗窃、水灾等常见风险。如发生保险范围内的损失，将由保险公司根据保单条款进行赔偿。
二、艺术品运输责任
运输安排：艺术品的运输可由[旺无名画廊]安排或由艺术家/藏家自行安排。如由旺无名画廊安排运输，我们将选择专业的艺术品物流公司，并购买运输保险。
运输风险：如艺术品在运输过程中因不可抗力事件受损或灭失，旺无名画廊将不承担赔偿责任，但将协助艺术家/藏家向保险公司或物流公司索赔。
三、展览期间的观众责任
观众行为：如因观众的不当行为（如触碰、损坏艺术品）导致损失，旺无名画廊名称将协助艺术家/藏家追究相关责任人的赔偿责任。
安全提示：旺无名画廊将在展览现场设置安全提示标识，并安排工作人员进行巡视，但仍无法完全排除观众不当行为导致的意外情况，旺无名画廊不对因观众不当行为导致的损失承担责任。
四、艺术品本身的风险
材质与工艺风险：旺无名画廊不对因艺术品本身的材质、工艺或自然老化导致的损坏承担责任。
展示风险：如艺术品因展示方式（如悬挂、摆放等）导致的损坏，旺无名画廊将根据实际情况与艺术家/藏家协商解决。
艺术家/藏家未尽提示义务风险：
如参展艺术品须特殊存储、维护或采取特别保护措施但艺术家/藏家未事先向旺无名画廊提出并确认具体处理方案，旺无名画廊不对因此导致的损坏承担责任。
五、责任限制
赔偿责任上限：如因旺无名画廊的过失导致艺术品受损，我们的赔偿责任将以已购保险的保险金额为上限。如艺术品未投保，赔偿责任将以双方协商的金额为限。
免责范围：旺无名画廊不对因不可抗力、观众行为或艺术品本身风险导致的损失承担赔偿责任。
六、特别提示
风险告知：艺术家/藏家应在艺术品参展前充分了解相关风险，并确认接受本免责声明的条款。
七、声明生效
本免责声明自艺术品进入旺无名画廊展览之日起生效，适用于所有参展艺术品。如艺术家/藏家对本声明内容有异议，请在艺术品交付前与我们协商解决。
感谢您的理解与支持！我们将继续以专业的态度和细致的服务，为您提供优质的展览体验。
如有任何疑问，请随时联系我们：
官方邮箱：nobodygallery@163.com
画廊地址：上海市徐汇区宜山路660号302室（徐汇展厅）
上海市金山区亭卫公路8255号（金山展厅）
