之间艺术（成都）将于2026年5月30日-7月5日展出阿土培个展《内景》。
GARAGE APART Chengdu will present ATUPEI©'s solo exhibition "Inner Scene"from 30th May to 5th July 2026.
《内景》将于5月30日15:00开幕，届时艺术家与策展人将为大家导览并进行互动。
"Inner Scene" will open on 11th March at 15:00, led by the artist and curator, who will provide insights and interactive engagement.
艺术家：阿土培
Artist: ATUPEI
策展：郑子扬
Curator: Johnnie Cheang
统筹：陈尘
Coordinator: Eden Chen
执行：杨凡
Executor: Luna Yang
展期：2026年5月30日- 7月5日（每周二至周日10:00-18:00开放）
Duration: 30th May - 5th July 2026 (open Tuesdays to Sundays from 10:00 to 18:00)
展览地址：之间艺术 四川省成都市双林中横路14号9栋附5号（双林社区内）
Venue: Garage Apart, 14-9-5, Shuanglin Henglu Rd. M, Chenghua District, Chengdu
?前言
Foreword
街头艺术最初的力量，并不只是它发生在街头，而是它以一种非授权方式占用可见性。在当代艺术语境对于街头艺术的定义中，对其媒介及实践的认识并非只是刻板印象中的涂鸦、喷漆或墙面图像等形式，而更着重考虑其是否具备“发生于公共地点”、“常未经授权”的双重属性来进行理解。 然而即便不只通过形式类型进行归类，却仍停留在“公共地点”和“未经授权”的意义上进行研究，就会将对街头艺术的精神内核进行的思辨简化成地点问题，从而带来类似“街头艺术如何被搬进美术馆内”这样肤浅的争论。真正关键的是：街头艺术、以及街头精神如何在附庸精英趣味与制度授权的秩序中创建一个毋需许可的主体位置？
现代艺术史中的许多反制度传统：达达、情境主义、激浪派、观念艺术、制度批判、涂鸦、朋克、地下出版、独立印刷、夜店文化、滑板、说唱，都在不同程度上共享一种逻辑：艺术并非先进入制度后才获得意义，而是在制度尚未授权之前，就通过行动、占用、传播和风险完成自身的显影。在一系列机动中，作为体制外“外景”的街头艺术，却快速把一种不经授权的可见性机制、即兴状态和反制度的观看心理带入艺术制度，划定了某种内部空间。此时，街头艺术就不再是一个门类，而被提炼为一种精神结构、一种感知伦理、一种生成方式。也就是——重点从“街头艺术”转向 “街头精神”——不是街头上的艺术，而是艺术内部的“街头性”：一种反中心、反垄断、反授权、反唯一入口的内在动力和自我探索，它拒绝把来自自我以外的授权作为艺术发生的条件。
然而，这种反叛姿态却不仅仅是纯洁的英雄主义，恰恰相反，甚至可以说反体制姿态与被体制承认的欲望几乎同时存在：它暴露的不是一个已经被道德净化过的主体，而是一个充满矛盾、欲望和不安的主体。街头精神的野心，并不只是反体制，而是反对将自己排除在外的历史，相比起被招安、得到认可、被归档和挪用、最后登堂入室，它更渴望夺取命名权和解释权、功成名就，它从来不是无名者的控诉。
这是一种近乎绝对的自我驱动力和极端强烈的自我意识：我要留下名字，我要让人看到我，我将存在，我不再籍由匿名进行掩护，我把羞耻、愤怒、欲望、恐惧、虚荣、失败和幻想都转化成你直面的形象。反叛、渴望、拒绝、索取，一切都是我，我自证因果，我无处不在，来自街头，虎视眈眈。
文 / 郑子扬
The initial force of street art lies not merely in the fact that it takes place on the street, but in the way it occupies visibility through an unauthorised mode of appearance. Within the contemporary art context, definitions of street art no longer understand its media and practices simply through stereotypical forms such as graffiti, spray paint, or images on walls; rather, they tend to emphasise two interrelated attributes: that it occurs in public places, and that it is often unauthorised. Yet even when street art is no longer classified only by formal type, if its study remains confined to the meanings of “public place” and “unauthorised”, any speculation on its spiritual core is reduced to a question of location, thereby producing superficial debates such as “how street art is brought into the museum”. The real question is this: how do street art, and the street spirit, create a subject position that requires no permission within an order subservient to elite taste and institutional authorisation?
Many anti-institutional traditions in modern art history — Dada, Situationism, Fluxus, conceptual art, institutional critique, graffiti, punk, underground publishing, independent printing, club culture, skateboarding, and rap — share, to varying degrees, a common logic: art does not acquire meaning only after entering the institution; rather, before the institution has authorised it, art has already completed its own manifestation through action, occupation, circulation, and risk. Within a series of manoeuvres, street art, as an “exterior scene” outside the system, rapidly brings into the art institution a mechanism of unauthorised visibility, a state of improvisation, and an anti-institutional psychology of looking, thereby demarcating a certain internal space. At this point, street art is no longer simply a category, but is distilled into a spiritual structure, an ethics of perception, and a mode of generation. That is to say — the emphasis shifts from “street art” to “street spirit” — not art on the street, but the “streetness” within art: an internal drive and self-exploration that is anti-centre, anti-monopoly, anti-authorisation, and anti-single-entry-point, refusing to take authorisation from outside the self as the condition for art’s occurrence.
Yet this rebellious posture is not simply a matter of pure heroism. On the contrary, one might even say that an anti-institutional stance and the desire to be recognised by the institution exist almost simultaneously: what it exposes is not a subject already morally purified, but a subject full of contradiction, desire, and unease. The ambition of the street spirit is not merely to oppose the system, but to oppose the history that has excluded it. Compared with being pacified, recognised, archived, appropriated, and finally ushered into the halls of legitimacy, it desires even more to seize the right to name and the right to interpret, to achieve fame and success. It has never been merely the complaint of the nameless.
This is an almost absolute self-driving force, an extremely intense self-consciousness: I want to leave a name; I want people to see me; I will exist; I will no longer use anonymity as cover; I transform shame, anger, desire, fear, vanity, failure, and fantasy into images that you must confront. Rebellion, longing, refusal, demand — everything is me. I prove my own causality. I am everywhere. From the street, watching like a predator.
Authored by Johnnie Cheang
?艺术家及部分参展作品
Artist and part of works on display
阿土培
1998年生于四川隆昌。2014年开始街头涂鸦创作，2019年转向观念艺术。2020年末，创立非营利艺术机构“八楼空间”。现工作、生活于隆昌。
他的艺术实践始于对社会现实荒诞性的敏锐捕捉。以自我民族志为方法，从个体经验与文化背景出发，这种实践持续追问：个人亲身经历如何成为一种解码、协商并构复杂现实的方式？无论是装置、行为或绘画等其他作品，创作始终致力于构建一种文化的交涉现场——现成品与日常符号在此被有意识地戏仿、讽刺与置，从而脱离固有语境，进入陌生的意义协商之中。该过程催生出如细胞分裂与突变般的混杂性新整体，旨在松动观者习以为常的认知结构。作品本身并不提供明确答案，而是开辟出一个模糊、矛盾却充满生产性的中间地带，邀请观众直面文化、符号与日常生活摩擦中闪现的新的可能，共同探索意义的流动与生成。
个展
2025，“自省室-阿土培个展”，無住慈苑，内江
2023，“白蚁-如法炮制”，Inflying当代艺术空间，成都
2021，“人从众-阿土培个展”，虫洞艺术空间，泸州
主要群展
2026，“艺术的矩阵”，Indra Gallery，伦敦，英国
2026，“烟火指数·成都双年展平行展项目：此间神游”，四川省文化馆，成都
2025，“视差：禽龙的拇指”，之间艺术，成都
2025，“Meeting of Styles 2025”，浓园国际艺术村A区，成都
2023，“漫游者的地图”，POST POOL，重庆
2020，“礼物 The Gift”，罗中立美术馆，重庆
2020，“321国际设计师节”，洛可可·洛客，佛山
博览会
2024，“Open M Art Fair by abC” (Presented by Inflying当代艺术空间)，MEWS马厩·青年文化空间，成都
工作坊
2023，“RENOW Workshop”，SKP-S，成都
公共艺术项目
2023， “去地摊：联合、悦动与闪现”，艺文立方AC LAB，成都
2022， “去地摊：夜间、流动与共享”，艺文立方AC LAB，成都
2022，“亲邻自然·生态花园共建计划-刑家桥社区”，十方艺术中心，重庆
2022，“亲邻自然·生态花园共建计划-忠县磨子土家族乡竹山村”，十方艺术中心，重庆
驻地项目
2018, “艺术改变乡村”，先生书院，寿光
2018, “艺术改变乡村”，先生书院，太原
项目获奖
2019，“最佳乡村公共艺术奖”，中国国家画院公共艺术研究中心，铜陵
作品收录
2020，“中国涂鸦作品集2019/2020”，ChinaGraffiti.com，广州
2019，“中国涂鸦作品集2018/2019”，ChinaGraffiti.com，广州
2018， “中国涂鸦作品集2017/2018”，ChinaGraffiti.com，广州
2018，“山东画报”，山东画报出版社，济南
2017，“Local Vandals 2017”，StillWritin涂鸦仓库，成都
采访报道
2024，“GAG艺术家对谈 | 荒谬当道，爱拯救之”，鈺金地箱
2022，“回小城市，搞艺术”，喧荒
2018，“艺术改变乡村”，二更视频
2016，“这是一个好地方”，VICE
ATUPEI
Born in Longchang, Sichuan in 1998. He began creating street graffiti in 2014 and shifted to conceptual art in 2019. In late 2020, he founded the non-profit art organization "8th Floor Space." He currently lives and works in Longchang.
His artistic practice originates from a keen observation of the absurdities within social reality. Using auto-ethnography as a method and drawing from personal experience and cultural background, this practice continually explores how lived individual experience can become a way to decode, negotiate, and reconstruct complex realities. Whether through installation, performance, painting, or other forms, his work consistently seeks to construct a site of cultural negotiation—a space where readymade objects and everyday symbols are consciously parodied, subverted, and re-contextualised, thereby detachingthem from their original contexts and entering an unfamiliar process of meaning-making. This process gives rise to new hybrid wholes, akin to cellular division and mutation, aiming to unsettle the viewer’s habitual cognitive frameworks. The works do not provide clear answers; rather, they open up an ambiguous, contradictory, yet productive middle ground, inviting the audience to confront the emergent possibilities sparked by the friction between culture, symbols, and daily life, and to collectively explore the fluidity and production of meaning.
Solo Exhibitions
2025, “Meditation and Self-Introspection Room - ATUPEI Solo Exhibition”, Wu Zhu Ci Yuan, Neijiang
2023, “Termites - Follow the Same Pattern”, Inflying Contemporary Art Space, Chengdu
2021, “From Individuals to Groups - ATUPEI Solo Exhibition”, Wormhole Art Space, Luzhou
Selected Group Exhibitions
2026, “Inside the Art Matrices”, Indra Gallery, London, UK
2026, “Wandering Here, Dreaming There (Parallel Exhibition Project of the Fireworks Index: Chengdu Biennale)”, Sichuan
Provincial Cultural Centre, Chengdu
2025, “Parallax: The Thumb of the Iguanodon”, Garage Apart, Chengdu
2025, “Meeting of Styles 2025”, Nongyuan International Art Village (Area A), Chengdu
2023, “Map of Wanderers”, POST POOL, Chongqing
2020, “The Gift”, Luo Zhongli Art Museum, Chongqing
2020, “321 International Designer Festival”, LKK, Foshan
Art Fair
2024, “Open M Art Fair by abC” (Presented by Inflying Contemporary Art Space), MEWS Youth Cultural Space, Chengdu
Workshop
2023, “RENOW Workshop”, SKP-S, Chengdu
Public Art Projects
2023, “Go to the Market: Unite/Fun/Occur”, AC LAB, Chengdu
2022, “Go to the Market: Welcome/Flow/Share”, AC LAB, Chengdu
2022, “Close to Nature, Close to Neighbors: Eco-Garden Co-creation Project - Xingjiaqiao Community”, Dimensions Art
Center, Chongqing
2022, “Close to Nature, Close to Neighbors: Eco-Garden Co-creation Project - Zhushan Village, Mozhi Tujia Township,
Zhongxian County”, Dimensions Art Center, Chongqing
Residency Programs
2018, “Art Transforms the Village”, Mr. Academy, Shouguang
2018, “Art Transforms the Village”, Mr. Academy, Taiyuan
Awards
2019, “Best Rural Public Art Award”, Public Art Research Center of China National Academy of Painting, Tongling
Publications
2020, “China Graffiti Yearbook 2019/2020”, ChinaGraffiti.com, Guangzhou
2019, “China Graffiti Yearbook 2018/2019”, ChinaGraffiti.com, Guangzhou
2018, “China Graffiti Yearbook 2017/2018”, ChinaGraffiti.com, Guangzhou
2018, “Shandong Pictorial”, Shandong Pictorial Publishing House, Jinan
2017, “Local Vandals 2017”, StillWritin, Chengdu
Interviews & Features
2024, “GAG Artist Talk | Absurdity Prevails, Love Redeems”, Yu Jin Di Xiang
2022, “Return to Small Cities, Make Art”, Xuan Huang
2018, “Art Transforms the Village”, Ergeng Video
2016, “This is a Good Place”, VICE
《自画像：七罪宗》
2024
Self- Judgment: The seven Deadly Sins
2024
《自画像：七美德》
2024
Self- Judgment: The seven Holy Virtues
2024
《自画像：七罪宗与七美德》
2024
Self- Judgment: The seven Deadly Sins & The seven Holy Virtues
2024
《自画像：七情-石燕桥pinata》
2024
Self Evolutions: Smash the pinata from my hometown
2024
《自画像：七情-假如我是西西弗斯》
2024
Self Evolutions: If I were Sisyphus
2024
《自画像：越狱者》
2025
Self-Assemblage: The Escaper
2025
《自画像：捍卫者》
2025
Self-Assemblage: The Enforcer
2025
特别鸣谢果立方品牌对本展览的支持与赞助
果立方，瓶子星球集团旗下果汁酒品牌。以“随地大小喝”的饮酒理念打造属于年轻人的野酒文化。品牌秉承“不驯服敢撒野”的精神理念，鼓励年轻人敢想敢为，打破常规，创造有趣，用多元的角度看世界。希望每个人都能大胆回应内心灵魂里的冒险召唤，成为自己的冒险家。
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之间艺术（广州）正在筹备中
GARAGE APART Canton is now in preparation
敬请期待
Stay tuned
