展览预告|袁仲屿:停泊地

展期 Duration: 2026.07.18—08.29

开幕 Vernissage: 2026.07.18, 15:00—19:00

Vanguard 画廊将于7月18日荣幸呈现袁仲屿个人项目“停泊地”，聚焦艺术家于今年创作的一系列装置作品。袁仲屿曾辗转上海、洛杉矶与旧金山之间求学，并接受土木工程与建筑学的训练，他的创作持续探索个体与其周遭环境之间的不确定空间，并回应现代性所生成的特殊景观。他在试图从现代性统一、秩序化、功能性的孔隙中寻找某种意志和灵性。作品专注在并放大了工业制成品的造型、图案、灯光，乃至不可控所造成的失误，将这些有限的“人性化”妥协转变成田园牧歌般的、超越性的母题。

Vanguard Gallery is pleased to present Anchorage, a solo project by Yuan Zhongyu on 18 July, featuring new installations created this year. Trained in civil engineering and architecture, and shaped by his experiences between Shanghai, Los Angeles, and San Francisco, Yuan explores the indeterminate space between the individual and their surroundings, responding to modernity’s peculiar landscapes. In fact, he seeks traces of will and spirituality within the cracks of modernity’s drive toward unity, order, and functionality. His works focus on and amplify the forms, patterns, illumination, and even the unintended imperfections of industrially manufactured objects, transforming these limited moments of “humanized” compromise into idyllic and transcendent motifs.

袁仲屿 Yuan Zhongyu

许愿池 #1，2026

Wishing Pond #1

不锈钢锥桶，墙面砂石涂料，树木保温棉布，树脂，办公室拼接地毯

Stainless steel cone, textured sand wall coating, tree wrap insulation blanket, resin, office carpet tiles

34 × 270 × 175 cm

步入 Vanguard 画廊项目空间，观众将置身于一个介于花园与道路施工现场之间的空间中，地面上分散摆放的交通设施吸纳传统中国园林元素，将空间转化为一处可供游走、停留与徘徊的景观。“停泊地”所呈现的并非终点，也不是永久的庇护所，而是一个由自身选择而抵达的临时停靠点——一个在继续前行之前短暂的落脚点。

Upon entering Vanguard Gallery’s Project Space, visitors find themselves in a space suspended between a garden and a roadside construction site. Scattered traffic facilities were altered with traditional Chinese garden elements,  turning the space into a landscape for wandering, pausing, and lingering. “Anchorage” is not a destination. Nor is it a permanent refuge. It tend to create a temporary point of arrival chosen by oneself—a place to pause before continuing onward.

袁仲屿 Yuan Zhongyu

欢迎光临，2026

Welcome

玻璃灯罩，灯杆，灯泡，不锈钢标识，树木保温棉布，墙面砂石涂料，底座

Glass lampshade, lamp pole, light bulb, stainless steel signage, tree wrap insulation blanket, textured sand wall coating, base

115 × 145 × 70 cm

展览中的作品共同构画出这一概念的轮廓，《欢迎光临》将家居中常见的玻璃灯罩与街灯结合，引导观众进入空间。《道路救援 #2》将象征着休憩和沉思花窗与临时交通标识相融，成为空间中的视觉指引。由地毯与不锈钢锥桶构成的《许愿池 #1》在都市语境中创造出一处宁静的角落，展厅深处的《停泊地》则占据视觉中心，被灯杆托起的红色灯罩如同破土而出的松树慵懒地依靠于支撑结构之上，又仿佛被浪漫化的停车标志托起明灯。《苔》从另一侧墙边伸出，成为人行步道在此驻留的一隅。

The works function as fragments of this inquiry. Welcome combines a domestic glass lampshade with a streetlight, guiding visitors in. Roadside Assistance #2 merge decorative windows associated with rest and contemplation and temporary traffic signage as visual markers. Carpet and steel cones create Wishing Pond #1, a tranquil corner amid urban motifs. At the center, Anchorage features red lampshades elevated on street poles, resembling pine trees leaning casually against supports, while recalling romanticized stop signs. Nearby, Moss extends from the wall, marking a pause along the pedestrian path.

袁仲屿 Yuan Zhongyu

道路救援 #2，2026

Roadside Assistance #2

铝防盗窗，墙面砂石涂料，木框架，不锈钢杆，树脂，办公室拼接地毯，滚轮 

Aluminum security window, textured sand wall coating, wooden frame, stainless steel rod, resin, office carpet tiles, casters

165 × 140 × 106 cm

近年来，袁仲屿的创作实践持续回应着其对保罗·维尔诺的《诸众的语法》的反思与研究，维尔诺在书中指出一种源于群体社会与公共交往中的可指名的恐惧，以及对应的当个体无法再将自身定位于稳定社会身份之中时所产生的不可指名的焦虑。袁仲屿此前的作品围绕着对终极避难所的想象展开，试图回应当集体身份失效、既有归属结构瓦解后个体所面对的存在性困境。

In recent years, Yuan’s practice has been reflecting his study of Paolo Virno’s A Grammar of the Multitude, where Virno addresses a fear that can be named, deriving from social and public interactions, and a indefinite anxiety, which arises when one cannot locate oneself within a stable social identity. Yuan’s previous works aim to create an ultimate shelter as a solution toward the predicament individual lives once the collective border vanished, and no place they belongs.

袁仲屿 Yuan Zhongyu

停泊地，2026

Anchorage

吊灯灯罩，灯杆，灯泡，不锈钢树木支撑杆，麻绳，树木保温棉布，办公室拼接地毯，石膏涂料，墙面砂石涂料，底座，不锈钢锥桶，不锈钢路砖

Pendant lampshade, lamp pole, light bulb, stainless steel tree support pole, hemp rope, tree wrap insulation blanket, office carpet tiles, plaster coating, textured sand wall coating, base, stainless steel cone, stainless steel pavement brick

280 × 150 × 150 cm 

在“停泊地”中，艺术家则进一步追问构建这样一种终极避难所的意义，以及其背后所隐含的逃避倾向。如果人能够找到一个永恒不变的港湾、一个绝对的身份，或一套一劳永逸的意义系统，便无需再面对不可指名的焦虑。然而，这种理想之地终究只是一种幻象，驱使人停止向前探求，无尽地困于由既有经验所编织的迷宫之中徘徊。因此，袁仲屿选择构建“马路边”这一开放而不特定的过渡场景，它不是提供永久解决方案的避难所，而是给予漂泊者短暂歇脚的地点，希望观者在停留之后依然能够清醒地接纳随时出发的自由，以及自由所伴随的重量。

In Anchorage, the artist further questions the meaning of this ultimate shelter and the tendency toward evasion that it represents. One would no longer need to confront indefinite anxiety if one could find an unchanging harbor, an absolute identity, or a system of meaning that promises a once-and-for-all resolution. Yet the fantasy of discovering such a paradise only serves as an illusion, preventing one from moving forward and trapping individuals endlessly within a maze shaped by the limitations of their own experiences.

Therefore, Yuan creates a roadside environment instead—an open and undefined transitional space. As a brief stopping point that offers no permanent solution for drifting souls, it seeks to evoke a consciousness in the viewer: to embrace the freedom of move forward at any moment and bear the weight that comes with it.

关于艺术家  ABOUT THE ARTIST

袁仲屿Yuan Zhongyu

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