「变相·王国建艺术展」展览设计丨中国北京丨燕尾设计室

2025/11/26 18:55:29

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“变相——王国建艺术展”于2025年11月7日在北京宋庄美术馆开幕，展期持续至2026年3月30日。此次展览共展出王国建先生的57件作品，作品类型涵盖平面、雕塑、实验影像等。使用空间面积1880平米。展览设计团队于今年6月23日与艺术家首次接触开始展览设计事宜，至展览开幕，项目总计时长137天。

▼展览海报，Exhibition poster © 燕尾设计室

王国建先生自小生活在泉州，其创作受闽南文化影响巨大。作品能量独特、变化多端，艺术创作中使用的媒介材料广泛且丰富。展览设计团队2025年6月23日由武汉飞往泉州，与王国建先生进行初次见面。见面时，设计团队未询问艺术家各类作品的制作流程、工艺与时长等细节。寒暄几句作为铺垫后，直接问及艺术家创作背景的根源：“您认为闽南文化的本质是什么？”王国建先生思索片刻后给出了很漂亮的回答——“未知崇拜”。

Having grown up in Quanzhou, Mr Wang Guojian’s creative practice bears profound influences from Minnan culture. His works possess distinctive energy and multifaceted transformations, employing a broad and diverse range of media and materials. On 23rd June 2025, the exhibition design team flew from Wuhan to Quanzhou for their initial meeting with Mr Wang Guojian. During this encounter, the team deliberately avoided inquiring about the production processes, techniques, or timeframes for his various artworks. After brief pleasantries, they directly addressed the root of his creative background: ‘What do you consider to be the essence of Minnan culture?’ After a moment’s reflection, Mr Wang Guojian offered a remarkably elegant response: “The Cult of the Unknown”.

▼极具观赏性的展品，Exhibits of strong visual appeal © 燕尾设计室

展览设计的所有工作从“未知崇拜”四字开始。设计团队欲将宋庄美术馆内部空间的能量进行改变：空间收纳住作品的能量不外放，将展览现场转变为一个仪式场。场中作品的“未知”能量被提取、聚拢、标记。作品的能量持续振动，激荡起观众的内在强烈体验，从而引发观众对“未知”本身的感受与思索。

All exhibition design work commenced from these four words: “The Cult of the Unknown”. The design team sought to transform the energy within Songzhuang Art Museum’s interior spaces: containing the works’ energy within the space rather than allowing it to radiate outward, thereby converting the exhibition site into a ceremonial ground. Within this space, the “unknown” energy of the works is extracted, gathered, and marked. The sustained vibration of this energy stirred profound inner experiences in viewers, prompting them to contemplate the very nature of the ‘unknown.’

▼穿过艺术的序章，Through Art’s Prologue © 燕尾设计室

宋庄美术馆一层、二层共有三个展厅。一层1号展厅前部高16米，显旷达。中后部高3.68米，显幽闭。由旷达至幽闭，观展情绪逐渐趋向细腻。二层2号厅高10米，形体方正有蛮力，空间强劲，能量聚合的好。3号厅高6米，与2号厅相对，如果2号厅气质属阳，3号厅的气质便属阴——力量温润中略带媚气，包容性大。2号厅与3号厅之间由中厅联通，中厅高3.8米，包含一个影像厅与一个较小的展示空间。

▼展览布局，Exhibition layout © 燕尾设计室

The Songzhuang Art Museum features three exhibition halls across its first and second floors. Hall 1 on the ground floor presents a 16-metre-high front section, evoking expansiveness, while its central and rear sections, at 3.68 metres, convey intimacy. This progression from openness to intimacy gradually refined the viewing experience. The second-floor Gallery 2, standing 10 metres tall, possesses a square form with brute strength, creating a powerful space that excels at energy convergence. Gallery 3, at 6 metres high, faces Gallery 2. If Gallery 2 embodies a yang quality, Gallery 3 possesses a yin essence—its strength is gentle yet slightly alluring, offering great inclusivity. The two galleries are connected by a central hall, 3.8 metres high, housing a screening room and a smaller exhibition space.

▼一号厅空间与展品，Exhibit and space in hall No.1 © 燕尾设计室

9厘米高的台面覆盖了1号厅三分之二的面积，台面上展示艺术家平面大漆与综合材料作品。观展前上台阶，入“仪式场”。台面上搭建立面，立面安装作品，台面立面统一颜色，仿佛由作品和新空间组合成的新场域的“降临”或“升起”。台面是区域的标记物，无形的围合出展览特定场域，围合中实现对作品的聚能。部分作品被“围合”起进行集中展示，作品群体的能量汇合成一个个小型的仪式场。另外一部分作品模仿某种蒙太奇的方法被安排在围合区域外的其他地方。

▼一号厅展览布局，Exhibition hall No.1 layout © 燕尾设计室

centimetre-high platform covers two-thirds of Gallery 1, displaying the artist’s lacquer and mixed-media works. Visitors ascend steps to enter this “ceremonial space”. Elevated platforms are erected atop the base, with works mounted upon them. The unified colour scheme of base and platform creates an impression of a new field “descending” or “rising”—a space formed by the convergence of artworks and the new environment. The base serves as a territorial marker, invisibly delineating the exhibition’s specific domain and concentrating energy upon the works within this enclosure. Certain pieces are “enclosed” for focused display, their collective energy coalescing into miniature ritual spaces. Other works are arranged outside these enclosed zones, employing a montage-like methodology.

▼游览一号展厅，Tour exhibition hall No. 1 © 燕尾设计室

2号厅展出艺术家《水镜神相》系列中的十三件作品，十三件作品在展厅中无序摆放。每件作品被由大型钢架和台面组成的装置物支撑，装置物类似一个庞大的虚拟身体与作品能量进行抗衡——抗衡中出现均衡。同时，空间本身的蛮力也参与到对抗中，三方博弈又相互托举，力量循环，“未知”“未明”的能量示现。

▼二号厅展览布局，Exhibition hall No.2 layout © 燕尾设计室

Hall 2 presents thirteen pieces from the artist’s Water Mirror Divine Reflection series, arranged haphazardly throughout the space. Each work is supported by installations comprising large square steel frames and platforms. These structures resemble colossal virtual bodies counterbalancing the energy of the artworks—a struggle yielding equilibrium. Simultaneously, the space’s inherent physical force participates in this confrontation. This three-way interplay mutually supports and sustains, creating a cyclical flow of energy where the “unknown” and “unclear” manifest.

▼二号厅空间与展品，Exhibit and space in hall No.2 © 燕尾设计室

▼游览二号展厅，Tour exhibition hall No. 2

中厅中的小展厅出现对称的斜墙面结构，两个墙面上安装《十二生肖》系列四件作品。双斜墙面的组合呈漏斗状，作为引导结构引观众进入放映厅。放映厅中展示艺术家最新创作的实验影像作品《脸部·识别》。从放映厅出来，即可直面艺术家的水墨《影音作品》。3号厅集中展示艺术家各个系列的雕塑作品。如同1号厅，3号厅的部分面积被台面覆盖。不同的是，1号厅台面形式接近围合，3号厅台面形式接近导引。观众上台面，由台面的形式与方向被引入到作品面前——走向作品。 “走向”的动作成为“未知”本身极具吸力的实体显现，在一次次的“走向”中完成对所有作品的观看。

▼中厅展览布局，Exhibition center hall layout © 燕尾设计室