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无中生有·花·画·展以“从无到有，向死而生”作为展览口号。“从无到有”，是生命诞生的初始状态。“向死而生”，是生命从生就贯穿着走向死的过程。而死前每一刻的精神觉醒，都是在延长生命的涵义。

“None to one, die to live” is the slogan of this exhibition. “None to one”, as the initial state in which life is born and “die to live” as the process of living through your whole life and finally reaching the destination. And all the moments of spiritual awakening before death is extending our meanings of life.

生命从无到有，向死而生。

Being from nothing to something, finally reaching death.

策展人语

Words from Curator

本次展览，由Yoli的“拈花”系列列画作与二十一的植物装置结合，通过二维（平面）与三维（立体）的植物对话，呈现出生命循环往复的状态，也包含了生命在空间和时间的多样性与不确定性的认同与呈现。

The exhibition, combined with Twenty-one’s floral installations and Yoli's paintings of “picking-up flowers” series, presents cycle of life through the communications of two-dimensional paintings and three-dimensional plants , and also includes the recognition and presentation of the diversity and uncertainty of life in space and time.

植物从繁盛到枯败，从“生”到“死”，换来画作里里花的“生命土壤”——纸张，这就是一个生命迭代的过程。无“生”的花，也因此被赋予了生命。Yoli的画作，多以柔软安静的花为主线。而二十一的植物作品，以苍劲枯败为概念。这两者看似对立、碰撞，但在生命的本质中，正是枯败带来了繁盛，新生踵继了旧亡。“生死”、“有无”皆为一体。

Plants from vigorous to decay, from the living to the death,  turns out to be the “living soil” of the flowers in paintings – paper. This is actually the truth of a life iteration, and because of that the none-living flowers had being given a second life. Yoli's paintings are mainly based on elegant, quiet flowers. In contrast, Twenty-one’s plant works are vicissitude with a concept of withering. The ideas seem to be opposite and conflicting. However, in the nature of life, the failure brings out prosperity, the new born replaces the death.“Living and death”and “being or not being”are all in one.

就像自然界物种之共生与平衡，它是对生命价值与自由力量的铭记与承载。

Just like the symbiosis and balance of natural species, it carries and marks the value of life and the power of freedom.

而艺术也是一种不可或缺的生命力量。

And art is an irreplaceable power of life.

入云屋策展团队，同源于“自然生长，自在生活”的品牌理念，以理性的策展思维作为出发点，在这场“从无到有，向死而生”策展中力求探寻人与自然、人与生活、人与感观多方面的相处方式，在展览中向人们表达“无中生有”的生命之美。

Ruyun Store curatorial team, deriving the brand concept of “growing naturally and live freely”, at the same time using its rational planning logic as a starting point, exploring from various relationships and communicating methods of how people and nature; people and life; people and emotions get along conveys the beauty of life via the philosophy “none to one” in this exhibition.

二十一对作品的阐述

21 - Aristist Statement

无中生有在每个人眼中都有不一样的着力点。

有的人是“生”，探讨生长的过程；

有的人是“有”，探讨生命长成的姿态与方向；

我想探讨的是从“无中”到“生”的过程。

生命的最初形态是细胞，植物亦是。

在无数次分裂和繁衍的可能下探求着“生”的可能。

细胞体就是这种万乎其一的可能下一个本质的来源。

这组装置用无数的枯枝营造一个细胞体的无限次的生，

这样的本能亦是生命体的根源。

有无限的生，才能独一的“有”。

Every one has different perspective on “creating something out of nothing”.

Some people holds the view of “living“, explores the process of living;

Some people holds the view of “having”，explores the attitude and direction of life;

And I, want to explore the process from none to one.

The original form of life is cells, and so are plants.

Discover the possibilities of “live” in the countless times of division and reproduction of cells

The cell may be the only source of one essence.

This series of installation used lots of dead brances to convey and presents the infinite times one cell body has born.

Such instincts are also the root of life.

Having infinite “living”, then we can have the unique “having”

二十一老师花艺装置作品

其实我看这个世界是悲观的。人创造了语言，但语言常常带来误解。人富有想象，但想象永远让我们留在过去和未来，而不是落足于当下。桃花源乌托邦的美好在于它们根本不会存在，也不可能抵达。

所以我唯独喜欢画一些花草，去掉所有人为的部分，没有什么意见和观点想要表达，没有对抗，没有反讽，没有弘扬，没有什么理想需要去树立起来。

《拈花》出自禅宗“拈花一笑”的故事。佛陀拈起一朵花，说：“我不立文字，以心传心”，把花递给了迦叶。

简简单单，开一枝花，就好。

若是这朵花能愉悦到谁，这美让人忘却哪怕一刻在人间的不如意，那便是我的福气。

The way I see the world is pessimistic. We created languages, but languages often lead to misunderstanding. We are capable of imagintion, yet imagination keeps us in the past, takes us to the future, but the present. The beauty of utopia is that they do not exist, and can never be reached.

Thus, I paint only plants to get rid of the manmade part. In plants, there is no opinion or thought to be expressed, no conflict, sarcasm, carrying forward, or ideal to be established.

"Nian Hua" comes from the Zen story "nian hua yi xiao". In the story, Gautama Buddha picked up a flower and said "I don't write; I pass my knowledge on through the connection between the hearts". Then he handed the flower to Mahā Kāśyapa.

As simple as a blooming flower is enough.

If this flower happens to please someone, if its beauty helps someone forget their misfortunes for even just a second, I can take comfort in that.

Yoli老师水彩作品

展览时间/ 07.12 - 08.31

开放时间/10：00 - 18：00

（17：30为最后入场时间）

免费入场

疫情期间，超10人集体参观请添加官微cdyishuitang预约时间

翻译/ Evanna, Greenie

海报设计/ 李白鹿

关于我们

About us

懿水堂人文艺术空间，坐落于天府之国成都的中心位置。以琥珀文玩、茶叶、艺术展品等多样元素为一体，致力于为每一个来访者提供全身心的沉浸式艺术感受。从每三个月一次的主题展览体验，和不定期与各领域艺术家合作的线下互动，为这片土地上所有热爱艺术、专注艺术，追逐艺术的都市人们提供独到的精神角落。

I Shui T'ang is a multifunctional art space established in 2014 Chengdu. Our company also founded in the very fist amber museum in China. The museum has aspired to be more than a treasury of an extensive rare and beautiful collection of amber antiques and artifacts, also bringing both new ideas and connections across time.