多余的早晨｜黄嘉彦艺术中的时间容器与意义悬置|superfluous|多余的早晨|悬置|艺术|雕塑|黄嘉彦

多余的早晨

黄嘉彦艺术中的时间容器与意义悬置

文/米诺

当“早晨”被冠以“多余”之名，成为一个充满悖论的隐喻。这多余，并非剩余与无用，而是溢出既定秩序、挣脱功能束缚的时间切片，又是悬浮于“有用”的日常秩序之外，一片可供思考与重塑的空白。展览《多余的早晨》围绕艺术家近十年重要部分的创作线索，通过“形状史”、“不舍昼夜”、“做什么都保佑你”、“多余的早晨”、“深色黎明”五个相互关联的系列之间，织就一张关于时间、物性与精神痕迹的感知之网，引领观众探寻其间隐现的艺术观念与工作方法。

“多余的早晨”首先指向一种对标准时间感的偏离，昼夜的清晰边界被有意模糊。作品捕捉晨昏交界时那无法归类、转瞬即逝的天光，或是用持续性的劳作来消解白天与黑夜的二元对立。这种对线性时间的抵抗，与“形状史”系列形成对话。黄嘉彦的工作方法，常常始于对最朴素物质与最日常时间的“凝视”与“再塑造”。土地的宏大叙事被解构为具体而微的物质形态与痕迹。艺术家通过对现成物的改造、对材料的触感探索，将时间压缩、折叠进物质的“形状”之中。

这种对“地质”的考古学兴趣，并非为了复原某个确切的历史，而是为了释放物质内部沉默的、褶皱化的时间层理，通过拓印、雕塑或装置，探讨“形状”如何作为一种痕迹，承载着自身生成、磨损、变异的非编年史。时间不再是一条直线，而是一个可被反复折叠、挖空、重新赋形的场域。

这种对时间的重塑，自然导向对日常意义系统的悬置与重构。“做什么都保佑你”以其近乎祷词般，流露出一种温柔的仪式感与微弱的反讽。艺术家在此将最琐碎、最无功利性的日常动作或物件，通过拓印的方式“圣化”，置于被凝视的境地。保佑，在这里成为一种对无目的性行为的肯定，一种对“多余”之价值的祝祷。它呼应着“多余的早晨”那种脱离了生产循环、允许精神漫游的状态。

然而，黄嘉彦的创作并未停留在轻盈的悬浮之上。“深色黎明”，以一块状似如刀、已经看不出事物本身的现成品/食物，揭示了身体与现实之间蕴藏的深邃与沉重。黎明前的黑暗，是光明确立前最浓稠的阶段，充满了不确定性与潜伏的冲突。在观念上则触及肉身的基底、存在的孤寂或欲望的暗流。它提醒我们，“多余”并非真空，而是我们孱弱的身体，其实并不需要那么多欲念喂养。

纵观这五个系列，黄嘉彦的艺术观念核心之一，或许在于将艺术创作本身视为一种“多余”的实践——一种不急于产出确定答案、不服务于外在功利目的的精神活动。他的工作方法也与此相应：无论是通过“拓印”去直接转译土地表面流逝的痕迹，还是在多种媒介间自由跳跃以打破表达的定式，都体现出一种对“过程”的忠实，对“生成”状态本身的迷恋。他在不同系列和媒介间建立的联系，不是线性的进化叙事，而是彼此映射、补充的共振网络，共同编织关于感知、时间与存在的思考。

因此，《多余的早晨》这个展览，最终向我们揭示的，是黄嘉彦如何以其艺术实践，为我们这个被效率与功能全面殖民的时代，开辟出一片“多余”的飞地。在这里，早晨得以恢复其原初的开放性，时间可以被浪费、被凝滞、被重塑；形状摆脱了固定的所指，意义在“保佑”的轻声吟诵中变得柔软而多元。观众步入其中，亦被邀请暂时悬置自己的目的，让感知在作品间自由游走，去体验那种“多余”所带来的丰饶与解放——那是一种在深色黎明中等待，并深知光之意义恰恰源于这片晦暗的清醒。

Superfluous Mornings

Time Containers and Suspended Meanings in Huang Jiayan's Art

Text/Mino

When "morning" is labeled "superfluous," it becomes a paradoxical metaphor. This superfluity is not redundancy or uselessness, but a time slice that overflows established orders and breaks free from functional constraints—a blank space suspended outside the "useful" daily order, available for reflection and reshaping. The exhibition Superfluous Mornings centers on the artist's key creative threads over the past decade. Through five interrelated series—"Shape History," "Day and Night Unceasing," "May All Your Deeds Be Blessed," "Superfluous Mornings," and "Dark Dawn"—it weaves a perceptual network of time, materiality, and spiritual traces, guiding audiences to explore the emerging artistic concepts and working methods within.

"Superfluous Mornings" first points to a deviation from standardized perceptions of time, where the clear boundary between day and night is intentionally blurred. The works capture the unclassifiable, fleeting light at dawn and dusk, or dissolve the binary opposition of day and night through sustained labor. This resistance to linear time dialogues with the "Shape History" series. Huang Jiayan's working method often begins with the "gaze" and "reshaping" of the simplest materials and most ordinary time. The grand narrative of the land is deconstructed into specific, subtle material forms and traces. Through the transformation of ready-made objects and tactile exploration of materials, the artist compresses and folds time into the "shapes" of matter.

This archaeological interest in "geology" is not aimed at restoring a specific history, but at releasing the silent, folded time layers within materials. Through rubbings, sculptures, or installations, it explores how "shape" serves as a trace, carrying the non-chronological narrative of its own generation, wear, and mutation. Time is no longer a straight line but a field that can be repeatedly folded, hollowed out, and reshaped.

This reshaping of time naturally leads to the suspension and reconstruction of daily meaning systems. "May All Your Deeds Be Blessed," with its almost prayer-like quality, exudes a gentle sense of ritual and subtle irony. Here, the artist "sanctifies" the most trivial, non-utilitarian daily actions or objects through rubbings, placing them in a state of contemplation. "Blessing" becomes an affirmation of purposeless behavior, a prayer for the value of the "superfluous." It echoes the state of "superfluous mornings"—detached from the production cycle, allowing spiritual wandering.

Yet Huang Jiayan's creations do not linger in lightweight suspension. "Dark Dawn," featuring a ready-made/food item shaped like a blade, stripped of its original form, reveals the depth and weight inherent between the body and reality. The darkness before dawn, the densest phase before light is established, is filled with uncertainty and latent conflict. Conceptually, it touches on the physical substrate, the loneliness of existence, or the undercurrents of desire. It reminds us that "superfluity" is not a vacuum—our fragile bodies do not need to be fed by so many desires.

Across these five series, a core of Huang Jiayan's artistic concept lies in regarding artistic creation itself as a "superfluous" practice—a spiritual activity that does not rush to produce definite answers or serve external utilitarian purposes. His working method aligns with this: whether directly translating the passing traces on the land's surface through "rubbings," or freely moving between multiple media to break expressive patterns, it reflects a fidelity to "process" and an obsession with the state of "becoming" itself. The connections he establishes between different series and media are not linear evolutionary narratives, but a resonant network of mutual reflection and complementarity, collectively weaving thoughts on perception, time, and existence.

Thus, the exhibition Superfluous Mornings ultimately reveals how Huang Jiayan, through his artistic practice, has carved out an "extraterritory" of the "superfluous" for our era fully colonized by efficiency and functionality. Here, mornings regain their original openness—time can be wasted, stagnated, reshaped; shapes break free from fixed signifiers; meanings become soft and diverse amid the whispered chant of "blessing." As audiences step into this space, they are invited to temporarily suspend their purposes, letting perception wander freely among the works to experience the abundance and liberation brought by the "superfluous"—a clarity that waits in the dark dawn, knowing well that the meaning of light arises precisely from this obscurity.

部分参展作品