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présentation - 展览介绍 :
The social and cultural conflict in China’s Islamic region is a shaded theme. Once as a young artist living in Urumqi, Wang Ling rethought and realized the contemporary Islamic culture in Xinjiang on the other side.
In the series paintings "Gobi Spring", Wang Ling made a systems analysis and in-depth study on the characteristics of Islamic patterns and shapes, which commonly can be seen curved in the wall of Mosques or public buildings. In his view, the pictures transmitted Islamic culture’s self-enclosed, exclusive, aggressive temperament, in history, when this kind of complexity met out-strangers, it often exhibited with violent conflict and discomfort.
The "Night-Walking" is an art performance under the background of Urumqi 7•5 Event. As a young Han, Wang Ling had ever personally experienced that riots, his spiritual world suffered severe contusion. In the deep winter 2010, he returned to the city, holding a burning candle, walking in those scarred streets. He, in the Quran words and historical shadows, was trying to find a spiritual exit transcending the racial barriers.
Wang Ling's many works, implies a silent and powerful forces of darkness. He often let the fire become the protagonist of historical narrative, interwoven and reborn with the darkness. Syrian poet Adonis wrote that "fire has its own writing, but eventually reduced to ashes." as if, all the incomplete combustion of things became a certain solo proof, after those matters went in silence.
展览介绍
中国伊斯兰地区的社会文化冲突，是一个被遮蔽的主题。作为一个曾经生活在乌鲁木齐的青年艺术家，汪凌反省和体认了当代新疆伊斯兰文化的另一面。
《戈壁的春天》系列绘画中，他对新疆伊斯兰纹样的造型特点进行了系统分析和深入研究。这种常见于清真寺和公共建筑上的图案，在他看来，往往透射出伊斯兰文化自我封闭、排他、凌厉的气质，这种复杂性体现在历史生活中，在遭遇他者时，往往表现出激烈的冲突与不适。
《夜行》是一个以乌鲁木齐7•5事件为背景的行为艺术作品。作为一个汉族青年，汪凌亲身经历了那场暴乱，精神世界遭受严重挫伤。在2010年的冬夜，他重新回到这个城市，手执烛台，行走在那些伤痕累累的街道上，在古兰经经义和历史阴影中寻找一条超越种族隔阂的精神出口。
汪凌的诸多作品，暗含着静默而又强大的黑暗力量。他常常让火成为历史叙事的主角，与黑暗交织相生。叙利亚诗人阿多尼斯曾写到，“火有自己的书写，只是最后都化为灰烬”。这些燃烧后的残缺物，仿佛成为某些事件沉默之后唯一的在场证明。
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