展览预告 —— 「阈限之中｜In the Limen」

策展人 | Curator

余思羽 Siyu Yu

参展艺术家 | Artists

Calvin Guo

姜海容 Hairong Jiang

金一麟 Yilin Jin

金一诺 Yinuo Jin

安琪牛 Angel Niu

欧阳俊贤 Junxian Ouyang

孙劭珺 Shaojun Sun

王伟洋 William Wang

吴欣迪 Xindi Wu

余思羽 Siyu Yu

周欣然 Xinran Zhou

执行策展| Executive Curator

孙劭珺 Shaojun Sun

策展助理｜Curatorial Assistants

金一诺 Yinuo Jin

崔凌波 Lingbo Cui

乔渺 Miao Qiao

展期 | Duration

2025.8.3 - 2025.8.17

周二至周日 Tuesday - Sunday, 11:00-18:30

开幕时间 | Opening

2025.8.3 周日 Sunday

15:00-17:00

美术馆地址 | Address

北京市昌平区顺沙路中海尚湖世家东区B42

B42, Eastern District,

Zhonghai Lagoon Manor, Shunsha Road,

Changping District, Beijing

观展提示 | Notice

展览期间周边停车位紧张，

驾车前来请提前规划；

乘坐地铁昌平线至沙河站B2出口，

出站步行约18分钟至北门，专车接送等候。

观展请提前致电或微信预约：

展览前言｜Preface

《阈限之中｜In the Limen》展览汇集十一位青年艺术家，作品涵盖装置、雕塑、绘画、摄影与影像。展览以“阈限”（limen）为关键词，探讨个体在系统性结构之内所处的临界状态。

“Limen（阈限）”原意为门槛，在本展览中，指涉不稳定的边界状态，并象征观念与感知发生转变的临界空间。它既不属于某一明确的范畴，也未被完全归类，是一种尚未稳定却充满生成力的存在状态。在作品构筑的语境中，“裂缝”不再是破损或缺失的隐喻，而成为抵达另一种思维路径的入口。模糊性与开放性不被视为不足，而被视为对确证、归类与稳定性的温和抗拒。因此，临界状态既构成存在方式，也转化为方法论，引导我们重新思考结构边缘的可变性。

当下社会，意义的生成方式已深度嵌入算法、媒介、身份制度与消费机制中。视觉不仅是感官过程，更是权力的运作机制，规范着人们如何观看、表达与想象自身及他者。面对这种语境，创作本身成为一种积极的行动，它通过分析、解构与符号转化，参与对视觉权力与社会机制的再思考与再构造。

《阈限之中》是一场感知实验，也是一种批判性知识实践。艺术家们不止于问题呈现，而进一步构建出与问题共生的语言系统，将作品转化为回应结构的论述空间。当艺术摒弃语言的装饰性，将成为重新分配感知与意义的手段。我们邀请观众在“观看”中辨认自身的系统性位置，思考图像秩序与现实结构之间那些未被言明的关系。

艺术家自述｜Artist Statement

Calvin Guo

我能画的题材不多，也不擅长任何一种。未能成为工程师，不善社交，回避自然，读书靠强迫，嗅觉迟钝，运动平庸，唱歌跑调。我始终试图清醒地认知自身的局限。这不是悲观，而是为了揭示每个选择背后的框架与路径。我的绘画关注个体在体制中的情绪。这些作品不是批判制度，而在探寻当我们的存在与欲望始终受限于某种结构时，哪些经验被压抑、隐去或变得不可想象。

There are very few things I can paint. I’m not an expert in any subject. I failed at becoming an engineer. I’m not very good with people. I avoid nature. I have to force myself to read. I like to cook, but my sense of smell isn’t great. I’m mediocre at sports. I enjoy listening to music but can’t even hum in tune.

I’ve always been aware or desired to be aware of my limitations. Not to say I am pessimistic about what I’m capable of, but rather, hoping to unveil the context and beaten paths that influence my every action.

Through my paintings, I explore sentiments about existing within institutions. They are not attempts to critique or supplant institutions, but instead, contend with what is implicated, unseen, or made inconceivable when our existence and desires are always contained within an establishment, system, or convention.

Walking Room

布面油画

24 × 36 inches / 60 × 90 cm

金一麟

Yilin Jin

金一麟，2003年生于浙江温州，现生活和工作于芝加哥、温州，就读于芝加哥艺术学院，主修摄影与印刷。 由于曾辗转生活于多个城市，其创作关注城市生活的精神体验与个人历史、地理之间的关系。摄影是他沟通自身内在情感与外部物质世界的一座桥梁，不再以展现客观现实的镜像表面为目的，而是用于通过视觉引发疑问。他的实践包括摄影书，写作与表演。

Jin Yilin (b. 2003, Wenzhou, China) is an artist currently based in Chicago and Wenzhou. He is pursuing his BFA in Photography and Printmaking at the School of the Art Institute of Chicago.

Having lived in multiple cities, his practice explores the psychological experience of urban life and its interplay with personal history and geography. Photography serves as his bridge between inner emotions and the external world. Not as a mirror of objective reality, but as a medium to provoke visual inquiry.

In works like Asian Pears (ongoing), Jin examines subtle cultural dissonances between his homeland and foreign environments, investigating the entanglement of cultural identity and personal sentiment.

Untitled, From the Series of Asian Pears (Ongoing)

无题，来自于系列《亚洲梨》（持续创作系列）

摄影, 多张艺术微喷打印

尺寸可变

金一诺

Yinuo Jin

我的创作围绕“世界是一个巨大的谎言”展开，通过荒诞艳丽的视觉语言，描绘人类社交活动中的故事交换。我把人类交流中的不坦诚视为一种自我保护机制，并将这种无法真实表达自己而说谎的行为看作交换故事来自我安慰。谎言反向揭露真相，每个故事都折射着创造者的独特性。这种个体差异，正是故事多样性的来源，并让画布成为这场交换故事的见证场域。

I am reacting to stories that ignite my imagination. My paintings depict my perspective of seeing the world as a big lie, with bizarre and motley images painting the distorted reality. I see lies that people made up in social activities being a story exchanging, and this exchange of stories drives my paintings.

她的头发散发出夏天、黑莓、和甘草的味道；

他在无花果树下得到一杯红酒和一个吻

布面油画

42 × 43 inches / 106 × 110 cm

#77

布面油画

55 × 44 inches / 140 × 112 cm

安琪牛

Angel Niu

安琪牛善于以荒诞独特的视角解剖被神化与被忽视的社会现象。她通过构建层出不穷的认知陷阱，迫使观众直面熟悉与陌生、缺席与在场的纠缠，察觉那些近在咫尺的悖论；通过干扰惯性行为与认知模式来揭示潜藏在社会肌理下的隐性叙事，并尖锐质询权力、规训与个体关系等坚固部分，在看似平静的表象下隐藏着对秩序的幽默挑衅。

Angel Niu is a Chicago based contemporary artist known for her absurd yet unconventional critiques on the overpraised and the neglected. She incorporates interdisciplinary mediums to instruct the viewer without instructions, leading them to conceptual head spaces where they don’t quite visit. Her practice is driven by a fascination with the tension between the absence and the present, the familiar and the distant, here and elsewhere, exploring paradoxes hidden in plain sight. She likes to describe her visual language as ‘interference of habitual patterns’, unveiling overlooked social motifs and challenging systemic narratives of ownership.

A Pair of Knees / 一双膝盖

男士皮鞋

同实物尺寸 / Life-size

欧阳俊贤

Junxian Ouyang

他的创作于精神完美与物质衰败之间踟蹰。他以AI图像抹除主观痕迹，追求冷静、理性的形式美学。这些图像被转印至不稳定的介质，在物质中缓慢瓦解。破坏是细微而不可逆的，削蚀着“理想”的外壳。他在秩序与混沌之间建构语言，将衰败视为完成而非终结。完美的生成终将导向毁灭，这场悖论便是他视觉实践的起点也是归宿。

Ouyang’s practice hovers between ideals of perfection and the slow erosion of material form. By using AI-generated images, he strips away the traces of subjective authorship, pursuing an austere, rational aesthetic. Yet these images are printed onto fragile, unstable surfaces — materials that resist, decay, and undo the very ideals they carry. In his work, destruction is not dramatic but gradual, precise, and irreversible. It is through this subtle dismantling that the idea of the “ideal” is tested and hollowed. Navigating between order and chaos, Ouyang constructs a visual language in which decay is not a failure, but a form of resolution. The inevitability of ruin is not an end point, but the origin and destination of his visual logic.

On Tar, On Couch

混合材料

60 × 60 inches / 152 × 152 cm

孙劭珺

Shaojun Sun

我对短暂易逝之物的迷恋，成为了一种通过其无常性寻求慰藉与顿悟的方式。于我而言，“转瞬即逝”即是飘摇不定、若即若离、刹那生灭。光影徘徊，枝叶零落，街巷与我都存在着一种悲悯悸动的无常感。正是这种事物消逝的哀伤吸引着我，仿佛世间万物终非我有。

My attraction towards ephemeral objects became a way to seek comfort and realization through their impermanence. To me, "ephemeral" means being indefinite, unstable, and transient. Whether it's the light and its shadows, the tree and its leaves, or the sidewalk and me, there's a sense of impermanence that intrigues the sadness in me. It's this sadness of things slipping away that captures my interest, as if nothing truly belongs to me.

气流

木板油画

22 × 12 × 2 inches / 56 x 30 x 4.5 cm

角落

布面油画

20 × 17 × 2 inches / 51 x 42 x 5 cm

余晖

木板油画

12 × 9 × 1 inches / 30 x 23 x 2 cm

王伟洋

William Wang

我曾深陷精神牢笼，被恶意词句囚禁。恐惧如半透帷幕笼罩神智，思考遥不可及。时隐时现的雾遮蔽渴望突破的出口。正是揭开迷雾、重塑自我的渴望，构成创作核心。无论何种媒介，作品皆拼凑碎片，映照确立自我真相的探寻——如镜像般反射。这是对内心深渊的探索，直至肌肤表层，如永动机运转，却困于自身囹圄。

There was a time I thought I had gone completely insane. I was imprisoned within the parentheses composed of infinite, fragmented, and malignant phrases. The fear at that time was overwhelming, like low signals not dissimilar to those sentences, shrouded my mind like a translucent veil. So impenetrable that the very act of thinking became undulations of a dead ocean, utterly unattainable. There always existed a fog that, from time to time, conceals entrances or memories I yearn to breach. Yet I believe this attempt of unveiling, or reassembling oneself represents the heart of my practice. Across all mediums, my works themselves piece fragments together. Every work reflects the repeated gesture of solidifying a personal truth that mirrors itself. It is an exploration of one’s depth to those peripheral physical layers of skin—like perpetual motion machines, forever in motion yet eternally confined to their own prisons.

Nostalgic Reinterpretation: Note ①

纸本丙烯

86 × 40 inches / 262 × 121 cm

Negative Coordinate Summary: Note ②

日本纸上丙烯，水彩，高光马克笔

86 × 40 inches / 262 × 121 cm

吴欣迪

Xindi Wu

吴欣迪以油性及水性颜料为媒介，以叙事风景为依托，企图创造一个表面平静但暗流涌动，梦幻灿烂又腐朽糜烂的世界。在那个世界里，人们彷徨而无助。他们常被大大小小的骷髅脑袋围绕，但从来没有人问过这些散落在各个角落里的，树上的，街角的，水里抑或天上的骷髅从何而来。一如那自诞生之初就伴随着我们，人类所共有的，无处遁形，无可回避的集体记忆。

Using oil-based and water-based paints as my medium, narrative landscapes emerge through me into a world that appears peaceful on the surface but hides danger beneath. It is dreamlike and radiant, yet decayed and decadent. The people living in this world are always lost and helpless, but no one ever asks where the skulls come from. They are everywhere — on street corners, in trees, in the water, or even in the sky. Like the existential anxiety that has accompanied us since the moment we were thrown into the world, it is an inescapable and unavoidable collective memory for humanity.

Anxiety Lake

亚麻布面油画

66 × 54 inches / 167 × 137 cm

Sketch for Anxiety Lake

木板水彩

10 × 8 inches / 25 × 22 cm

To Devour To Embrace

亚麻布面油画

80 × 50 inches / 203 × 107 cm

余思羽

Siyu Yu

余思羽是芝加哥艺术学院的跨媒介艺术家，创作涵盖装置、影像与绘画。她以现成物为媒介，关注控制机制、集体行为与异议美学，并通过克制的形式语言和空间介入，探索“生存”在权力结构中的象征性意义。作为一位年轻艺术家，她的作品常处于审美与结构、现实与隐喻之间的临界地带。

Siyu Yu is an interdisciplinary artist based at the School of the Art Institute of Chicago. Working across installation, moving image, and painting, she uses found objects as her primary medium to examine mechanisms of control, collective behavior, and the aesthetics of dissent. Through a restrained formal language and spatial interventions, her work explores the symbolic dimensions of “survival” within structures of power. As an emerging artist, her practice often dwells at the threshold between aesthetics and structure, reality and metaphor.

Untitled / 无题

布面丙烯

24 × 31 inches / 60 × 80 cm

周欣然

Xinran Zhou

熟悉却⽆能为⼒的境遇留下震颤。被称之为物品“精神”的东⻄通过⼈得以诞⽣，但却⽆法再次被⼈所介⼊。⽼旧的物件是居住者⼀瞬间的念头和⻓久的习惯之载体，材料与⾊彩在⼈类活动与秩序下被施与特定作⽤及意义。我通过对材料及物品的选择、改变与编排，挑战⼈们对⽇常事物的习惯性感知，同时强调被熟悉所遮掩的⻆落。这样对湮没的重现，也是将湮没以⽣的⽅式进⾏延续。

The familiar yet powerless condition leaves behind a tremor. What is called the “spirit” of an object is born through people, yet cannot be re-entered by them. Old objects are vessels of the residents’ fleeting thoughts and long-standing habits. Materials and colors are endowed with specific functions and meanings through human activities and order.Through the selection, alteration and arrangement of materials and objects, I challenge people’s habitual perception of everyday things while emphasizing the hidden corners obscured by familiarity. This act of revealing the oblivion is also a way to extend its existence in a living form.

爱人

布面油画

35 × 47 inches / 90 x 120 cm

姜海容

Hairong Jiang

姜海容通过摄影和影像去凝视并对她的日常生活做出回应。那些看似平凡的空间、物件与习惯，常常承载着被忽视的情感痕迹与象征意涵。她尝试挖掘日常物品与情绪之间的隐秘关联。它们往往以微小的姿态折射出内心状态。她创作的出发点往往源于单纯的灵感，而非宏大叙事。

Jiang Hairong’s artistic practice begins with a meticulous observation of everyday life—those seemingly mundane spaces, objects, and routines that often carry overlooked emotional residues and symbolic significance. She is drawn to the subtle entanglement between personal emotions and lived environments, where even the smallest disruptions in routine can become sparks for reflection and expression.

She explores the hidden connections between ordinary objects and emotional states, where these items often mirror internal experiences in quiet, understated ways. Her creative process often starts from something small and simple; in the monotony of daily life, any slight change can become a lifeline during moments of creative drought. Her current practice primarily involves photography and moving image.

在芝加哥的South Loop三个大三女生的合租公寓里

摄影八张

尺寸可变 / Size Variable

A Little Heartbreaking Story of One Night

视频影像

时长: 4分52秒展览预告——「阈限之中｜In the Limen」