■ ■ 策展人前言 ■ ■
Curator’s Foreword
城市是裝載記憶的容器，而其發展也是遺忘的開端。拆除的標識，鐵制的圍擋，橫掛的警戒線，以及令人煩躁的施工聲音和到處飛揚的塵土在我們生活中已悄然融入都市的日常圖景，一座座高樓在人們未曾察覺的日夜中被建造起來。可城市的發展仿佛具有局部性，那些我們未曾留意的角落又發生了什麼呢？
藝術家在探尋重慶迷宮般的空間構成時便被此震撼。建築、車輛、階梯與植被相互擠壓，仿佛一場永無止境的增殖。而那些破敗、荒涼、無人問津的角落似乎只被壓縮進了城市光怪陸離的縫隙之中。某些風景、某些空間、某些故事，伴隨著城市的發展正在以驚人的速度被抹去，成為無人認領的“遺失物”。藝術家利用畫筆捕捉了這種介於生長與消逝之間的張力——摩天大廈如森林般瘋長，而自然的野性、歷史的痕跡、個體的記憶，卻在鋼筋水泥中悄然隱退。
《畫境尋蹤》不僅是對城市景觀的視覺記錄，更是一場關於“消失”的觀察實驗。漫畫以輕鬆的敘事賦予這種觀察深度——當城市擴張到失控的地步時，藝術能否成為抵抗遺忘的方式？畫家與學徒所創作出的遺忘的角落是否能喚醒我們對於消失的關注？這既是對瀕危空間的記錄，也是對藝術在當代社會中的存在意義的反思。
在全球複雜多變的社會背景下，年輕藝術家所面對的，不僅是城市物理空間的劇變，更是一種普遍的精神困境：當現實加速崩塌，創作是否還能承載意義？本次展覽試圖呈現的，正是這種矛盾下的藝術行動——它或許無力阻止消失，但至少，它讓“遺忘”本身被看見。
Cities are containers of memories, and their development is also the beginning of forgetting. Demolished signs, iron fences and warning lines, as well as the annoying sounds of construction and dust flying are everywhere in our lives, tall buildings are being constructed day and night without people realizing it. But urban development seems to be localized, what happens in the corners we don’t notice?
The artist was impressed by Chongqing’s labyrinthine spatial composition when he explored the city. Buildings, vehicles, stairs and vegetation are squeezed into each other as if in a never-ending process of proliferation. The dilapidated, deserted and uninvited corners seem to be compressed into the gaps of the city’s grotesque and bizarre landscape. Certain landscapes, spaces, and stories are being erased at an alarming rate along with the development of the city, becoming unclaimed “lost objects”. The artist utilizes the paintbrush to capture this tension between growth and disappearance – skyscrapers grow like a forest, while the wildness of nature, traces of history, and individual memories quietly recede amidst the concrete and steel.
Lost Paintings is not only a visual record of the cityscape, but also an observational experiment on “disappearance”. The comic gives depth to this observation with a light-hearted narrative – when the city is expanding out of control, can art become a way to resist oblivion? Can the forgotten places created by the painter and the apprentice awaken our concern for disappearance? This is both a documentation of endangered spaces and a reflection on the meaning of art’s existence in contemporary society.
Under the complex and changing social background of the world, what young artists are facing is not only the drastic change of the physical space of the city, but also a generalized spiritual dilemma: when the reality accelerates and collapses, can the creation still carry the meaning? What this exhibition tries to present is precisely the artistic action under this contradiction – it may not be able to prevent the disappearance, but at least, it makes the “forgetting” itself visible.
本次展覽《畫境尋蹤》是我在重慶十方藝術中心駐留期間的藝術成果。我漫遊在這座城市中，研究並記錄下這座城市的構成方式——於摩天樓群與野生叢林之間。這種堆疊美學給予了我靈感，促使我創作了一個關於此類結構的城市的虛構故事。在這個展廳裏，您將看到我創作的系列素描、漫畫及繪畫作品。
展覽由兩部分構成：第一部分呈現的是兩幅我在第一周抵達重慶時創作的素描插畫。我試圖捕捉這座城市給我的第一印象——像是被淹沒在高樓大廈、摩托車流、階梯與自然元素之中。一種永無止境直至時間盡頭的堆疊感首先浮現在我的腦海中，並促使我記錄了下來。
第二部分則通過漫畫的形式展開敘事。在這個虛構故事中，急速擴張的城市正以驚人的速度吞噬著自己的某些角落，使其徹底湮滅於記憶之中。我們將跟隨一位畫家及其學徒穿梭於這座城市，他們將用畫筆記錄這些即將消逝的角落。通過這部漫畫我想探討的是：正在墜落的社會與藝術的關係，以及藝術家們，尤其是像我這樣的年輕創作者，在面對全球性失控局面時的複雜心境。
The exhibition Lost Paintings is the result of residency at DAC in Chongqing. I roamed around the city, drawing and studying how the urban space was arranged. Between skyscrapers bouquet and wild forest, I got inspired by this accumulation aesthetic so I wrote a story about a city like this. So I worked on the making of drawings, a comic and painting that you will be able to see in this room.
This exhibition is divided in two big parts. The first one is about two drawings. I did in the first week in Chongqing. I wanted to work around the first impression that the city had on me. I felt like drowning between buildings scooters stairs in nature. A never-ending accumulation until the end of time is the first thing that came into my mind and I wanted to transcribe here.
The second part of the exhibition is about comic and paintings that you will be able to see in the comic. For this project, I wrote a story around the city that is expanding so quickly and so much that some parts of this town are literally disappearing into oblivion. We follow the story of a painter and their apprentice around the city in order to paint those forgotten places disappearing. I want to talk about falling society’s relationship with art and about the feeling of artists and especially young artists like me face in front of out of control situation happening around the world.
——Eliott Martin Aucagne <<Rose>>
Eliott Martin (FR) Solo Resident Exhibition
展覽開幕 Opening：2025.7.26（週六） 19:00
2025.7.27-8.10 14:00-18:00
（每週五至週日｜Every Fri. to Sun.）
Exhibition Hall A, Dimensions Art Center, Chongqing, China
藝術總監｜Art Director：曾途 Zeng Tu
展覽策劃｜Curator：張芷霏 Zhang Zhifei
策展助理｜Assistent Curator：張雯涵 Zhang Wenhan
執行統籌｜Coordination：劉暢 Liu Chang
展覽協助｜Assistance：劉春利 Liu Chunli 胡克 Ben
駐留藝術家簡歷︱Resume of Artist：
羅斯·馬丁（艾略特·馬丁Eliott Martin）的作品融合了漫畫、書籍設計、繪畫和雕塑。目前他正在研究一個主題：“我們如何將房屋和城市變成迷宮”。他的創作圍繞著在迷宮般的建築中迷失的感受展開。
Rose Martin’s work gathers comics, edition, painting and sculpture. Currently working on a thesis about « how we transform houses and cities into mazes », their projects develop the feeling of being lost in labyrinthine architectures.
通過一種詩意的、扭曲如迷宮般的敘事方式，他探索了時間的流動性，以及日常建築中那些過渡空間的奇異感受。
Through a poetic, twisting and maze-like storytelling, they explore the fluidity of time and the disturbing aspects of liminal spaces in everyday architecture.
羅斯出生在法國普瓦捷。他曾在米盧斯藝術學院（HEAR）學習了兩年繪畫和攝影，之後又在昂古萊姆學習了三年，專注於漫畫、書籍設計和敘事創作，並於2024年畢業。
Born in Poitiers, France, Rose studied drawing, painting and photography during 2 years in the art school of Mulhouse (HEAR) then 3 years in Angoulême where they graduated in 2024 for their comic, edition and storytelling works.
藝術家以往作品︱Previous works of the artist：
Graphite on paper and cut-out paper
在這個項目中，我探索了墜入無盡時空的感覺。我們如同未知的旅人，探訪這些超脫時間的建築，不斷墜入一個愈發崩壞的現實——在那裏，甚至連知覺都在崩塌。偶爾出現的神秘詩意文字，透露著看似混亂的細節，反而讓我們更加迷失。身處這個異度空間，我們唯一的期盼，就是不要遇見那頭米諾陶（彌諾陶洛斯，希臘神話中的怪物，牛頭人身形象）。
For this project I worked on the notion of falling through infinity, time and space. As an unknown traveler, we visit this out of time structures, falling constantly more and more into a disrupted reality where even perceptive is falling apart. Sometimes, cryptic and poetic words give us details that seem to be incoherent and lose us even more. In this spacial place, the only thing we hope for is to not meet the Minotaur.
這個故事裏，我想講述一棟惡魔般的房子——它會將人吞噬進它的體內。來到這裏，我們只得到一個信息：有間房不見了。在遊蕩中，我們很快明白：這房子沒有盡頭。每間房都不合常理，每條走廊都沒有盡頭。我們只能一直走下去。
For this story, I wanted to talk about a demonic house that loses us into its entrails. In this place, we’re here with only one information: a room has gone missing. During our wandering, we rapidly understand that there is no end to this house. Every room is illogical, every hallway is endless. We can only keep going.
通過這件雕塑，我體驗了迷宮的童趣一面，有點像穀物盒子背面或雜誌裏能找到的那種迷宮遊戲。但和我的其他作品一樣，這個迷宮沒有出口。我們像是在玩一個困在迷宮裏的彈珠遊戲，卻永遠無法逃脫。在這裏，我們不再是試圖尋找出口的迷路旅人，而是成為了米諾陶（牛頭怪）本身，在迷宮的走廊裏遊蕩。
Through this sculpture, I experienced the playful aspect of mazes, kind of like those we find at the back of cereal boxes or in magazines. But, like always in my works, there is no end to it. We play a ball trapped in the labyrinth but we can’t get out. In here, we are no lost traveler trying to find the exit, but instead we embody the Minotaur itself, wandering in the maze’s hallways.
紙上彩鉛 // Coloured pencils on paper
解構一座城市是件挺有意思的事。找到合適的建築和房屋，來營造一種亂中有序的混沌感。這幅畫是我為學業所在的城市參加一場比賽而創作的。
Deconstructing a city is a pretty fun exercise. Find the right buildings and houses to create a harmonious chaos. I did this drawing for a contest in the city I study.
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