# data[].attributes.body
时间很长，长到没有意义。就在这种久到时间都已经失去意义的世界，所有的东西都会死掉，宇宙也不例外，陷入热寂。

Time is so long that it becomes meaningless. In such a world where time has already lost its meaning, everything will eventually die, including the universe, which will fall into heat death.

# data[].attributes.headline
我的体验 The experience of my own about death

# data[].attributes.subject
我的体验 The experience of my own about death

# data[].attributes.body
我对死亡的恐惧在有一段时间焦虑发作的时候体现的非常明显。几年前我因为精神状况很不好所以经常因为害怕世界末日来临而恐慌。那段时间爸爸常带我在饭后散步。有一次我走到一座天桥上的时候，看着天桥下川流的汽车和路灯，我突然感知到一种死亡。终有一天这些灯都会熄灭，这个繁华的城市会一片死寂，一切都会静止，汽车安安静静的在路上停着，宇宙都因为热寂不会有任何变化，直到永远。好像一切都被冻住了，有一种淡淡的蓝色。这个感觉当时让我喘不过气。也许这也是古人对死亡的感觉，一切的静止和失去意义。

在开始对吸血鬼进行调研后。我联想到，就在这一片死寂里，出现了一个复活的东西，但它并不是活物，而是在一片死寂中出现了一个活动的尸体，那比一片死寂更让人害怕。我开始理解为什么大家对吸血鬼敌意那么深了。

My fear of death was very evident during a period when I experienced anxiety attacks. A few years ago, due to my poor mental state, I often panicked out of fear that the end of the world was coming. During that time, my father would often take me for walks after dinner. One time, when I was walking on an overpass, looking at the stream of cars and streetlights below, I suddenly felt a sense of death. One day, these lights would all go out, and this bustling city would fall silent; everything would come to a standstill, cars would be quietly stopped on the roads, and the universe would remain unchanged due to heat death, for eternity. It was as if everything was frozen, with a faint shade of blue. This feeling made it hard for me to breathe at that moment. Perhaps this is also how people in ancient times felt about death—everything coming to a standstill and losing meaning.

After starting my research on vampires, I made a connection: within this stillness, something revived appeared. But it was not a living being; it was a moving corpse that emerged in a world of deathly silence, something even more terrifying than complete stillness. I began to understand why there was such deep hostility toward vampires.

# data[].attributes.headline
寂静的感觉 Feeling of silence 《sound of silence》Xi He

# data[].attributes.subject
寂静的感觉 Feeling of silence 《sound of silence》Xi He

# data[].attributes.body
何兮 Sound of silence

Since 2020, He Xi has turned more towards ultimate reflections on himself, the present, and the future. He describes himself as a pessimist, creating works that confront the abyss of his inner self. At the same time, he places greater emphasis on the value of things beyond and the essence of life. Using his familiar landscape painting techniques, he pays homage to "Walden Pond," where the water at the intersection of black and gray resembles the passage of time, and within the boundless tranquility, a splash of white wave bursts with vitality. No longer confined by various techniques, he has no intention of blending Eastern and Western styles. Through continuous contemplation and painting day after day, he has transcended the boundaries of Eastern and Western artistic expression, akin to breaking free from long-held constraints and suddenly opening up the meridians, regaining profound freedom of body and mind, thus enabling him to confront the impermanence of life head-on.

# data[].attributes.attachment_link.readable_text
M艺术空间荣幸宣布，将于11月2日带来艺术家何曦作品展《寂静之声》。

此次展览将呈现何曦近年来在理性思辨之外，贴近情绪与感受，自由生发的多系列作品。与暗夜对话，和墨色相处，实现一种寂静有声，笔笔生动的通感。

不写生、不打稿、不意于描绘现实图像的何曦，只在自己的隐喻系统中，"知法犯法"，一意孤行。

寂静之声 Sound of Silence
一 夜海与瓦尔登湖
梁文道邀请何曦为新版的《瓦尔登湖》画配图。也许他发现了背离人群的何曦，与瓦尔登湖畔的梭罗有相通之处。

何曦数十年如一日，每天九小时呆在画室里工作，他说自己就像一个车间工人，一天不画画就会心慌。梭罗也一样，隐士一般生活在丛林里，他说每个人不啻是一国之主。简单而重复的日常，对安然一隅的他们来说自有一种纯粹和神圣，时间的流逝只不过是一场幻觉罢了。

《瓦尔登湖》 绢本水墨 135x68.5cm 2023年

林中生活的梭罗在当时引来一众猎奇者,对他的现状纷纷指手画脚,只有寥寥几个朋友懂得他的选择。一两百年忽忽而过，芸芸众生并没有真正改变。而梭罗和何曦，更不会为世俗而改变。在这个机会主义盛行的时代，何曦不从众，不讨好，不重复自己。他与梭罗一样逆流而行，一直都在自省与追问。

2020年以来，何曦更多面向自身、当下与未来的终极思考。他说自己是一个悲观主义者，会让作品直面内心的深渊。同时更为关注物外的价值与生命。他用熟悉的山水笔法致敬"瓦尔登湖"，黑灰交界的水面犹如时空流转，无边的宁静之中，一泓白浪神采飞扬。早已不再纠结于各种技法的他，无意于中西融合,在日复一日的思考与挥写中突破了中西绘画表现的界限，一如长久束缚后突然打通任督二脉，重获身心的大自在，便可以直面人生的无常。

航标 49x34cm 绢本水墨 2024年

梭罗总在瓦尔登湖畔，用黑夜迎接光明:"遮住我们眼睛的亮光，对我们无异于黑暗。唯有我们清醒的时候，天光才大亮。"何曦画夜色中的大海，或白浪滔天或潜流暗涌。再黑的海，也会有自己奔赴的方向或航标，载浮载沉。古人会在下游石崖"凿石作塔，以为舟标"，一块礁石，一个山头，一丛杂树，都可能成为航标。或者被一盏灯塔指引，忽暗忽明。在伍尔夫的《到灯塔去》中，当终于到达灯塔时，早已物是人非，而孤岛上灯塔的光亮，依旧穿透冰凉黑暗的海水，照向对岸。

大多数的时候，那束光只在自己的心里。何曦的夜海，深不见底，风静浪平的表象之下，永远保持着敏锐的不安与警醒。梭罗曾在初版扉页上写下心愿:"我无意写一首闷闷不乐的颂歌,可我要像破晓晨鸡在栖木上引吭啼唱，只要能唤醒我的左邻右舍就好。"何曦也愿意做那个孤独的歌者，告诉自己永不沉睡。

《20220920》纸本水墨 96x186cm 2022年
二 遗迹与鹊华秋色
何曦用画山的笔法来描绘海浪，流动为水，凝固成山，墨法与皴法俱全。他不写生，不打稿子，不在意写意与工笔之分，常常在两者之间自由切换。不描绘现实图像的他，更无意于技法的展示，只在自己的隐喻系统中，"知法犯法"，一意孤行。

何曦心目中的"山水精神"，既不是美术史上文人山水的聊以写胸中逸气，更不是"江山"意识的帝国理想隐喻。他用自己的笔墨书写内心视像，重构旷野之上的"鹊华秋色"，下笔密之又密，却简之又简。苍茫夜色中，穿越美术史的鹊山与华不注山在鸿蒙天地之间两两对望，似乎亘古相随，又如久别重逢，这样的一瞬横贯百千年。它们如此熟悉，而又全然陌生，与之直面更像是一种自我追问。何曦试图用最传统的笔墨传达最当下的感受，直面内心真实的他不在乎是否有人喝彩，现世的掌声才是最大的陷阱。

《鹊华秋色》 绢本水墨 150x300cm 2023年

知昼夜即知死生。何曦画夜山，也画苍茫山野中的遗迹，不知今夕何夕。那些遗迹，似乎依旧残存呼吸，却以最澎湃的生的形式走向死亡。"外枯而中膏，似淡而实浓"，他用画笔表达生与死的凝视，也许，在枯朽中更能显现生命的倔强。在块状宇宙理论中，时间并非如同奔腾的河流一直前行，而是从宇宙的奇点开始呈放射式扩散，过去、现在和未来都是并存的。木心曾慨叹为何废墟总是这样的使人目不暇给，何曦的画面，也让我们凝神贯注，像是在时间长河中打捞起真实的断片，连接目之所及的过去与当下的未来。

遗迹，既是曾经的历史的缺席，也是历史回归的召唤，无问西东。早在文艺复兴之前，建筑遗迹已经出现在西方绘画之中，并在16世纪成为园林设计的组成。但直到18世纪，对遗迹与废墟的缅怀才渗透到各个文化领域。巫鸿曾分析东西方废墟之差异。在中国古代视觉艺术中，传统的废墟建立在"取消"的观念之上。中国古代建筑用料是易腐朽的木材，所以废墟可能是残存的遗迹，也可能是衰颓后的一片空无，以引发"长安不在使人愁"的无限感伤与追问。西方建筑废墟一样包含时间的断裂和内省的目光，而它的主体是石头，兼具废墟化与持久存在两种属性，更为直观实在。

《遗迹（2）》 绢本水墨 89x174cm 2024年

在何曦的笔下，既有大漠之上的中国的远古石窟，也有荒草漫天中的半截西方罗马柱，仿佛若有光。他的东方石窟印记犹如时空中千疮百孔的青山遗迹，似乎每一天都在持续流逝,直到归于风沙与虚无。消散的那一刻，它才得到真正的永生。而荒草中的半截西方罗马柱，像是掉落在时间的褶皱与罅隙里，远离声色犬马的都市人群，兀自在没有阳光和烟火的隐秘角落中，与大地一同荣枯。它似乎恒在永在，颠扑不破，却摇坠倾斜伤痕累累，像是一种信念的崩塌，犹如末日图景的预演。

《遗迹（4）》 绢本水墨 47.5x46cm 2024年
三 烟火与寂静之声
万古长空，一朝风月。比遗迹更虚无、更易逝的还有半空的烟火。"东风夜放花千树，更吹落，星如雨"，美得多绚烂，便消逝得有多寂寞。京都山野的花火大会，在何曦的心中，就像一场欣欣向荣又淅淅沥沥的梦,隔山又隔海。他用刹那的烟火作为万顷山海的收梢。天空中不留下它的痕迹，像一个信念般升腾，又飘落。

每一个在太阳光下如履薄冰的生命，都在瞬息万变的人世间探寻点点微光，以填补内心的空洞与迷惘。烟火带来的那种原始的畅快感，似乎能暂时洗涤在场所有人的疲累与各种无意义的执着。如此热烈，终究却归于空无，似乎一切都未曾发生过。何曦以白墨中锋用笔，在一笔一划间缓慢丝出飞扬的线条，烟火很轻，而心念很重。花火之间，更有一种永恒而隐秘的情感联结。在岩井俊二的电影《烟花》中，几位男孩争论着"升空的烟花从侧面看，是圆的，还是平的？"我们总会坚持那些无意义的念想与执着，以此装点贫乏的人生，即便最后空空如也。

《寂寞烟火》 绢本水墨 68x132cm 2024年

在万籁俱寂的山与海的尽头，在无尽的黑夜中，何曦用山水的笔触，奉上寂寞而荣耀的一道烟火，这是对于暗的礼赞，又是对于光的向往。烟火在漆黑的夜空中璀璨绽放，留下如烟往事般的绵长余烬。这样的画面，让人想到日本摄影师川内伦子的绽放在空旷街道上方的烟花，绽开的烟火与画面下方由长曝光形成的快速光线形成对比，成为一道被凝固的浪漫与永恒，像暗黑中镶嵌的一线希望。

何曦将内心深处"像烟花一样爆炸式的生命力"升腾上了天空，此刻，他完成了自我的纠缠与解脱。他用绝去人烟的系列作品构建出一个开放的语义体系，有人看见灿烂，有人忘记忧伤，有人直面虚无。漫天夜色之中，曾有那一道温暖明亮的闪耀，是对人间所有生命的普照和垂怜，即便只有那么一瞬。

我们都是地球上的朝拜者和陌生人，从四面八方而来，在山海与烟火之间重逢，重逢在这无边的夜色与寂静之中。

甲辰暮秋于海上懒懒宅

《夜山水（3）》 68x131cm 绢本水墨 2024年
何曦
1960年生于北京。毕业于浙江美术学院(现中国美术学院)。

上海中国画院画师，国家一级美术师，上海视觉艺术学院教授。

何曦曾多次在各大重要的公共和私人博物馆举办个展。

近年来，他的作品也在伦敦、美国和日本展出。

他的作品被美国波士顿美术馆、中国美术馆、中华艺术宫、苏州博物馆、中国美术学院美术馆、上海中国画院、美国国家野生动物艺术博物馆、宝龙美术馆等各大机构收藏。
胡建君
胡建君(胡见君)，作家，上海大学上海美术学院副教授，博士生导师，美术学博士后流动站合作导师，上海大学中国书画研究中心副主任。师从贺圣谟、徐建融、卢甫圣、陆康先生。已出版《既见君子--海上艺文录》《飞鸟与鱼--银饰里的流年》等作品二十余部。并担任书画展览、艺术文化活动策展人。
梁文道
梁文道，1970 年生于香港。1988 年开始撰写艺评、文化及时事评论，并曾参与各种类型的文化及社会活动。曾任凤凰卫视主持人，多家报刊的专栏作家。现为网络视频节目"看理想"策划人、"一千零一夜"主讲人。主要作品有《常识》、《我执》、《味道》、《访问》、《读者》、《噪音》等。

# data[].attributes.attachment_link.title
何曦：寂静之声-看客网-艺术观展指南-艺术展览-艺术元宇宙-NFT数字藏品-展讯官网

# data[].attributes.attachment_link.description
看客网是一家专注于艺术机构与艺术展讯的信息检索平台，汇集全国最新最全的艺术展览信息，提供免费的展讯发布和展览推广服务，为用户推荐附近最好玩的艺术展馆及知名画廊；看客网致力于应用3D虚拟技术，打破时间与空间的限制，提供沉浸式的元宇宙观展体验。

# data[].attributes.headline
如何表达出死亡的感觉。 How to creat the feeling of death

# data[].attributes.subject
如何表达出死亡的感觉。 How to creat the feeling of death

# data[].attributes.body
我是一个很害怕完全的黑暗的人。比如在温暖的房间里，如果没有任何光照和声音，我会出现很多不好的联想。很多想法都会让我害怕，而毫无意义的时间的延伸便是其中之一。因为在完全黑暗和安静的环境里，真的和死很像。

I am someone who is very afraid of complete darkness. For instance, in a warm room, if there is no light or sound at all, I start having many negative thoughts. Many of these thoughts scare me, and the extension of time without meaning is one of them. This is because a completely dark and silent environment truly resembles death.

# data[].attributes.body
Experience the most immersive show in London right now. Pioneering art collective UVA's largest ever exhibition, Synchronicity transforms the subterranean spaces of 180 Studios with incredible light, sound and kinetic works that challenge our perception of reality.

Commissioned and produced by 180 Studios, Synchronicity features eight large-scale experiential works, including brand-new collaborations with Robert del Naja of Massive Attack, choreographer Dana Gingras and renowned bioacoustician Bernie Krause, with whom UVA previously collaborated on the mesmerising The Great Animal Orchestra.‍Taking its title from the works of Carl Jung, Synchronicity refers to meaningful coincidences that cannot be causally linked or adequately explained by scientific rationality alone. In UVA’s work, inexplicable natural phenomena are often made manifest — the elasticity of time, the relationship between colour and sound frequencies, the mathematical precision of celestial orbits, and chaos theory. UVA has helped define a generation of media artists working with light, space, sound and code for the last 20 years, creating dynamic experiences and atmospheric performances that envelop the viewer through the interplay of light and shadow. Under the direction of British artist Matt Clark, UVA’s multimedia practice investigates the nature of perception and cognition, reflecting the ways we attempt to understand and make sense of the world, and our place within it.

# data[].attributes.attachment_link.readable_text
Experience the most immersive show in London right now. Pioneering art collective UVA's largest ever exhibition, Synchronicity transforms the subterranean spaces of 180 Studios with incredible light, sound and kinetic works that challenge our perception of reality.

Commissioned and produced by 180 Studios, Synchronicity features eight large-scale experiential works, including brand-new collaborations with Robert del Naja of Massive Attack, choreographer Dana Gingras and renowned bioacoustician Bernie Krause, with whom UVA previously collaborated on the mesmerising The Great Animal Orchestra. ‍ Taking its title from the works of Carl Jung, Synchronicity refers to meaningful coincidences that cannot be causally linked or adequately explained by scientific rationality alone. In UVA's work, inexplicable natural phenomena are often made manifest - the elasticity of time, the relationship between colour and sound frequencies, the mathematical precision of celestial orbits, and chaos theory. UVA has helped define a generation of media artists working with light, space, sound and code for the last 20 years, creating dynamic experiences and atmospheric performances that envelop the viewer through the interplay of light and shadow. Under the direction of British artist Matt Clark, UVA's multimedia practice investigates the nature of perception and cognition, reflecting the ways we attempt to understand and make sense of the world, and our place within it.

# data[].attributes.attachment_link.description
Commissioned and produced by 180 Studios, Synchronicity features eight large-scale experiential works, including brand-new collaborations with Robert del Naja of Massive Attack, choreographer Dana Gingras and renowned bioacoustician Bernie Krause, with whom UVA previously collaborated on the mesmerising The Great Animal Orchestra.

# data[].attributes.attachment_link.title
2023伦敦最棒的声音装置展！🔊 - 小红书

# data[].attributes.attachment_link.description
3 亿人的生活经验，都在小红书

# data[].attributes.body
所以目前我的想法是，在地上继续进行这个吸血鬼的行为艺术。但是吸血鬼诞生是有理由的，源自人性的脆弱，对死亡的本能恐惧，于是，我想在这个行为艺术一开始，是一片死寂，一片漆黑。这时候，天花板的一侧会有一个吊灯，开始像Synchronicity里那个晃动的灯泡一样开始发光并且晃动，观众只有在晃动的灯泡照亮地面上的“吸血鬼”时才能大致看清这个行为艺术。同时我也在想，是否可以让灯泡不规则的闪烁，以此延长观众身处黑暗的时间，强调死亡的感觉

So currently, my idea is to continue this vampire performance art on the ground. However, the birth of the vampire has its reasons, rooted in the fragility of human nature and the instinctive fear of death. Therefore, I envision the beginning of this performance art to be a scene of complete silence and darkness. At this moment, a chandelier on one side of the ceiling will start to light up and sway, much like the flickering bulb in Synchronicity. The audience will only be able to roughly see the "vampire" on the ground when illuminated by the swinging light. I am also considering whether the bulb could flicker irregularly, extending the time the audience remains in darkness to emphasize the feeling of death.

# data[].attributes.headline
关于上次黑血的创意，目前的方案Regarding the previous concept for the black blood, here is the current plan.

# data[].attributes.subject
关于上次黑血的创意，目前的方案Regarding the previous concept for the black blood, here is the current plan.

# data[].attributes.body
用人体硅胶和硅胶色素在布料上可以制作出这样的效果。虽然目前还没有确定布料的材质，但我觉得黑血的材质应该已经解决。我在亚马逊上买了这种材料和这种材料对应的染料，希望可以达到预期的效果。

Using body silicone and silicone pigment on fabric can achieve this kind of effect. Although the type of fabric has not yet been determined, I believe the material for the black blood is already resolved. I bought these materials and the corresponding dye on Amazon, hoping to achieve the desired result.

# data[].attributes.attachment_link.title
面料改造｜硅胶皮肤肌理实验 - 小红书

# data[].attributes.attachment_link.description
3 亿人的生活经验，都在小红书

# data[].attributes.body
我希望可以在ual的work shop里组装一个。线可以足够长，这样方便有另一个人控制灯泡的随机开关。不知道ual有没有studio可以借用拍摄，我问问 翻译英文

I hope to assemble one in the UAL workshop. The wire can be long enough to allow another person to control the light bulb’s random switching. I’m not sure if UAL has a studio available for filming; I'll ask around.