展览名：色阈 Pantone

展期：2019年7月13日 - 11月8日

开幕式：2019年7月12日

主办：昊美术馆（温州）

策展人：马珏

地址： 温州市鹿城区江滨东路1号（万和豪生大酒店内）

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昊美术馆（温州）十分荣幸地宣布将于 2019 年 7 月 13 日至 11 月 8 日为公众呈现展览“色阈” (Pantone)。本次展览共汇集国内外14位／组艺术家——扬 · 阿尔伯斯 (Jan Albers)、安杰莉卡 · 达斯 (Angélica Dass)、董大为、奥拉维尔 · 埃利亚松 (Olafur Eliasson)、封岩、洪绍裴、李景湖、刘建华、费利佩 · 潘通 (Felipe Pantone)、夸尤拉 (Quayola)、志村姐弟 (SHIMURABros)、颜磊、姚朋、张玥，一起探讨色彩的阈值，即色彩的语义机制及其效应所产生的临界和潜在可能。

相较展览的中文名“色阈”，英文名“Pantone”（彩通）直截了当地将对色彩序列进行了标准化定义的 “彩通色彩沟通系统” (Pantone Matching System) 内的产业化一致性纳入讨论。就视觉感知而言，由于人类视网膜中主司昼光觉的视锥细胞的分布和密度因人而异，甚至会有缺陷或缺失，以至于色彩看上去几乎无法呈现出一致的模样。因此，千人千色的细微差异这一特点，令色彩成为艺术中最具相对性的媒介。

而作为自然现象的色彩，更是一个复杂的历史文化产物、一个不存在跨文化标准的社会现实。对色彩的认知这一相当主观的过程，受到了文化基因和个人经验的深刻影响。世代变迁，社会赋予了色彩不同的定义和准则，确定其各异的用处和价值。现如今，深谙其道的彩通以每年推出流行色的方式，决定其利害。

本次展出的作品中，有对视幻艺术和光学动态艺术的进一步探索，有被具体化的生产时间对色彩进行塑造的呈现，也有直接借用彩通系统的形式对社会政治问题展开的反思。这些作品都以色彩的情感分量作为唤醒联觉的切口，期待进入其中的观众能够调动不仅限于视觉的感官参数，参与联合认知。

Exhibition: Pantone

Duration：2019/7/13 - 2019/11/8

Opening Date：2019/7/12

Organizer: HOW Art Museum (Wenzhou)

Curator：Ma Jue

Venue：No.1, East Jiangbin Road, Wenzhou  (ONEHOME H.S ART HOTEL) 

HOW Art Museum (Wenzhou) is honored to announce that it will host the exhibition "Pantone" which will open to the public on July 13 and continue till November 8, 2019. This exhibition brings together 14 artists/artist collectives from China and abroad: Jan Albers, Angélica Dass, Dong Dawei, Olafur Eliasson, Feng Yan, Hong Shaopei, Li Jinghu, Liu Jianhua, Felipe Pantone, Quayola, SHIMURABros, Yan Lei, Yao Peng, and Zhang Yue. Of the topics to be discussed, the artists will explore the threshold of color itself, i.e. the inherent limits and potential effects of the semantic mechanism of color.

Compared with the Chinese name "color threshold" in the exhibition, the English name "Pantone" directly discusses the consistency of industrialization exemplified in the "Pantone Matching System" which has standardized the definition of color sequencing. As far as visual perception is concerned, the distribution and density of cone cells, which are responsible for daytime light perception, in the human retina vary from person to person, and may even have defects or omitted data, which in turn results in the diversity of perceived colors. Therefore, the subtle differences between thousands of people and thousands of colors make color the most relative medium in art.

As a natural phenomenon, color is a complex concoction of history and culture manifested as social reality in the form of a non-existent trans-cultural standard. The rather subjective process of color cognition is deeply influenced by cultural genes and personal experience. With the changing of generations, society has bestowed different connotations and criteria onto colors and determining their different uses and values. Now, Pantone as a well-acquainted proponent of the promotes new popular colors every year.

Of the works to be exhibited, there are extended explorations of Op Art and optico-kinetic movement, presentations of specific production times in their relation to the formation of given colors, as well as the direct implementation of the Pantone system as a means of reflecting on social and political issues. These works incorporate emotional color components as an entry point of awakening synesthesia, calling for the audience to mobilize sensory parameters beyond visuality while actively participating in the process of cognitive conjoinment.

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