“两只小野鸽引导着埃涅阿斯进入幽谷，谷底深处长着那金枝，鸽子栖息在树枝上，树枝发出闪烁的金辉，好像严冬森林里的槲寄生——寄生在大树上的植物，枝叶苍翠，果实金黄——仿佛蓊郁圣橡上的茂叶金枝，在微风中飒飒作响。”——J.G.弗雷泽《金枝》
侨福当代美术馆·北京荣幸于2026年6月13日起呈现“有植物（无人）的风景”。展览基于馆藏脉络展开，聚焦以布面油画、丙烯、绢本水墨及综合材料为主要媒介的当代绘画实践，汇集丛云峰，皮耶罗·多拉齐奥，马丁·范·弗雷登，傅作新，伯纳德·加罗，黄铭昌，康蕾，李衡，马克·奎恩，科林·萨特，埃米利奥·维多瓦，张从云，张方白，张泰默，赵宇等艺术家的作品。
展览尝试收集植物的意志。尽管迄今尚无证据表明植物的主体意识，但其无疑拥有自身的生命意志。它们缓慢、野蛮、寂静，专注于湿度与光线，以异于人类生命节奏的方式感知时间。作品囊括的图像共同构成姿态万千的无人风光，无论山脉或冰川，中人影难觅。需承认，自然从不应验人类的祈愿，更无意回应人类的道德。因此，作品中人类形象的缺位无关“人与自然”的议题，相反，它们关涉植物与土壤本身：此时此刻，这些自然之子全神贯注地观测着人类（观测你我），以其谜样的葱郁长势与舒张的繁衍姿态回应所谓生态现实与人类脆弱的精神现实。
只见埃涅阿斯被引入山谷，瞥到金色的树枝在风中摇曳生姿，仿佛四季常青的槲寄生栖居于树木之上——在人类历史中，金枝始终作为某种古老知识的媒介，提示种种神谕般的交感；在更普遍意义上，作为观测者的植物，长久以来默默指引着人们重新接近真正的生活。
The poet tells how two doves, guiding Aeneas to the gloomy vale in whose depth grew the Golden Bough, alighted upon a tree, “whence shone a flickering gleam of gold. As in the woods in winter cold the mistletoe—a plant not native to its tree—is green with fresh leaves and twines its yellow berries about the boles; such seemed upon the shady holm-oak the leafy gold, so rustled in the gentle breeze the golden leaf.” (James George Frazer, The Golden Bough)
The Parkview Museum·Beijing is honoured to present Without People, With Plants on view from 13 June 2026. The exhibition draws upon the museum’s collection, focusing on contemporary painting practices across oil on canvas, acrylic, ink on silk, and mixed media. It brings together works by Cong Yunfeng, Piero Dorazio, Martin van Vreden, Fu Tso Hsin, Bernard Garo, Huang Ming Chang, Kang Lei, Li Heng, Marc Quinn, Corinne Sutter, Emilio Vedova, Zhang Congyun, Zhang Fangbai, Jang Tae Muk, and Zhao Yu.
The exhibition attempts to capture the will of plants. While no evidence yet confirms the presence of subject-consciousness in plants, they undeniably possess a life force of their own. Slow, untamed, and silent, they attend to moisture and light, perceiving time according to rhythms alien to human experience. The images presented collectively form a myriad of uninhabited landscapes—whether mountains or glaciers—in which human presence is conspicuously absent. This absence is not a reflection on the “human–nature” relationship; rather, it places the focus squarely on nature itself. In these moments, the flora and the soil observe us and respond to ecological realities and our fragile psychic states through their mysterious, luxuriant growth and expansive modes of propagation.
One may imagine Aeneas entering a valley, catching sight of golden branches swaying gracefully in the wind, as if evergreen mistletoe perch upon the trees. Throughout human history, golden branches have served as conduits of ancient knowledge, signalling oracular intimations. More broadly, as observers themselves, plants have long silently guided us towards a renewed encounter with authentic life.
