　　建筑、图形、文字，在刘港顺各时期的作品中反复出现。它们的形式和方法极为简单，在提取原有信息的基础上，做一些颜色或图层结构的设计。绘制方法基本沿着同一思路展开，不掺杂过多的个人观点，没有价值诉求的激昂，没有情感冲击的期待，只是机械般的陈述、平铺。这种绘制的感觉像是“零度写作”，客观、冷静、从容地抒发。

　　不完整的元素，并不能交代一个完整的故事。空间、结构、比例、形状、词语与数据，它们是形成秩序的基本元素。展览便由这些元素开始，它们被分割在前后两个空间中。策展人从中找到一些可以归纳的线索，分门别类，逐一陈述。进门的第一张《不要放弃这艘船》，即作为整个展览的隐喻，又像一个谜语。我们开始发问，在缺失上下文的图形结构中，什么理由能让我们不去放弃，以进入暗藏的内部船舱。

　　不要放弃这艘船 | Do Not Give Up This Ship　　

　　2015 | 布面油画 oil on canvas | 180x210cm

　　右手边的作品《离去》源于包豪斯建筑的代表作，画面背景做了大量的省略，建筑地脚线用极少主义的色彩进行连接。从经典建筑中抽取出来的主体，在和艺术的元素混合在一起时，指向一个记忆似曾相识，意义却又含混不清的模糊地带，这份距离与神秘只属于刘港顺自己。

　　《熵》，一个物理学和热力学中的概念，暗示着能量中度量的递增、递减的变化。旁边一张《光顾之屋》，一个并不得知的建筑，简化为一个切片，墙面变成了黑白网格。图形与色块，从原有的空间结构和权力秩序中剥离而出。紧接着，刘港顺一件作品复制了杜斯伯格的名作，在下方画上了万宝路的标志，大写马列维奇的英文名。原有的宗教隐喻在这里遭遇了玩笑，像极了香烟的广告。图形已然消失，再接下来，变成了纯粹的文字作品《简单》。“简单”并未终结，又在这面墙的结尾走向数字，毫无意义的加减乘除等于零。

　　熵 | Entropy　　

　　2009 | 布面丙烯 acrylic on canvas | 68x93cm

　　这不是万宝路 | This Is Not Marlboro

　　2006 | 布面油画 oil on canvas | 147.5cmx198cm

　　一个建筑，在抽离了实用主义和确定性功能之后，由“熵”的反应，变为一种“无用”的三维空间。空间的体量由尺寸和比例决定，这些间隔和测量对艺术家创造图形又是极为重要的。当间隔和测量被反复实践，三根线在一张画布上可以有无数种距离和秩序，它就具有了节拍和脉搏。有了这些就有了时间与光，人们在其中可以获得某种情感，并用某种词语来形容这种感受，类似于“空旷”、“纯洁”、“混乱”，但这种感觉是抽象的，结论也是抽象的，虽然艺术家和观者都在计算。数字和运算是一切的开始，也是一切的终结。观念三要素之间的变化，描述了这个有趣的过程，这个过程本身，也是观念需要的结果。

　　为什么过程本身即是结果？空间-结构-语义的秩序又是如何解构、重组？四张只有尺寸的绘画，给出最彻底的答案：“形式”的革命性能力，尺寸成了唯一的内容。尺寸摆脱了从属地位，它存在的必要性，不再来自于对意义、情感、思想的表达，不再是承载思想和精神的工具。尺寸获得了自己的质地和分量，成为一个观察和思考的对象，一个独立的客体。尺寸使人入迷，困惑，陶醉，它有了一种重量。

　　68x120cm　

　　2009 | 布面丙烯 acrylic on canvas | 68x120cm

　　类似于语言学所指与能指的答案，在对面的那张《木头木炭》中得到巧妙的影射，但它又在左右邻居中，获得了全新的状态，指向语言之外的线索。从美国《生活》杂志30年代的建筑封面开始，到德国某处光影与楼房的叠加，空间与色块的比例分割，再到影响了极简主义一代人的阿伯斯的《二分之一》。最后，这些事件、人物、情绪，人为赋予的结果，约定俗成的作用，一种习惯用法，全然消失，回到了它的观念之初，最基本的要素，空间、图形、文字。亦如画面中萨特的那句名言：是积累夺走了你的存在。

　　展览的第二空间中，“文字”作品成为刘港顺最显著的特征。词语成为全部工作的语法，画面中唯一的信息。形式上的无趣和晦涩，让它的语义更接近于意义的本质。当长达数年的作品，汇集在一条密集的线索时，简单得以强调，力度得以深化。不断的重复，让我们的注意力更加集中，专注于对词语和形式关系的整合。当这种形式变成系列作品的意义时，我们才会发现，这种整合早已形成一套系统性的观念：最晦涩的诗是面向全世界的。

　　建筑空间、图形结构和文字语义，在刘港顺的系列创作中被分门别类地处理。刘港顺不停地削平这些基本要素的工具性职能，通过各种方式对它进行重组。这期间，所有步骤都是极为重要的，念头、想法、构思、草图、模型、研究、图画。即便是失败的尝试，我们仍能从他独立的轨迹上看到多重身影，一个持续试错的黎明；一个不断耽搁的诗人；一个喜爱居伊·德波“绝不工作”的人；一个在工作上却始终不要停的人，说：安全的唯一途径就是冒风险。

　　街道 | Street　

　　2011 | 布面油画 oil on canvas | 198x147.5cm

　　Written By Cui Cancan

　　“When an artist uses the multi-module compound method， he normally chooses the simple， easy-to-use format。 This format’s self-importance is limited， but it has become the grammar of the entire work。 In fact， it is best to intentionally let the most basic elements to be dull， so that it could fit more easily to become the essence of the entire work。”

　　--Sol LeWitt <Paragraphs About Conceptual Art>，

　　1967， Published in <Artforum>

　　Architectures， graphics， words， they repeatedly appear in Liu Gangshun’ works from all periods。 Their format and method are extremely simple， on the basis of extracting from the original message， doing some coloring or layer structure design。 The painting method basically follows the same idea to unfold， doesn’t mix with too many personal opinions， without the excitement of value appeal， without the expectation of the emotional impact， only a machine-like plain narration。 This kind of painting feels like “zero degree writing”， objective， calm， expressed with ease。

　　Incomplete elements cannot offer a complete story。 Space， structure， proportion， shape， word and data， they are the basic elements that form the order。 Exhibition starts from these elements， they are divided into 2 worlds of front and back。 The curator could find some clues from within to summarize， to classify， to explain one by one。 The 1st piece you see after entering the gate is called <Don’t Abandon the Ship>， it is used as a metaphor for the whole exhibition， and also like a riddle。 We started to question， in the graphic entity that lack the context， what reason could let us not to abandon， therefore entering the hidden parts inside of the ship。

　　二楼 | Second Floor

　　2017 | 布面油画 oil on canvas | 55x70cm

　　The work on the right hand side is called <Leave>， it is originated from the representation of the Bauhaus architecture， the background image is largely omitted， the architecture flooring angular line uses the color of minimalism to connect。 The main body extracted from classic architecture， when combined with art elements， is pointing to a memory of Deja vu， in a place of vagueness where the meaning is somehow ambiguous， this distance and mystery only belong to Liu Gangshu himself。

　　<Entropy>， a concept in physics and thermodynamics， it implies the increasing and decreasing change in the energy measurement。 Another piece next to it， is called <Light Visited Room>，an architecture that few knows about， simplified into a slice， the wall turns into the grid of black and white。 Shapes and color lumps， extracted from the space structure and power order。 Following that， another Liu Gangshun’s work which copied from Doseburg’s masterpiece， underneath， the logo of Marlboro was painted， along with the capitalized name of Malevich。 The original religious metaphor comes to a joke， looks quite similar to an ad of a cigarette brand。 The image is already disappeared， then comes to be a pure work of words called <Simplicity>。” Simplicity” is not the end， and yet again at the end of this wall， it walks towards the numbers， a meaningless plus， minus， multiply and divide that equals to zero。

　　光顾之屋 | Light Visited Room　

　　2015 | 布面油画 oil on canvas | 121x91cm

　　简单 | Simple

　　2010 | 布面丙烯 acrylic on canvas | 68x93cm

　　An architecture， after being extracted from pragmatism and certain functions， due to the “entropy” reaction， has become a kind of “useless” 3D space。 The size of this space is decided by measurement and proportion， these spaces and measurements are very crucial in the making of a graphic imagery for an artist。 When spaces and measurements are being applied repeatedly， 3 lines on a canvas can have countless distance and order， it is bestowed with beats and pulses。 With these comes the time and light， people can acquire certain feelings within， and also use certain words to describe these feelings， kind of like “Spacial”， “Pure”， “Chaos”。 But these feelings are abstract， the conclusions are also abstract， even though the artist and the viewers are all counting。 Numbers and process are just the beginning of everything， and also the ending of everything。 The change between the 3 key factors of conception， is describing this interesting process， and the process itself， is also the result which the concepts needed。

　　Why the process itself is the end？ Space -Structure -Definition， how do their order deconstruct and reconstruct？ 4 pieces of paintings with only the measurement offered the most thorough answer： The revolutionary ability of “Formality” ， the only content of measurement。 The measurement is rid of the subordinate relationship， its necessity of existence， no longer is the expression that comes from meaning， emotion and idea， no long is the tool that carries mind and spirit。 Measurement earns its own quality and weight， becoming an observant and thinking subject， an independent object。 The measurement makes people obsessed， confused and intoxicated， it has some kind of heaviness。

　　木头木炭 | Wood Wood Charcoal　　

　　2009 | 布面丙烯 acrylic on canvas | 68x93cm

　　Similar to the answers that linguistics could and have pointed out， one can find a smart reflection in the work piece called the <Wood and Charcoal>， it finds itself a brand new state among its neighbors from its left and right， pointing out to a clue that goes beyond language。 From American <Life> magazine 1930’s architecture cover page， to the overlaying of the light and house somewhere in Germany， the division of space and color lump’s proportion， and to Albers’ <One Half> which affected a generation of minimalism。 Finally， these events， people， moods， and results given by human， the effects of customs， a usage from habit， all disappeared without a trace， back to the beginning of its concept， the most basic factors， spaces， images and words。 Just like the famous quote of Satter in the image： It is accumulation which takes away your existence。

　　In the second space of the exhibition， the work piece called “Words” has become the most obvious feature of Liu Gangshun。 Words have become the whole work’s grammar， the only message in the image。 The dull and obscure in formality makes the definition approaching to the nature of its meaning。 A work that lasted for many years， when focused on one densified clue， its simplicity gets to be re-enforced， and its power get to be deepened。 Endless repetition makes us more focused， concentrating on the integration of words and formality。 When this formality turns into the meaning of a series of work， only then can we find this integration has already become a systematic concept： The most obscure poem is facing the whole world。

　　Space of architecture， graphic structure， and words definition， in Liu Gangshu’s series of creations， they are being dealt with by different categories。 Liu Gangshun has been relentlessly cutting edge with these basic elements’ instrumental functions， through different kinds of ways to reconstruct them。 In this period， all the steps are highly important， idea， thought， design， draft， module， research， painting。 Even from the failed attempts， we can still find multiple figures from his independent orbit， a dawn that keeps on trying， a poet that keeps getting delayed， a person who likes Guy-Ernest Debora “Never Work”， a man who never stops on his work， says： “ The Only Way to Safety Is at Risk ”