空想 3.0
RÊVERIE 3.0
装置艺术，2019空想 （Reverie）3.0 是艺术家颜磊的作品，它将参与第四十届奥地利林茨电子艺术节。2019年9月5日-9月9日，在林茨圣玛丽大教堂中，19台显示器将会呈现当代图像和信息的持续流动。在手机端，国内用户也可以上传图片，参与展览。
Reverie 3.0 is an artwork by artist Yan Lei, which will participate in the 40th Ars Electronica Festival in Linz, Austria. From September 5th to September 9th, 2019, 19 monitors will be installed in St. Mary's Cathedral in Linz to display a continuous flow of contemporary images and information. In China, domestic users can also upload images via their mobile phones to participate in the exhibition.
独木舟摩托
CANOE MOTERBIKE
2018，视频
颜磊为外交公寓12号的项目命名为《独木舟摩托》，内容是在12号空间内安装三个监控摄像头，展览期间不设置现场观看，想要观看展览的人需要预约颜磊或12号空间负责人彭晓阳见面，通过他们的手机观看现场直播的监控录像。展览期间，颜磊将通过12号的微信公众号发布四期帖子，这四期帖子将以另一种方式阐述艺术家对于观看、感受及意义的思考。
Yan Lei’s proposal for DRC No. 12 Canoe Moterbike, consists of installing three surveillance cameras in the DRC No. 12 space. The space is not open to the public during the exhibition period, for those who wish to see the exhibition has to make an appointment with Yan Lei, or the director of DRC No. 12, Peng Xiaoyang, and watch the live broadcast of the space from these three surveillance cameras on their respective mobiles phones. During the exhibition period, Yan Lei will post four chapters on the DRC No. 12 official WeChat account, as an alternative channel to present the artist’s thinking on seeing, perception and meaning.
空想重置
RÊVERIE RESET
装置艺术，2016-2017
颜磊的艺术实践常常质询图像的文化相关性。他采用数字技术对照片进行分解，并最终以绘画行为来完成。艺术家不断质疑图像“再现”（representation）这个行为当中所隐含的相关性，同时强调绘画图像的过剩本质。颜磊的创造性过程也可被视为某种破坏（destructive）实践，它和观念主义十分相近，一层一层的观念被堆叠在视觉表达之上。这个行为将现实主义的再现缩减为抽象的单色。
《空想重置》是一个系统，它延续了颜磊将图像消解为概念的实践，并由此开展一个新的开拓性尝试。这件作品将呈现一个大型装置，其采用最新的计算机计算系统和网络技术，重申艺术家关于再现之人造性和图像之相关性的观点。
In his artistic practice, Yan Lei constantly inquires into the cultural relevance of the image. He applies digital techniques and decomposes photographs which eventually he paints. The artist recursively questions the relevance implicit in the act of representation, while emphasizing the superfluous nature of the painted image. One could refer to Yan Lei’s creative process as a destructive practice, one closer to conceptualism; layers of ideas superposed over visual expression, an action that reduces realistic representations into abstract monochromes.
Rêverie Reset is a system which takes Yan Lei’s practice of dissolving images into concepts to a new instance. A large scale installation which makes use of cutting edge computational systems and networking technologies in order to reaffirm the artist’s notion of the artificiality of representation and the irrelevance of the image.
哥萨克
COSSACK
影像，
2015
这是2015年乌拉尔双年展上颜磊的作品，根据脑子里的哥萨克的概念中的图像形成的：十来个哥萨克骑兵集中在一个6平米的房间里舞弄着马刀，这些哥萨克人同时做出的动作和马刀之间以及磕撞墙壁的声音，会传出这个空间，与展览现场的空间构成了一种空间和能量关系的不匹配。
This is Yan Lei’s work in Ural Biennale 2015. It is based on the artist’s conceptual imagination image of Cossack: a dozen Cossack cavalry gathered in a 6 square meter room, brandishing sabers. The sound of their movements and the collision of sabers and walls, will spread out of the room, constituting a mismatch of proportion and energy with the exhibition space.
利悟利
RÊVERIE
个展，
2015
颜磊为红砖美术馆制作的新计划，简单地以“利悟利”的名称作为标题。这事对“颠覆”的再一次尝试，而且是更壮观的展示。
Yan Lei’s new project for Red Brick At Museum uses very simply the name of “Rêverie” as its title. This is a renewed and even more spectacular demonstration of the attempt of “subversion”.
图像不死
BILDER, DIE(NIE) VERSCHWINDEN
铝板、汽车漆 2014
图像会消失吗？或者图像会死吗？这些问题都来自对《圣经》的挪用和暗喻，死亡在这里就预示着复活，而关于上帝创世纪为七天，耶稣复活在三天之后，这是否提示了颜磊艺术中的某种阶段性呢？
Can images disappear? Can images die? These questions arise from the appropriation of and reference to The Bible. Here, death foretells resurrection. God creating the world in seven days and Jesus rising from the dead after three days also suggest that there are also stages to Yan’s work.
有限艺术项目
LIMITED ART PROJECT
布面油画，尺寸可变 2012~2015
《有限艺术项目》是颜磊参加2012年第十三届卡塞尔文件展的作品。这个作品在文件展现场是由400张油画作品组成，在展览举行的100天里，由大众汽车赞助，根据艺术家的方案，每天将部分画作送到大众汽车工厂进行喷漆覆盖，然后再挂回展厅。另一组绘画则是他（和他的员工）从大众传播媒体和其他资源里“遇到”和挑选的图像。这些图像挂在墙上被安装成一面多层的图像墙，以压倒性的姿态俯视着底下的人流……
This is a site-specific re-installation of Yan Lei’s seminal project created for DOCUMENTA 13,in2012,during the 100days the event,every day he sent some paintings from the four hundred oil paintings installed in the documentasent-halle to the local volkswagen factory to be covered with industrial paint. Then hey were brought back to the exhibition. Another series of paintings consists of images that he(and his employees)”encountered”and selected from mass media and other resources. These images are mounted to form multi-layered image walls,overwhelmingly looking down on the flow of people underneath…
罗马晚报空间
ROMA EDICOLA NOTTE
特定地点装置 2007
观者透过橱窗可以看到这个象盒子的幻像，幻像将观者的所见所忆欺骗。这空间与想象并非看到的那样，而是中国艺术家颜磊在挑衅。
对那些持续关注罗马的小画廊代理的艺术家与作品的人、或留意第五小巷中动静的过客而言，瞧这件作品头一眼时，或会感到有些困惑与惊讶。在玻璃窗外，有点古怪，有点不对劲。小房间仿佛变大了，但这与人们日常的经验不符，因为墙不会自个儿走路。之前展出的Bruna Esposito的作品还在。但回头想，又觉得事有蹊跷，因为门上赫然写着“颜磊”二字。这位闻名全球的艺术家在意大利参加过的展览也不少，包括第50届威尼斯双年展的紧急展区（Zone d’Urgenza）。颜磊（1965年出生）的创作媒介多样，从摄影到录像，借绘画来实现其（观念）作品。他在参加常青画廊（圣吉米那诺）群展“进行中的对话”（A Continuous Dialogue）时被认为是中国前卫主义艺术的一员，而此次为“晚报摊”（Edicola Notte）带来了一件（观念转化的）摄影装置。
Eyes and memories deceived by the big box’s illusion you can see through the showcase. The space and the imagination are not what they seem. That’s the provocation of the Chinese artist Yan Lei
Those who keep track of the passing of works and artists in the tiny roman gallery, as well as the passer aware of what happens in Vicolo del Cinque, experiences a feeling of confusion and of surprise at a first glance. There’s something strange, something not clear beyond the window. The little room appears bigger, but it can’t be true because walls are impossible to move. Bruna Esposito’s work seems still exposed from the previous exhibition. But, another time, it can’t be true because on the door is written Yan Lei. This artist is well known all over the world and he has joined many exhibition even in Italy. Among those the 50th Biennale di Venezia where I has exposed in Zone d’Urgenza. Yan Lei (Hebei,1965; now working in Hong Kong) uses different media, from photography to video, passing through painting, to realize his works. The artist, considered a member of L’Avanguardia Cinese in Italia by A Continuous Dialogue – a Galleria Continua’s exhibition-, has carried out a photographic installation for Edicola Notte.