http://www.mayongfeng.com/blog/index.php zh-cn http://www.mayongfeng.com/blog/read.php?216 mayongfeng <admin@mayongfeng.com> Wed, 28 Jul 2010 11:28:11 +0000 http://www.mayongfeng.com/blog/read.php?216
The aim of this project is to highlight a specific sector of Chinese video art by focussing attention on its particular origins. What do the artists selected see when they look around? Chaos! Overwhelming disorder, which they deal with through their voice: tales and allegories that investigate today's society in an ironic manner, though without being afraid of tackling the heavy ideology.

Like plants growing in a hostile terrain, their roots burrow deep down towards an uncertain source of nutrition, and they proliferate in the depths, beyond naked social distress. They are flowers born from chaos, drunk with the energy that surrounds them, but also fatigued by the continuous and incessant process of urban modernization. In their search for an identity they are forced to elude the oppression that has so harshly tested their very creative survival.

Multimedia experimentation is becoming increasingly popular thanks to the development of new technologies and their resultant easy access, diffusion, and fruition; but this is not the only reason for such a success. Chinese video art emerged and developed only because of certain subtle social and cultural dynamics related to a particular autochthonic context.  Digital technology has powered this trend by definitively breaking down the barriers between the media, in particular when they cohabit in the same digital sphere, as often happens with animation. Here the traditional visual arts that are the starting point for actions unite with interpretations articulated as a result the use of technology.

http://www.artverona.it/articles/view/flowersofchaos



Video ArtVerona  – Flower of Chaos

下个秋天“Flower of Chaos” 的课题在 ArtVerona, 第一个艺术动画的展览在 意大利 !!!


课题的目标是表现中国视频艺术的具体呈现，提出视频动态的特点起源。
参展艺术家全部来自中国大陆，在他们周围的环境看什么？混乱！
面对这个兴奋的混乱，他们用思想（通过他们的意见，看法，声音）∶讲故事，借喻、反讽地审视现代社会， 更不逃避跟政权的强势意识形态比较。
  
就像野花一样，在新垦地中长大，向更深入的地方生根、寻找营养，穿透了历史、政策、社会的沉寂，生长出体现自我意识的创意。
艺术家的自我特性再次绽放，他们的思维意识在时空的界限中收放自如、游刃有余。

视频艺术迅速成为追寻传统风格思想的重要方式， 而其作为反对世界性沉闷干涉的利刃这一功能更是得到广泛的认可。
最令人兴奋的是视频动态的画符携带并突破了传统视觉艺术的限度，将其引入共同的数位景观。
  

策展人: 茜茜 - Cecilia Freschini
开幕：2010年10月8日
展期：2010年10月8日～11月9日
地点：Veneto Videoart Archive/ 威尼托影像艺术档案馆


策展人: 茜茜 - Cecilia Freschini
开幕：2010年10月14日
展期：2010年10月14日～10月18日
地点：Art Verona Fair 艺术博览会
网址：www.artverona.it


艺术家: 陈劭雄, 吳少英, 靳山, 马永峰, 楊起, 孙逊, 皮三, 吴俊勇, 张小涛

Artists:  Cheng Shaoxiong, Cindy Ng Sio Ieng, Jin Shan , Ma Yongfeng, Qi Yang, Sun Xun, Wang Bo, Wu Junyong, Zhang Xiaotao    


ARTVERONA 交易会

ArtVerona  交易会是意大利关于现代和当代艺术市场最大的焦点之一。2009年的交易会接待了两万人的参观。
今年的第六届交易会展现了很多新的关注视角，同时也延续着它最初的重要性∶连贯性和发展    

VideoArtVerona
视频ArtVerona

从2008年开始，Artverona特意为了视频艺术安排一个专门的单元。
在北京居住了五年的年轻策展人、在中国现代艺术方面具有专业判断的茜茜/Cecilia Freschini ，将她的视频课题注入ArtVerona。
  
http://www.ceciliafreschini.com

Tags - artverona , 茜茜 , ceciliafreschini ]]> http://www.mayongfeng.com/blog/read.php?214 mayongfeng <admin@mayongfeng.com> Fri, 16 Jul 2010 23:59:23 +0000 http://www.mayongfeng.com/blog/read.php?214


Another of her works, H2O Diptych, 2002, consists of two monitors, one showing a pan of water slowly reaching boiling point whilst on the other a glass of fizzy mineral water gradually goes flat. Her most radical works include Garbage Bag, 1996, “a black bin liner filled with air and secured with a twist-tie”, and Monochrome Till Receipt (White), 1999: which is a supermarket till receipt. But it is not a random till receipt, a Time Out commentator noted:
A till receipt attached to the gallery wall is the seemingly inconsequential evidence of a shopping trip. The title however, as is often the case in her work, prompts a closer inspection. Monochrome Till Receipt (White), 1999, lists dozens of items including flour, salt, milk, rice and so forth. In a bizarre twist, the mundane activity of a trip to the supermarket is a knowing reference to the highly aestheticized white paintings of Robert Ryman. (in Peer 2001).



The Ryman reference is pertinent and one can see an example of his work illustrated left. Floyer’s till receipt is not simply a till receipt but the result of a minimalist-conceptualist shopping expedition, a species of “performance” in which she only purchased items that were white in colour. Accordingly, Till Receipt is not simply a Readymade repetition but an instance of performance art of which the till receipt is a document. What is significant about Floyer’s work is the way in which she reveals that the Readymade is not a simple aesthetic formula that engenders mindless mimicry but, instead, a complex game akin to chess with its aproximately infinite “moves”. It is not possible for the Readymade to be anything else but complex due to the fact that it is a self-reflexive poetics. Like Rauschenberg’s Zen-blank canvases the Readymade points less in the direction of nothingness than it does to the structure of chance (c.f. complexity theory).



White like black is a quintessentially minimal-conceptualist colour (transparency is another member of this set). Whiteness plus the Readymade status of the Till Receipt (although it was constructed or made by Floyer’s selection of goods) means that it references quite a large swathe of art theory and practice. And one of the key features of deconstructive art theory and practice is that the traditional concept of the artist as genius is backgrounded and the discourse, or system, of art is brought to the fore. Bearing this in mind one has to admit that the sheer humility of Garbage Bag, 1996, prevents it from being a statement of heroic artistic genius. This is reinforced by the fact that being firmly in the Readymade genre it is not entirely original (as if there is any such thing as “entirely original”).



One might compare Garbage Bag with the interpretation of existing scores provided by classical musicians. But unlike a musical composition Floyer’s interpretation is not of a single work such as Fountain, 1917, but a conceptual framework. And since the 1960s that framework has ramified into a manifold of variations. In addition to the Readymade one also has to note Floyer’s reference to Minimal and Conceptual Art and to the Arte Povera movement which pioneered the sculptural application of ‘poor’ materials.



In Ceal Floyer’s Nail Biting Performance, 2001, for example, the frame is not simply art history and theory but an institution that lies outside the art gallery or art musteum: the Symphony Hall in Birmingham, England. She is not performing outside of the context of culture but she is indicating that the aesthetic she subscribes to does not begin and end with Duchamp. As commentators have observed her nail biting into the microphone in that musical context resonates strongly with the Fluxus artist John Cage who pursued deconstruction in the domain of music, building on the courageous attempts to escape the harmonic bounds of the diatonic and chromatic scales which seemed at odds with a new age.



One of Cage’s most radical works is his famous 4′33″, 1952, which consisted of four minutes and thirty three seconds of silence (pointing the listener towards the ambient sounds in the institutional context framing the musical performance). The relationship ofNail Biting Performance to 4′33″ points to the web of what I have termed “deconstructive art” (Coulter-Smith 2006) which has gained increasing hegemony over fine art since the mid-1950s onwards. But what is more significant than observing the viral proliferation of deconstructive art is posing the question how and why it happened.




And, in historical terms, it happened quite recently: it happened in the second half of the 20th century. Even in the 1950s there was still little doubt that fine art could be defined in terms of painting and sculpture. What is remarkable is that artists who focus on painting and sculpture today are considered somehow ‘old fashioned’. We can trace this erosion of traditional media back to Duchamp, Dada and Surrealism and a focus on the idea as opposed to the object. But these movements would be nothing if not for their considerable impact on art of the 1960s, evident in a mosaic of elaborations such as: Nouveau Réalisme, Fluxus, Pop Art, Minimal Art, Arte Povera, Land Art, Performance Art, and Conceptual Art. It is radical art of the 1960s that forms the bedrock for art at the turn of the millennium. And the crucial question becomes has this revolution expanded the concept of art or diminished it? And the thoughtful answer has to be that there has been a bit of both.



The complex structure of nothingness to which Floyer’s work, in part, resonates with two outstanding icons of modernity:Fountain 1917 and Malevich’s Black Square c. 1913. Both works are radical statements that conflate aesthetic and existential anomie and absurdism with an expansion of creative horizons. So contemplating Floyer’s work we return to the idea that the discursive formations of modernism and postmodernism are as important as the individual works of art that feed on them.



Individual works of art such as Floyer’s function only because they resonate with a complex of ideas and material practices that lie beyond any single individual. The importance of the discourse of art over and above the individual artist was especially foregrounded by the postmodern appropriationist movement that dominated art in the 1980s. One of the key books from the 1980s is Art after Modernism: Rethinking Represenation (Wallis, 1984). But the title (and thesis) of that book ignores the fact that the questioning of represenation lies at the core not only of postmodernist but also of modernist art. One thinks here of Impressionism, Pointillism, Cubism, Expressionism. All these modern movements questioned the possibility of a simple one to one correspondence between reality and representation. The three most significant breakthroughs attained by modern/postmodern art are abstraction, expressionism and conceptualism and all three interrogate the issue of representation.



The modern period began with the rise of science and the rise of empirical philosophy—Locke, Hume, Berkeley—which laid the basis for modern pyschology. Science penetrated further into nature than was possible with the naked human senses and modern philosophy threw doubt upon common sense presumptions regarding identity and reality. It is only possible to understand the rise of modern/postmodern art in the light of the epistemological revolution that accompanied the evolution of a bourgeois, liberal, secular and democratic society.



It is significant, therefore, that Floyer produces works that focus on perception: in one of her early works (above left) she projects a slide of a light switch onto a wall, and at the 50th Venice Biennale, 2003, (above right) she projected a video of a small nail hammered into a wall onto a wall. Duchamp also played with perception particularly in his Roto-Relief in which a pattern painted on a flat disk produced a strong illusion of three-dimensionality when spun. In each case the statement seems extremely simple, even too simple. But it is evident that she makes no attempt to hide the illusory nature of her works. The projector is visible and its illusion is obvious. Similarly in another work she places a black plastic bucket in the gallery with a cd-player inside making the sound of water dripping as if there were a leak in the gallery roof. Like her nail and light switch projections this is an illusion without illusion because the cd-player is plainly in view in the bucket.



Unlike science art can only pose questions and leave the process of creating answers to those who view the work. In the case of Floyer one question seems to be “how can we look beyond a habituated mode of thinking and perceiving”. And in this sense one can compare her work with that of artists such as Olafur Eliasson, Carsten Höller, and Henrik Plenge Jakobsen.



When Duchamp succeeded in placing his urinal into an art exhibition he translated it from the condition of urinal into that of sculpture, we could also say he reframed it, or recoded it. These processes lie at the crux of what we call conceptualism and it is important to understand this because whereas we seem able to accept abstraction as a valid aesthetic framework we still baulk at the Readymade aesthetic, or “conceptualism”. Of course, when we fully understand conceptualism it will be over, in the same way that when we fully understood abstraction to the point where its variations became repetitions it was over—although it may have become recoded into conceptualism.
Tags - cealfloyer , readymade , minimalism , conceptuliam ]]> http://www.mayongfeng.com/blog/read.php?211 mayongfeng <admin@mayongfeng.com> Thu, 10 Jun 2010 14:09:31 +0000 http://www.mayongfeng.com/blog/read.php?211



Tags - video ]]> http://www.mayongfeng.com/blog/read.php?210 mayongfeng <admin@mayongfeng.com> Sat, 29 May 2010 18:53:12 +0000 http://www.mayongfeng.com/blog/read.php?210


















Tags - kunstvereinbaden , dongxi-things ]]> http://www.mayongfeng.com/blog/read.php?209 mayongfeng <admin@mayongfeng.com> Thu, 20 May 2010 06:16:18 +0000 http://www.mayongfeng.com/blog/read.php?209 Tate Modern, London (The Suburban/Milwaukee International), May 14-16, 2010



Milwaukee International One-Minute Video Fair
Tate Modern No Soul

featuring

Stephanie Barber • Peter Barrickman • Chelsea Beck • Jennifer
Bolande • Club Nutz • Brad Fischer • Nicholas Frank • Jack Goldstein •
Amy Granat & Emily Sundblad • Naotaka Hiro • Jessica Jackson
Hutchins • Stefan Lenhart • Josh Mannis • Shana Moulten • Ernesto
Oroza • Will Pergl • Jefferson Pinder • Emanuel Rossetti • James Sham •
Kristina Solomoukha • Ben Stone • Spencer Sweeney • Oliver Sweet •
Nico Vascellari • Steve Wetzel • Robert Wilson • Ma Yongfeng

NO SOUL FOR SALE FESTIVAL OF INDEPENDENTS
TATE MODER LONDON 14-16 MAY 2010

Milwaukee International
Tate Modern • Starr Auditorium
16 MAY 2010 • 16.00-16.30
30 videos 30 minutes

program

Jack Goldstein, “MGM” (thank you)
Peter Barrickman, “Krickets” (Green Gallery, Milwaukee)
Spencer Sweeney, “Is This Thing On,”excerpt (Gavin Brown’s Enterprise,
New York)
Chelsea Beck, “Golden Boots” excerpt (Contemporary Arts Museum Houston)
Brad Fischer, “Siren” (Small Space, Milwaukee)
Steve Wetzel (Green Gallery/Inova, Milwaukee)
Stephanie Barber, “HOME” (Inova, Milwaukee)
Robert Wilson, “A Moment In Time” (Dan Ollman, Milwaukee)
Ma Yongfeng, “The Swirl” (Inova, Milwaukee)
James Sham, “Mission: Goodwill Towards Men” excerpt (Contemporary Arts
Museum Houston)
Nico Vascellari, “untitled song” (Hilary Crisp London/Los Angeles)
Kristina Solomoukha, “Christmas Trip” (Inova/Green Gallery Milwaukee)
Nicholas Frank, “Rock Faces” (Green Gallery, Milwaukee)
Naotaka Hiro, “Night Fog, Yellow Volcano” (Misako Rosen, Tokyo)
Emanuel Rossetti, “Columns with Pattern for Thomas Sauter I” (Karma
International, Zurich)
Josh Mannis, “Variations” (Thomas Solomon Gallery, Los Angeles)
Amy Granat & Emily Sundblad, “Drunk” (Green Gallery, Milwaukee)
Jessica Jackson Hutchins, “Children of the Sunshine” (Derek Eller/Laurel Gitlen,
New York)
Oliver Sweet, “Technosnake Experience” (John Riepenhoff Experience,
Milwaukee)
Stefan Lenhart, “Name It” (Tanzschule, Munich)
Ernesto Oroza, “Bertoia Chair” (Espacio Provisional, Havana/Miami)
Jefferson Pinder, “Invisible Man” (Inova, Milwaukee)
Will Pergl, “Rock” (Milwaukee Institute of Art & Design)
Jennifer Bolande, “Spin Cycle” excerpt (Inova, Milwaukee)
Shana Moulten, “Mountain Where Everything Upside Down” (Milwaukee
International)
Club Nutz Classicks vol. 85 (Club Nutz, Milwaukee)
Ben Stone, “Bernie Circuits” (Club Nutz, Milwaukee)
Jack Goldstein, “MGM”

Milwaukee International is a guest of The Suburban
thank you to all participants
special thanks to Brad Killam and Michelle Grabner
Tags - nosoulforsale , tatemodern , milwaukeeinternational , thesuburban ]]> http://www.mayongfeng.com/blog/read.php?208 mayongfeng <admin@mayongfeng.com> Wed, 19 May 2010 06:05:51 +0000 http://www.mayongfeng.com/blog/read.php?208

2008年12月，妹岛出现在香港2008设计运营商周的讲坛上。起初，还在陆陆续续进场的观众们并没有留心到台上那个用蹩脚英语演讲的瘦小女人，直到大屏幕显示出日本金泽21世纪美术馆——一个浮在森林中的半透明碟形建筑物——他们纷纷驻足观看，人群中开始发出一阵阵惊叹。

其实在国际建筑学界、评论界，妹岛和世早已是超级巨星。很多建筑评论人把妹岛和世与伊东丰雄、安藤忠雄相提并论，因为在他们的作品中都不约而同的流露出对明净、空旷、匀质这些词汇的迷恋，并且在对建筑这一名词具体化实施的进程中往往能挖掘出更多的空间内涵。  

妹岛和世的设计哲学

作为为数不多的世界顶尖女建筑师，妹岛和世是典型的工作狂。素颜，一副普通的黑框眼镜，简单设计的圆领黑色印花连身裙，平底鞋。她每天工作到凌晨，次日上午十点左右起床，建筑设计可以说是她唯一的兴趣，连她自己都承认建筑以外的兴趣只有购物，川久保玲的commes des garcons是她最钟爱的时装品牌。

妹岛和世1956年出生于日本茨城县，在日本女子大学获得硕士学位后在1981年进入伊东丰雄建筑设计事务所，之后又在1995年与西泽立卫合作成立共同事务所SANAA。随后，SANAA在国际舞台上屡获殊荣。在威尼斯获得金狮奖没多久，他们又在Lausanne联邦工科大学(EPFL)学生中心国际指名竞赛中打败一干明星建筑师而大获全胜，让·努维尔(法国)、赫尔佐格德梅隆(瑞士)、OMA(荷兰)、扎哈·哈迪德(英国)全部都败在这对日本组合下。除此之外，同时进行的大项目还有西班牙的巴伦西亚近代美术馆扩建项目，以及位于法国北部小镇Lens的“卢浮宫第二”项目，预计这座卢浮宫的“乡村版”建筑也将沿袭他们一贯的手法，将建筑放在公园之内，在2009年开放。



“是一个人与城市沟通的媒介”。这是妹岛在采访中反复提到的一句话，也是“妹岛哲学”的核心。无论是金泽21世纪美术馆还是正在建造中的法国卢浮宫Lens分馆，妹岛始终一丝不苟的履行着她“创造公共活动场地的职责”。开放式的空间规划、大量的透明材料的使用使得人们之间的阻隔更少。

“博物馆也好，美术馆也好，这些公共场所都应该如同一个街心公园，”妹岛在接受采访时说，“这些场馆并非为一些特定人群服务，相反的，它们应该能够包容下不同种族，不同阶层的市民，让他们自由的休憩，谈话，直接跟城市对话而不是对着冷冰冰的电脑屏幕和手机听筒。”  

但是妹岛的开放透明设计并非是一丝不挂的裸露，而是一种亚洲式的，含蓄的暧昧。根据她自己的描述，她的设计就像是一件朦胧的半透明的晚礼服，一些半透明材料的运用和巧妙的空间间隔使得场馆既不存在丧失私密性的危险，又获取了自然的力量——阳光和空气。

金泽的透明“细胞”

金泽21世纪美术馆是妹岛和世和她的伙伴西泽立卫(SANAA)在2004年共同完成的项目。自从SANAA中选这个项目，它就一直是人们关注和议论的话题，其建筑模型已经多次参加日本和海外国际性展览，最后这个设计获得了2004年威尼斯双年展的金狮奖最佳方案奖，把妹岛和世推上了顶峰。


美术馆是一个非常低矮的圆形建筑，像一个飞碟悬浮在金泽市的中心绿化地带。360度透明开放的玻璃幕墙，让室外风景自然融入室内，有着强烈的开放感觉，建筑体的存在感在不知不觉中消失，四周的植物和清新的空气和室内陈列的艺术品浑然一体。漫步其中，不知内外。它的内部结构以一个偏心圆为中心，周围游移着19个正方体的展示厅，这些立方体的箱子都有一定的比例，平面尺寸有三种基本类型：1∶1、黄金比率、1∶2，而天顶的高度为四种基本型：4.5、6、9、12米。看似随意的立方体箱子，而实际上有着严格的规范。传统美术馆空间在妹岛手下被解体，取而代之的是一种有秩序的解构。由于建筑的采光和透明设计，室内空间被柔和自然光所包围。粼粼波光，斑驳树影，通通被溶解到这座白色建筑之中，远远看去，就如同一个流动着的细胞，轻盈、圆润，静静地漂浮在林海之中。





“我不是为了使用透明而透明，”她一边用手比划着，一边解释金泽美术馆的设计理念，“像美术馆这样的公共场合，并不只有展览作用，更多的时候，这些地方是人接触城市的平台，所以在我眼里，如何温和地和城市融为一体，如何用一种亲切感吸引公众是一个重要的议题。这也是我使用透明以及圆形为元素的原因。”

纽约街角的东方禅味

在纽约的Bowery, 初来乍到的人们会容易遇见一堆白色积木块——七个长方体组合成一幢七层楼高的建筑，在一整片低矮晦暗的Prince Street 建筑群中格外显眼。

这便是去年才对外开放的New Museum, 一个新的当代艺术馆。白色立方体组合的概念直接源自项目招标时的要求：这是一个野心勃勃的当代艺术馆，它必须跳出这个狭促的街区，给人们一个舒适自由的参观空间。

妹岛和世和她的SANNA做到了。事实上她做得更好。她不仅在一片狭小的区域插下了一幢让人印象深刻的建筑，在建筑内部她放弃用墙壁和立柱间隔各个展厅，取而代之的是错落有致的平台。不同高度的台阶连接着各个平台，人们就像水一样在高低不平的河床上流动。在霓虹绚烂的夜晚，点点灯光从博物馆的墙隙中散落出来，宛若天空中忽明忽灭的星光，散发着东方浓浓的禅味。



“打破土地面积的局限是一件十分困难的事情，”妹岛和西泽立卫说，“我们试图在这无序的街区提供一个有序而宽敞的空间。于是长方体组合的方案就应运而生了。整个画廊的尽量采用了自然光，透过落地窗你可以看见纽约街道的角角落落，表达了一种“外面是纽约，里面是世界”的涵义。

尽管足迹踏遍全世界各地，设计过无数博物馆的妹岛和世却对中国的博物馆没有留下任何印象。当被问及最喜欢中国哪个博物馆的时候她支吾了约莫一分钟才撑着下巴像小女孩一样问记者“台湾的故宫算不算？”她认为，风格的缺失是当代中国建筑设计问题之一，所以她鼓励中国本土设计师，尤其是年轻设计师要尝试着宣扬自己，建立独特的东方个性才是立足国际建筑界的最佳方法。



关于：妹岛和世

（罗马拼音：Kazuyo Sejima、日文假名：せじまかずよ；1956年─﹚是一位近代日本的知名女建筑师，出生于日本茨城县。现任庆应义塾大学理工学部教授。

她在1981年从日本女子大学硕士班毕业之后，就进入了日本名建筑师伊东丰雄的事务所工作，14年后，与西泽立卫成立了SANAA建筑设计事务所。2004年，两人以金泽21世纪美术馆赢得了当年的威尼斯建筑双年展的金狮奖。

妹岛和世的建筑风格逐渐的受到世人注目，她与SANAA建筑设计事务所的作品，多带有重要的“穿透性”风格。大量的运用玻璃外墙等材质，让建筑感觉轻而且飘浮。亦有报导称其为“穿透、流动”式的建筑。
Tags - kazuyosejima , ryuenishizawa , sanaa ]]> http://www.mayongfeng.com/blog/read.php?206 mayongfeng <admin@mayongfeng.com> Mon, 03 May 2010 10:06:30 +0000 http://www.mayongfeng.com/blog/read.php?206

Dongxi - Things
Kunstverein Baden,Vienna,Austria
05/22/2010 - 04/07/2010

Cathy Busby. Can / Kerstin von Gabain. A / Chan Kok Hooi. Malaysia / Elaine W. Ho. USA / Ulrike Johannsen. A / Johann Neumeister. A / Ma Yongfeng. PRC / Evelyne Leblanc-Roberge. Can / Ralo Mayer. A / Shen Yi Elsie. PRC / Michael Yuen. Aus  & Yam Lau. Can /

curated by Ulrike Johannsen
Vernissage: Fri, 21 May 2010, at 18 clock
Es spricht: Ulrike Johannsen
Opening: Councillor Hans Hornyik

http://www.kunstvereinbaden.at/


Dongxi mean a thing / object but also east and west.

The changes in China at an accelerated rate, the economic, political and social developments in all its contradictions and the almost industrial-looking art production Beijing into one of the most exciting places in the world.

Since 2008, the federal government maintains the Austrian there a foreign studio. The scholarship Ulrike Johannsen has months in Beijing spent some and now loads fascinating positions of international artists in the Kunstverein Baden, with different aspects of the city of Beijing and the PR China deal.

If the Culture Clash on T-shirts do want production of Chinese or You may be interested in what hutongs on the issue of cultural exchange to have a say Beijing residents, we would like to invite the exhibition at the Kunstverein Baden Dongxi visit. You can interactively walk through Beijing to take on Ronald Mc Donald in a traditional Beijing opera or on the DICA - Donkey Museum of Contemporary Art,

das am 21.5. Baden besuchen wird.
Treffpunkt ist um 18h vor der Galerie des Kunstvereins, Beethovengasse 7.
Tags - dongxi , kunstvereinbaden , dica ]]> http://www.mayongfeng.com/blog/read.php?207 mayongfeng <admin@mayongfeng.com> Sat, 01 May 2010 06:01:10 +0000 http://www.mayongfeng.com/blog/read.php?207





Spitting in the street
Until it became dry
And then left

35min

April 23,2010

在街上吐一口痰等它变干后再离开

大约35分钟

2010年4月23日
Tags - 吐痰　spitting ]]> http://www.mayongfeng.com/blog/read.php?203 mayongfeng <admin@mayongfeng.com> Thu, 15 Apr 2010 05:57:05 +0000 http://www.mayongfeng.com/blog/read.php?203
A Talk & Video Screening—Curated by Maya Kóvskaya
                            
http://www.openeyeddreams.com/chinaFilm/index.htm

A passage is sometimes a corridor or thoroughfare that leads from one place to another; at other times, it is a rite or a Rubicon or a moment where one state is exchanged for another. Most of all, it is a journey, a process of being underway and on the road. As the passage of major historical change is being undergone and carried out in everyday life, economics, society, politics and culture in China, Chinese contemporary art has reached a nexus of crossroads. In the early and mid-1990s, easily digestible, foreigner-pleasing formulas from China, such as Political Pop and Cynical Realism, captured the international art community's imagination. By the late 90s, however, growing numbers of Chinese artists, many born in the 70s, were unwilling to bow to foreign fetishes in order to follow the previous generation's path to easy success.

Images of a country attempting to carry out unprecedented and rapid economic "modernization" by political fiat have overtaken the old creative canons, bringing a more diverse generation of new Chinese contemporary art to the international stage. The video art and performance art documenta in Passages: China at the Crossroadsshow various ways in which China is undergoing dramatic changes in almost every facet of life during this era of localized globalization, and so-called "modernization." This new generation of contemporary art in China rejects neat labels and gimcrack gimmicks in favor of the messy, quotidian world.

In Cui Xiuwen’s “Drifting Lantern,” we see a classic symbol of traditional Chinese culture undergoing a tenuous journey through the darkness. The glowing vermillion lantern bobs and sways in the dark, following a pattern that is hard to predict. At times it feels as if the movements of the lantern are both random and governed by an invisible, unknowable force—much like the experiences of ordinary people in the face of these massive changes transforming today’s China, who often feel that they are being taken on a path they cannot see, and know not where it leads. There are moments, however, with the human hands behind these driving forces are revealed and we realize that these huge, global processes that push and pull us are wholly human creations. In the video as well, we catch glimpses of the human bearer of this light—a hand holding the bright orb aloft, a leg tentatively stepping onward in the darkness.

“Missing/Gone Astray,” is a landmark work by Dai Guangyu, a leading figure of the Southwestern public action art and environmental art movements, who is known for his daring political critiques, brilliant performance interventions and inventive use of ink wash. This performance took place on June 4th, 1999, exactly 10 years after the tragic and sanguinary denouement of the student movement in Tiananmen Square. Dai Guangyu and a friend don masks and attire that make them appear de-individualized and uniform. They take to the streets of Chengdu. Their journey through the city is accompanied by ongoing references to Tiananmen and the power arrangement that keeps the anniversary unutterable in public discourse. Motifs of complicity and absence permeate the work. The masked men pass through the city reading the newspapers, which have no news about the anniversary, of course, and engage in bizarre repertoire of familiar everyday postures, which appear absurd because they are taken out of context. Clapping to show approval, raising hands to vote assent, and cringing as if to ward off blows, are all normal behaviors one frequently encounters in life. But the settings for these, such as speeches by leaders, party meetings, and confrontations with violence, are conspicuously removed from the scenarios enacted here, and thus are highlighted by their very absence. And by considering these behaviors outside their normal context, we are forced to recognize the performative function they fulfill—to underscore, support, perpetuate and reinforce existing power arrangements and the status quo order of things. These behaviors speak volumes: “we consent, we approve, we will not fight back.” Power, in the post-totalitarian era is not grounded in true belief so much as the public, collective expression of such complicit conformity, which serves to sustain the system in place and tacitly affirm its “rightness.”

In “Buttocks, 123,” Hei Yue – Jishengli tackles questions of authority from a different angle. Using a humorous, cheeky method to make a serious point, he dons the “split pants” of Chinese childhood, and spanks himself in public, often in front of symbols of tradition and authority or dominant values and notions of propriety. Wearing pants specially designed to reveal his butt, Hei Yue appears before various symbols of power, authority and tradition, and spanks himself repeatedly—Chinese policemen, Buddhist monks, Japanese fishermen in traditional (and more notably, butt-revealing) garb, and more. By spanking himself like this in public, he poses the question, who has the right to discipline and punish—and he answers it in turn by reclaiming the sovereign right for himself alone and rejecting the claims of a higher authority to mete out punishment.

Qing Qing’s “End of the Century Ambiguity” video work also employs a humorous device to make a cutting critique about contemporary masculinity, gender relations and the self-satisfied, complacent culture of consumptive excess and leisure idolized by the Chinese nouveau riche, and enjoyed disproportionately by men. If the sex trade—symbolized by massage and karaoke singing—has long been a rite of passage supplies the lubricant of political and business deal-brokering, taking place in settings in which women can have but one role, the meaning of former Traditional Chinese Medical doctor Qing Qing’s metaphorical send-up of the massage, by substituting and pig for the man, can hardly be misinterpreted.

In “Beijing Zoological Garden,” Ma Yongfeng also brings animals into his work, albeit in a different way. Here the passage is from a naïve childhood orientation towards nature, in which fantasies of the great and vast natural world are fueled by trips to the zoo, to a knowing adult complicity with the confining, cruel arrangements that place the human being in a hierarchical relationship to nature. Placing the pitiful images of the Beijing Zoo in the classical Chinese round frame, echoing Song Dynasty paintings, the aestheticization of routine suffering is brought to the fore. As we watch the animals attempting some semblance of a “life” in their cramped and miserable cement “habitats,” we learn more about ourselves than we do about these creatures. Nature exists here as rendered by the human imagination, and the poverty of vision and compassion that makes such conditions possible is what is inscribed most visibly in these scenes.

For the past decade Han Bing has engaged in an ongoing public performative intervention—“The Walking the Cabbage Project.” In this series of social intervention performance, video and photography works, Han Bing walks a Chinese cabbage on a leash in public places, inverting an ordinary practice to provoke debate and critical thinking. “Walking the Cabbage” is a playful twist on a serious subject—the way our everyday practices serve to constitute "normalcy" and our identities are often constituted by the act of claiming objects as our possessions. A quintessentially Chinese symbol of sustenance and comfort for poor Chinese turned upside down, Han Bing's cabbage on a leash offers a visual interrogation of contemporary social values. If a full stock of cabbage for the winter was once a symbol of material well-being in China, nowadays the nouveau riche have cast aside modest (monotonous) winters of cabbage in favor of ostentatious gluttony in fancy restaurants where waste signifies status. They flaunt "name brand" pooches, demonstrating how they no longer rely on the lowly cabbage, and can not only fatten themselves to obesity, but also pamper a pedigreed pet. Yet, for the poor and struggling, the realities of cabbage as a subsistence bottom line have not changed—what's changed is the value structure that dictates what—and who—is valuable or worthless in Chinese society. Han Bing's social intervention performance art practice has been conducted in a vast array in public spaces and quotidian social settings ranging from tiny rural villages to cosmopolitan metropolises across the globe; from flourishing downtown bastions of the white-collar consumer elite to the agricultural fields of the salt-of-the-earth rural laborers; from the Great Wall to the Mississippi River; from Miami Beach to the Champs Elysees; from Harajuku to Haight-Ashbury; from Tiananmen to Times Square.

This ongoing journey of Han Bing and his cabbage, mirrors, in many ways, the larger journey of China—from uniform poverty to an explosion of wealth for a few; from rural villages to massive megacities filled with hope and desperation; from the humble cabbage as a bottom line source of sustenance for ordinary people to the pedigreed lapdogs of the new rich—China is on the road and undergoing the difficult passage from one kind of society to another. But, as Han Bing’s work makes clear, this is not an unambiguous, teleological process from benighted backwardness to uplifted progress. Far from it, while the vast majority of people continue to struggle, and the reality is that the current order will not fulfill the dreams of most, it is the meretricious allure of the superficial new value system that keeps people pinning their hopes on a system that often works against their own interests.

We live in fragmented times, times that need an art that offers not only a mirror in which to see the status quo, but also transforms our understandings of ourselves, giving us new ways of seeing who we are and can be. Explorations of the everyday lived connections between the individual and the social, the micro and the macro, and the local and global realities that we all, increasingly face in this rapidly changing world, imbue this new generation of Chinese art with unprecedented global relevance.

©2009, Maya Kovskaya



CUI Xiuwen
Born in the 70s in China's Northeast, multidisciplinary artist Cui Xiuwen rose to fame in the late 90s with her provocative video, Lady's, featuring "ladies of the night" filmed in the liminal space—both public and private—of the Lady's Room in a karaoke hall. Her video and photography has been shown widely at major museums and galleries including, China Under Construction at Deborah Colton Gallery (USA, 2007); Dragon's Evolution exhibition, China Square, New York (USA, 2007); Engagements and Estrangements (Canada, 2006); P.S.1 (USA, 2006); Victoria and Albert Museum, (UK, 2005); Body Temperature (Denmark, 2005); “Untitied: Julia Loktev. Julika. Cui Xiuwen," Tate Modern (UK, 2004); “Alors. la China ? ” Center Pompidou (France, 2003); “Prague Biennale 1” (Czech, 2003); The first Guangzhou Triennial ” (PRC, 2002). Recent solo shows at venues including Marella, Beijing (PRC 2005); Marella (Italy, 2006) DF2 (USA, 2007); Florence Museum (Italy, 2007).

DAI Guangyu
Trailblazing leader of the Sichuanese performance art movement since the '85 New Art Wave, multidisciplinary artist Dai Guangyu (1955—) is internationally acclaimed for his contemporary reinventions of Chinese traditional ink wash and his pathbreaking contributions to China's public art, performance art and environmental art movements. Major exhibitions include “Made in China", Louisiana Museum (Denmark, 2007); China Under Construction at Deborah Colton Gallery (USA, 2007); "Inward Gazes - Performance Art in China - Exhibition by Invitation", Macau Art Museum, (Macau, 2005); "In Honour of '85", Duolun Modern Art Museum, Shanghai, (PRC, 2005); "The Wall: Reshaping Contemporary Chinese Art", China Millennium Monument Art Museum, Beijing (PRC, 2005); Dashanzi International Art Festival (PRC, 2004, 2005); "First Chinese Art Triennial", Guangzhou Art Museum (PRC, 2002);"China!", Museum of Modern Art, Bonn (Germany, 1996); the watershed "China Avant-Garde Art Exhibition", Chinese National Art Museum, (PRC, 1989); "Itinerary Exhibition of Modern Chinese Art", Bonn, Bremen, Frankfurt (Germany, 1987). Recent solo exhibitions include shows at Red Star Gallery at 798 Factory (PRC, 2007) and 10 Chancery Lane (Hong Kong, 2008).

HAN Bing
Han Bing (1974- ) grew up in an impoverished village in rural China. After studying painting in college, he undertook Advanced Studies at the Chinese Central Academy of Art. Exploring the struggles and desires of ordinary people in China's "theater of modernization," he employs photography, video, multimedia installation and performance, and his works invert quotidian practice, reinvent everyday objects and ask us to rethink the order of things. Han Bing's work has been shown worldwide at10th Annual Open International Performance Art Festival (PRC, 2009); MoNA Museum of New Art, Detroit (USA, 2009); New Art Gallery in Walsalle (UK, 2009); Morris and Helen Belkin Art Gallery in Vancouver (Canada, 2009); theCentre Pompidou (France, 2008); Asia Triennial Manchester (UK, 2008); Rencontres d'Arles Photography Festival (France, 2007); Columbia Museum of Art (USA, 2007); Fotographie Museum of Amsterdam (2005, Netherlands); DashanziInternational Art Festival DIAF (PRC, 2005, 2006; Pingyao Photography Festival (PRC, 2002); noteworthy group shows include China Under Construction: Contemporary Art from the People's Republic at Deborah Colton Gallery (USA, 2007); Dragon's Evolution: Chinese Contemporary Photography at the NYC China Square Art Center (USA, 2007), Beyond Experience: New China exhibition at Arario Beijing (PRC, 2006), LOVE Expo, Barcelona-Pekin-Paris, and Proyecto Generos at Espace Cultural Ample (Spain, 2006-2007), and many more. Solo shows include a joint solo show with Orimoto Tatsumi, Quotidian Iconic—Quotidian Holy Mother, Jing Art Gallery (PRC, 2006); Age of Big Construction, at Beijing New Art Projects (PRC, 2007), Love in the Age of Big Construction at UC Berkeley (USA, 2006), The Other Shore of Desire at UCLA (USA, 2006); Everyday Desire in the Theater of Chinese Modernization at Beursschouwburg Art Center (Belgium, 2007); and The Fatalistic Language of Things at the Columbia Art Museum (USA, 2007) and a solo show at Espace Cultural Ample (Spain, 2008).

HEI Yue ·JI Shengli
Born in Qinghai Province, Hei Yue·Ji Shengli graduated from Qinghai Pedagogic College and moved to Beijing in 1991. When he adopted the name "Black Moon" (Hei Yue), back in the heyday of the Yuanmingyuan artist colony, he could hardly have known the intimate connections in English between the verb "to moon" and the performance art that would bring him fame, using his buttocks. "123 Buttocks" is the title of Hei Yue’s ongoing performance art and video, photography and painting series, acclaimed in the US and China, as well as Japan. His work has been featured across Asia at the Macao Museum of Art, Dashanzi International Art Festival in China, the Nippon Performance Art Festival in Japan, the Korean International Performance Art Festival, the Taiwan International Performance Art Festival; in Hungary at the International Media Festival, and at the Estonian Documentary Film Festival, and at the Ethan Cohen Gallery in New York. This year his solo exhibition at the Rain Gallery at 798 unveiled his new series of oil paintings.

MA Yongfeng
Hailing from Shanxi, China, Ma Yongfeng (1971—) is known for his video and medium-large format photography works. Investigating "scientific" typologies, taxonomies and conceptions on "Nature" and the "natural world," his work reflects his preoccupations with the social construction of knowledge and aesthetic systems. China Under Construction at Deborah Colton Gallery (USA, 2007); Fractured Visions: Chinese Video Art, Center for Asian Studies, University of South Carolina, USA; ), Dragon's Evolution, at China Square in New York (USA, 2007); The Thirteen: Chinese Video Now, P.S.1 Contemporary Art Center at MOMA, New York & Platform China Contemporary Art Institute, Beijing (USA, PRC, 2006); VideoZone3: The 3rd International Video-Art Biennial in Israel, The Center for Contemporary Art, Tel Aviv (Israel, 2006); China Action 1-2, Centre chorégraphique national de Tours (France, 2005); Videonale 10 , Kunstmuseum Bonn (Germany, 2005); How Can You Resist? Museum of Contemporary Art, Los Angeles (USA, 2004). Solo exhibitions include, Becoming Landscape, Platform China Contemporary Art Institute, Beijing (PRC, 2006) and The Cretaceous Period, Artsway, Hampshire (UK, 2007).

Qing Qing
Beijing-born Qing Qing gained international recognition for her diorama installations and hemp fiber "artificial artifacts." Her unique visual language engages a symbolic universe that plays lightly on the ugly ironies of the contemporary world. Group exhibitions include, China Under Construction, Deborah Colton Gallery, (USA, 2007); Beyond Experience: The New China, Arario Beijing (PRC, 2006); Floating – New Generation of Art in China, Seoul (Korea, 2007); Documentation of Chinese Avant-Garde Art in 90s, Fukuoka Asian Art Museum, (Japan, 2001). Solo exhibitions include shows at Gallery Wort und Bild, Vienna (Austria, 1997); AAL-Gallery Karl Strobe, Vienna (Austria, 1999); Red Gate Gallery, Beijing (PRC, 1999); Chinese Contemporary, London (UK, 2000) Red Gate Gallery, Beijing (PRC, 2002);Today Art Museum, Beijing, (PRC, 2002); 798 Dashanzi Art District, Beijing (PRC, 2004); Tokyo Gallery (Japan, 2005); Ullen's Center Dayaolu Space, 798 Dashanzi Art District, Beijing, (PRC, 2005).


Curator Bio

Maya Kóvskaya is a Beijing-based art critic and curator with over a decade in China. She has curated numerous exhibitions including Love in the Age of Big Construction (PRC and USA, 2006), Quotidian Iconic (co-curated, PRC, 2006), The Other Shore of Desire (USA, 2006) Estrangements and Engagements (Canada, 2006), Misalignments (USA, 2006), Other Modernities (USA, 2006), The Fatalistic Language of Things (USA, 2007), and The Fragmented Gaze (USA, 2007), China Under Construction (USA, 2007) and others. Her writing has appeared in numerous art catalogues, academic volumes, and magazines, including Contemporary, Yishu: Journal Chinese Contemporary Art, Flash Art, Art Post, Art iT, Eyemazing: International Contemporary Photography Magazine and positions: east asia cultures critique. She is currently writing a book on Chinese contemporary art.

Works Screened by:
CUI Xiuwen
DAI Guangyu
HAN Bing
HEI Yue
Ji Shengli
MA Yongfeng
Qing Qing
Tags - video , mayakóvskaya , mayongfeng ]]> http://www.mayongfeng.com/blog/read.php?201 mayongfeng <admin@mayongfeng.com> Wed, 07 Apr 2010 02:15:54 +0000 http://www.mayongfeng.com/blog/read.php?201










Tags - 萤火虫 ]]> http://www.mayongfeng.com/blog/read.php?200 mayongfeng <admin@mayongfeng.com> Mon, 05 Apr 2010 06:32:02 +0000 http://www.mayongfeng.com/blog/read.php?200

2010 Screenage Art Document Exhibition
《场》　《域》　《情感》　《自然•不自然》  《聚 • 忆》　

当代文化的影像重心在经过几次社会价值的解构与碰撞之后，一些实质性的探索状态在一批新兴的艺术创作者身上逐步清晰明朗，这种流动的影像思维或许将预示诞生着一种强大的时代记忆体，面对何为影像艺术的再次探究，这次展览尝试梳理、分析并最终建立一个当代影像体系的大文化框架，由此植入的各种东西方语境在新影像媒体中混合派生出属于每一个自然人的文化系统。

本次展览的《场》《域》《情感》《聚•忆 新锐》《自然•不自然》五个主题部分虽然包括诸多形式内容，如实验电影、观念记录、抽象影像、实验动画、舞蹈肢体录像、观念摄影等，但更多关注的是基于人文生态的思考研究，努力促使老中青三代艺术家在所谓不同创作方向上产生更多交集与共鸣。

而本次的开幕展论坛也是落脚于此种基调，中国影像艺术2010年展论坛在通过和不同艺术机构空间合作的过程中，将引发诸多文化议题，而不局限于艺术家本身，一系列探索性的学术交流突出创作、批评、研究、教学的互动延展性，使最终的出版文集具有更多“实验”的社会意义与价值。（文/吴秋龑）

展览名称：2010影像档案展
——《场》《域》《情感》《自然•不自然》《聚 • 忆》
艺术总监：栗宪庭
策 展 人：吴秋龑 张海涛
论坛项目总监：滕宇宁
开幕时间：2010年4月18日（星期日）下午2：30
开幕地点：宋庄美术馆一层、二层
展览时间：2010年4月18号—５月２５号（周一、周末不休息）

单元部分

“场”：思维的序幕犹如每个人心中对万千物象的憧憬与遐想，萌动新生的动与画将观念的维度无限开启。
艺术家：缪晓春、张小涛、白崇民、马永峰、卜桦、吴俊勇、黄心健、叶丹、代化、皮三、陈学刚、孙磊、张燕翔、李杰、雷磊、刘茜懿、Vincent

“域”： 物化的哲理似乎不再禁锢着大东方文明的睿智与豁达，它们凝视着这个光鲜纷杂的世间，个体的对话也许代表更多流动的心声。
艺术家：隋建国、刘旭光、张锰、高芙雁、谭奇、吴秋龑、丁昕、盛洁gogoJ、吴少英、马秋莎、谷真真、郑达飞、黄荣嵘

“情感”：如果视化的关注无法诠释影像的本源意境，我们相信潜意中迸发的思索，万象有感，意会通达。
艺术家：丰江舟、汪东升、张海涛、田苗子、朱捍东、邓大非、雷本本、张敏捷、李明、陈轴、李富春、曹澍、刘诗园、沈怡、文皆、曾鐸、黄莺、胡晰淼、赵域、章梦奇、
双飞（崔绍翰、黄丽芽、李明、李富春、林科、孙慧源、杨俊岭、张乐华）

“聚 • 忆”新锐
艺术家：夏鹏、李隆、黄麒霏、孙楠、张咿、叶媛媛、陈曦、温强、郭维、赵伯祚、郝树人、部凡、张泽彦

“自然•不自然”
艺术家：迟鹏、王铁为、关矢、佟大壮、高媛、贾有光、卢彦鹏、Alessandro（李山）、吴玮禾、陈卓+黄可一、刘韧、杜寒宁、林舒、田太权、于雷、谭海山、李心沫、林蔚、张巍、罗巍、任航、邢鹏、阎洲、袁苏苏、张晓、张英楠、杜远、胡建文、陈浩洋、金玮、Kenzaburo Fukuhara（福原健三郎）、高远、雷旸（欢岛）、陆军、孙鸥、张尤亮


论坛主题：“当代影像创作与东方文化视野”
——中国影像艺术论坛【第一场】
论坛主持：滕宇宁
时    间：2010年4月18日（星期日）下午4:00
地    点：宋庄美术馆学术报告厅

主办机构：宋庄美术馆（www.artda.cn）
协办机构：艺术档案网  北京大学视觉与图像研究中心
地    址：宋庄小堡宋庄美术馆
展览服务：李强　曹英　候丽娜  
咨询电话：010-89578040
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Tags - 影像艺术 ]]> http://www.mayongfeng.com/blog/read.php?198 mayongfeng <admin@mayongfeng.com> Sat, 27 Mar 2010 05:14:16 +0000 http://www.mayongfeng.com/blog/read.php?198

参展艺术家：陈为群，大猫，林晓东，刘春尧，刘珂，马永峰，木格，邱黯雄，权娟祯，吴承典，闫城，杨怡，周斌，周敏

策展人：闫城

学术主持：许晟

艺术总监：赵欢

特邀批评家：陈默，楚桑，査常平，张颖川

主办单位：re-C廊桥艺术空间 (成都市草堂路48号)

开幕酒会：2010年4月17日 下午3：00点

研讨会：2010年4月17日 下午4：00点

展览时间：2010年4月17日—5月16日


175M175
-- The 3rd Contemporary Art Exhibtion Series on SanXia

Artists: Big Cat, Chen Weiqun, Lin Xiaodong, Liu Chunyao, Liu Ke, Ma Yongfeng, Mu Ge, Qiu Anxiong, Quan Juanzhen, Wu Chengdian, Yan Cheng, Yang Yi, Zhou Bin, Zhou Min

Curator: Yan Cheng

Academic Chair：Xu Sheng

Supervisor: Zhao Huan

Invited Critics: Chen Mo, Chu Sang, Zha Changping, Zhang Yingchuan

Place: re-C Art Space (No. 48 CaoTang Road，Chengdu)

Opening Cocktail: 15:00, 17 April 2010

Conference：16:00, 17 April 2010


策展人  闫城

中国的长江三峡工程是目前世界上最大的水利枢纽工程。该工程的建设将淹没库区内涉及湖北省、重庆市的共16个区，县（市）的277个乡镇，116个集镇，2座城市，10座县城，1625个工矿企业，150处国家定级保护的文物古迹和部分知名度较高的自然景观。淹没38.95万亩耕园地，3473.14万平方米房屋，先后有113万当地居民迁移家乡，550多种受保护的自然高等植物被移植……为了面对修筑三峡水库所引发的系列相关生态环境问题，政府的预算资金已高达上千亿（静态＋动态投资）……这样巨大的工程将改变亿万年所形成的稳定地质结构，带来相关的一系列生态环境问题，包括一百多万原住民成为移民的生存问题，旧城被淹新城建成后如何发展等诸如此类的问题。这其实已不仅是中国西部的区域性问题，而是具有了“世界性”的普遍问题；它牵涉到为城市现代化发展，而去改变原住民的生存状况和生态环境的严峻现实。

2003年6月三峡大坝从原来的海拔60米蓄水到135米时，我们在四川美术馆做了 “135m135”当代艺术展。共有10位艺术家参展，他们是：李家正、周敏、吴承典、闫城、刘建、陈海鸣、文咏、陈秋林、刘春尧、贺鹏。从那时我们开始关注由巨型工程建设带来的对生存、生态、社会、文化等造成的变异。

2006年10月三峡大坝蓄水到156米，对这一变化，我们在四川美术馆做了 “156m156”当代艺术展。参展艺术家：周敏、吴承典、文咏、闫城、刘建。继续关注因蓄水给库区内原住民带来的系列变化。

2008年三峡大坝已全建成，9月大坝计划再次蓄水至175米 , 当蓄水到172米时出现了一系列的地质问题，蓄水因此停止了，此次蓄水没有达到预设的175米。  

“175m175”当代艺术展，仍然借用蓄水的水位线作为展览题目， “175m”是标明库区蓄水达175米，后面的“175”是象征当代艺术的水位线。

那么周密预设的当代艺术是否具有危害性？中国的当代艺术做什么？

这次计划邀请到：陈为群、吴承典、刘柯、邱黯雄、杨怡、木格、闫城、权娟祯、马永峰、刘春尧、林晓东、周斌、周敏、大猫14位艺术家，他们用各自的媒介语言，表达了个人对艺术与社会之间即联系又冲突的相互衡制的命题。




三峡的肖像

许晟

(此文的写作灵感来自约翰.伯格的“法扬肖像”(何佩桦译)一文，并随处可见对他文字的引用和他的智慧。因为在三峡面前，我找不到比约翰.伯格的文字更好的表达。)

法扬肖像是残存下来最早的肖像画，于上世纪末发现于埃及的发扬省。它们的发现地是墓穴，这些画像附在木乃伊上，作为亡故之人的遗像。这些肖像与今日肖像画最大的不同，就在于被作画的人以及作画者，都未曾想过此画供后世观看。他们的图像注定葬入土中，没有可见的未来。

换句话说，法扬画家的工作不是画我们定义中的肖像画，而是记录其男女客户对他的注视。被观看的人不是“模特儿”自己，而是作画者。他画的每一幅肖像，都开始于对注视的接受。我们不该把这些作品视为肖像，而该视为被不同客户观看的描绘经验。画家是为死亡而画，或者说，为永恒而画。

埃及的传统肖像都是侧面，因为侧面代表生死相续的永恒；还因为画师与对象，都没有注视对方正面，或被对方注视的勇气，似乎那会被画笔偷走了灵魂。他们只有在进入法扬的遗像时，才敢于向永恒袒露自己的灵魂。

所以，当我们注视画面时，它们看起来比两千年后的欧洲传统艺术更现代，它们的眼神似乎在和我们说话，触动了我们的情感，它们看起来就像我们自己。

法扬肖像注视着我们，有如这个时代失落的东西，比如三峡。三峡在我们面前消失，犹如一位亡故的法老。我们敢看着它仪容的正面，并为它画像吗？

时间不断流逝，每一秒都从容不迫，但有一些时刻，却会改变以后所有的时刻，比如死亡。犹如每秒二十五帧的影片，突然走到了尽头。于是，那暗藏在帧与帧之间的空隙，才会脱离时间的控制，流淌出来。

三峡的时间像一颗疲惫的子弹，停了下来。于是，三峡的回忆摆脱了时间的限制，变成永恒。三峡变成了老人讲给小孩的故事，可以用确信不疑的态度，用天塌下来也不改变的从容语调来讲述。三峡也变成了时间的刻度，我们以后会说，“三峡还在的时候”，“三峡被淹的时候”。三峡也变成了注视我们的逝者，我们对它的一切回应，都只能留给死亡。

没有比三峡消逝更好的机会，能让我们如此轻易就听见自然的声音。当你开始创作与三峡有关的作品时，它便开始和你说话。你要停下来，听它讲。因为只有它告诉你的，才会被观众和后人听见；它告诉你的一切，都是真的。

Tags - 三峡 ]]> http://www.mayongfeng.com/blog/read.php?197 mayongfeng <admin@mayongfeng.com> Wed, 17 Mar 2010 04:47:27 +0000 http://www.mayongfeng.com/blog/read.php?197



2010年3月13日（99艺术网，石棱）

今日下午三点，一个题为“寄居蟹”的摄影展在荔空间开幕。从黑白反转到数码彩印，从场景到观念，从日常记录到行为摆拍，所展作品的拍摄手法和主题跨度很大。据策展人之一任大棣的说法，所参展的20位艺术家，大多都不是专门做摄影的“职业艺术家”。

展览主题“寄居蟹”，是借对寄居蟹这种小生灵的生存方式进行寓义引申，来指喻摄影之由一门技术转变为一种艺术后，摄影对人——尤其是对摄影者生活方式和情感状态微妙而深远的影响。而从这次展览中，我们的确可以觉察到这种影响的痕迹：作为一种工具，相机和镜头本身并不重要，重要的是有了这种工具之后，人的洞察力开始具备一种“镜头感”；他的想象力在这种“镜头感”之下，开始到处弥漫。

随着摄影器材和电脑技术的普及，一群被称为“拍客”的摄影群体也蔚然兴起。拍摄技巧和艺术手法对他们来说，已经不算什么问题。这中间关键的一点是，拍客遍布生活的每一个角落，年轻而活跃的拍客们无所不至的视野和时常令人匪夷所思的念头，是否正在挑战传统“摄影家”甚或“艺术家”的身份？

当被问到为什么同为“寄居蟹”主题的展览，在草场地荔空间展出的是一批名不见经传的“拍客”们的作品、而在798视空间展出的却是荒木经惟、崔岫闻、 林天苗等“功成名就”的艺术家的作品的时候，任大棣解释说，这样做是为了突出一种对比，“荔空间举办这样一个摄影展的目的，在于提供一个实验场所，来展示中国当代摄影的另一种生态。”

作为“首届草场地摄影季”的单元展之一，本次展览将持续至4月25日结束。


Tags - 拍客　寄居蟹　荔空间 ]]> http://www.mayongfeng.com/blog/read.php?196 mayongfeng <admin@mayongfeng.com> Mon, 15 Mar 2010 11:22:29 +0000 http://www.mayongfeng.com/blog/read.php?196

◎  王琅

年仅39岁的卡普斯恢复了宝丽来在荷兰恩斯赫德已废弃的工厂并签订了10年的租赁合同，带领着只有12人的影像专家小分队，着手在这栋1万平方米的厂房里花15个月为宝丽来经典相机研制新型Integral相纸。他们的目标是从2010年起大量投入生产，计划头一年的相纸产量为300万盒，第二年达1000万盒。

听说宝丽来得救了，赶快上网一探究竟，习惯性地给宝丽来摄影师艾尔莎·多夫曼（Elsa Dorfman）去信询问情况，10分钟后收到的回信仓促得连个称呼也没有就这样开头：“绝对是心灵感应，我信这个，我也正打算给你写信告诉你最新消息：一个奥地利人要在荷兰建工厂重新大规模生产相纸了！”

多夫曼提到的这个奥地利人名叫弗洛兰·卡普斯（Florian Kaps），是位在即时成像领域摸爬滚打了七八年的精明商人，胶片摄影的最大拥护者，同时也是位艺术家。2001年，他以Lomo社区（Lomographic Society）网络部主管的身份首次涉足胶片市场，几年后创建了最大的即时影像在线社区Polanoid.net。浏览一下网站，上传已达20万张的宝丽来图片库还真让1G的CPU有些吃不消，1.2万名注册用户的庞大“粉丝”团也在如火如荼地持续膨胀。去年2月，宝丽来公司（Polaroid Corporation）宣布将于2008年底前停止生产消费类及专业级的所有波拉底片并放弃其核心技术后，这位年仅39岁的卡普斯先生瞄准了新的商机。他恢复了宝丽来在荷兰恩斯赫德已废弃的工厂并签订了10年的租赁合同，用几百万欧元收购了十几台大型设备，带领着一个只有12人组成的影像专家小分队，给自己的“雄心壮志”取了个野心勃勃的名字——“不可能的计划”，着手在这栋1万平方米的厂房里花15个月为宝丽来经典相机研制新型Integral相纸。他们的目标是从2010年起大量投入生产，计划头一年的相纸产量为300万盒，第二年达1000万盒。

卡普斯在官网上一再强调，这不是一个重新生产旧相纸的计划，由于制作宝丽来相纸的化学试剂和原料早已断货，他们只能研制新的感光材料来生产新相纸。卡普斯对此却信心十足：“我们丝毫不担心新相纸在视觉和质量上会有什么问题，因为我们从没准备让它变得完美。宝丽来曾经花大价钱让胶片尽善尽美，这也许是导致停产的一个原因。宝丽来胶片应该永远是敏感的，冷的时候会微微发蓝，暖和了就泛点儿红，尤其是过期的相纸。人们开始刻意追求这种效果。”按卡普斯的话说，这新家伙还是那“甩一甩”就显影的宝丽来，你只要保留着合适的相机，它就绝对能用，升级换代的新相纸只会更经济、更方便。而谈到资金，他说自己有充足的钱来支持团队花一年的时间探索新技术。由此看来，我们都操之过急了，就连去年底在Taka Ishii画廊举办宝丽来纪念个展的森山大道也不例外。5月25日，为了对宝丽来的可能回归表示庆祝，《纽约时报》影像博客“镜头”向广大爱好者征集照片。两天的时间他们共收到900多张照片，并将大部分展示在网上。谁说宝丽来死了？且慢，还不到说再见的时候。

宝丽来公司由埃德文·兰德(Edwin Land)，一位深具企业家创新精神的哈佛大学辍学生所创建。公司的雏形，是1932年兰德与维尔赖特(George Wheelwright)共同制作偏光镜的实验室。截至1936年，兰德已将他在光的偏振上的发明运用于各种产品，包括偏光护目太阳镜、立体眼镜、胶片和照明设备。1948年，他的公司推出第一款拍立得相机——兰德相机Model 95，据说这款当时售价89.75美元的相机，是因为女儿急切地想立刻看到家庭快照而触发了灵感。“二战”后，兰德将其在光学领域的研究转向了摄影，那时宝丽来的拍立得产品是马萨诸塞州工业制造业的主力，并在全世界享有盛名。1963年随着100系列相机的发布，宝丽来胶片改为暗盒胶片，成为专业摄影师的必备品，他们使用凹凸不平的宝丽来相纸测光和构图。60年代晚期到70年代，宝丽来公司的股份让它跻身“漂亮50”（Nifty Fifty）公司，其每股净收益在70年代的美国股票熊市中风景独好，人们长期持有它，相信它会永远涨下去。1972年是宝丽来的巅峰时刻，SX-70原型机的出现打造了一个奇迹。这款非常帅气的相机，铝和人造革搭配的机身，展开后的单眼镜头，自吐相纸，“刮片”功能，浓郁的蓝调，都让玩家爱不释手。同年6月，《时代》周刊上兰德手持SX-70相机的封面，对其诞生表示庆贺。1978年，公司雇用的员工达到2.1万名，在80年代初，拍立得摄影拥有20亿美元的市场，1991年，公司的收入达到30亿美元的顶峰。

兰德在1982年离开宝丽来。随后的专利战，80年代末花费大量精力去抵御恶意收购，不关注市场只潜心于研究，最终导致其负债累累。宝丽来不得不裁员，仅从几万名员工中留下150名管理与行政人员。随着数码大潮2001年的侵入，《Wired》杂志专门发表一篇长文，中肯地建议宝丽来公司可以在将来进行必要的改革。不料10个月后，宝丽来公司却向美国法院申请破产保护。

此时的宝丽来公司已是名存实亡。大部分的生意，包括“宝丽来”这一名称，已卖给Bank One旗下的OEP图像公司。随后，此公司更名为“Polaroid Holding Company”（宝丽来控股公司）并很快得到了宝丽来公司的品牌效应。2005年，这家公司最终被私人控股的Petters Group Worldwide收购。老的宝丽来公司，实际上还在美国《破产法》第11章的保护下而存在，没有任何资产，没有交易，没有员工，只是一纸合同上的空壳公司。去年10月，母公司PGW及其一家子公司因涉嫌欺诈而遭到调查，受其牵累，宝丽来被迫于12月再次向法院提出财务重整。今年4月，GBB公司（Gordon Brothers Brands，LLC)与清算公司HCC消费资本（Hilco Consumer Capital，L.P.)以8500万美元成功收购宝丽来公司。GBB、HCC表示将与多家全球企业合作持续开发宝丽来品牌商品。

事实上，宝丽来早就放弃了即时影像市场，将兴趣集中在数码领域，产品包括平面电视机和数码相机。作为调整，2002年，PGW开始出售授权“宝丽来”字样的DVD播放器和平面电视机。数码化过程中，宝丽来也一直没有放弃对他方接管相纸生产的希望。公司已经给其他相纸企业发出通告，希望他们中的一员能继续生产旧相纸。实际上，富士——早先争取接管生产宝丽来相纸的企业——曾经制造过4种类型的相纸，两种彩色、两种黑白，每种都可以在现有的宝丽来相机中使用。但这些相纸是对旧宝丽来相纸的模仿，还需要使用者撕掉粘满化学试剂的膜。富士发布了一款即拍即显的完整成像相纸——Instax，但这种相纸只能搭配富士相机使用，只是自家竞争且严格上说不在美国出售。

随后，他们又把希望寄托在数码打印机上。Zinc Imaging公司生产的冠名“Polaroid PoGo”的无线便携式打印机是最新的一款产品。这款打印机一改往日宝丽来相机的笨拙，体型纤小轻便，采用Zink的无墨打印技术，全彩色且1分钟内完全成像，能通过USB接口与数码相机或与手机无线蓝牙连接。

随着1900年柯达布朗尼相机的诞生，“你按快门，剩下留给我们”的傻瓜模式让摄影民主化成为大势所趋。宝丽来延续了此传统。几年时间，民主化模式持续走俏，效果显著，宝丽来相机一时间遍及家家户户：无论在家庭相册、墙上，还是网络上。从第一款相机推出起，宝丽来公司就受到了艺术家的广泛关注和青睐。兰德在1948年雇用安瑟尔·亚当斯(Ansel Adams)作为顾问，一些艺术家使用宝丽来相机测光和曝光，另一些，包括查克·克洛斯(Chuck Close)和安迪·沃霍尔(Andy Warhol)等，使用大画幅宝丽来相机创作肖像。威廉·韦格曼(William Wegman)和艾尔莎·多夫曼用Big Polaroid创作20×24影像；大卫·霍克尼(David Hockney)用几百张宝丽来拼贴成一幅完整的组合拼图。处理或转造感光乳剂的方式也颇为流行，包括“刮片”、乳剂剥离等，卢卡斯·萨马拉斯(Lucas Samaras)的“Photo-Transformations”是这一技法的开拓者。除此之外，《Memento》的电影海报、Talking Heads的专辑《More Songs about Buildings and Food》的封面都是用波拉片拍成的。荒木经惟和卡罗尔·莫里诺(Carlo Mollino)用宝丽来拍摄情欲照片，很好地运用了宝丽来的私密特性。1963年，臭名昭著的玛格丽特、阿盖尔公爵(Margaret，Duchess of Argyll)离婚案，一张张宝丽来照片成了“艳照门”事件的唯一证物——标志着宝丽来被用于司法举证。几十年后Spectra相机的问世，使宝丽来相机迅速运用到更广泛的地方。牙医、法医、勘探人员、警察、剧场专业人士等都曾是宝丽来相机的使用者。宝丽来照片在犯罪现场可以作为检验足迹的重要帮手，胶片的不可润饰性让犯罪现场的蛛丝马迹尽收“片”底。即便美国一些州的执法机构已经为向数码摄影的转变做好了准备，但仍有一些部门不愿放弃宝丽来。医生用宝丽来拍摄医疗影像，考古学家用便携式宝丽来与X光摄影结合，在不破坏现场的前提下勘察遗迹。

一代接一代革新的波拉片，在感光度、颜色上层层突破，显影速度缩短到60秒。它的魔力不仅在于胶片闪烁的白色表面色彩的神奇成真，还在于拍摄过程：“啪”地按下快门，在金属框里的橡胶管露出来，急速的摩擦，发出的声音像是摩托在发动，最后照片被吐出，小门猛地被关上。整个过程免去了传统摄影中的负片显影、漂白、定影、水洗等一系列繁杂的步骤，节约了时间和成本。数码摄影完全丢掉了后工业社会里对机械主义的缅怀，宝丽来把摄影让位给人，整个过程没有电流川息、数模转换，它更具体可见且难以驾驭。数码相机随意地按下快门，拍糟了，还有PS来做补救。而宝丽来只有仅此一张。确实，用宝丽来拍出一张好片子的确不易。把你的数码相机扔开一天，拿起SX-70，按现在淘宝网600相纸一盒150元算，你会发现自己曾经浪费了多少张15元的胶片！

1970年9月，一本名为《动物园动物医学》的刊物曾发表过一篇学术文章，称宝丽来相纸的银成分，毒死了美国路易斯维尔动物园的一只格利威斑马。按现在数码相机与即时成像相机100比1的销售比例看，按100多元一盒相纸的昂贵价格看，这年头，不幸落入动物园斑马馆的宝丽来胶片概率几乎为零。烧不起相纸的我们早就买了一款便宜的入门级单反，多年前入手的宝丽来相机已被束之高阁。没玩过宝丽来的人也不再容易有机会感受它的原汁原味和等待出片时翘首以盼的激动。当你翻开抽屉，看见蒙了层灰的SX-70还在，突然想起那位远在荷兰工厂埋头苦干的大救星卡普斯先生，于是，你端坐在电脑前，在键盘上敲入“不可能计划”的网址，看着屏幕右上角出现以“秒”为单位的倒计时数字，掰着指头从个位数到千万位，再耐着性子用计算器换算成几百“天”。大救星卡普斯先生，是靠你们每个人的信念支撑过活的梦想家。
Tags - 宝利来　弗洛兰·卡普斯　埃德文·兰德 ]]> http://www.mayongfeng.com/blog/read.php?192 mayongfeng <admin@mayongfeng.com> Tue, 09 Mar 2010 07:26:30 +0000 http://www.mayongfeng.com/blog/read.php?192
开幕：2010年3月13日（星期六）15: 00 - 18: 00
展地：北京朝阳区草场地红一号F座荔空间
展期：2010年3月13日至2010年4月25日
开放时间：星期二至星期日10: 30 - 18: 00
主办：北京荔空间文化艺术交流中心

艺术家：陈嘉强、陈维、陈洲+张晓静、邓大非、高峰、金石、刘波+李郁、马永峰、毛宇、OUR MAPS、彭韫、沈怡、石玩玩、王思顺、吴达新、赵华森、张乐华、张辽源
策展人：任大棣、邓大非
艺术总监：顾振清、杨荔
公共推广：姜天娇、郑玲妃
联络：jiangtianjiao2009@gmail.com; +86-10-51273272



SOLDIER CRABⅠ
AN EXHIBITION OF THE FIRST ANNUAL CAOCHANGDI PHOTOSPRING
OPENING: SATURDAY, MAR. 13, 2010  15: 00 - 18: 00
VENUE: LI-SPACE, RED NO.1 - F BUILDING, CAOCHANGDI, CHAOYANG DISTRICT, 100015 BEIJING, CHINA.
DATES: MAR. 13, 2010 - APR. 25, 2010
GALLERY OPENING HOURS: TUESDAY - SUNDAY 10:30 - 18: 00
PRESENTED BY: BEIJING LI-SPACE CULTURE & ART CENTER

ARTISTS: CHEN KAKEONG, CHEN WEI, CHEN ZHOU+ZHANG XIAOJING, DENG DAFEI, GAO FENG, JIN SHI, LIU BO+LI YU, MA YONGFENG, MAO YU, OUR MAPS,  PENG YUN, SHEN YI, SHI WANWAN, WANG SISHUN, WU DAXIN, ZHAO HUASEN, ZHANG LEHUA, ZHANG LIAOYUAN
CURATOR: REN DADI, DENG DAFEI
ARTISTIC DIRECTOR: GU ZHENQING, YANG LI
PUBLIC PROMOTION: JIANG TIANJIAO, ZHENG LINGFEI
CONTACT US: jiangtianjiao2009@gmail.com; +86-10-51273272

《寄居蟹2号》当代摄影展
开幕：2010年3月13日（星期六）16: 30 - 18: 00
展地：北京市朝阳区酒仙桥路4号798艺术区视空间（常青画廊对面）
展期：2010年3月13日至2010年3月28日
开放时间：星期二至星期日10: 30 - 18: 00
主办：北京荔空间文化艺术交流中心

艺术家：荒木经惟、崔岫闻、何云昌、林天苗、刘铮、缪晓春、翁奋、王宁德、郑国谷
策展人：任大棣
艺术总监：顾振清、杨荔
公共推广：万舒
工程总监：陈豹
联络：jiangtianjiao2009@gmail.com; +86-10-59789542



SOLDIER CRAB Ⅱ
AN EXHIBITION OF CONTEMPORARY PHOTOGRAPHY
OPENING: SATURDAY, MAR. 13, 2010  16: 30 - 18: 00
VENUE: VISUAL SPACE, 798 ART ZONE, NO.4 JIUXIANQIAO ROAD, CHAOYANG DISTRICT, 100015 BEIJING, CHINA (opposite to Galleriacotinua)
DATES: MAR. 13, 2010 - MAR. 28, 2010
GALLERY OPENING HOURS: TUESDAY - SUNDAY 10: 30 – 18: 00
PRESENTED BY: BEIJING LI-SPACE CULTURE & ART CENTER

ARTISTS: ARAKI NOBUYOSHI, CUI XIUWEN, HE YUNCHANG, LIN TIANMIAO, LIU ZHENG, MIAO XIAOCHUN, WENG FEN, WANG NINGDE, ZHENG GUOGU
CURATOR: REN DADI
ARTISTIC DIRECTOR: GU ZHENQING, YANG LI
PUBLIC PROMOTION: WAN SHU
CONSTRUCTION: CHEN BAO
CONTACT US: jiangtianjiao2009@gmail.com; +86-10-59789542

摄影的寄居蟹

顾振清

寄居蟹，甲壳纲，十足目，外形介于虾和蟹之间，属于甲壳类中异尾类的节肢动物。为了避难与自我保护，它寄居在空螺壳或一些中空的物体内。对寄居蟹而言，寄居其实是一种另类的蜗居行为，甚至是一种隐居态度。

寄居蟹的鼎鼎大名来自一些霸道的摸样，它挥舞大螯、小螯，似乎会吃掉海螺等软体动物的肉，再把人家的外壳占为己有而得来。其实，寄居蟹只是个具有环保概念的资源回收者，住的是贝类死后所遗留下的空壳。贝壳是海洋贝类生物与生俱来的硬基质良好的“经济适用房”。贝类死后，贝壳就成了遗弃之物。寄居蟹见到空壳，只是清扫一番便废物利用，把贝壳当作形影不离、难以割舍的家园。它从此背负着这个家园到处谋生。

寄居蟹是一种符号。对摄影而言，它具有比附的寓义。

摄影术原本是工业革命兴起之后发明家们兑现其发明激情的一个遗留之物、一个空壳，但是早期摄影师和一些艺术家心无芥蒂地寄居到里面。他们借助一种新兴的技术，催生了一门新兴的摄影艺术。相机和摄影术，虽然不是人们与生俱来的外壳。但是不少人一旦邂逅了相机和摄影术，就当作形影不离、难以割舍的精神家园。这莫非是一种寄居蟹式的社会文化行为？

对很多当代艺术家而言，他们玩摄影，主要是出于一种进取心，而不是为了避难与自我保护。艺术家住进了摄影这个“蜗居”，也就多了一个工具，磨砺自我的洞察力和想象力；同时也多了一件盾牌，捍卫自我在艺术边界上突破和超越的权利。有的人进得去，出得来。有的人进去了，出不来。摄影也就是一个外壳，可以成就一种生活方式。其实，它是一个极具包容性的躯壳，可以寄托和孕育艺术家的私人情感和主观思想。艺术家加载摄影这一媒介，就得接受或挑战摄影的游戏规则，其情感和思想就得或多或少地“寄居”在摄影图片所呈现的事物、符号和观念之中。艺术家可以就此加封为摄影家，背负上相机、摄影术及后期加工成像术所构成的坚硬的、并不轻松的外壳。

定格时间和空间形成了艺术家对摄影纪实本质的一种理解。但是，摄影术一旦深入到他们的价值系统、成为实现理想诉求的手段，摄影观念也就真的变身为他们一种外壳、一种家园。摄影作为一种被侵占的领域，被艺术家和政治艺术家极端的生活方式所附体，或是另存为另一个版本的时候，它呈现的可能性还有哪些？

当今的拍客一族无疑是艺术家、摄影家身份的一种稀释和泛化。他们把相机像手机那样常年揣在衣袋里，与自我身体捆绑。他们走到哪里，兴之所至就掏出来摁动快门。影像泛滥、读图时代等概念，在一定程度上，来自拍客一族在网上、纸本上不揣简陋地暴晒自己摄影经验，继而引发全球围观、传阅的社会文化行为。盲目的看与被看，这种潜藏在相机和摄影术之中的人类的集体无意识，就是一种根深蒂固的人性。

摄影成就的图像，其实早就“寄居”在机械复制和图像篡改技术的外壳之中，构成种种视觉欺骗。摄影构成了与现实、现实主体平行存在的一个虚拟世界。有时，现实流逝了，现实主体消亡了，其影像却留下来，成为后人怀旧并雕刻时光的素材。


Soldier Crab of Photography

by Gu Zhenqing

Soldier crab, a crustacean of the order Decapoda, in a shape midway between shrimp and crab, is categorized as arthropod of anomura. In order to seek asylum and protect itself, soldier crabs make a living in empty shells or hollow objects. To them, living in shells of others’ could be referred to as humble living in pigeonholes and could even be endowed with an attitude of seclusion.

Soldier crab’s life habit makes it a tenant who pays no rent. This great reputation comes from its arbitrary look, with big claws waving around clamoring for swallowing the meat of mollusks and occupying the shells to themselves. Actually, soldier crab is merely an environment-friendly resource recovery worker who lives in the empty shells abandoned by dead Mollusks. Shells are good-quality “economical housing” inherent to shellfish and after their death, the shells become relics. When soldier crabs found the empty shells, they would simply tidy them up, then make good use of these wastes and turn them into their inseparable home to be carried wherever they go.

Soldier crab is a symbol and when referred to photography, it delivers a message of analogue.

Photography used to be one abandoned shell for scientists and inventors after the Industrial Revolution. However, it was found by some early photographers and artists who came live in these shells just like what soldier crabs do. These people have actually boosted up a burgeoning new art form of photography in virtue of a new technology. Cameras and photography, although not inherent to human beings, but once encountered, becomes an inseparable spiritual home to many.

To many contemporary artists, photography is considered as a zero-rent housing. It was out of enterprise that they choose photography as the art medium but not out of seeking self-protection. Once artists move in this pigeonhole, they are blessed with a tool to sharpen their insight and to broaden their imagination and at the same time, they get for themselves a shield, a shield that defends the rights of breaking through and surpassing the boundary of art. Some people go in and go out with ease while some go in but never get out. Photography is merely a shell, but it changes one’s life style. An inclusive shell it actually is, which breeds private emotions of artists and their subjective thinking. When chose photography as the art medium, artists have to play by its rule and their emotions and thinking will be more or less expressed by the images and symbols that appeared in photos. By doing this, artists could be entitled photographers, and from now on they put on their shoulders a tough solid shell that is constituted by cameras, techniques and many professional procedures of making a photo that in all, made this shell not that easy to carry.

To stop time and to fix space became one way of approaching the essence of on-the-spot photography. However, when this chosen art medium really gets in the value system of artists and becomes their tool of reaching out for the ideal, the concept of photography turns for real to be the shell or rather home for artists. Photography, being an invaded domain by artists and possessed by their extreme life style, does it still have other possible way of presentation?

The new generation of shutterbugs nowadays is no doubt the diluted presence of artist and photographer. Camera to them is like cell phone to most of us, which is carried wherever they go whatever they do. Whenever the interest is aroused, they would simply pull out the camera and click. The came of the age of graphical information and the floods of images we see everyday everywhere are partly due to the socially cultural activity of these shutterbugs who enjoy exposing their works over all social media and arousing public interest. To see and be seen blindly, this collective unconsciousness hidden in the camera and photography reflects certain deep-rooted human nature.

The image produced by the medium of photography has long been sheltered in the shell of mechanic duplication and image perfection technology which could easily perpetrate visual cheating. Photography constitutes an artificial world that exists in parallel with reality and reality subject. Sometimes when reality goes by and reality subject dies away, the image of which stays along and becomes the elements that call up and sculpt old times.


Tags - 寄居蟹 , 荔空间 , 顾振清 ]]> http://www.mayongfeng.com/blog/read.php?213 mayongfeng <admin@mayongfeng.com> Tue, 09 Mar 2010 02:02:19 +0000 http://www.mayongfeng.com/blog/read.php?213 手摇动树枝　蜜蜂叮　风摇动树枝
石头呛着了自己

清醒如酒　搂柱子
等人等到天黑

青菜转动自己　树也举着很多叶子
做成饼干的标语
让游行变成游泳

牛奶在响　手在响　两个人在房间响

等糖从水里出来
给自己搭好三节电池

只有扒开土才找得到地铁

]]> http://www.mayongfeng.com/blog/read.php?191 mayongfeng <admin@mayongfeng.com> Sun, 07 Mar 2010 16:37:54 +0000 http://www.mayongfeng.com/blog/read.php?191
斯拉沃热·齐泽克

The explosion of capitalism in China has many Westerners asking when political democracy -- as the "natural" accompaniment of capitalism -- will emerge. But a closer look quickly dispels any such hope.

当资本主义在中国蓬勃发展的时候，很多西方的观察者都会问，政治上的民主（作为资本主义“自然伴随物”）何时才会到来。然而，当我们仔细看清中国的现状时，基本上很快就会打消这种希望。

Modern-day China is not an oriental-despotic distortion of capitalism, but rather the repetition of capitalism's development in Europe itself. In the early modern era, most European states were far from democratic. And if they were democratic (as was the case of the Netherlands during the 17th century), it was only a democracy of the propertied liberal elite, not of the workers. Conditions for capitalism were created and sustained by a brutal state dictatorship, very much like today's China. The state legalized violent expropriations of the common people, which turned them proletarian. The state then disciplined them, teaching them to conform to their new ancilliary role.

现代中国，并不是一个资本主义的东方专制的扭曲版本，而是一个欧洲资本主义自身发展的翻版。在近代早期，大部分的欧洲国家离民主还有一段距离。而且那时候，如果它们是民主国家的话（如17世纪荷兰的），也只不过是有财产的自由主义精英的民主，而不是工人的民主，而发展资本主义所需要的条件当时就是由野蛮粗暴的国家专断权力创造，并维持下去的。这一点，与今天的中国非常相似。过去，中国合法化了各种剥夺老百姓财产权的野蛮暴力，使普通老百姓成为了无产阶级，然后，国家再对其进行规训，教育他们去适应新的辅助型角色。

The features we identify today with liberal democracy and freedom (trade unions, universal vote, freedom of the press, etc.) are far from natural fruits of capitalism. The lower classes won them by waging long, difficult struggles throughout the 19th century. Recall the list of demands that Karl Marx and Friedrich Engels made in the conclusion of The Communist Manifesto. With the exception of the abolition of private property, most of them -- such as a progressive income tax, free public education and abolishing child labor -- are today widely accepted in "bourgeois" democracies, and all were gained as the result of popular struggles.

那些今天我们所熟知自由民主的特征（工会，普选，出版自由等）其实都远非是资本主义的自然结果。中下阶层在19世纪当中，通过发动长期而又艰苦的斗争才争取到这些权利。我们不妨回忆一下马克思和恩格斯在《共产党宣言》当中提出的那一系列的要求，除了要废除私有产权以外，大部分的这些要求——如累进所得税，免费的公共教育，禁止使用童工等——这些在今日的“资产阶级”民主当中经已被广泛采纳和接受的权利，实际上全都是普通老百姓一直以来斗争的结果。

So there is nothing exotic in today's China: It is merely repeating our own forgotten past. But what about the afterthought of some Western liberal critics who ask how much faster China's development would have been had the country grown within the context of a political democracy? The German-British philosopher Ralf Dahrendorf has linked the increasing distrust in democracy to the fact that, after every revolutionary change, the road to new prosperity leads through a "valley of tears." In other words, after the breakdown of state socialism, a country cannot immediately become a successful market economy. The limited -- but real -- socialist welfare and security have to be dismantled, and these first steps are necessary and painful. For Dahrendorf, this passage through the "valley of tears" lasts longer than the average period between democratic elections. As a result, the temptation is great for leaders of a democratic country to postpone difficult changes for short-term electoral gains.

所以，在今天中国也不例外：它只是在重复我们早已忘却的过去。然而，一些西方自由主义的批评者曾经提出疑问说假如中国进入到政治民主的状态时它的发展会可能会有多快，后来他们又是怎么想的呢？哲学家达伦多夫曾经把民主当中日益增长的不信任与以下的这个现实联系在一起：在每一次革命以后，通往新的繁荣之路都必须要经过一个“眼泪谷”。也就是说，在国家社会主义崩溃以后，一个国家是很难迅速地成为一个良好运作的市场经济体。那些有限的却又真实存在的社会福利以及保障将被迫先要清除，这些往前迈出第一步的行动都是必需的，同时也是痛苦的。达伦多夫说，穿越“眼泪谷”的这段旅程所花的时间往往比两次民主选举间的平均周期要长。因此，对于那些民主国家的领导人来说，就会受到某种诱惑，令他们推迟重大的改革，而谋求短期的选举收益。

In Western Europe, the move from welfare state to the new global economy has involved painful renunciations, less security and less guaranteed social care. In post-Communist nations, the economic results of this new democratic order have disappointed a large strata of the population, who, in the glorious days of 1989, equated democracy with the abundance of the Western consumerist societies. And now, 20 years later, when the abundance is still missing, they blame democracy itself.

在西欧，从福利国家迈向崭新的全球化经济时代的过程中，包含着痛苦的放弃，被减少的安全措施以及难以保证的社会保障。在那些后共产主义国家里面，新的民主秩序下的经济成果让社会当中的大多数阶层失望，这些阶层在1989年左右曾有某些辉煌岁月，当时，他们把民主与西方富饶的消费主义社会混为一谈。但如今，20年过去，被预期会出现的经济富庶却一直没有出现，于是这些阶层就转过头来去责怪民主。

Dahrendorf, however, fails to note the opposite temptation: The belief that, if the majority of a population resists structural changes in the economy, an enlightened elite should take power, even by non-democratic means, to lay the foundations for a truly stable democracy. Along these lines, Newsweek columnist Fareed Zakaria points out how democracy can only "catch on" in economically developed countries. He says that if developing countries are "prematurely democratized," then economic catastrophe and political despotism will soon follow. It's no wonder, then, that today's most economically successful developing countries (Taiwan, South Korea, Chile) have embraced full democracy only after a period of authoritarian rule.

然而，达伦多夫没有注意到另一种相反的诱惑：这种观点就是，假如大多数的民众拒绝经济上的结构性转型的话，那么那些较早觉悟的精英就应该去掌握公权力，即使是通过一种非民主的手段，从而为真正意义上稳定的民主打下基础。按照这种观点，新闻周刊专栏专家Fareed Zakaria为我们指出，民主是如何只在经济上的发展中国家里面得到理解的。他说，如果一个发展中国家处于“早熟的民主状态”，那么经济上的灾难和政治上的专断就会随之而来。所以，毫无疑问，今天经济上最成功的一些发展中国家和地区（台北省，南韩，智利），它们都在经历了一段威权主义统治以后，才获得充分发展的民主制度。

Isn't this line of reasoning the best argument for the Chinese way to capitalism as opposed to the Russian way? In Russia, after the collapse of Communism, the government adopted "shock therapy" and threw itself directly into democracy and the fast track to capitalism -- with economic bankruptcy as the result. (There are good reasons to be modestly paranoid here: Were the Western economic advisers to President Boris Yeltsin who proposed this approach really as innocent as they appeared? Or were they serving U.S. strategic interests by weakening Russia economically?)

这种说法，是否就是对于为何中国会采纳一条有别于俄罗斯模式的资本主义道路最好的回答呢？在俄罗斯，在共产主义崩溃以后，它们采取了“休克疗法”而直接进入民主制度以及通向资本主义的快速通道——当然，也伴随着经济上的破产。（在这里，我们有很好的理由去成为一个温和的偏执狂：那些向俄罗斯前总统叶利钦建言让其采纳“休克疗法”的西方经济学家是否就真的是如他们看起来的那样纯真呢？又或者说，他们是否服务于美国的利益而有心削弱俄罗斯的经济呢？）

China, on the other hand, has followed the path of Chile and South Korea in its passage to capitalism, using unencumbered authoritarian state power to control the social costs and thus avoid chaos. The weird combination of capitalism and Communist rule proved to be a blessing (not even) in disguise for China.

在另一方面，中国则采纳了之前智利和南韩的资本主义道路，使用毫无监管和约束的威权主义国家权力控制社会成本，从而避免社会骚乱。这种资本主义和共产主义离奇的结合对于中国来说，被证明是个伪装的幸福，甚至还不能算是个幸福。

The country has developed fast, not in spite of authoritarian rule, but because of it. With Stalinist-sounding paranoia, we are left to wonder, "Maybe those who worry about China's lack of democracy are actually worried that its fast development could make it the next global superpower, thereby threatening Western primacy."

中国之所以发展得如此地快，不是因为其脱离了威权主义的统治，相反，而是由于这种威权主义统治所带来的。假如我们用斯大林式貌似合理的偏执想法来思考的话，那么的确还有很多值得我们思考的问题，“那些担心中国缺乏民主的人，可能实际上是在担心中国的高速发展，从而形成一个新的全球超级力量，最终威胁到西方的利益。”

Today, the tragedy of the Great Leap Forward is repeating itself as a comedy. It has become the rapid capitalist Great Leap Forward into modernization, with the old slogan "iron foundry into every village" re-emerging as "a skyscraper into every street." The supreme irony of history is that Mao Zedong himself created the ideological conditions for rapid capitalist development. What was his call to the people, especially the young ones, in the Cultural Revolution? Don't wait for someone else to tell you what to do, you have the right to rebel! So think and act for yourselves, destroy cultural relics, denounce and attack not only your elders, but also government and party officials! Swipe away the repressive state mechanisms and organize yourself in communes!

今天，在中国，昔日“大跃进运动”的悲剧以一种喜剧的形式重新上演。它变成了一场高速地奔向现代化的资本主义大跃进运动，当年“大跃进运动”当中的口号“每个乡村都要有一个炼钢厂”如今变成了“每条街道上都要有一座摩天大楼”。但该段历史最大的讽刺却是毛泽东为资本主义的迅猛发展创造了意识形态上的条件。还记得毛泽东在“文化大革命”中说了什么，尤其是对青年人说了什么吗？不要等其他人告诉你你要去做什么，你有反抗的权利！所以，为自己去打算和行动吧，破坏文化遗迹，不仅要去谴责和攻击你的长辈，还包括政府和政党的领导人！推翻这种压迫人的体制吧，到在人民公社当中实现自我管理吧！

And Mao's call was heard. What followed was such an explosion of unrestrained passion to delegitimize all forms of authority that, at the end, Mao had to call in the army to restore order. The paradox is that the key battle during the Cultural Revolution was not between the Communist Party apparatus and the denounced traditionalist enemies, but between the Communist Party and the forces that Mao himself called into being.

很多人响应了毛泽东的号召。于是接下来就是一场无法压制的热情爆发，他们把所有形式的权力机构通通认为是不合法的，到了文化大革命的后期，毛泽东不得不召来军队恢复了社会秩序。这里面有一个重要的悖论，这不是一场发生在共产党机构和被谴责的传统主义敌人之间的重大战争，而是一场发生在共产党和被毛泽东所鼓动的那股力量之间的重大战争。

A similar dynamic is discernible in today's China. The Party resuscitates big ideological traditions in order to contain the disintegrative consequences of the capitalist explosion that the Party itself created. It is with this in mind that one should read the recent campaign in China to revive Marxism as an efficient state ideology. (Literally hundreds of millions of U.S. dollars are spent on this venture.)

而在今日中国，我们通过能够清晰地发现到仍旧存在着某种相似的力量。共产党重新激活了大型的意识形态传统，用它们来抑制共产党自己创造的资本主义高速发展所带来的分裂恶果。我们心中必须以下这一点：即最近中国开始了一场重新把马克思主义作为有效率的国家意识形态的运动。（从官方文件上，我们知道有数十亿美元将会用于这个计划上面。）

Those who see this as a threat to capitalist liberalization totally miss the point. Strange as it may sound, this return of Marxism is the sign of the ultimate triumph of capitalism, the sign of its full institutionalization. For example, China has taken recent legal measures to guarantee private property, a move that the West has hailed as a crucial step toward legal stability.

那些把这场复兴马克思主义的运动视为是一种对资本主义自由化威胁的人基本上是看错了。可能听起来会有点奇怪，实际上，这次马克思主义的回归的确是资本主义的最后胜利，是资本主义完全制度化的标志。举个例说，中国最近已经采取立法手段来保障私有产权，这一举动被西方国家赞其是迈向法律稳定性上的重要一步。

But what kind of Marxism is as appropriate for today's China? First, let's look at the difference between Marxism and Leftism. Leftism is a term that refers to any talk of workers' liberation -- from free trade unions to overcoming capitalism. But the Marxist thesis says that developing the forces of production is the key to social progress, and it is this type of Marxist development that fosters the conditions for the continuing fast "modernization."

但哪一类型的马克思主义最适合今天的中国呢？第一，先让我们来看一下马克思主义和左派之间的差别，左派指的是关于工人解放的一切言论——从自由组建工会到推翻资本主义。但马克思主义却认为发展生产力才是社会进步的关键，而正是这种类型的马克思主义的发展才能为持续而快速的“现代化”进程培养土壤。

In today's China, only the Communist Party's leading role can sustain rapid modernization. The official (Confucian) term is that China should become a "harmonious society."

在今天的中国，只有共产党的领导地位才能维持快速的现代化进程。而官方（儒家）的主题则是中国应该变成一个“和谐社会”。

To put it in old Maoist terms, the main enemy may appear to be the "bourgeois" threat. But, in the eyes of the ruling elite, the main enemies are instead the "principal contradiction" between unfettered capitalist development that the Communist Party rulers profit from and the threat of revolt by the workers and peasants.

把这一点放进旧的毛泽东主义里面去看，主要的敌人可能会是“资产阶级”的威胁。然而，在统治精英的眼中，主要的敌人已经发生了改变，其“主要矛盾”已经变成了“共产党领导人想要利用的不受约束的资本主义发展”与“工人和农民企图革命的威胁”这两者之间的矛盾。

Last year, the Chinese government strengthened some of its oppressive apparatuses -- including forming special units of riot police to crush popular unrest. These police are the actual social expression of what, in ideology, appears as a revival of Marxism. In 1905, Trotsky characterized tsarist Russia as "the vicious combination of the Asian knout [whip] and the European stock market." Doesn't this characterization still hold for modern-day China?

去年，中国政府加强了它某些具有压制性功能的机构的力量——包括成立特种防暴警察来压制民众的骚动。这些防暴警察的设置其实在意识形态上马克思主义的复兴落实到现实社会层面的一种表达。在1905年，托洛茨基就指出沙皇统治下俄罗斯的几个特征，包括“亚洲皮鞭与欧洲股票市场的残暴混合”。这一点，是否也能够概括今天中国的特征呢？

But what if the promised democratic second act that follows the authoritarian valley of tears never arrives? That is what is so unsettling about today's China: Its authoritarian capitalism may not be merely a remainder of our past but a portent of our future.

但是，假如在眼泪谷之后，威权主义国家没有迎来民主的第二波运动的话， 那怎么办呢？这就是为什么大家对于今天中国会感到如此不安的地方：它的威权资本主义不单单是我们过去的某个剩余物，还可能是我们未来的预兆。

Slavoj Žižek, a philosopher and psychoanalyst, is a senior researcher at the Institute for Advanced Study in the Humanities, in Essen, Germany. He is the author of, among many other books, The Fragile Absolute and Did Somebody Say Totalitarianism?

斯拉沃热·齐泽克，哲学家和精神分析师，德国埃森高级人文研究所的高级研究员。著有大量书籍，其中包括《易碎的绝对》以及《有没有人说过集权主义？》
Tags - 斯拉沃热·齐泽克 ]]> http://www.mayongfeng.com/blog/read.php?190 mayongfeng <admin@mayongfeng.com> Sat, 06 Mar 2010 06:33:08 +0000 http://www.mayongfeng.com/blog/read.php?190

Ma Yongfeng, Volcano, C-type Print (2007)

HAMPSHIRE, UK.- ArtSway will feature Ma Yongfeng: The Cretaceous Period, on view 28 July - 16 September 2007. The Cretaceous Period is the first UK solo exhibition of art work by Ma Yongfeng. Ma Yongfeng is a Beijing-based artist who has received international recognition for his photographic and video pieces examining the ways that humans position themselves in relation to the natural world. The artist describes his photographic work and video installations as “relating to aspects of animal culture, man-made environments and topographic modelling”. Hosted at the Chinese Art Centre in Manchester for three months and subsequently in residence at ArtSway, Ma Yongfeng has spent a total of five months researching and developing his work.

Ma Yongfeng came to international prominence with his notorious work, Swirl (2003), exhibited at MOCA in Los Angeles, and PS1 in New York in which six coy carp were subjected to a fifteen minute wash cycle in the drum of a washing machine. The work raised a debate about the human treatment of animals both within and outside an artistic context. The artist has continued to explore the relationship between humans and their nature displays, photographing empty dioramas and “natural habitat” enclosures in zoos and museums, and revealing the centrality of humans and their own narratives in these spaces.

During his residency in Manchester, Ma Yongfeng visited numerous zoos and museums and conducted exhaustive research relating to all aspects of Natural History. For his subsequent residency and exhibition at ArtSway the artist has chosen to focus on a significant period in Earth’s history, The Cretaceous Period, after which he has named the exhibition of video works and large-scale photographs. These images examine the cretaceous period in relation to the artist’s continuing research into natural history, animal culture and fossil archaeology alongside his interest in archaeological simulations, geographical models and displays in natural history museums. Ma Yongfeng’s new work has developed from the photography of animal enclosures and man-made environments to the documentation and recreation of these sites as ‘sets’ in his own studio, as in the work of German photographer Thomas Demand. Ma’s images, however, create what he terms an “installation after an installation”, referencing and refashioning earlier media such as television, stage-production, film set building and installation. Hibernation (2007) depicts a bright chocolate box snow-scene in which one imagines a hiding animal, and the photographic work Volcano (2007) depicts a miniature volcano, complete with authentic looking lava that the artist constructed in his studio in Beijing. This working volcano is also featured in one of two video works in The Cretaceous Period, and comments upon the relationship between artificial environments, natural habitats and aesthetics.

Ma Yongfeng was born in Shanxi, China in 1971 and is a media artist currently based in Beijing. He has exhibited widely across Europe, the United States and China – most recently in Chinese Video Now at the John Hansard Gallery, The Fragmented Gaze: Video Art from the PRC at Deborah Colten Gallery, Houston TX, and Becoming Landscape, Platform China Contemporary Art Institute, Beijing. He was selected for a residency by ArtSway and the Chinese Art Centre Manchester from an exceptional shortlist of artists nominated by Chinese curators and professionals.

http://www.artdaily.com/indexv5.asp?int_sec=11&int_new=20842
Tags - artdaily , artsway , mayongfeng ]]> http://www.mayongfeng.com/blog/read.php?189 mayongfeng <admin@mayongfeng.com> Tue, 02 Mar 2010 08:34:45 +0000 http://www.mayongfeng.com/blog/read.php?189

你在优酷和土豆网上传的两个视频必须删除！！
　　
这是我2003年的作品《对抗练习》，在纽约现代艺术博物馆下属的PS1展过，当时给你拷了一份，你竟然把字幕改成你的作品！！
我的字幕都是中英文对照的。还有《砖》那个也是我的作品。
　　
今天偶然看到，你传上去已经2－3年了，我对国内网站关注比较少，所以没看到，这么长时间应该引起很多不明真相的人的误解。希望你立即删除以上以上两个作品。
　　
做人不能无耻到这个地步！！！！！！！！！！！！！！
　　
　　
首先给你警告！！如果不删除的话，在北京找到你就地解决！！！
　　
另外敬告其它人：原作在我的个人网站：
　　
http://www.mayongfeng.com/works/video.html


此人我就不说了，大家应该自己可以找到是谁。

豆瓣截图





Tags - 对抗练习 , 砖 , 剽窃 , 优酷 , 土豆网 ]]> http://www.mayongfeng.com/blog/read.php?188 mayongfeng <admin@mayongfeng.com> Sun, 21 Feb 2010 03:38:29 +0000 http://www.mayongfeng.com/blog/read.php?188
Tags - video ]]>