Aug 20
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存在与构造
——写在“次声计划第二回展”之前
                                                                      
在中国传统古典美学中,道家思想中“道生一,一生二,二生三”的世界观,精辟而概括的诠释了世界万物存在的原理,这一思想也渐次成为后来中国传统文化中人与自然共存共生关系的认识基础。自古以来,世界就一直被“原本状态”的事物充斥着,它从不会因为人间的表象作用而对象化,所有的存在都是自然,不曾因为人类的忽视而消失,对这种自然形态的世界所予以的关注,已被现代人的生存方式所鄙弃,使得人类往往无法看到原本状态下的世界。因为不断强化自己站在世界另一面的这种意识,人们总是力图改变世界,却不曾真正认识这个世界,这种意愿往往愈加物化了人的认识与自然现实之间的界限。邵译农等多位艺术家在成功组织“次声计划第一回展”之后,这一带有明确理念与创作思路的艺术项目又将迎来第二次公开展示,这次展览也可以看作是“变卦”展览思路的延续,是针对上述问题的一些思考和反思。

马东民、马永峰、王光乐、邵译农慕辰、闫冰、朱冥、刮子这几位在创作上保持着自己独立的创作路线的艺术家,之所以云集在这个展览中,因为他们的作品在对待人类生存、人与自然关系、审视物质世界这个宏大社会学问题时,表现出了惊人的共识。在这些艺术家的作品中,多少看到了物派的影响和启发,然而艺术家们在“物派”理论面前却保留了各自独立的自我状态,往往更强调物质材料的社会意义,作品被赋予以思维记忆和人的温度。在我看来,出现这一共识的根源,正是中国传统审美价值异于西方主流视觉系统的根本。

本次展览又名“一而二,二而一”,环环相扣,循环往复,引用一个无法限定边界的命题,就定下了展览发散性思维的基调。而置换于当代艺术的语境中,各位参展艺术家们针对这一问题进行了不同层面的思考,这八位艺术家的作品以跨时空的姿态,探讨中国古典哲学的核心思想,对照现时社会情境,用一个艺术展览的形式,将这些异质的作品集结在一个“中国”的文化命题下,其最核心的凝聚力正是来自他们看清了文化发展的逻辑,文化并没有因为前人或今人的割裂而凌乱,而是在多角度的诠释中达到内核的完整如一。

在遍阅国际当代艺术面貌之后,我们发现,表象地模仿国际当代艺术风格,往往难以得到来自中国社会内部的民族认同,而此时出现这个展览,艺术家们选择以低调内敛的创作方法多角度诠释他们对中国传统价值观的理解,恰恰可以视为参与“次声计划”的艺术家们提倡中国当代艺术独特内涵和形式的宣言。


王静
2010年8月13日


次声计划第二回展------《一而二 二而一》
开幕酒会:2010.8.21     16:00
展览时间:二零一零年八月二十一日至九月十九日
Open time:2010.8.21-------9.19
展览地点:纯萃当代艺术空间  第一空间
Exhibition space:CHUNCHI ART
北京市朝阳区酒仙桥路2号798艺术区创意广场20库(佩斯北京正对面)
CHUNCHI Contem porary  ART Space20Ku 798Art district,No.2 jiuxianqiao Road,Chaoyang Distrct,Beijing


“次声计划”第二回展“一而二,二而一”

本刊讯:8月21日,由北京悦人蕙心艺术品咨询有限公司主办的“次声计划”第二回展“一而二,二而一”在798创意广场的莼萃当代艺术空间展出。学术策划,舒阳、赵子龙。此次参展的艺术家有马东民、马永峰、王光乐、邵译农慕辰、闫冰、朱冥、刮子,这几位艺术家在创作上一直保持着自己的独立性。

“一而二,二而一”,引用一个无法限定边界的命题,就定下了展览发散性思维的基调。而置换于当代艺术的语境中,各位参展艺术家们针对这一问题进行了不同层面的思考。

“次声计划”是一个由20多位艺术家自发酝酿了近两年的艺术计划,“次声”一词源自物理学,与冲击波不同,属于另外一种力量的呈现形式 , 而这群艺术家的作品恰恰暗合了次声的低调、恒久、严谨的属性。他们是一群不易被流行力量所左右的人,他们坚守个人天性,寻求生存内心体验,其艺术思想是对现有当代艺术价值的正本清源。

莼萃当代艺术空间负责人姜楠先生一直致力于关注与推动中国当代艺术的发展与变革,此次装置艺术的展览也是莼萃当代艺术空间关于提升学术性画廊建设与建立新型藏家市场的一次全新尝试。

据悉,“次声计划第三回展”还将在798艺术区莼萃当代艺术空间展出,敬请关注。
Aug 14
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A Gift to K.S.
Glass,neon light,ballast resistor
150x150x72cm
2010

送给 K.S.的礼物
玻璃、霓虹灯和镇流器
150x150x72厘米
2010

展览地点:纯萃空间 798
时间:2010.08.21下午4点开幕
Tags:
Aug 14
马永峰谈“forget art”

http://www.artforum.com.cn/words/2904

“forget art”是由艺术家马永峰发起的一个独立机构,采取“都市游牧”的策略,在城市的任意空间里展开一些无法确切定义的艺术活动,对日常生活进行“微干预”。 从吐痰到街头谈话,从对画廊的借力打力直至游戏剧场,马永峰和他的同伴们运用不同的“游击”策略,探讨艺术和生活的边界。

07年我在英国待了六个月,那段时间我对艺术的认识发生了一些变化,没有再做以前的摄影和录像,脱胎换骨一样,重新再找一个艺术创作的方向。去年刚好给北京现代舞团做了一个“游击剧场”的项目,和当代艺术完全没有关系,来的人有做建筑的、戏剧的、舞蹈的,反响挺好的,我就想做一些小的机构来推广新的观念艺术或新的艺术趋向。

我们并不强调对抗性,有点像甘地的“非暴力不合作”,首先忘掉和当代艺术有关的任何东西,从艺术最基本的关系出发,用最简单的材料来制作作品。在美国的一个展览上我用雪做了两个卷纸,三个小时就消失了。我们对双年展那种大型的、豪华的装置和视频也不感兴趣,只是倡导最日常、最细节性的东西。我们反对九十年代以来当代艺术过于奢侈的、豪华的,受波普文化和消费文化、大众文化的影响。也不是像现代主义那样掀几个口号去反对它,而是无所谓它,做我们自己的一些东西,暗中形成一种对照关系。

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《气候的沉默》 装置 室外收集的雪 美国佛蒙特 2008

我们现在推广的艺术家都是这种和时间有关的(time based)、和情境有关的(situation based)或者是现成品的一些东西。这是个游击性的组织,不像其他非盈利机构,我们没有任何空间,可以借助任何地点任何空间展开项目。也会利用画廊或者博物馆的空间,但不是展览,可能在其中进行“微干预”。我的一个项目是把一个充电器插在画廊的插座上十天,是从现成品发展出来的一个概念,通过一种小的情境和画廊建立联系。

9月份会在公共澡堂做一个项目,不改变澡堂的任何东西,不是拿一些画去展,而是让艺术家重新结合澡堂的环境做一些作品。当观众进去的时候,似乎什么都没有改变,但其中有些东西已经转换成装置的概念,比如有个艺术家打算把电吹风改造成声音装置。

我们是换另外一个轨道来看待这个世界——independent orbit(独立轨道),不想在当代艺术这个轨道,用另外一种方式来运行,来看待展览空间、艺术博览会还有策划人体制。遗忘艺术是为了获得艺术,这是个悖论,有时候你忘掉什么东西的时候才会做得更好。

— 文/ 段凌宇
Jul 28
Video ArtVerona  – Flower of Chaos

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

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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
Jul 17
Ceal Floyer’s work takes the Readymade aesthetic to its logical conclusion. For Nail Biting Performance, 2001, she walked onto the stage at Birmingham Symphony Hall immediately prior to the beginning of a concert and bit off her fingernails into the microphone. This performance was hosted by the Ikon Gallery Birmingham (England) and an Ikon Gallery text reports: “Her ‘nail biting performance’ took stage-fright as its subject, the artist, bit her fingernails into a microphone for five minutes. The sight of her alone amongst the musicians’ empty chairs, accompanied by the amplified sound of nervousness, was affecting and tense.”

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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).

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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).

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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”).

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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.

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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.

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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.

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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.

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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.

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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.

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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.

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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.

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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.

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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.
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