May 1
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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
Apr 15
Passages: China at the Crossroads

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
Apr 7
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Apr 5
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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
邮    箱:artda@126.com   cafa@qq.com

机构支持:中央美术学院 中国美术学院   北京电影学院  知识共享组织(简称CC)北京大学视觉与图像研究中心  尤伦斯艺术中心 空白空间 文津国际艺术中心  中国数字艺术协会  草场地工作站中华媒体艺术与技术协会

媒体支持: 雅昌艺术网 艺术国际 99艺术网 东方视觉 艺术档案 大众DV  精典传媒 夸克电影网 现象网   搜狐文化  艺术中国 艺术地图 艺术导报 艺术数据网 今日艺术网 东方视觉  艺术眼 库艺术 中国宋庄网 美术焦点 库艺术 新视觉 中国当代艺术网 博宝艺术网 中国艺术新闻网《NOART》《艺周刊》《TimeOut》《画廊》《艺术视界》《东方艺术》《Art概》《艺术时代》《艺术市场》《在艺术》《hi Art》《当代艺术新闻》《Muse art》《北京青年周刊》《奢华志》《世界艺术》 美术同盟 798艺术中心 新视觉 世艺网
Mar 27
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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。


点击在新窗口中浏览此图片

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。
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