马永峰的博客

Jan 5
http://www.platformchina.org/exhibitms_show.asp?exhitid=110

站台中国—隆重推出

“第三方---- 三位一体之展”

2010年11月11日—2011年1月30日

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第三方-第三幕:“第三方—万岁!”
开幕式:2011年1月9日周日下午3-7时
展出日期:2011年1月9-30日
策展人:毕月
承办机构:站台中国当代艺术机构暨BAO工作室

参与者:
8633 Link (北京), 箭厂空间(北京), Arthub Asia (Davide Quadrio乐大豆, 曼谷; Defne Ayas, 上海), BAO 工作室(Beatrice Leanza毕月/李鼐含; 北京), 联合现场CAEP - Complete Art Experience Project (北京), ChART Contemporary/样板间 (KC Vienna and Megan Connolly凯茜&美光; 北京), 舒服组合 (上海), 陈轴/李明/李然/鄢醒 (公司; 杭州/北京), DDM 东大名仓库 (郑为民; 上海), Donkey Institute of Contemporary Art 驴子当代艺术协会(Michael Yuan/Yam Lau; 北京), 双飞艺术中心(杭州/上海), 每个人的东湖(李巨川; 武汉), 掉队(北京); Forget Art 艺术团体 (北京), Knowles Eddy Knowles 艺术小组(北京), 家作坊 (何穎雅 ; 北京), 金闪, 小运动 (策划人:刘鼎、卢迎华; 北京), 博尔赫斯书店当代艺术机构( 广州), 耶 苏/苏畅 - 奶妈基金会 (Biljana Ciric比利安娜; 上海/北京), 观察社(广州), Shan 工作室 (盛洁; 北京), 撒把芥末Subjam (颜峻;北京)


第三方-第三幕:“第三方—万岁!”

“看来一个决定摆脱制约的艺术家,在他弄清艺术行为及艺术品与公众之间的关系,并最终清理这种之前,是不会实现他的抱负的。重要的并不在于改变语言,或使公众介入,而是要改变艺术关系中观赏与被观赏的关系。”

张培力——《艺术计划第二号的出发点》1988



展览“第三方”于2010年11月开展,该项目的设计本身是一个由三部分组成的脚本式的、以月为单位依次展出的、且又互为关联的展览,并以其相互之间的叙事和审美事物的关系作为他们最终的调查研究对象。

从一开始,这三个展览实例所拟想的是以多重角度为出发点、灵活且开放式的行动为框架加上批判性的操作,同时,将这一切运用在中国语境下的视觉体验和概念性的结构上,并以此为基础去找到具有可替代性的、其他的结合渠道。

就如第一和第二桥段,它们分别攫取的关注点是“忠于自我的表述”和“见证/归档”,而第三部分和最后的展示装设所涉猎的则是“挪用的”(appropriation) 风尚,和推论式的“协作互动”移位。这三个主题是经过深思熟虑的策划以及选题后产生的作品,它们所针对的是俗世间的万物和物质彼此所对应的网格,以及更大范围内的“当代化”及其所涵盖的领域,并意欲成为一个有着广泛的历史和美学意义上的正反情感并存的归了档的材料。而在行动和世界之间、个人和集体之间,以及由此延伸到的艺术家和公众之间互为逡巡交互作用,它们的重要性,从人文学角度来说,是在主体叙事和集体构造两方面相互配置后所形成的特定作品。

“ 挪用”的不稳定性及其时不时难以企及的范式,贯穿了整个中国当代艺术史进程——一个有着传承性、却又毫无辩证法的进程,在一个表面上看来是无法协调的、不完整的、有着时代和地域烙印的十字路口,它踌躇不已。和西方现代艺术经典不同的是,它给出的是更多的解构和批判的潜在可能性。
无论是在体裁格式上,还是系统体系上,在过去的三十年当中,艺术史学家和评论家们都常常用过‘挪用’方法代表着他们的社会政治评论和地区化了的历史相对论形式。离开一切可能的运用,在这个项目中,则视‘挪用’作为一个积极的、有着实际意义的促进力,通过依靠概念性影像及其注解的相互浸透,它们也应当根据上下文特定而详细的价值来确定其含义。

“第三方”展览中的最后一个桥段装置被称为“第三方——万岁!”这个被连字符分开的标题,其两个部分是为了用来增强整个项目内在本质所特有的渐进运动的循环性。和一个有着排他性序列因果关系的文艺写作不尽相同的地方是,“第三方”和战略协作是合二为一的,是对于存在和缺位模式的统一,是对于两者在距离和自我参与上的描摹。既不能算是尾声也不能算是一个被全盘认可的结局,对这个最后设定的实施并不代表某一个合成的时刻,更不代表是对过往决议的分裂瓦解;相反地,它是更进一步地迈向了另一个可交替的知觉背景——二者都包含容纳了上两个桥段的内容并继续将其扩大发展。作为一个完整的项目,“第三方”毫无疑问是一个联展,是一个暗指,即便如此,它也不可避免地存在着偏爱和局限性。

“协作互动”(collaboration) 式的次元度的临界性,它延伸跨越了近百年的理论和实践的历史长河,更涵盖了艺术和社会的相关范畴。尤其在有着西方历史渊源的阐释中,合作是与各种各样的定位和经验紧密联系在一起的,并经由概括式的泛化,且力争瓦解艺术家和观者、原创作者和看客之间的差距,紧接着就是要牢记内在的固有政治和自然对立的构造范围。

穿梭在所谓的社交红人的宗系中,关联式的实践练习,在艺术制造上更象是一种解构式的、宽广的合作冒险,这都是围绕着创作而进行的,如同一个对话过程或倾斜的定位所产生的不同形式的同一结果,促进一个由多人参与的和对积极的情感意图的表达和独立的思考,并有能力使现有的权利关系以及对作品有特定明确的的监控等的社会赞助者改变他们的倾向。同样的,在中国艺术史上具有颠覆性的合作力量,它的重现是体现在对具有艺术性和知性探索层面的主体和客体上的,及其对上下文脉语境情况所作出的反应上,或在总揽全局的既涉及社会又涉猎了政治体系的定义上,从而表现出既不适当不充分却又简单且反应迟钝的局限性。

值得注意的是,在过去的两年中,广泛发生的经济不确定性贯穿了全球性的艺术产业领域,其严重的影响就是最终投向了以奢侈品市场为导向的产品输送,到有着共同轴心的“核心集团”,且释放出以艺术家和评论家欢腾庆祝“含量和质量”为主的传动体系的回归,以及改变长期以来依据无聊的商业生存能力和个人成功方式来进行甄别的模式。在能力允许范围内的协同互动和公共项目的内驱力,越发变成一个谦逊的代名词而非必要的奉献,并呼求新的概念性和实用性的事业保证,以此制定更为确切的对话,尤其是针对那些我们曾经认为和物质及短命的价值观两者的损耗有着共同之处,而实际上却又证明了事实并非如此的东西。回归平凡,恰如每日必修之课。而中国亦被证明并不例外,且又不得不再次游离在经费游戏和范例再现的不足和徒劳无功之上。

本次展览因此并不包含一切从属于“协作性的”或“交替性的”实践练习,以及针对此而将中国式的艺术词汇努力填入曾经的空白之处,以及一切的举动措施——恰如一个练习,会首先要求构筑一个建立在空间和美学基础之上的常规认知,并以此传递出正式的对应物的运作信息(在此,则不会为其他操作留有空间)。
相反地,“第三方——万岁!”是针对平凡领域的去粗取精的研究探讨过程,并将此发展转换成这个展览中一种自发的、无意识的自我展示,一种在中国式的协同实践中对非正式实验趋势的聚合。

一个展示,一份档案,一次实验,加上各方的参与,这个展览利用了蜂窝状的系统处理体系,一个有着现场般逼真效果的形式,且借助了配套结构和工具两方面来为艺术家提供处置措施。以中国为基地的自发的/独立的艺术空间、艺术集体、社会团体、具体的项目团队,以及以艺术家在合作行为上的实践为基础,并应邀提出提案建议或可以说明他们作品的材料,特定语境的活动类型,以及在特殊背景下他们是如何了解并实现“与他人合作”的意义。展览并不仅仅是对之前已实现的独立且有主见的商业冒险或项目的一个展示。一个有着开放式水准的画面,其中每一个团体的参与过程,都有着正面的、真实的一面,也有着对概念和创意积极主动预发式的交流,而这一切都蕴藏在集体创作的作品背后。这个展览中的最后一章,它所显示的特点是以新的方式创作作品,加之由参与者提供的档案材料,都全然表现在现场表演中,是特定场地的装置、音响效果和过去两个月所展示的作品碎片的结合体。其中有些项目是即兴合作的结果, 以此帮助人们对北京以外的世界可以窥见一斑;而另外一些作品的创作则是很明确地对此次展览本身做出的响应。

各种各样的平衡力量都从积极的一面激发了创作这里展出的作品的方式方法。正如可提出证据加以证明的那样,比起其惯有的历史前兆,它在政治上或颇有争议的既定系统方面,以及那些不能或不愿满足和适应它们的地方,仍然有着相差无几的响应性。对社会或美学常规所约定的挑战,以及对不同的举办地点和赞助者,改变了的特异性程度所产生的作用等方面,它们都有着深深的烙印。它们构成了一定的画面,其中依靠追加增补和集体化的战略,克服了概念上和材料来源等方面的个体极限,并且,通过将一个感知缺失或有着矛盾不一致性的场景变得生龙活虎来传递信息,而不只是简单地断然将其给解决掉。


“现在是结算历史遗留的债务的时候了,那种看观众脸色行事或供人观看的时代早该结束,艺术首先是艺术家,由艺术家交出了的权利应由他们重新去夺回。”(张培力,1988)

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PLATFORM CHINA CONTEMPORARY ART INSTITUTE presents

THE THIRD PARTY – An exhibition in Three Acts
November 11, 2010 – January 30, 2011
Opening Act 3:  "THE THIRD PARTY – A GROUP CELEBRATION!"
Sunday Jan. 9, 2011 | 3 – 7 pm

Curated by Beatrice Leanza
Organized by Platform China in collaboration with BAO Atelier

1. How to Be Alone (or Nowhere else am I safe from the question: why here?) | Nov.11 – Nov. 30, 2010

2. The Stranger | Dec. 9 – Dec. 30, 2010

3. The Third Party | Jan. 9 – Jan. 30, 2011

Participants:
8633 Link (Beijing), Arrow Factory (Beijing), Arthub Asia (Davide Quadrio, Bangkok; Defne Ayas, Shanghai), BAO Atelier (Beatrice Leanza/Li Naihan; Beijing), CAEP - Complete Art Experience Project (Beijing), ChART Contemporary/Open House (Cassandra and Megan Connolly; Beijing), Comfortable Collective (Shanghai), Chen Zhou/Li Ming/Li Ran/Yan Xing (Company; Hangzhou/Beijing), DDM Warehouse (Zheng Weimin; Shanghai), Donkey Institute of Contemporary Art (Michael Yuan; Beijing), Double Fly Art Centre (Hangzhou/Shanghai), Everyone’s East Lake Art Project (Li Juchuan; Wuhan), Falling Behind (Chen Tingpeng/Dong Jing/Liang Shuo/Shao Kang/Wang Guangle/Zhang Zhaosong/Zhou Yi; Beijing); Forget Art Art Collective (Beijing), Knowles Eddy Knowles group (Beijing), Homeshop (Elaine W. Ho; Beijing), Jin Shan, Little Movements Project (Liu Ding, Carol Lu), Libreria Borges (Chen Tong; Guangzhou), Peter Zhang/Su Chang for Mommy Foundation (Biljana Ciric; Shanghai/Beijing), Observation Society (Guangzhou), Shan Studio (Sheng Jie aka GogoJ; Beijing), Subjam (Yan Jun ;Beijing), Emi Uemura.


Act 3: "THE THIRD PARTY – A GROUP CELEBRATION!"

"An artist intent on casting off all restrictive conditions can only do so after he has clarified the relationship among artistic activity, artwork, and the public. […] The key isn’t to alter one’s language or the public’s involvement, but rather to change the artistic relationship between viewing and being viewed".

Zhang Peili - The Point of Departure for Art Project no.2, 1988
      
    
Started in November 2010, the project The Third Party designed itself as a three-part script to be staged monthly in individual yet interconnected exhibitions that took ‘the relationship between narrative and aesthetic objects’ as their field of investigation.

Since the outset, these three instantiations have been envisioned as "points of departure, flexible and open-ended" frames of reference and critique operating in the Chinese contexts through which visual experience and conceptual structures could find alternative avenues of articulation.

Like the first and second chapters, respectively tackling issues of "self-historicization"and "witnessing/archiving", the third and last instalment of the show engages, in "appropriating" fashion, the discursive shifts of "collaboration". These three topics are product of a deliberate curatorial choice aimed at gridding out both temporal and material correspondences to the larger arena of the "contemporary" intended as a wide-ranging archive of historical and aesthetic ambivalences.

Appropriation runs through the course of Chinese contemporary art history as an unstable and at times unattainable paradigm – doomed undialectical, it stands at the crossroads of the seemingly irreconcilable times and places of an ‘incomplete’, other-than-Western modern project, vacated of any deconstructive and critical potential.  

Out of all its uses, which, stylistic or systemic, art historians and critics have often employed to substantiate their socio-political commentaries and localized forms of historicism over the past three decades, this project chooses to treat appropriation as a positive tension by means of which given conceptual images and interpretations can be infused, as they should, with contextually specific meanings.

The last instalment of The Third Party is dubbed “The Third Party – A Group Celebration!”.

Not a coda nor a gran finale, this last enactment does not represent a moment of synthesis nor of disruption of former orders; on the contrary it moves further into another, alternative perceptual context that both contains and expands the scope of preceding ones.

The critical extensions of the dimension of "collaboration" span over a century-long  history of theoretical and practical forays bridging the artistic and the social sphere. Particularly in a Western historical lineage of interpretation, collaboration is associated with a variety of positions and experiences which, by way of a generalization, have strived to collapse the divide between artist and audience, authorship and spectatorship, by coming inscribed in a realm of agency intrinsically political and oppositional in nature.

Likewise in the history of Chinese art the subversive force of collaboration recurs as both subject and object of artistic and intellectual pursuits reacting to the contextual conditions or limitations defined by overarching socio-political institutions found inadequate or simply unresponsive.
The empowering drive of collaboration and communal projects more than ever becomes a cipher for modest but necessary offerings calling upon new conceptual and practical undertakings to enact truer dialogues about the dissipation of both material and ephemeral values we once hold in common and facts have proven we have failed. A return to the ordinary, gestational rhymes of the everyday. China has certainly been no exception. Yet again in the game of appropriations, paradigms reappear inadequate and futile.

This exhibition is therefore not an all-encompassing effort aimed at filling the blanks of Chinese art glossary under the category of "collaborative" or "alternative" practices - an exercise that would first require framing an understanding of the spatial and aesthetic conventions informing the workings of their official counterparts.

Conversely "The Third Party – A Group Celebration!" rounds up this research process in the realm of the ordinary by transforming the exhibition in a spontaneous theatre of self‐representation, an informal assemblage of current experiments in collaborative practices from China.

An exhibition, an archive, an experiment in participation itself, the show takes the shape of a living archive by making use of The Beehive system units, which are here employed both as a supporting structure and a tool for artists’ interventions.

China-based self-organized/independent art spaces, artistic collectives, loose groups, specific project teams and artists founding their practice on collaborative actions have been invited to submit proposals or materials that are explanatory of their work, the type of activity they do in their specific context, and what is the way they realize it as "someone who works with others". The exhibition is not simply a display of independent ventures, shows or projects previously realized, but an open tableau where each group partakes in a process of positive and proactive communication of concepts and ideas that stand behind the works as products of/for collective creation.

This last chapter features newly created works and archival documentation provided by the participants along live performances, site-specific installations, sounds and pieces produced over the course of two months.
Various balancing forces motivate the practices here presented, arguably no less politically or controversially responsive to the established systems that cannot or will not accommodate them, than its historical precursors. Challenging social or aesthetic conventions  and operating on varying degrees of specificity to the sites and constituencies they are inscribed in, they compose a picture where the individual limits of conceptual and material resources are overcome by means of a supplementary, collective strategy through which a "perceived lack or inconsistency" comes to be lived rather than resolved.


"Now has come the time for settling debts left over from the historical past. Art is, first and foremost, the artist. And, it is up to the artists to seize back the authority that they surrendered." (Zhang Peili, 1988)
Dec 26
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展览时间:2007.12.1 – 2007.12.30|11:00 - 18:00|周一休息
展览地点:站台中国798项目空间
展览地址:北京市朝阳区酒仙桥路4号大山子798艺术区内

在一个道德沦丧的时代,大意的人们忘记了、回避了、或说视而不见了一个基本的事实:今天的文明还剩下多少真实性值得推敲?很少有人还真正在意文化的本义究竟是什么,真伪交错,鱼龙混珠,难道这就是一切事物的真相?文明的虚伪性使得艺术家们总是不断地抱着脑袋与自己较劲,然而他们没有拿轻薄的自我说事儿,而是试图通过制假反假的方式揭露伪文化带来的一切假象,以此发出自己的声音,哪怕是微弱的。是不是可以怀疑,无论从自我还是群体来说,文明本身就是一个虚伪的代名词?

陈维作品中的人物,或抑郁、或沉思、或不知所措,在被置换的场景中,他们找不到自身的坐标和出口。封闭的空间里充斥着一种很微妙很紧张的心理暗示:当时间概念被模糊时,带有过去痕迹的陈旧物品的反复罗列,对于人的心理是永远无法回避的刺痛。

马永峰利用大胆的假设还原了人们最初关于自然的梦想。这些美丽的人造景观造成强有力的图像侵略,虽非颓废摄影,却有意哀伤,控诉着人与动物作为原始自然的他者最终缺席的自省,摄像机镜头下,充满了戏剧化的讽刺。

金闪镜头下的人群、词典、旗帜、绳索、宗教色彩,是造成一切光怪陆离幻觉的起源。他似乎要表达一种精神出轨的游离感,使得“游行”也变得虚伪和浮夸,仿佛是马戏团恶作剧的表演。

王宁德的作品有意在虚构的时间、空间里将人物的身份与事件置换:成年人在想象中的世界天真无邪地玩着儿时的游戏。记忆越遥远,生活越真实,幻象也就越趋于假作。艺术家用图像而不是破烂的文字告诉人们,当我们将梦想嫁接于不合适的载体,一切都变得那么苍白而没有延续性。

杨龙海的装置则设置了一个骗局,用性感的嘴唇和言语引诱观众靠近,当人们怀着好奇的心态去尝试,却发现自己成为被愚弄的对象。他用这种直观的方式提醒人们,禁不住诱惑,其本质就是被自我欺骗。

False
Exhibition Duration: 2007.12.01 - 12.30 | 11:00 - 18:00 | Closed on Monday
Place: Platform China Contemporary Art Institute 798 Project Space
Address: 798 Art Distr., Dashanzi, No.4 Jiuxianqiao Rd., Chaoyang Distr., Beijing

As nowadays moral is neglected, people don’t pay attention anymore to the fact, avoid or disregard it: Today how much authenticity is still in our civilization? Only few people care about what the culture’s original meaning is. The world is both true and false. The civilization’s inveracity makes the artists struggle with their ideas. However they don’t want to attract the audience’s attention on themselves, but they try their best to expose the gloss of a pseudo-culture, expressing their own perspective even if it won’t be persuasive. As an individual or a group, can we imagine that civilization is another pronoun for false?

In his work, Chen Wei set up a depressed, lost or meditating character that couldn’t find his own way in those similar scenes. The enclosed space is filled up with a delicate and tense psychological hint: when time is unknowable, the accumulation of obsolete items from memories gives somewhat to everyone an unavoidable quiver.

Through his work, Ma Yongfeng restores people’s primordial dream about nature. The beautiful man-made landscapes become a powerful accusation to the human and animal’s absence. His photography is not passive but saddening, likes a theatrical satire.

The crowd, dictionaries, flags, ropes and religious themes are the hallucination’s origin of Jin Shan’s works. He seems to describe a dissociation of spirit, which makes the parade looks like performing a circus’s chaffing sideshow.

In an imaginary time and space, Wang Ningde exchanges on purpose characters identity and event: in a dream world adults are innocently playing like in their childhood. While memories are quickly fading away, life is becoming more real and illusions more false. The artist uses images instead of words to show us that if dreams are grafted on unsuitable medium everything becomes fad and effectiveness.

In his installations, Yang Longhai uses sexy lips and tongue to flirt with the audience, but as people walk towards it with curiosity he refuses. He is making a joke to call people’s attention: failed resisting the temptation is actually a self-deception.
Oct 10
展览曾在纽约现代艺术美术馆引起关注

  本报讯 (记者李健亚)7月22日,“今日中国影像”从美国纽约P.S.1当代艺术中心“移师”北京站台中国当代艺术机构,展出了12位艺术家的22幅影像作品。

  高楼耸立起来了,生活其间的人的心境又是怎样?

  马永峰、崔岫闻、孟谨等12位艺术家用影像的方式记录了今日中国的种种变化。艺术家孟谨的作品《十四间房》,3分钟内呈现了特定空间下的不同建筑结构。孟谨表示,“现在社会的变化带来了建筑结构中秩序的变化,建筑能通过结构、摆列言说出这种改变。”至于缘何采用影像的方式,孟谨指出影像能直接、客观地表现出个体在现代生活中的种种感触。因此,相对于新媒体艺术注重与观众的“互动”来说,此次展出的作品更注重表达自己在当下生活中的感受。

  对此,策展人孙宁表示,尽管采用新媒体,但此次展览更注重客观记录当代中国的改变。这十几位艺术家在一起,每个人都有自己独特的视角,能比较客观地还原出今日中国的真实面貌。

  今年2月26日至5月29日,纽约P.S.1当代艺术中心曾展出过“今日中国影像”展览。这是美国最重要的纽约现代艺术美术馆(MoMA)有史以来第一次大规模的有关中国艺术家的群展,引起国际艺术界关注,被认为是中国当代艺术的一次全景呈现。

www.thebeijingnews.com · 2006-7-25 9:27:34 · 来源: 新京报
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