ArtSlant - Openings & events http://www.artslant.com/cn/Events/show en-us 40 Kiwon Park - Galleria Continua / Beijing - September 28th 5:00 PM - 7:00 PM Sat, 13 Aug 2016 11:00:59 +0000 http://www.artslant.com/cn/Events/list http://www.artslant.com/cn/Events/list - National Art Museum of China - September 28th 9:00 AM - 5:00 PM <p style="text-align: justify;">Putting up festive couplets, firing crackers, making dumplings, family reunion at the eve of a new lunar year&hellip;these traditions make up the Spring Festival, which has lasted over 4000 years in China and remains the most important festival of the nation today. It concentrates the emotional, traditional, aesthetic and cultural origins of the Chinese. In 2001, the Culture Ministry officially launched the event to build &ldquo;the Spring Festival Brand&rdquo; worldwide, wishing to promote Chinese culture with &ldquo;the Spring Festival&rdquo; as a medium and bridge. In 2009, Vice-premier Liu Yandong (State Councilor at the time) unified the naming of all cultural events launched overseas as &ldquo;Happy Spring Festival&rdquo;. The &ldquo;Happy Spring Festival&rdquo; of 2016 gave over 2100 cultural events in over 400 cities located in 140 countries and regions, covering over 250 million people/times. The &ldquo;Happy Spring Festival&rdquo; not only promotes Chinese culture globally, but also leads Chinese brands to the world, making &ldquo;excellent Chinese products&rdquo;, spreading &ldquo;Chinese spirit&rdquo; and telling &ldquo;Chinese stories&rdquo;. This exhibition of photographs will present the highlights of the 2016 &ldquo;Happy Spring Festival&rdquo;, giving all visitors an unforgettable memory.</p> <hr /> <p style="text-align: justify;">贴春联、放鞭炮、包饺子、年夜饭&hellip;&hellip;这些传统民俗串起了在中国拥有4000余年历史的节日&mdash;&mdash;春节,它至今依然是中华民族最为重要的传统节日,凝聚着中国 人的情感、传统、审美与文化渊源。2001年,文化部正式启动在全球打造&ldquo;春节品牌&rdquo;活动,希望以&ldquo;春节&rdquo;为载体和桥梁,向全球推介中国文化。2009 年,刘延东副总理(时任国务委员)将春节期间在海外举办的文化活动统一正式命名为&ldquo;欢乐春节&rdquo;活动。2016年的&ldquo;欢乐春节&rdquo;活动,在全球140个国家和 地区的400多座城市举办2100多项文化活动,海外受众超过2.5亿人次。&ldquo;欢乐春节&rdquo;不仅推动中华文化&ldquo;走出去&rdquo;,也带动中国的企业品牌走向世界,在 海外创造&ldquo;中国精品&rdquo;、传播&ldquo;中国精神&rdquo;,讲述中国故事。此次摄影展将2016年&ldquo;欢乐春节&rdquo;活动的精彩场面予以呈现,留下难忘的记忆。</p> Sat, 10 Sep 2016 16:28:26 +0000 http://www.artslant.com/cn/Events/list http://www.artslant.com/cn/Events/list Zhang Chongqing - National Art Museum of China - September 28th 9:00 AM - 5:00 PM <p style="text-align: justify;">Zhang Chongqing, born in Qingdao of Shandong Province in 1931, graduated from the Painting Department of the Central Academy of Fine Arts in 1953, and is a professor and postgraduate instructor in the Central Academy of Fine Arts. When he was still a student, Mr. Zhang Chongqign benefitted from the instructions of Xu Beihong, Dong Xiwen, Dai Ze and others. After graduation, he returned to the academy for the instructions of Mr. Dong Xiwen for one year. In the fine arts circle, Mr. Zhang Chongqing is one of the few professional painters who takes the sea as his subject matter. His oil painting features rigor of the classic painting and the freedom of expressive painting. As far as painting is concerned, he advocates &ldquo;learning from the Nature, creating the idea by the scene, expressing with the scene and mirroring the man with the scene&rdquo;. In the meantime, he joins the &ldquo;vivid flow&rdquo; of Chinese painting with his oil painting and stresses on the natural presentation of colors as his language. This exhibition will present, in the entirety, nearly 180 works of oil painting, sketches, quick-sketches, etc. by Mr. Zhang Chongqing, which were created over years and serve to illustrate fully the art life of the painter.</p> <hr /> <p style="text-align: justify;">张重庆,1931年生,山东青岛人。1953年毕业于中央美术学院绘画系。任中央戏剧学院教授、研究生导师。张重庆先生在校期间,曾得到徐悲鸿、董希文、 戴泽等先生的教导,美院毕业后,回校随董希文先生研修油画一年,得董先生亲炙。在美术界张重庆先生是难得以大海为对象的专业画家。其油画画风有着古典绘画 的严谨,同时又有表现性绘画的自由和洒脱。作画上主张&ldquo;师法自然,对景造意、以景抒情、以景写人&rdquo;,同时把中国绘画的&ldquo;气韵生动&rdquo;融汇其中,注重色彩语言 的自然流露。此次展览将完整呈现张重庆先生多年来所创作的油画、素描、速写作品近一百八十件,全面诠释张重庆先生的艺术人生。</p> Sat, 10 Sep 2016 16:31:30 +0000 http://www.artslant.com/cn/Events/list http://www.artslant.com/cn/Events/list Yu Hong - CAFA Art Museum - September 29th 9:30 AM - 5:30 PM <p style="text-align: justify;">由中央美术学院主办,中央美术学院造型艺术学院、中央美术学院美术馆承办,中央美术学院院长范迪安策展的&ldquo;中央美术学院造型艺术年度提名&middot;2016&mdash;&mdash;喻红:游园惊梦&rdquo;,将于2016年9月29日周四下午5点在中央美术学院美术馆开幕。<br /> <br /> &ldquo;喻红:游园惊梦&rdquo;将展出艺术家近两年创作的19件架上绘画作品,及远赴 捷克创作的3件玻璃雕塑作品。此次展览延续&ldquo;喻红:平行世界&rdquo;(苏州博物馆,2015)中以多重维度观看和理解世界的方式,喻红以精湛的写实画风并置、拼 贴相异时空的场景和人物&mdash;&mdash;横跨了古代与现代、西方与东方、梦境与真实。&ldquo;游园惊梦&rdquo;既可作为一个真实空间出现,又是一种精神上的所指,前者是艺术家遇见 一座久未修葺的公园,它作为创作元素出现在展览同名作品《游园惊梦》中,后者则包含两层蕴意:一是喻红在创作中长久以来所注重的,作品与展示空间的互相契 合,&ldquo;园林&rdquo;的含义承接着&ldquo;喻红:平行世界&rdquo;中对空间和作品的思考,把颇具地理特点的精神气质置入到更加现代化的中央美术学院美术馆空间;二则指创造一个 无设限的精神空间,用以囊括绘画中人物所经历的平和美好、荒诞戏谑、无知愚昧。&ldquo;游园惊梦&rdquo;所呈现出来的世界,是喻红对更广阔的领域和更深入的人性的探 究。绘画中对个体的描绘异常真实、直接,甚至裸身出现,艺术家在创作中摒弃了用衣着符号勾连时代的做法,反而剥离掉人的个体差异性,以便能触及到更深入的 人性探讨,同时将其映照在反复盘旋于她脑海的历史文化背景,如此次展览作品中将出现的叙事性元素&mdash;&mdash;中国文化典故&mdash;&mdash;盲人摸象、刻舟求剑、猴子捞月及百子 图。作品《不负春光》,她从卢梭的绘画中获得灵感,描绘了像梦幻一样的场景,在此场景中的两个女主角,却是当下的网红形象。作品《百尺竿头》则构建了一个 现实和超现实并行不悖的世界,三组各异的人物在同一个电线杆上占据不同的位置,以竖三联的形式并列起来,以写实的表象来传递超现实的结构和状态。作品《快 照》首次将动物作为主要的描绘对象,并且颇具人的形态和气质&mdash;&mdash;摆拍或拍照,喻红把人的形象剥离地更远,却与她所创造的&ldquo;游园惊梦&rdquo;更加贴近。<br /> <br /> &ldquo;喻红:游园惊梦&rdquo;距离喻红第一次在中央美术学院美术馆参加群展已经相隔 26年,此次以个展形式重返,喻红的思考几经变化,艺术创作进入更加熟稔的阶段。上世纪90年代初,当时国内的当代艺术圈政治波普和玩世现实主义大行其 道,但是喻红在创作上反而而更关注周遭年轻人的生活和内心体验,她描绘了一批在单色背景下,形态各异的年轻人形象,被称为&ldquo;新生代艺术家&rdquo;;到1999年 开始创作&ldquo;目击成长&rdquo;系列,喻红将自画像式的系列油画与现成的史实图像组合放置&mdash;&mdash;她从一个初探者的阶段转入与时代共振的阶段;到了创作形式感强烈的史诗 性&ldquo;金色&rdquo;系列(2008-2011)的阶段,画面结构更进一步地体现出艺术家对中国传统绘画、敦煌、克孜尔千佛洞壁画以及西方传统绘画的持续性钻研,所 勾连的时间和空间更加广大和深远;到&ldquo;喻红:忧云&rdquo;(2013,长征空间),她从对个体形象的关注,转向更加内在的,对人情感和处境的关心;&ldquo;喻红:平行 世界&rdquo;(2015,苏州博物馆)里,喻红则将现实及人物带入到超越时空的领域中,由此,喻红在一步步拓阔艺术创作范畴的同时,苦心孤诣于以艺术创作的方式 来观察作为本质的人群和个体。<br /> <br /> 展览同名画册《中央美术学院造型艺术年度提名&middot;2016 &mdash;&mdash;喻红:游园惊梦》也将伴随展览出版,中央美术学院院长范迪安担任此次画册主编,内容将囊括范迪安先生作为策展人所撰写的序言,中央美术学院美术馆馆长 王璜生、青年艺术史学者鲁明军、批评家/策展人/四川美院教授何桂彦及《美术》杂志副主编盛葳针对喻红新作所撰写的的评论文章,以及策展人凯伦&middot;史密斯与 艺术家的对谈文章,此次展览中的22件作品图像也将囊括于画册中。</p> Fri, 09 Sep 2016 17:43:56 +0000 http://www.artslant.com/cn/Events/list http://www.artslant.com/cn/Events/list Ma Shida - National Art Museum of China - September 29th 9:00 AM - 5:00 PM <p style="text-align: justify;">Ma Shida (1943-2012) was a calligraphy carver. He is otherwise known as Jizhe, Laoma, and Xuanlu. He was born in Lianshui, and moved to Taicang in 1955. He did not start learning calligraphy carving at the beginning of the 1960s, and later he was instructed by Mr. Sha Manweng and Mr. Song Jiding. As one of the most representative seal carvers today, Mr. Ma Shida tapped deep into tradition and digested the tradition, succeeded to and promoted the &ldquo;dare creation&rdquo; spirit of Wu Changshuo and Qi Baishi, leading the grand free-hand trend of modern seal world. Mr. Ma Shida died, till today, five years ago, and it is fitting to give this exhibition on such a date. Through exhibiting his seal works, a fuller understanding and learning of Mr. Ma Shida is to be romoted. NAMOC has always been making positive efforts for the development of modern calligraphy carving, and the exhibition fills a blank in promoting the collecting of fine neoteric calligraphy seals and relevant researches, and in enhancing attention to deceased important 20th-century calligraphers.</p> <hr /> <p style="text-align: justify;">马士达(1943&mdash;&mdash;2012),书法篆刻家,别署骥者、老马、玄庐。祖籍涟水,1955年移居太仓。六十年代初始自习书法篆刻,后蒙沙曼翁、宋季丁先生 指授。1983年在全国征稿中折桂, 1987年调南京师范大学美术系任书法篆刻副教授。作为当代极具影响的代表性篆刻家之一,马士达先生秉持深入传统、食古而化的执着,继承与发扬了吴昌硕、 齐白石&ldquo;胆敢独造&rdquo;的创新精神,在当代印坛引领了大写意风潮。马士达先生逝世迄今已五周年,举办该展具有特别的意义。通过展示他的篆刻作品风貌,促进大家 对马士达先生更为全面的认识和学习。中国美术馆一直以来为当代书法篆刻艺术发展作出积极努力,该展为促进现当代篆刻精品收藏和相关研究,加强对二十世纪已 故重要书家的关注,填补了空白。</p> Sat, 10 Sep 2016 16:30:02 +0000 http://www.artslant.com/cn/Events/list http://www.artslant.com/cn/Events/list - National Art Museum of China - September 30th 9:00 AM - 5:00 PM <div class="text"> <div class="Custom_UnionStyle" style="text-align: justify;">This exhibition aims at &ldquo;Reviewing the century-old grandeur and presenting the gesture of Tianjin Academy of Fine Arts&rdquo;. Through it, the history and culture of the academy is fully presented with works and historical documents, and the important role the academy plays in modern art education circle is highlighted. While reviewing history, &ldquo;the academy today&rdquo; of vigor and potential is presented so that the world can learn about the past, the present and the future of the academy, and that we ourselves are motivated to forge on ahead. This exhibition presents over 500 works of art and design in various media, including senior artists and junior ones who have contributed to the development of the Tianjin Academy of Fine Arts.<hr />此展旨在&ldquo;回顾百年辉煌、展示天美姿态&rdquo;,通过举办纪念展览,以作品和史料全面展示天津美术学院丰厚的历史积淀、人文学养,彰显天津美术学院在中国当代艺 术教育界的重要地位,在回顾历史的同时,展现充满活力与无限潜力的&ldquo;今日天美&rdquo;。让社会各界通过展览的形式了解天津美院的历史、当下和未来,并以此激励我 们自己努力进取。本次展览共展出各种媒介的艺术作品和设计作品500余件,包括为天美发展做出突出贡献的老一代艺术家和青年才俊。</div> </div> Sat, 10 Sep 2016 16:28:56 +0000 http://www.artslant.com/cn/Events/list http://www.artslant.com/cn/Events/list Hong Hao, Liu Jianhua, Song Dong, Hiroshi Sugimoto, Zhang Huan - Pace Hong Kong - September 30th 6:00 PM - 8:00 PM <p style="text-align: justify;">Pace Hong Kong is pleased to present the group exhibition <em>Where Can The Dust Alight</em> from October 1 to November 12, with a public opening reception from 6 to 8pm on September 30. The exhibition, which features artists Hong Hao, Liu Jianhua, Song Dong, Hiroshi Sugimoto and Zhang Huan, explores the influence of Zen thought on visual and conceptual linguistic systems in contemporary art.</p> <hr /> <p style="text-align: justify;">佩斯香港將推出群展「何處惹塵埃」,從10月1日持續展出至11月12日,並於9月30日週五晚間六至八時舉辦向公眾開放的開幕酒會。此展覽將包含藝術家洪浩、劉建華、宋冬、杉本博司和張洹的作品,並探索禪宗思想在當代藝術中對視覺性及概念性語言系統的影響。</p> <p>&nbsp;</p> Sat, 10 Sep 2016 15:55:55 +0000 http://www.artslant.com/cn/Events/list http://www.artslant.com/cn/Events/list Felix Gonzalez-Torres - Rockbund Art Museum - September 30th 10:00 AM - 6:00 PM <p style="text-align: justify;">The Rockbund Art Museum is honored to present the first solo exhibition of the influential international artist Felix Gonzalez-Torres (1957-1996) in Greater China. From September 30th to December 25th, 2016, RAM will host a comprehensive exhibition of work by the late American artist, who is renowned for his unconventional methodology and poignant sensitivity. The unique nature of his work takes this exhibition beyond a retrospective; it constitutes a genuine renewal of his art.</p> <p style="text-align: justify;">Selected from 30 institutions and collections across the world, the exhibition includes over 40 pieces, spanning from 1987 to 1994, invites audiences to contemplate issues, both public and private, that are still relevant today. Throughout his work, the tension between the public and private, the shared and the personal, comprises a recurrent theme for Gonzalez-Torres. Many of the artist&rsquo;s works consist of everyday objects, such as strings of light bulbs, mirrors, wall clocks or printed sheets of paper. Other works are comprised of spills of candy , mirrors, and jigsaw puzzles. His artwork itself is like a puzzle, but lacking a univocal order. Its demure minimal aesthetic solicits the audience to put the pieces together for themselves, inviting a plurality of pictures to emerge.</p> <p style="text-align: justify;">One of the most intriguing aspects of this exhibition is the dramatic shift in the historical and cultural context of the artworks as they travel to Shanghai. Much of Gonzalez-Torres&rsquo; work allows the environment to challenge and alter its aesthetic. By staging the exhibition in contemporary China, it will open up the artist&rsquo;s work to a new context, as a 21st century Chinese public confronts its message for the first time. It is well known that Gonzalez-Torres produced his work in the 80's and 90's in an American society and art community profoundly affected by the AIDS epidemic. However, it would be a mistake to engage with his work as simply dealing with homosexual issues or the AIDS crisis. These issues represent that circumstances under which the work were made and can be understood as platforms for exploring human values, relationships and aspirations at large, both in the artist and in the viewer.</p> <p style="text-align: justify;">Audiences in China may readily recognize a postmodern symptomatology in the artworks on show; a presentation for an age of information where social media, television and the internet fragment identities and abrogate local bonds. By the late 1990&rsquo;s, the Chinese art community had already recognized the value of Gonzalez-Torres&rsquo; contribution in the domain of identity politics. His peculiarly subtle way of navigating this sphere served as a model for many.&nbsp; Yet, sometimes this dimension of his artwork dominated its appreciation, obfuscating some of its more pliable and generalizable aspects.</p> <p style="text-align: justify;">Broad social themes resonate throughout the exhibition including: the conditions of large-scale production, dominant discourses, minority representation, or the loss of personality in the currents of postindustrial society. Equally the experience of loss, of love, the uncanny passage of time, or the hopeful quality of play&mdash; the very conditions of life&mdash;can also be found in this artist&rsquo;s extraordinary array of work.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">20 years since his passing, RAM is able to present the work of Felix Gonzalez-Torres afresh, moving beyond the labels that once constrained its definition. Its uniquely interactive nature entails that meaning is not only discovered, but also contributed by its audience. This reciprocity is what makes Gonzalez-Torres both an artist of the polity, and in the end altogether intimate. Quirky and opaque, sharp and humorous: the pieces presented in this forthcoming exhibition will incite introspection just as they draw its audiences together.</p> <p style="text-align: justify;">Rockbund Art Museum would like to thank the Felix Gonzalez-Torres Foundation and the many institutions that graciously loaned their pieces, both for their generous help and their assistance in bringing this exhibition into realization.</p> <h3 style="text-align: justify;">About the artist</h3> <p style="text-align: justify;">Gonzalez-Torres&rsquo;s interest in social and political causes may have informed the overlap of private and public life that can be found in his work. From 1987 to 1991, he was part of Group Material, a New York based art collective whose members worked collaboratively to initiate community education and cultural activism.</p> <p style="text-align: justify;">During his lifetime, Felix Gonzalez-Torres (1957-1996) was the subject of several important museum exhibitions, including &ldquo;Felix Gonzalez-Torres: Traveling&rdquo; (1994) at the Museum of Contemporary Art, Los Angeles, the Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington D.C. and The Renaissance Society at the University of Chicago, and a retrospective organized by the Solomon R. Guggenheim Museum, New York (1995), which traveled to the Centro Galego de Arte Contempor&aacute;nea, Santiago de Compostela, and ARC-Mus&eacute;e d&rsquo;Art Moderne de la Ville de Paris.</p> <p style="text-align: justify;">Gonzalez-Torres&rsquo;s works have been included in hundreds of group shows, including early presentations at Artist&rsquo;s Space and White Columns in New York City (1987 and 1988 respectively); the Whitney Biennial (1991); the Venice Biennale (Aperto 93, 1993); SITE/Santa Fe (1995); and the Sydney Biennale (1996). Since his death in 1996, there have been numerous solo exhibitions devoted to his work, including ones organized by the Sprengel Museum Hannover, Germany (1997) which traveled to Kunstverein St. Gallen Kunstmuseum, Switzerland (1997) and Museum fur Moderne Kunst Stiftung Ludwig Wien, Austria (1998); the Serpentine Gallery, London (2000); Hamburger Bahnhof-Museum für Gegenwart, Berlin, Germany (2006 &ndash; 2007); PLATEAU and Leeum, Samsung Museum of Art, Seoul, Korea (2012). A survey of his work, &lsquo;Specific Objects without Specific Form&rsquo;, was organised by WIELS, Centre d&rsquo;Art Contemporain, Brussels, Belgium (2010), and then travelled to Fondation Beyeler, Basel, Switzerland (2010) and Museum für Moderne Kunst Frankfurt am Main, Frankfurt, Germany (2011). In 2007, Gonzalez-Torres was selected to represent the United States at the 52nd La Biennale de Venezia, in the exhibition &ldquo;Felix Gonzalez-Torres: America&rdquo;.</p> <h3 style="text-align: justify;">About the curators</h3> <p style="text-align: justify;"><strong>Larys Frogier</strong> is the Director of the Rockbund Art Museum (RAM) in Shanghai. Curator, critic and art historian, he is involved in artistic and social challenges in post-global contexts where ongoing social, economical, cultural transformations demand new ways of interrelations, citizenship and reinvented creativity.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">He curated numerous exhibitions and published extensive essays on the works of international artists: Adel Abdessemed, Nan Goldin, Felix Gonzalez-Torres, Paola Pivi, Ugo Rondinone, Wang Du, Yang Jiechang.</p> <p style="text-align: justify;">Previously the Director of the contemporary art centre La Cri&eacute;e in Rennes (France), he curated long-term projects (symposiums, residencies, exhibitions, publications) which question the links and ruptures between broadening transcontinental areas. Chair of the HUGO BOSS ASIA ART jury since 2013 at the Rockbund Art Museum, he is conceiving this new award, exhibition and research program as an evolving platform to promote emerging artists and to question Asia as a construction to investigate rather than a monolithic area or fixed identities.</p> <p style="text-align: justify;">Larys Frogier taught art theory, history of art and curatorial studies at the University of Rennes, while he was also researcher at the &Eacute;cole des Hautes &Eacute;tudes en Sciences Sociales (EHESS) and at the Archives for Art Criticism.</p> <p style="text-align: justify;"><strong>Li Qi</strong> is Senior Curator at Rockbund Art Museum, Shanghai. He was Opinions Editor at&nbsp;The Art Newspaper China&nbsp;and Senior Editor at LEAP, where he currently serves as a contributing editor. He was a jury member of the 2015 Hugo Boss Asia Art Award for Emerging Asian Artists. In 2014, Li Qi curated &ldquo;CONDITIONS: An Exhibition of Queer Art&rdquo;, at club Destination, Beijing. In 2016, he curated &ldquo;Heman Chong: Ifs, Ands, or Buts&rdquo; at Rockbund Art Museum in Shanghai. Li Qi graduated from Beijing&rsquo;s Central Academy of Fine Arts (CAFA), and from London&rsquo;s Chelsea College of Art and Design. He has worked at institutions such as the Ullens Center for Contemporary Art (UCCA) in Beijing and the British Film Institute (BFI) in London.</p> <hr /> <p style="text-align: justify;">值美国传奇艺术家费利克斯&middot;冈萨雷斯-托雷斯逝世二十周年之际,上海外滩美术馆很荣幸向您呈现这位在当代艺术史上具有广泛影响力的艺术家在中国的首 场个人展览。从2016年9月30日到12月25日,上海外滩美术馆将举办冈萨雷斯-托雷斯的综合性个展。艺术家以突破传统的创作方法以及作品中尖锐的敏 感性而享有广泛的声誉,其作品的特性也使得本次展览超越了一般回顾展的范畴,更包含了对其艺术的创新性解读和全新构建。</p> <p style="text-align: justify;">展览从全球30家艺术机构甄选冈萨雷斯-托雷斯创作于1987至1994年间的40余件作品,集中呈现了艺术家早期及高峰期的艺术创作。公共与私 人,集体与个人之间的张力、融合与对抗构成了冈萨雷斯-托雷斯创作中反复出现的主题。冈萨雷斯-托雷斯的许多作品都以身边日常的物件为材料,展览中的灯 泡、挂钟、糖果、镜子,甚至一串日期都既是作品本身,也是解读作品的线索,邀请观众通过视觉、触觉,乃至味觉的多重体验,来探索这些在公众和私人领域至今 依然相关的议题:从宏观层面的规模化生产、舆论导向,以及少数群体的代表,到更为个人化的主题,如:后工业社会对个体性格的压抑,爱情与时间无可挽回的逝 去等。</p> <p style="text-align: justify;">冈萨雷斯-托雷斯活跃于1980年代至1990年代的纽约艺术圈,当时的美国社会和艺术家群体都深受艾滋病蔓延的重创。这一特殊的创作背景对艺术家 的个人生活以及创作都造成了深远的影响。然而,如果我们局限于这一视角来解读他的作品,则会陷入过于狭隘的程式化解读。艺术作品的生命力在于其和不同时代 以及社会对话并产生关联的能力。21世纪的中国对于一位美国艺术家创作于30年前的作品而言无疑是一个具有挑战性的全新语境,而冈萨雷斯-托雷斯作品中因 地制宜的特质,使得它们能随着展出地点的不同在形式上做出相应的调整,当下中国的观众们也能从艺术家细腻微妙的作品中,感受到突破地域或时间限制的情感和 审美体验。</p> <p style="text-align: justify;">作品中包含的后现代社会的症结将很容易与中国的观众产生共鸣:社交媒体、网络与电视带来过甚的信息洪流的同时,个体的身份和地方的联结却变得越来越 模糊。早在1990年代末,中国的艺术家群体便瞥见了冈萨雷斯-托雷斯在身份政治领域的贡献,而他敏感细腻的表达手法也被广泛引用,只是这种主流阐释的流 行在很大程度上遮蔽了艺术家创作的多面性。</p> <p style="text-align: justify;">即将在上海外滩美术馆展出的&ldquo;费利克斯&middot;冈萨雷斯-托雷斯&rdquo;个展将突破以往的标签和定义,以一种全新的方式来呈现艺术家的创作。观众在观看作品的同 时也不断改变着作品的面貌,赋予其新的含义。这种互动性使得冈萨雷斯-托雷斯的作品在指涉政治与社会议题的同时又不失亲密感。他的作品诙谐、犀利鲜明,吸 引着观众投身作品的同时也反观自身。</p> <p style="text-align: justify;">上海外滩美术馆在此衷心感谢费利克斯&middot;冈萨雷斯-托雷斯基金会,以及众多慷慨借出作品的藏家和机构对展览的支持。</p> <h3 style="text-align: justify;">关于艺术家</h3> <p style="text-align: justify;">纵观费利克斯&middot;冈萨雷斯-托雷斯的创作生涯,他对社会和政治议题的参与他作品中体现的公共与私人的议题相呼应。1987到1991年间,他曾是纽约的艺术家团体Group Material的成员,该团队致力于发起社区教育活动并推广文化行动主义。</p> <p style="text-align: justify;">冈萨雷斯-托雷斯(1957-1996)在世时曾参与许多重要的展览,包括1994年在洛杉矶现代艺术博物馆、华盛顿赫什霍恩博物馆和雕塑园、芝加 哥大学文艺复兴协会的巡回展览&ldquo;菲利克斯&middot;冈萨雷斯-托雷斯:旅行&rdquo;,以及古根海姆博物馆(纽约,1995)组织,并在西班牙加利西亚当代艺术中心(圣地 亚哥-德孔波斯特拉古城)、巴黎市立现代美术馆展出的回顾展。在他1996过世后,也有许多关于他的个展,包括汉诺威斯派格尔当代艺术博物馆(德 国,1997)组织,并在圣加仑美术馆艺术协会(瑞士,1997)、路德维希基金会现代艺术博物馆(维也纳,1998)、蛇形湖美术馆(伦敦,2000) 展出的个展。冈萨雷斯-托雷斯也是代表美国参加第52届威尼斯双年展(2007)的艺术家。</p> <h3 style="text-align: justify;">关于策展人</h3> <p style="text-align: justify;"><strong>拉瑞斯&middot;弗洛乔</strong>,上海外滩美术馆的馆长。作为一名策展人、评论家与艺术史学家,他深入参与到后全球化语境中的艺术挑战与社会变革中,持续生发的社会、经济与文化转变同时也要求全新的关联方式、公民身份与重新研发的创造力。</p> <p style="text-align: justify;">他策划了多档展览,发表过多部专著与论文,研究并讨论了来自如下艺术家的创作:阿德尔&middot;阿卜杜-萨马德、南&middot;戈尔丁、费利克斯&middot;冈萨雷斯-托雷斯、波拉&middot;彼薇、乌戈&middot;罗迪纳、王度和杨诘苍。</p> <p style="text-align: justify;">他曾担任法国雷恩市La Cri&eacute;e当代艺术中心总监,策划过长期的研讨会、驻地、展览与出版物项目,不断挑战广泛的全球地域之间的联结与断裂。作为2013年首届HUGO BOSS亚洲艺术大奖的评委会主席,他将该项目构想为一个全新的奖项、一场展览与一系列研究项目,作为一个持续演变的平台,推广新锐艺术家,将亚洲作为一 个持续的构建和亟待调研的问题而非一个单一的地区和固定的身份。</p> <p style="text-align: justify;">拉瑞斯&bull;弗洛乔曾任教于法国雷恩大学,教授艺术理论,艺术史和策展课程。他同时也是巴黎社会科学高等学院与艺术批评文献库的研究员。</p> <p style="text-align: justify;"><strong>李棋</strong>,上海外滩美术馆的资深策展人。曾任《艺术新闻/中文版》和《艺术界 LEAP》的资深编辑,现任特约编辑。他毕业于北京中央美术学院和伦敦艺术大学。曾任职于北京尤伦斯当代艺术中心(UCCA)和伦敦英国电影学会 (BFI)。他是2015年&ldquo;HUGO BOSS亚洲新锐艺术家大奖&rdquo;评委之一。2014年,他在北京目的地酒吧策划了&ldquo;身体后台:一场有关酷儿艺术的展览&rdquo;。2016年,在上海外滩美术馆策划 了新加坡艺术家张奕满的个展&ldquo;闲言碎语&rdquo;。</p> Sat, 13 Aug 2016 16:04:56 +0000 http://www.artslant.com/cn/Events/list http://www.artslant.com/cn/Events/list Edward Burtynsky - Sundaram Tagore Gallery - Hong Kong - October 1st 6:00 PM - 8:00 PM Fri, 09 Sep 2016 19:30:55 +0000 http://www.artslant.com/cn/Events/list http://www.artslant.com/cn/Events/list Wang Du - Tang Contemporary Art - Hong Kong - October 1st 6:00 PM - 8:00 PM <p style="text-align: justify;">Tang Contemporary Art will celebrate the first anniversary of its Hong Kong space on October 1st, 2016. We are also proud to announce our solo exhibition &ldquo;Wang Du - Post-Fetishism&rdquo; will open that same day, featuring all-new installation work by Paris-based Chinese artist Wang Du. &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;&nbsp;</p> <p style="text-align: justify;">In Wang&rsquo;s view, contemporary society has become increasingly beholden to material goods, confusing basic values between people, between objects, and between people, society, and education. This materialism has come to infect its very nerves, sending the vehicle for the evolution of human qualities into the pit of instant gratification and material consumption. Based on his keen observations of society, Wang Du produced a series of &ldquo;post-fetishist&rdquo; artworks. The mildewed objects in the exhibition seem to signify absurd phenomena related to the intersection and alienation of humans and objects.&nbsp;</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">ABOUT&nbsp;<strong>THE ARTIST</strong>&nbsp; &nbsp;</p> <p style="text-align: justify;">Wang Du was born in Wuhan in December 1956. He has lived and worked in Paris since 1990. He has taught in the art department at the University of Paris VIII and the &Eacute;cole sup&eacute;rieure d'art de Brest. Wang Du works in a range of media, including installation, sculpture, photography, and multi-media. His statement, &ldquo;I am media, I am reality, I am image,&rdquo; could be seen as an interpretation of the concepts behind his work. He believes that &ldquo;the completely digital third reality is constructing a contemporary society and culture that needs to be constantly redefined.&rdquo; Thus, his work redefines a series of concepts within reality from different perspectives, which is also the statement he has made since he declared, &ldquo;I am the spokesperson for reality and the masses.&rdquo;&nbsp;</p> <p style="text-align: justify;">Wang&rsquo;s art has been disseminated widely in art criticism, documentaries, contemporary artist dictionaries, and art books. His work has also been covered by many international magazines, newspapers, and TV and radio stations. In 2008 and 2012, Wang Du held solo exhibitions at Tang Contemporary Art in Beijing, titled &ldquo;International Kebab&rdquo; and &ldquo;Mus&eacute;e d&rsquo;Art Contemporain de la Chine&rdquo; respectively. His works have been exhibited throughout international museums and contemporary art institutions including the 1999 Venice Biennale, Centre Pompidou, Mus&eacute;e National d&rsquo;Art Moderne in Paris, Vancouver Art Gallery, Rodin Gallery in South Korea, San Francisco Museum of Modern Art, Deitch Projects in New York, Kestnergesellschaft in Hanover, Germany.</p> <hr /> <p style="text-align: justify;">當代唐人藝術中心香港空間將於2016年10月1日慶祝新空間開幕一周年紀念。與此同時,我們很榮幸地宣布,中國藝術家王度個展&ldquo;王度:後拜物主義&rdquo;亦於當日開幕。展覽將呈現一系列全新創作的裝置作品。&nbsp;</p> <p style="text-align: justify;">在王度看來,當代社會日益盛行的物質崇尚,混淆著人與人,物與物,人物與社會以及教育等的基本價值識別。侵染到神經末梢的物性,正在將人性 - 人文進化的載體流放至物品消費的即時快感中。基於對於當下社會的敏銳觀察,王度製作了一批 &ldquo;後拜物主義&rdquo;展覽的作品。展示中長毛的物品意謂指認人、物基因交叉異化的荒謬現象。</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">關於藝術家&nbsp;</p> <p style="text-align: justify;">王度,1956年12月生於武漢,1990年起工作和居住在法國巴黎。曾任教巴黎八大藝術系和法國布列斯特(brest)高等美術學院。王度作品的呈現方式包括,裝置,雕塑,攝影,多媒體等。他宣稱的&ldquo;我就是媒體,我就是現實,我就是圖像&rdquo;,可視為他作品觀念的解讀。他認為&ldquo;全面媒體化的&lsquo;第三現實&rsquo;正在構成一個需要不斷重新定義的當代社會文化生態&rdquo;。因而,他的作品是從不同的切點重新定義現實的一連串觀念,也是他宣稱的&ldquo;我是大眾和現實的發言人&rdquo;的&ldquo;發言&rdquo;。&nbsp;</p> <p style="text-align: justify;">王度的藝術傳播廣泛,有關其工作的評論,報導包括紀錄片等,見諸多種國際傳媒(雜誌、報紙、電視、電台,當代藝術家詞典,畫冊資料等)。 2008年、2012年王度曾分別在唐人北京空間舉辦個展《國際快餐》與《中國當代美術館》。他的作品曾在多個國際美術館及當代藝術機構展出,包括1999年威尼斯雙年展、龐比度藝術中心、巴黎東京宮(法國國立當代藝術基地)、溫哥華市立美術館、韓國羅丹美術館、舊金山當代藝術中心、紐約戴奇計劃、德國漢諾威當代藝術館等。</p> Mon, 19 Sep 2016 11:33:09 +0000 http://www.artslant.com/cn/Events/list http://www.artslant.com/cn/Events/list - CAFA Art Museum - November 9th 9:30 AM - 5:30 PM <p style="text-align: justify;">The &nbsp;CAFAM &nbsp;Biennial &nbsp;is &nbsp;organized &nbsp;by &nbsp;the &nbsp;CAFA &nbsp;Art &nbsp;Museum. &nbsp;With &nbsp;the &nbsp;support &nbsp;of &nbsp;this &nbsp;university &nbsp;art &nbsp;museum, &nbsp;&ldquo;Super-Organism: &nbsp;Research &nbsp;and &nbsp;Experiments &nbsp;from &nbsp;a &nbsp;Specific &nbsp;View&rdquo; &nbsp;and &nbsp;&ldquo;Invisible &nbsp;Hand: &nbsp;Curating &nbsp;as &nbsp;Gesture&rdquo; &nbsp;were &nbsp;held &nbsp;in &nbsp;2011 &nbsp;and &nbsp;2014 &nbsp;respectively.<br /> <br /> In &nbsp;recent &nbsp;years, &nbsp;the &nbsp;international &nbsp;art &nbsp;world &nbsp;has &nbsp;been &nbsp;discussing &nbsp;and &nbsp;reconsidering &nbsp;how &nbsp;a &nbsp;biennial &nbsp;should &nbsp;be &nbsp;organized, &nbsp;and &nbsp;doubts &nbsp;about &nbsp;the &nbsp;biennial &nbsp;mechanism &nbsp;have &nbsp;been &nbsp;voiced &nbsp;in &nbsp;recent &nbsp;years. &nbsp;The &nbsp;biennial &nbsp;mechanism &nbsp;has &nbsp;developed &nbsp;for &nbsp;nearly &nbsp;one &nbsp;hundred &nbsp;years, &nbsp;gradually &nbsp;creating &nbsp;a &nbsp;fixed &nbsp;model. &nbsp;Sometimes &nbsp;this &nbsp;model &nbsp;can &nbsp;neither &nbsp;quickly &nbsp;respond &nbsp;or &nbsp;react &nbsp;to &nbsp;the &nbsp;rapidly-changing &nbsp;sites &nbsp;and &nbsp;ecologies &nbsp;of &nbsp;art, &nbsp;nor &nbsp;reflect &nbsp;the &nbsp;immediate &nbsp;state &nbsp;of &nbsp;art. &nbsp;For &nbsp;this &nbsp;reason, &nbsp;in &nbsp;planning &nbsp;the &nbsp;Third &nbsp;CAFAM &nbsp;Biennial, &nbsp;the &nbsp;CAFA &nbsp;Art &nbsp;Museum &nbsp;reconsidered &nbsp;its &nbsp;model &nbsp;in &nbsp;an &nbsp;attempt &nbsp;to &nbsp;experiment &nbsp;with &nbsp;organizational &nbsp;and &nbsp;operational &nbsp;modes, &nbsp;exemplifying &nbsp;the &nbsp;university &nbsp;art &nbsp;museum&rsquo;s &nbsp;function &nbsp;as &nbsp;an &nbsp;&ldquo;intellectual &nbsp;laboratory.&rdquo;<br /> <br /> We &nbsp;have &nbsp;named &nbsp;the &nbsp;Third &nbsp;CAFAM &nbsp;Biennial &nbsp;&ldquo;Negotiating &nbsp;Space: &nbsp;I &nbsp;Never &nbsp;Thought &nbsp;You &nbsp;Were &nbsp;Like &nbsp;That,&rdquo; &nbsp;in &nbsp;an &nbsp;attempt &nbsp;to &nbsp;provide &nbsp;a &nbsp;completely &nbsp;new &nbsp;model &nbsp;for &nbsp;experimental &nbsp;exhibitions. &nbsp;Here &nbsp;&ldquo;space&rdquo; &nbsp;does &nbsp;refer &nbsp;to &nbsp;physical &nbsp;spaces &nbsp;and &nbsp;architectural &nbsp;spaces, &nbsp;but &nbsp;it &nbsp;also &nbsp;points &nbsp;to &nbsp;social &nbsp;spaces, &nbsp;psychological &nbsp;spaces, &nbsp;cultural &nbsp;spaces, &nbsp;and &nbsp;public &nbsp;spaces. &nbsp;&ldquo;Negotiating &nbsp;Space&rdquo; &nbsp;implies &nbsp;a &nbsp;free &nbsp;and &nbsp;broad &nbsp;vision &nbsp;of &nbsp;these &nbsp;concepts &nbsp;through &nbsp;the &nbsp;innovative &nbsp;presentation &nbsp;of &nbsp;new &nbsp;ideas. &nbsp;Second, &nbsp;negotiation &nbsp;allows &nbsp;for &nbsp;a &nbsp;more &nbsp;democratic &nbsp;process &nbsp;of &nbsp;artwork &nbsp;creation &nbsp;and &nbsp;project &nbsp;implementation. &nbsp;In &nbsp;J&uuml;rgen &nbsp;Habermas&rsquo; &nbsp;theories &nbsp;of &nbsp;communication, &nbsp;interaction &nbsp;between &nbsp;a &nbsp;number &nbsp;of &nbsp;parties &nbsp;increases &nbsp;the &nbsp;understanding &nbsp;of &nbsp;a &nbsp;thing &nbsp;and &nbsp;coordinates &nbsp;action &nbsp;to &nbsp;arrive &nbsp;at &nbsp;a &nbsp;common &nbsp;understanding. &nbsp;In &nbsp;this &nbsp;process, &nbsp;individuals &nbsp;have &nbsp;the &nbsp;chance &nbsp;to &nbsp;improve &nbsp;themselves. &nbsp;Bringing &nbsp;&ldquo;negotiating &nbsp;space&rdquo; &nbsp;into &nbsp;the &nbsp;exhibition &nbsp;model &nbsp;implies &nbsp;the &nbsp;dissolution &nbsp;of &nbsp;monolithic &nbsp;curatorial &nbsp;power &nbsp;and &nbsp;a &nbsp;break &nbsp;from &nbsp;its &nbsp;control. &nbsp;The &nbsp;proposal&rsquo;s &nbsp;creators &nbsp;and &nbsp;negotiators &nbsp;will &nbsp;explore &nbsp;how &nbsp;visual &nbsp;presentation &nbsp;can &nbsp;produce &nbsp;a &nbsp;relationship &nbsp;with &nbsp;the &nbsp;space &nbsp;or &nbsp;break &nbsp;through &nbsp;spatial &nbsp;limitations, &nbsp;thereby &nbsp;sparking &nbsp;a &nbsp;discussion &nbsp;about &nbsp;the &nbsp;democratization &nbsp;of &nbsp;curatorship, &nbsp;the &nbsp;democratization &nbsp;of &nbsp;art, &nbsp;and &nbsp;the &nbsp;democratization &nbsp;of &nbsp;culture.<br /> <br /> As &nbsp;a &nbsp;result, &nbsp;there &nbsp;is &nbsp;no &nbsp;curator &nbsp;for &nbsp;this &nbsp;biennial, &nbsp;and &nbsp;the &nbsp;CAFAM &nbsp;team &nbsp;works &nbsp;as &nbsp;coordinators &nbsp;for &nbsp;the &nbsp;exhibition. &nbsp;The &nbsp;exhibited &nbsp;works &nbsp;are &nbsp;selected &nbsp;using &nbsp;an &nbsp;open &nbsp;call &nbsp;for &nbsp;artwork &nbsp;proposals, &nbsp;not &nbsp;a &nbsp;process &nbsp;of &nbsp;recommendation &nbsp;or &nbsp;nomination. &nbsp;Because &nbsp;&ldquo;everyone &nbsp;is &nbsp;an &nbsp;artist,&rdquo; &nbsp;any &nbsp;individual &nbsp;or &nbsp;group &nbsp;can, &nbsp;as &nbsp;an &nbsp;artist, &nbsp;submit &nbsp;a &nbsp;proposal &nbsp;for &nbsp;a &nbsp;project &nbsp;that &nbsp;has &nbsp;not &nbsp;been &nbsp;realized &nbsp;before, &nbsp;and &nbsp;all &nbsp;submitted &nbsp;proposals &nbsp;will &nbsp;be &nbsp;recorded &nbsp;in &nbsp;a &nbsp;directory. &nbsp;In &nbsp;the &nbsp;proposal &nbsp;collection &nbsp;process, &nbsp;we &nbsp;have &nbsp;invited &nbsp;people &nbsp;from &nbsp;all &nbsp;realms &nbsp;of &nbsp;society &nbsp;to &nbsp;participate &nbsp;as &nbsp;&ldquo;negotiators.&rdquo; &nbsp;Within &nbsp;an &nbsp;open &nbsp;context, &nbsp;the &nbsp;submitted &nbsp;proposals &nbsp;are &nbsp;publicly &nbsp;negotiated &nbsp;and &nbsp;discussed. &nbsp;Some &nbsp;of &nbsp;the &nbsp;works &nbsp;that &nbsp;have &nbsp;been &nbsp;discussed &nbsp;will &nbsp;be &nbsp;presented &nbsp;in &nbsp;the &nbsp;exhibition, &nbsp;and &nbsp;all &nbsp;proposals &nbsp;that &nbsp;entered &nbsp;the &nbsp;negotiation &nbsp;phase &nbsp;will &nbsp;be &nbsp;presented &nbsp;in &nbsp;the &nbsp;exhibition &nbsp;halls &nbsp;and &nbsp;the &nbsp;catalog. &nbsp;The &nbsp;negotiation, &nbsp;presentation, &nbsp;and &nbsp;implementation &nbsp;of &nbsp;these &nbsp;proposal &nbsp;texts &nbsp;collectively &nbsp;constitute &nbsp;the &nbsp;method &nbsp;of &nbsp;this &nbsp;biennial. &nbsp;In &nbsp;this &nbsp;process, &nbsp;the &nbsp;CAFAM &nbsp;Biennial &nbsp;team &nbsp;will &nbsp;accept &nbsp;questions &nbsp;and &nbsp;input &nbsp;from &nbsp;the &nbsp;public &nbsp;with &nbsp;an &nbsp;open &nbsp;attitude.<br /> <br /> The &nbsp;subtitle &nbsp;&ldquo;I &nbsp;Never &nbsp;Thought &nbsp;You &nbsp;Were &nbsp;Like &nbsp;That&rdquo; &nbsp;was &nbsp;inspired &nbsp;by &nbsp;a &nbsp;popular &nbsp;internet &nbsp;phrase, &nbsp;expressing &nbsp;amazement &nbsp;at &nbsp;surprising &nbsp;and &nbsp;unimaginable &nbsp;ways &nbsp;of &nbsp;doing &nbsp;conventional &nbsp;things. &nbsp;This &nbsp;subtitle &nbsp;provides &nbsp;a &nbsp;colloquial, &nbsp;popular, &nbsp;and &nbsp;web-based &nbsp;explanation &nbsp;of &nbsp;the &nbsp;new &nbsp;exhibition &nbsp;structures &nbsp;and &nbsp;methods &nbsp;for &nbsp;&ldquo;negotiating &nbsp;space,&rdquo; &nbsp;in &nbsp;an &nbsp;attempt &nbsp;to &nbsp;break &nbsp;with &nbsp;conventional &nbsp;assumptions &nbsp;about &nbsp;and &nbsp;methods &nbsp;for &nbsp;choosing &nbsp;biennial &nbsp;names. &nbsp;However, &nbsp;guided &nbsp;by &nbsp;this &nbsp;subtitle, &nbsp;we &nbsp;hope &nbsp;that &nbsp;the &nbsp;proposal &nbsp;presenters &nbsp;will &nbsp;work &nbsp;creatively, &nbsp;break &nbsp;conventions, &nbsp;and &nbsp;communicate &nbsp;across &nbsp;disciplines &nbsp;and &nbsp;submit &nbsp;proposals &nbsp;that &nbsp;we &nbsp;&ldquo;never &nbsp;thought &nbsp;would &nbsp;be &nbsp;like &nbsp;that.&rdquo; &nbsp;<br /> <br /> The &nbsp;Third &nbsp;CAFAM &nbsp;Biennial &nbsp;will &nbsp;also &nbsp;present &nbsp;a &nbsp;series &nbsp;of &nbsp;academic &nbsp;and &nbsp;educational &nbsp;activities, &nbsp;including &nbsp;&ldquo;Public &nbsp;Space &nbsp;and &nbsp;Cultural &nbsp;Democracy&rdquo; &nbsp;seminars &nbsp;and &nbsp;lectures, &nbsp;&ldquo;Intellectual &nbsp;Laboratory&rdquo; &nbsp;dialogues, &nbsp;workshops &nbsp;and &nbsp;the &nbsp;Art &nbsp;Museum &nbsp;Night.</p> <hr /> <p style="text-align: justify;">CAFAM双年展由中央美术学院美术馆主办,它以大学美术馆为平台,首届展&ldquo;超有机:一个独特研究视角与实验&rdquo;和第二届&ldquo;无形的手:策展作为立场&rdquo;分别于2011年和2014年成功举办。<br /> <br /> 近年来,在国际范围内,艺术界与社会机构就&ldquo;如何举办双年展&rdquo;不断进行反思和讨论,对双年展展览机制本身也出现批判的声音,甚至怀疑的态 度。双年展机制经过近百年的发展,逐渐形成一套自我运行的固定模式,但这种模式有时不能迅速反应与反馈当下急剧变化的艺术现场和艺术生态,不能反映艺术主 体的直接状态。本此缘故,中央美术学院美术馆在策划第三届CAFAM双年展时重新构思,力图在组织模式、运行机制上进行新的实验和尝试,体现其作为大学美 术馆应具有的&ldquo;思想实验室&rdquo;功能。<br /> <br /> 我们以&ldquo;空间协商:没想到你是这样的&rdquo;来命名第三届CAFAM双年展,试图提供一种全新的展览实验模式。所谓&ldquo;空间&rdquo;,既指实际的物理空间和建筑空间,也 指向社会空间、心理空间、文化空间、公共空间等。&ldquo;空间协商&rdquo;,首先意味着对上述概念展开自由、宽广的想象,让不曾有过的构想出现在方案之中;其次,它也 指涉,通过协商,作品方案在创作和实施中呈现出民主化的过程。哈贝马斯交往理论指出,各方互相沟通,增进对某一事物的理解,协调彼此行动从而达成共识,个 人在此过程中也向更高级的阶段发展。将&ldquo;空间协商&rdquo;带入展览的操作中,意味着对单一策展权力的分化和对其控制的突破,方案提交人与协商员一起,探讨视觉呈 现如何与空间产生联动,如何打破空间限制等等的可能性;进而,引发对策展民主化、艺术民主化和文化民主化的讨论。<br /> <br /> 基于此,本届双年展不设策展人,工作组仅以协调员的名义来组织展览、协调事宜;不以推荐和提名的方式选定参展作品,代之以公开征集作品方案作为展览的机构 架构,在人人都是艺术家的背景下,任何个人、小组都可以艺术家的名义提交未在任何空间实现过的方案,所有提交的方案将以名录的形式收入;在征集方案的过程 中,我们邀请各方人士参与作为协商员,在开放的语境下对提交方案进行公开的协商、讨论,协商一致的部分作品将会在展览中实际展示出来,而进入协商环节的方 案都将呈现在展厅中并收入展览的画册,方案文本的讨论、展示与现场实施共同构成本届双年展的呈现方式。在整个执行过程中,CAFAM双年展工作组也将以开 放的态度接受公众的质询和交流。<br /> <br /> 副标题&ldquo;没想到你是这样的&rdquo;,句式源自网络流行语的启发,它表达对常规事物出其不意、意想不到的做法的惊讶。一方面,这一副标题是对&ldquo;空间协商&rdquo;这个可能 带来新的展览架构和展览方式的一种口语化、流行化和网络化的解释,试图打破公众对双年展标题取法和固定作法的惯常思维;另一方面,我们也希望在这个副标题 的引导下,方案提交人积极创想、打破常态、沟通跨界,提交的方案能够让我们&ldquo;没想到你是这样的方案&rdquo;。<br /> <br /> 第三届CAFAM双年展还将呈现一系列学术活动和公共教育活动,包括&ldquo;公共空间与文化民主&rdquo;研讨会和讲座、&ldquo;思想实验室&rdquo;自由对话、工作坊试验场和美术馆之夜等活动。</p> Fri, 09 Sep 2016 17:44:26 +0000 http://www.artslant.com/cn/Events/list http://www.artslant.com/cn/Events/list