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中国艺术批评家网 - 新闻频道 - 乌镇国际当代艺术邀请展正式开幕
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乌镇国际当代艺术邀请展正式开幕
时间:2016-3-27 23:53:44      点击次数:6354      来源:中国艺术批评家网      作者:     字体颜色

    由文化乌镇股份有限公司主办,陈向宏发起并担任展览主席,冯博一主策划,王晓松、刘钢策划的“乌托邦·异托邦——乌镇国际当代艺术邀请展”经过一年多的策划和紧张筹备,将于2016年3月27日18:00-19:00在中国乌镇北栅丝厂开幕。

 

    有关展览的基本信息及前期进展情况,已于2015年12月29日在北京古北水镇举行的第一次新闻发布会上向社会公布。88天之后,作为此次展览主展场北栅丝厂的改造经受了寒冬和元旦、春节假期对施工的影响,已如期完工,并以全新艺术展览空间的面貌、功能和室内外34位(组)艺术家的作品一同呈现在世人面前;在另一处展场西栅景区内,则分布着7位艺术家较大体量与视觉张力的、带有公共艺术特征的作品。

    在40位(组)参展艺术家中,有13位(组)艺术家为展览提供了全新的方案,它们从观念到规模都与所处空间紧密扣连——以西栅景区内的作品最为典型。需要说明的是,其中有8位海外艺术家采取委托就地创作、就地展示的方式,在这个过程中贯穿着不同观念和技术、生产体系的相互碰撞和妥协,它在艺术和乌镇两端测试着当下各种关系的相对状态,这是在开幕之前、展览之外的一个特殊收获。从艺术家个人创作上看,这些作品既反映了他们思考问题的新趋向,又受到乌镇特殊条件的激发——所谓的特殊条件既有乌镇所营造的景观体验,也包括乌镇自身传承的物质和非物质文化遗产,那么,在地创作/制作带有某种艺术经验乌镇化的色彩。而艺术家因文化、性别和社会背景的不同而选择的不同对焦,与对主题的不同理解及技术处理经验,使作品在形态和观念上都各有千秋,也使抽象的“国际化”、“当代性”的艺术被具体化和视觉化,或具有了更多的现实依存。这一点,唯有置身现场方能感受得到其中的魅力。正因为如此,名家汇集的“乌镇国际当代艺术邀请展”从根本上有别于“名家作品汇集展”,而是从限定性和针对性上对当代艺术进行着积极诠释。与“城市化”且“模式化”的三年展、双年展相比,乌镇举办国际当代艺术展希望尝试在“纵览世界当代”条件下建立一种属于乌镇的展览机制。展览筹备工作显示,作为主办方的乌镇和艺术家以及其他对展览参与、关注的各方都从中获得前所未有的新鲜经验,这对艺术创作和艺术史来说,可能比有限时间内的展出更加重要。

    西栅景区是符号化的乌镇的主体,北栅丝厂则是“工业下乡”留给乌镇的历史记忆,它是二十世纪后半期中国乡镇生态变迁的见证者。当制造业转型,当代艺术替代了破败的被遗弃的厂房中的机器生产,“艺术下乡”则被赋予了全新的、立足于乌镇又不拘泥于乌镇的意义。乌镇连续举办了三次国际性乌镇戏剧节,木心美术馆从一开始就注重弘扬木心精神中的普世价值,由此可见,乌镇在持续探索江南水镇的文艺复兴和艺术改变生活的理想之路上,同时包括了世界、历史、现实和未知的未来四个纬度。策展人将“乌托邦”和“异托邦”这一相异又相叠的概念作为展览主题,是要有距离地对现实和理想进行横向的观看和把握。简单说来,“乌托邦”与社会现实的复杂、矛盾、差异直接相关,是在这些因素之上的一种理想投射;“异托邦”更像是在朝向“乌托邦”的过程中、在不断实践和超越中所展现出的难以理喻的复杂关系,真实却又虚幻、理性但也超常、自然且有变异。

    作为标志性旅游目的地的乌镇,通过全方位的视觉情境完美地演绎了人们所构想的江南意象,乌镇经营与管理模式的成功绝不仅仅是简单的经济理论所能解释得了的。如展览主席、发起人陈向宏所言,“文化乌镇”的打造既要有“传统文化的保护和传承”,也要有“新文化元素的加入,两者是相融的”。而通过国际艺术家共同参与、引进当代艺术的展览机制,在乌镇进行有关文化全球化与地域文化的沟通、探索、挖掘、合作,共同拓展乡镇建设的文化生存空间和激活乡镇活力,似乎是乌镇模式在艺术上的必然延伸。对主办方来说,这种“挖空心思”的创新甚至冒险的开拓,本身就是一场不间断的社会实验。同样,不拘泥于成规探索视觉语言魅力和社会影响则是当代艺术的基本表达方式,保持不断的先锋意识和时代敏感则是它之所以“当代”的价值所在。从方法论和价值观上,或者说是在“乌托邦,而且异托邦”的交叉口,乌镇与当代艺术走到了一起。无论对艺术、社会还是每一个个体的人来说,现实都有多种多样,但我们对各种临界状态的焦虑并没有界限的,它为行动的当代艺术提供了精神土壤。在朝向各自“乌托邦”之路上所展现出来的“异托邦”色彩,共同构成了现实和想象、虚构和纪实相交织却并不大同的“世界”。

    此次展览共展出55组(套)130件作品,涵盖装置、行为、雕塑、声音、影像、动画等多媒介方式,艺术家或因完全有别于“当代”之前的艺术史所叙述的类型,或因开创了新的艺术语言而为人耳熟能详。除了16组(套)在地制作的新作之外,还有两位艺术家把乌镇作为他们最新作品的首展之地,同时又有几位即使在中国艺术界都属于“小众”范畴的艺术家——甚至此前从未有过中文译名,但是我们认为他们的作品为我们观察世界提供了一种截然不同的视角,所以,“乌镇国际当代艺术邀请展”又是推动艺术新力量展示、交流和发展的平台。虽然我们不希望人们过多地关注这些艺术明星或超级明星的“名字”,但也不能否认这样一份参展名单在中国却有几分不寻常,而且大部分作品是第一次在中国乌镇集中亮相,这使展览不可避免地带有些微“巡礼”的意味。因此,我们越发希望人们可以心存平淡,到乌镇直面作品,感受这些之所以被称为大师的作品气息,并期待展览能够对中国观众以及当代艺术的未来产生些许影响。所以,这次展览的意义与价值,就不仅限于艺术家用视觉观念和手段表现展览主题,还在于更多地面向大众的当代艺术普及与传播,审美的引导与提升。因为,对于中国大众来说,视觉文化的作品可以超越文字翻译的有限性,而获得较为广泛的识别与认知。

    展览将从3月28日起向社会各界开放,并持续展出到6月26日。在此期间,乌镇将举办面向不同人群,免费、公开的系列公共教育活动,活动嘉宾中既有艺术家、批评家,也有历史学家等非“艺术”学科却具有时代影响力的重要人士。并将定期推出专业导览等配套活动,与展览一样,我们希望提供的不仅仅是“场地”,而是触摸时代界限和推动思想传播的“现场”。

    除此之外,4月15日—5月21日“2016乌镇春季戏剧展”将在乌镇举行,《恋爱的犀牛》、《两只狗的生活意见》、《人赃俱获》、《一个陌生女人的来信》、《金龙》、《蒋公的面子》6部经典戏剧齐聚乌镇,每个周末都会有一部经典剧目在乌镇大剧院上演。届时,将与“乌托邦•异托邦——乌镇国际当代艺术邀请展”相映成趣,“白天看展,夜晚看戏”,为春天的乌镇打造一场前所未有的视听艺术盛宴。
购票请登录格瓦拉生活网www.gewara.com,更多信息,请关注展览官方网站:www.artwuzhen.com,微信:artwuzhen

Utopias/Heterotopia: Wuzhen International Contemporary Art Exhibition
Press Release

Organized by Cultural Wuzhen Co., Ltd., initiated by exhibition chair Chen Xianghong and developed by chief curator Feng Boyi and curators Wang Xiaosong and Liu Gang, “Utopias/Heterotopia: Wuzhen International Contemporary Art Exhibition” will open at the North Silk Factory in Wuzhen on March 27, 2016 from 18:00 to 19:00.

The first press conference providing basic information about the exhibition was held on December 29, 2015 at Gubei Water Town outside of Beijing. The construction work on the North Silk Factory was completed 88 days later, due to winter weather and New Year’s holidays. The new look and functions of the art space will be presented to the public in conjunction with indoor and outdoor works by 34 artists. The West Scenic District, the other exhibition venue, features public artworks by seven artists, characterized by immense size and visual tension.

Of the forty participating artists, thirteen provided completely new proposals specifically for the exhibition; the conception and scale of these works was always closely linked to the space, a trait best exemplified by the works shown in the West Scenic District. Of these thirteen, eight foreign artists commissioned local workers to assemble site-specific works. This process involved the collision and cohesion of a range of concepts, techniques, and production systems. This process tested the relative states of various relationships between art and Wuzhen, which was a special outcome that manifested before the opening and outside of the exhibition itself. The artists’ works reflect new directions in their thinking; with the unique inspiration of Wuzhen, namely the experience of Wuzhen’s distinctive landscape and the town’s tangible and intangible cultural heritage, these artists created or produced some of their works locally, giving a Wuzhen flavor to these artistic experiences. Due to differences in culture, gender, and social background, artists chose different focal points. Their understandings of the theme and their own technical backgrounds gave their works wonderful points of formal and conceptual interest, which also made abstract international and contemporary art more specific and visual, or gave it a more concrete foundation in reality. Only those personally attending the exhibition will fully appreciate the charms of these pieces. For this reason, the Wuzhen International Contemporary Art Exhibition is different from other exhibitions of works by famous artists; the show attempts to give a limited and focused interpretation of contemporary art. Compared to urban models of biennials and triennials, Wuzhen hopes that hosting this international contemporary art exhibition will establish an exhibition model unique to Wuzhen at a time when art and exhibitions are becoming more global. During the exhibition preparation, Wuzhen as an organizer, the artists, and others who participated or followed the exhibition gained new experiences; this might be more important for the creation and history of art than an exhibition shown for a limited period of time.

The West Scenic District is the symbol of Wuzhen; the North Silk Factory is emblematic of the period in Chinese history in which industry was brought to the countryside, and it is a witness to the changes in Chinese small-town life that took place in the second half of the twentieth century. As the manufacturing industry changed and contemporary art replaced mechanical production in abandoned factory spaces, art came to the countryside; the building was given a new meaning that was rooted in Wuzhen, yet also transcended it. Wuzhen has hosted three consecutive international theater festivals, and the Mu Xin Art Museum has focused on advocating its namesake’s universal values. From this, we can see that Wuzhen has continued to explore the ways in which a southern water town can be revived and the ways in which art can change life, incorporating the four dimensions of the world, history, reality, and the unknown future. The curators chose utopias and heterotopias as an exhibition theme. While these are opposing yet overlapping concepts, we must observe and grasp these realities and ideals from a distance. Simply speaking, utopia is directly related to the complexities, conflicts, and differences within social reality, and it is an idealistic reflection of these elements. Heterotopia is like encountering an inexplicably complex situation, even as you work towards utopia; it is real yet illusory, rational yet extraordinary, and natural yet varied.

As a symbolic tourist destination, Wuzhen has perfectly interpreted what people imagine a southern town should be by providing a complete visual experience. The success of Wuzhen’s operational and managerial model cannot simply be explained by economic theory. As the exhibition chair and project initiator Chen Xianghong said, the creation of a “cultural Wuzhen” requires “the preservation and continuation of traditional culture,” and “the introduction of new cultural elements, both of which should be integrated into each other.” It is hoped that an international exhibition mechanism for contemporary art will be transplanted through collaboration between Chinese and international artists, and that the relationship between global and local cultures will be further explored and investigated, and cultural spaces will be further expanded and local dynamics reactivated in the reconstruction of historical towns. This seems like an inevitable artistic extension of the Wuzhen model. For the organizers, this conscious innovation and risky expansion is an uninterrupted social experiment. Similarly, contemporary art’s basic expressive method is unfettered by conventional explorations of visual language and social impact; maintaining a pioneering awareness and a sensitivity toward one’s times are the values of the contemporary. In terms of methodologies and values, or at the intersection of utopia and heterotopia, Wuzhen and contemporary art come together. There are many kinds of realities, whether you consider the issue from an artistic, social, or individual perspective. However, our anxiety about each critical state does not have a limit, so it provides intellectual fodder for action in contemporary art. The heterotopian elements that emerge on the road to every utopia collectively constitute a world in which reality and imagination, fabrication and documentation, are interwoven but are not often harmonious.

The exhibition features 55 series, totaling 130 works, in a wide range of media such as installation, performance, sculpture, sound, video, and animation. We are familiar with many of these artists because they were so different from what came before “the contemporary” or because they pioneered a new artistic language. In addition to the 16 new works created on-site, two artists also chose Wuzhen as the place for the first public showing of their latest pieces. We have also selected a few artists who are not very well-known in the Chinese art world. Some didn’t have Chinese names, but we believe that their work will provide an entirely new way of seeing the world. The Wuzhen International Contemporary Art Exhibition is also a platform for the presentation, discussion, and development of new powers within the art world. We hope that visitors will not focus too much on the names of the art stars or superstars in attendance, but we cannot deny that having a group of such a prominent artists in one exhibition is unique in China. Many of these works are being presented in China for the first time in Wuzhen, which makes the exhibition an unmissable “pilgrimage” destination. Thus, we truly hope that people will come to Wuzhen to see these original works and appreciate this personal experience, and we expect that the exhibition will have some impact on the Chinese public and the future of contemporary art. As a result, the meaning and value of this exhibition is not limited to the artists’ use of visual concepts and methods to engage with the exhibition theme; we want to spread contemporary art to a larger audience, leading and elevating aesthetic appreciation. For the Chinese public, works of visual culture can transcend the limitations of translation and produce broader thought and knowledge.

The exhibition will run from March 28 to June 26, 2016. During the exhibition, Wuzhen will host a series of free and public educational events for different audiences. Participants in these events will include artists and critics, as well as experts in history and influential personages in non-art fields. Through scheduled guided tours and other events, along with the exhibition itself, we hope to provide more than a venue; we want to be a site that touches the boundaries of our times and promotes new ideas.
For more information, please visit our website, microblog, or WeChat.

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