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学术展览:空寒

时间:2014-06-06 09:51:34 点击:

核心提示:本次学术展览,从四个方面对当代艺术展开一个完整的思考:第一,从现代性的哲学问题,即波德莱尔所言的短暂无常与永恒持久的现代性生活的双重性出发,讨论能否以“自然”作为中介,来连接有限与无限?第二,从现代艺术史重写的层面反思西方现代性“形式语言”与“概念艺术”的对立困境,寻找与自然性相关的第三条道路。第三...

空寒

Empty Cold

Infra-mince of Snow-scape

哲学主持暨策展人:夏可君博士

参展艺术家(以年龄为序):

油画:王劼音,梁铨,洪凌,曹吉冈,沈勤,陈峰,刘国夫,许华新。

展览空间:索卡艺术空间(北京市朝阳区酒仙桥路2号798艺术区)

展览地址:北京——台北

展览时间:北京:2014年6月14号-7月30。

         台北:2014年8月23号-9月28号

开幕时间:2014年6月14号,下午4点。

参展理念:

本次学术展览,从四个方面对当代艺术展开一个完整的思考:第一,从现代性的哲学问题,即波德莱尔所言的短暂无常与永恒持久的现代性生活的双重性出发,讨论能否以“自然”作为中介,来连接有限与无限?第二,从现代艺术史重写的层面反思西方现代性“形式语言”与“概念艺术”的对立困境,寻找与自然性相关的第三条道路。第三,挖掘中国传统空寒山水画所可能具有的现代潜能,针对中国当前的现实生活,在与西方风景画内在对话之后,重新打开“虚托邦”。第四,本次展览的当代中国艺术家作品的具体实践已经对上述问题有所回应,也愿意一道来参与一次美丽的冒险,以尝试打开新艺术的可能方向。

1,庄子在《逍遥游》中奠立了空寒的神奇想象,也深深影响了中国后来的诗歌与绘画,打开了一个“虚托邦”的所在:“藐姑射之山,有神人居焉,肌肤若冰雪,淖约若处子。不食五谷,吸风饮露。乘云气,御六龙,而游乎四海之外。其神凝,是物不疵疠而年谷熟。”“空寒”之为意境,是中国传统山水画之最高境界,这尤其体现为水墨山水画的《雪景图》与《寒林图》上,空寒的山水画含蓄传达了“澡雪精神”所打开的虚托邦。这个荒寒寂寂,高古空灵的意境,也是中国文化生命心性的隐密宗教,也是诗人苏轼所言的“四时常见雪肌肤!”这是心身之“净化”的潜在仪式。

2,为何以“空寒”的意境为主题?这是直接针对当代社会太热太躁与太消耗太浪费的倾向,针对笼罩中国天空与大地的雾霾。以“寒”给“热”降温,以“空”救治消耗与浪费!中国当代生活缺乏精神品质,需要极寒极空灵之诗性来平衡与调节,从“冷”到“凉”再到“寒”,空灵的雪之意可以安息我们躁动的心神。

3,本次展览从学术上展开“风景画“与”山水画“的内在对话——这个“对话”也是“对画”!水墨性与油画性的“对画”!东方与西方文化的“对话”!试图把水墨性及其精神,与西方的风景画及其后来的抽象进程,以画家的作品以及严谨地探索,展开深入的对话。当代中国艺术需要贡献出一种新的来自文化内在性创造转化的语言,《空寒》的展览也是对我们之前《虚薄》与《虚白》两次展览的进一步推进,“无维度的艺术”通过空寒的视觉感知语言得以体现出来,纯净我们的心魂!并且形成新的感知世界的语言模式。本次展览试图以雪之意,重新发现余化的水墨性(i-Inkness),打开未来的远景。

4,参展艺术家们对空寒的感受以及绘画语言的视觉表现都有自己独特的个体呈现,有着对虚化自然的独特发现,从自然界的自然性,到文化记忆的自然性,到抽象性的自然,从虚像化的自然到虚薄的自然,圣洁的自然以及空灵的自然,等等,并试图想象一种“虚托邦”(chora-topia)的可能性,不同于西方的“乌托邦”(U-tpos)与“异托邦”(Hetero-topos),打开一个虚化的“之间”,保持自身与他者之间的过渡生发状态。

5,围绕空寒的展览主题,参展艺术家都有着自己独立的风格语言与想象方式。具体而言,王劼音:生拙淡雅的山水余音,是积素之化,有着“爱以闲谈而消永昼”的素淡韵致。梁铨:抽象的自然性与虚淡的余味,茶香袭人。洪凌:自然的自然性与心灵的默会,雪香盈心。曹吉冈:自然情调的墨化与余哀的默化,墨染的幽谷与化石为雪。沈勤:自然的庭院与梦游的余地,有着晚来天欲雪的诗意。陈峰:自然的文化记忆与丘壑的余象,让我们以澡雪洗心。刘国夫:自然的精魂与余象的精灵,这是凝白的气骨。许华新:空寒如玉的高洁质地,变水为玉的高寒意境。

空寒

Empty Cold

3rd Infra-Mince Exhibition

Curator and Philosopher Host: Dr. Xia Kejun

Participating Artists (in order by age):

Wang Jieyin, Liang Quan, Hong Ling, Cao Jigang,

Shen Qin, Chen Feng,  Liu Guofu,Xu Huaxin.

Exhibition Space: Soka Art Center

Location: Beijing and Taibei

Reception:14 June 2014,pm 4:00

Duration: Beijing: June 14—July 27, 2014.

        Taibei:August23—September28,2014

Venue:Soka Art Beijing

[798 Art District, No.2 Jiuxianqiao Road, Chaoyang District, Beijing]

T/+86-10-5978-4808 F/+86-10-5978-4810 E/ info@soka-art.com

Exhibition Concept:

1. In Carefree Wandering, Chuang Tzu laid out the mysterious notion of empty cold, which would come to have a profound influence on later poetry and painting in China, and open up the essence of a “chora-topia”: “On the distant Mount Guye there dwelt a divine man or woman whose flesh and skin were smooth as ice and white as snow; her manner was elegant and delicate as that of a virgin; She did not eat any of the five grains, but inhaled the wind and drank the dew; She mounted on the clouds, drove dragons across the sky, rambling beyond the four seas.” As a form of conceptual imagery, “empty cold” is the highest realm of Chinese traditional shanshui landscape painting, a concentration of the pure spirit of Chinese culture. This is particularly embodied in ink snowscapes and winter forest scenes. Empty cold shanshui paintings express, in a reserved fashion, the chora-topia opened up by Chuang Tzu’s “spirit of cleansing snow.” This cold, desolate and sublime imagery is like a secret religion of mindfulness in Chinese culture, a hidden ritual of “cleansing” the soul, just as poet Su Dongpo writes: let us often see skin of snow at four seasons.

2. Why have we chosen “empty cold” as the theme? This is directed at the tendency in today’s society towards excess heat, excess recklessness, excess consumption and excess waste, directed at the haze shrouding China’s skies and lands. We will use “cold” to lower the temperature of the “heat,” and use “emptiness” to treat the consumption and waste. Chinese contemporary life lacks the qualities of spiritual life. It must be balanced and adjusted through extremely cold, extremely empty poeticism. From cool to cooler to coldest, snow, with its sense of emptiness, can calm our restless spirits.

3. This exhibition also enters into a dialogue between “landscape painting” and “shanshui painting” on an academic level. It attempts to explore, on a deep level, the properties and spirit of ink, as well as the progression in the West from landscape painting to abstract painting, through the lens of the artists’ works, engaging in a deep dialogue. Contemporary Chinese art must contribute a new language of creative transformation from within its own culture. This Empty Cold or Infra-mince of Snow-scape exhibition is a further progression along the lines of the previous exhibitions Infra-Thin and Infra-White. The “art of non-dimensionality” will manifest itself within the visual perceptive language of empty cold and thereby purify our souls. It will also form a new linguistic model for perceiving the world. This exhibition will attempt to use the sense of snow to rediscover the properties of iInk, to rediscover remnant naturalness, and to unfold a vision for the future.

4. This exhibition will attempt to engage a deep dialogue between the views of nature in Chinese thought with the artistic concepts of the West. This exhibition includes oil paintings and ink paintings. The Chinese painting of the future must find common ground between the two. The artists in this exhibition each have their own perception of empty cold and each present it in their own unique visual language of painting, reaching unique discoveries regarding this empty nature. From the naturalness of nature to the naturalness of cultural memory and on to the nature of abstraction, from emptied images of nature to an infra-thin nature, to a holy nature and an empty, spiritual nature, each of the participating artists is seeking to discover a naturalness of “chora-topia,” one that differs from the utopia and heterotopia of the West.

5. The participating artists are connected in terms of painting language to the theme of “empty cold” through unique creative approaches. Wang Jieyin works with the simple and pure deform of nature and the lingering echoes of sound. Liang Quan works with the naturalness of abstraction and the lingering flavor of prosaicness. Hong Ling approaches the naturalness of nature and the silent confluence of spirits. Cao Jigang transforms the tones of nature into ink, and lingering sorrow into silence. Shen Qin works with gardens of nature and the open space of roving dreams. Chen Feng approaches the cultural memory of nature and the afterimage of hills. Liu Guofu’s is the spirit of nature and the spirits of the afterimage.Xu huaxin ink works have the texture of jad with the sense of empty cold.




 来源:夏可君豆瓣
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