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    自说自画——当代实验艺术展

    开幕时间:2016-11-16 16:00:00

    开展时间:2016-11-16

    结束时间:2017-01-06

    展览地址:炼金术艺术空间(陕西省西安市咸宁西路云锦兴庆苑一楼)

    策展人:杨青青,李洋

    参展艺术家:李山,张永和,杨青青,徐国锋,康恺,王韦予,石翔宇,刘波伦,龚新如,白夜,田栎,王文聃,张耘,杨洋,王健,吕亮,查大维

    主办单位:上海升洋文化发展有限公司,炼金术艺术空间·西安

    展览介绍


      王尔徳说:我喜欢自言自语,因为这样节约时间,而且不会有人与我争论。
      上世纪五十年代是达芬奇,六十年代是金斯伯格,七十年代是马塞杜尚,八十年代是史蒂芬霍金。作为偶像,他们都有着神奇之处。史蒂芬霍金在制作数学模型时的细密思考和仰望夜空时对宇宙的随机阅读,都应该是艺术家所具备的基本素质。他拖着病残的身体上床的那一刻,想到“黑洞不黑”的情景,令人辛楚而又兴奋。九十年代进入偶像平民化的时代,艺术家们随着文化历史的推进,自觉或不自觉地行走在思想意识的最前沿。他们既是群体潮流的引领者,也是个体意识的吟唱者。
      文化艺术大语境变幻之下的艺术家自我表述,更加具有自发性,自立性,和自省性。处于艺术市场里的游离状态,并不表示作品对文化氛围的不介入,反而,这是一次更加纯粹的艺术家与艺术家之间的对话,艺术家与作品之间的对话,以及作品之间的对话。同一个空间里,艺术家们自说自画着,透析他们作品背后的形态,似乎有“生命”在蠕动。我们是否因为观看得太多而没有时间欣赏,描述得太多而没有时间思考?自说自画,是表述的一种状态;自说自画,是表述的一种态度;自说自画,是表述的一种反常态。艺术家发自内心的原声表述,是独白,是呐喊,是叫嚣……!历史终会将所有的最初的对立化解掉,待到那时,必将是一种妥协和宽容,必将是与创作者和观赏者的共荣。
      本次展览的参展作品,创作形式多样,创作语汇丰富,从视与听的多种角度表现艺术家对存在状态的解读,对现世的认知。而观众在视听冲击之下,除了会被各种经验因素干扰,也会被一知半解的导读而误导。只有直面艺术作品,充分感受心灵层面的交流,才能获得最原本的体验。观者与作品的对话,已经超越了艺术创作的掌控范围,既然无法规范,何不让艺术家放手而作,而我们一起与之“自说自画”?!
      ——杨青青李洋
      “自说自画展”集结了上海及西安本地的十几位艺术家的作品,其来自不同艺术家各自的新作或近期能够表示艺术家某种定型风格的作品,也许这就是策展人对这个展览如此命名的原因。我本来对展览名称中出现“实验”二字拟商榷,因现当代艺术在中国已经有三十年的历史了,目前在国际艺术界也似乎频见中国当代艺术亮相并具备了一定影响力。当代艺术在中国已经成为一种成熟的近乎经典的艺术样式,所谓实验性已式微。另一方面,从世界的角度来看,当代艺术几乎已经没有任何藩篱,它可以是任何东西或任何事物,每天无数个艺术家、策展人、画廊主、评论家都在翘盼新的艺术物种诞生,犹如时尚界的一场流行秀的开幕一般。当代艺术已经不具有实验的空间了。但是对于西安来说,我们恐怕还要演个前传,尽管在信息上我们离当代艺术并不遥远,可在现实发生的事实下,当代艺术的演进仍然是新锐并实验着的(尤其对一些个人而言)。
      “自说自画”虽然不是个主题鲜明的展览,它只是艺术家散件的集合,但是作品所呈现的气象却颇具当代性。这一点我们回顾一下现代艺术的“泛叙事”到现代主义之后的“社会叙事”,就可廓清它的样貌——我称其为“个人叙事”,从这点上来说“自说自画”到恰如其分。但是这里也有一个残酷的“文化丛林”法则,个人的破碎甚至于流水账的故事并不总能打动人,或拨动文化的敏感处。大多都流于老人般的令人瞌睡的往事唠叨,沦为一个人的喃喃独语?;蛐砦颐敲扛鋈硕枷M芙约旱墓适滦慈氩孔宓氖肥?,让一代代人传颂下去,但是每个人也要做好准备,你的作品只是对你自己的纪念,一种冠于艺术之名刷下存在感而已。而且时刻警醒着,被社会拉黑。那么或许还有一条路,艺术成为个人的自我治疗(不禁让我想起我家国王舔他的伤口),这样就有一条颇为文艺的路径,从卡缪(AlbertCamus)到科尔维诺(ItaloCalvino)再到博尔赫斯(JorgeLuisBorges),但他们只是自己乖离这个社会,并总是矫情地发些牢骚罢了。他们还真是放不下。这条路还有一个幽深的小径,密林阴暗深邃,那就是自然而然的、不为人知的吟唱。但滑稽的是如一则古老的预言:“如果密林深处有一颗树倒下了,没有人在场,这颗倒下的树会发出声音吗?”幸运的是,这个森林叫翁布罗萨,树上有个叫柯西莫的小子。
     ?。ū晏饨栌每贫敌∷怠妒魃系哪芯簟罚?br />   ——苏中秋
      关于空间展示的美作,不必赘述,我若多做巧饰便是剥夺你一见钟情的权利。昨天,她们可能还在中国的各个角落里,还在遥远的太平洋彼岸,今天,她们已在这里“各说各画”。她们都是艺术家的孩子,怀着真心,来到这世上等待,等那个懂的人,或许就是你。她们更是上帝的婴儿,拥抱纯净与美好的信仰,自由穿越于现在和未来。
      每一个凡夫俗子都有一颗自由的心灵,只要心似大海,怀抱美好与热情。我相信,只要灵魂自由,就可以漫步世间的任何一个角落。而那些美永远都在,还因了你的来到,我们结伴游荡于当代艺术的幻境。初心里,却是那所谓的情怀作祟。否则,你不会来。她们也不会从东到西,自南至北,一路招摇,随风穿行。从彩虹的那一端,落到这一端。。。
      初冬之晨,唇齿不语,心已沸腾。北国初冬的寒风,或许,已拂过你的面颊。而南国寒冬的雨,却还在窗外纷纷扰扰徘徊不移。请上天赐一个期许,来年,让我们再相遇!在生命里最美的春天,在蝉鸣不休的仲夏夜,在令人沉醉的金色深秋,哪怕又是一个大雪纷飞的洁白冬日,只要,那份心情还在。诚然,只愿你就是期许中,那个懂的人儿!
      美在长安,东风西进。各说各画,握手情在。
      ——出品人:晋杨
      Oscar Wilde had one of his characters announce "I liketo do all the talking myself. It saves time, and prevents arguments"thereby rendering attention to one's own importance of the self, albeit withhis unique brand of cutting cynicism. This  sharp focus on the role of theself has gone through various iterations over the decades since Wilde.
      In the50s of last century there was Da Vinci, the 60s saw Ginsberg, 70s had Duchamp,and in the 80s Stephen Hawking. All special figures in their respective fields,and each enlivening audiences with their unique appeal. WithStephen Hawking we had the production of mathematical models of fine thinkingthat helped underpin our knowledge of what we see as we gaze up at the nightsky. His influence in our understanding of the universe has fed a moreenlightened curiosity and spurred more exploration, both being fundamental qualitiesfor artists. The moment when he dragged his sick body to the bed, and reveledin the thoughts that the"black hole is not black" produced ascenario, that breeds intense emotions to evoke; excitement, revelation,sympathy. By the1990s we had begun to see the beginning of a new era, one in which social idolsblended with popular culture seamlessly. And with that there was an advancedcultural background consciously, or possibly unconsciously, walking in theforefront of our ideological consciousness.
      The newera has the public act not only as the leader of the group trends, but also asthe impetus for individual consciousness. Under the diverse cultural andartistic contextual atmosphere, artists express themselves more spontaneously,with self-reliance, and introspection. Concurrently we have seen that in thiscontext, being at the edge of the art market does not infer that works arebeyond the cultural atmosphere, but rather that there has been an attempt toforge a purer dialogue between artists, artists and works, and the discoursethat  thrives amid such works. In one same space, behind the art workform, there seems to be a "life" dancing vibrantly to its own rhythm.
      Do wehave too much to describe but no time to think? too much to watch but no timeto appreciate? EXPRESSION versus INTENTION, is a representation of one kind ofstatement, one kind of attitude of representation and abnormal expression. Theheart of the original sound representation is monologue, is shouting, is screaming...... !Time will eventually begin to dissolve all the initial opposition, butuntil then, it reaches a kind of compromise with tolerance. Consequently,creators and viewers reach a common plateau.
      The Artdisplayed at this exhibition reflect the creations that have been formed by avariety of languages, and which as a result are creating a rich vocabulary,from multiple angles of vision and auditory stimulation that were selected byeach of the artists to interpret modern norms. The visual impact for audienceswill be a major experiential factor, but it is an experience that risks beingdistorted by inconsequential reading. Far better to face these pieces directly,and embrace the full experience of the encounter, with the transcendence oftypical, static communication. In this way, through observation, we obtain themost authentic and original perception. This is a form of dialogue that occursbetween viewer and the work, and it goes well beyond the scope of control thatcan be set by anyone one observer. Since we can not regulate it, just let go ofthe need to curtail or control and in this way, we are curious to see howEXPRESSION versus INTENTION!
                                                          ——Yang Qingqing   CarolynLi
      Speaking Themselves andDrawing Themselves Exhibition gathered the works of more than a dozen artistsfrom Shanghai and Xi’an. These works are new or the artists’ particular style,and it might be the reason of the exhibition name. I was considering about the“Experimental” in exhibition name, for the modern and contemporary art alreadyhas 30 years history. Chinese contemporary art is often seen in internationalart world and has certain influence. Contemporary art has become a kind of artstyle which is mature and close to classic in China. The so-called experimentalhas declined. On the other hand, from the viewpoint of world, contemporary artalmost has no barrier, it can be anything. Numerous artists, curators,galleries and critics are looking for the birth of a new art species, like theopening of fashion show. Contemporary art no longer has the experimental space.But for Xi’an, I’mafraid we have to play a prequel. Although we are not far away fromcontemporary art on information, under the reality of the facts, the evolutionof contemporary art is still new and experimental (especially for someindividuals).
      Speaking Themselves andDrawing Themselves is not a thematic exhibition, only a collection of artists’,but the attitudes of works’ are quite contemporary. Reviewing the “Narrative”modern art and “Social Narrative” after modernism, its appearance is clear—— Icall it “Personal Narrative”. Speaking Themselves and Drawing Themselves isquite appropriate on this point. But there is also acruel “Cultural Jungle” law. Personal broken and meaningless story can notalways impress people or touch the sensitive area of culture. Most of them islike the old man’s nagging or someone’s mumbling to himself. Perhaps each of uswants to write down our own story into the tribe’s epic, and be famed bygenerations. But everyone should be prepared to know, your works are just foryour own memory, just a sense of presence with the name of art. You shouldremain vigilant to be forbidden by society. Then, there might hasanother way, art become personal self treatment (it makes me think the King, mydog, licks its wounds). So there is a quite artistic way, from Albert Camus toItalo Calvino, to Jorge Luis Borges. But it is themselves to different andcomplain the society. They just can not let it go.
      This way has a deeppath, the forest is dark and deep. It is the naturally and secretly sing. As anancient prophecy:”if there is a tree fell in the woods, nobody is there, didthe fallen tree make a sound?”
      Luckily, the forest isOmbrosa , the guy in the trees named Cosimo.
      (the title is inspiredby the Baron in the Trees of Corvino)                                                                                                                    ——Zhongqiu Su

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