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太和·展览 | 自由的尺度(第五回)——中国当代水墨走向欧洲

1已有 473 次阅读  2018-06-02 10:32



自由的尺度(第五回) 

—— 中国当代水墨走向欧洲

BOUNDARY OF FREEDOM · FIFTH ROUND

——CHINESE CONTEMPORARY INK TOWARDS EUROPE


展览开放:2018年06月02日~07月02日

Dates:2018.06.02~ 2018.07.02


VIP 酒会:2018年06月02日 18:30(特雷维索)

Vip reception:2018.06.02 06:30pm (TREVISO)


主办:意大利卡萨雷斯博物馆

Sponsor:casa dei carraresi, Italy


承办:太和艺术空间

Organizer:Tai He Art Gallery


协办:库艺术;卡萨马尔卡基金会;在艺app

Co-organizer:kuArt, fondazione casamarca, Zai-art


出品人:贾廷峰(中)

Producer:Jia Tingfeng (cn)


学术主持:王春辰(中)

Academic director:Wang Chunchen(cn)


策展人:阿德里亚诺·马达罗(意)

Curator:Adriano Madaro (Ita)


执行策展人:阎玉婷(中)

Executive curator:Yan Yuting (cn)


参观地址:卡萨雷斯博物馆,33.31100特雷维索, Italy

 Location:casa dei carraresi,33.31100 TREVISO, Italy


参展艺术家(按姓氏笔画排名):

王冬龄、王秋人、王舒野、田黎明、白明、刘知白、刘巨德、刘子建、刘邓、岛子、杨键、佘文涛、邱振中、陈光武、张大我、李永波、吴家骅、周韶华、茅小浪、郑连杰、侯拙吾、侯珊瑚、钟跃英、姬子、贾西贝娃、黑鬼、鲍蓓、樊洲

Artists(in the order of thenumber of strokes in the surnames):Wang Dongling,Wang Qiuren,Wang Shuye,Tian Liming,Bai Ming,Liu Zhibai,Liu Jude,Liu Zijian,Liu Deng,Dao Zi,Yang Jian,She Wentao,Qiu Zhenzhong,Chen Guangwu,Zhang Dawo,Li Yongbo,Wu Jiahua,Zhou Shaohua,Mao Xiaolang,Zheng Lianjie,Hou Zhuowu,Hou Shanhu,Zhong Yueying,Ji Zi,Jia Xibeiwa,The Dark Ghost,Bao Pei,Fan Zhou




自由的尺度(节选)

文/ 王春辰


Boundaryof Freedom 

WangChunchen

在21世纪的艺术流变中,我们回望东方,瞭望世界,水墨不再孤立,不再被诅咒束缚,它开始日渐凸显内蕴的意义——自由的生命才是价值,而生命之自由才能创造自由的水墨,维系着水墨艺术的生命根基。基于此,我们策划了四次《自由的尺度——中国当代水墨艺术》,它们分别在巴塞尔、美洲、亚洲巡展,向国内外观众展示中国的当代水墨,使得国内国际观众深为震撼,让他们看到了当代水墨的卓越成果,展现了其非凡的美学特质、语言表现及观念探索。


今天,我们再次策划《自由的尺度(第五回)——中国当代水墨艺术走向欧洲》,持续向同样拥有悠久艺术历史的意大利观众来展示来自东方的特殊艺术,展示一种完全不同于古典中国画的艺术,它的独特性可以说是国际艺术景观世界中的新大陆,它将打破人们对传统水墨艺术的认识,为当代艺术的内在丰富性增添新的元素。通过这二十几位艺术家的作品,让我们看到历史的叙事结构可以有另外的逻辑,在我们熟悉的视觉经验之外,还有这样富有创造性的艺术存在。我们是希望通过广泛展示这些中国当代水墨艺术来与国际艺术界对话和交流,以艺术家的个体创造来揭示中国当代社会与人的价值关联,以此来探索一种具有历史基因的艺术如何在全球化时代里演变着、如何再生着,更重要的是通过观看这些当代水墨作品来感悟中国的文化定义、来探究人本主义的中国文化。


With the developments in art in the twenty-first century, we looked back to the East, while keeping an eye on the world. Ink is no longer isolated, no longer cursed; it has begun to reveal its intrinsic meaning—only then is the freedom of life valued. Only the freedom of life can create the freedom of ink, maintaining a living foundation for ink art. Based on this, we have curated four editions of “Boundary of Freedom: Chinese Contemporary Ink,” which have traveled to Basel, America, and Asia, bringing Chinese contemporary ink to audiences in China and abroad. Viewers from around the world have been amazed by the wonderful products of contemporary ink and their extraordinary aesthetic qualities, linguistic expressions, and conceptual explorations.


We have now curated the fifth edition of “Boundary of Freedom,” subtitled “Chinese Contemporary Ink Towards Europe.” We are presenting a distinctly Eastern art, but one that is entirely different from classical Chinese painting, to the Italian public, a people with a similarly long artistic history. The unique quality of this exhibition could be considered anew territory in the spectacular world of international art; it will break with people’s understanding of traditional ink art, adding new elements to the inherent richness of contemporary art. Through the work of these two dozenartists, we see that the narrative structures of history can take on anotherlogic; there is a richly creative artistic existence outside of our familiarvisual experience. We hope to engage in dialogue with international art through the wide exhibition of Chinese contemporary ink art. We have used the individual creations of these artists to reveal the relationship between Chinese contemporary society and Chinese people, exploring how an art form with a long history can evolve and regenerate in an era of globalization. More importantly,through these contemporary ink works, viewers will come to appreciate China’s cultural position and explore human-centric ideas in Chinese culture.


 /


传统的现代性(节选)

文/ 阿德里亚诺·马达罗

Modernitàdella Tradizione

Adriano Madaro


中国传统水墨艺术的魅力之处在于隐逸难测之中,而在中国的当下艺术语境中,这是一个逐渐被遗忘的概念。然而在中国遥远的古代绘画中,这种隐逸难测的,类似于中国人所说的 “尽在不言中”的表达方式像是一种灵魂的书写,呈现出中国艺术独有的表达方式。


中国传统水墨在我看来是一种介于黑与白之间的艺术,情感的表达是细腻的,而“当代性”更像在黑白之间微泛的色彩,以自豪的 “仪式”重新回归并让大批的艺术家们对此充满激情。他们从北宋 (907-1127) 的伟大的绘画传统中重新开始,但是通过现代体验过滤, 也就是把当今已经“变化”了的曾经的 “传统”向前推进, 几乎是追随着属于古典中国的世界。


大部分中国现代艺术家正在试验着,并且以此次在特雷维索的展览作为他们在西方社会的首次亮相来展示他们的前卫的艺术。这是中国现代和未来与过去的一个结合,从不可改变的沉重的传统中吸取了针对未来进行实验的敏捷性和热情。

 

La grande virtùdella tradizionale pittura cinese con gli inchiostri è l’ermetismo, concettosconosciuto in Cina. Eppure fin dai tempi lontani l’arte pittorica del CelesteImpero si è espressa attraverso l’essenzialità e perfino l’allusione, il “dettoe non detto”, come in una sorta di calligrafiadell’anima.    


Oggi quella pittura fatta di noncolore e di sentimenti appena accennati, mai pienamente rivelati, torna con“riti” di orgogliosa appropriazione ad appassionare folte schiere di artisti.Essi ripartono dalla grande tradizione pittorica dei Song settentrionali(907-1127) ma filtrandola attraverso le esperienze moderne, ovvero proiettandoin avanti quella che fu una “tradizione” ed oggi è divenuta una “metamorfosi”nella contemporaneità.


La sperimentazione che di questi tempi staaffrontando buona parte degli artisti cinesi contemporanei, e che fanno il lorodebutto in Occidente con la mostra di Treviso, testimonia il lavoro diavanguardia. Essa riconcilia la Cina moderna e del futuro con quella delpassato, più remoto che recente, e trae dalla pesante eredità di una tradizioneimmutabile l’agilità e l’entusiasmo della sperimentazione rivolta ai tempi cheverranno.


 /


太和艺术空间董事长贾廷峰专访(节选)

An exclusiveinterview with Mr. Jia Tingfeng, producer and board director of Taihe ArtGallery   


植根于中国古老文明内部;汲取世界艺术的养分;具有针对当下的人文关怀;个人独创性的艺术DNA。这四者,缺一不可。只有如此才可能将中国的艺术推向未来。那么,何谓“中国文明”?这一点众说纷纭,在我看来主要包括这几个方面:一是道家思想与“天人合一”的自然观、逍遥精神,这么说好像很老套,但中国的文化确实跟自然非常接近;再就是佛教中国化的集大成者——禅宗,中国禅宗无疑是世界的珍贵文化遗产。再加上这两者与经典儒家思想的不断碰撞及与世界其他文明交融优化的能力,这就是中国文明能够提供于当下艺术创造的资源与营养。


实际上,随着全球一体化的进程,东西方的艺术成果可以共享。历史上西方艺术家从东方拿走很多东西,现在更像是你中有我,我中有你,只不过每个艺术家自身的DNA和取舍不同。至于说水墨能否“领先”世界,这在现在还是不可能的,我们只是去做好自己份内的一点点,能做多少做多少。至于更大的目标,需要全社会的努力,国家的力量,几代人的积累,我只能算是一个布道者。


Deep-rooted in the Chinese time-honored civilization; absorbing the nutrient of world art; having the humanistic care against the contemporary; the personal original art DNA. Each of these four is indispensable. Only by doing so, can we boost Chinese art to the future. Then, what is “Chinese civilization”? There are numerous opinions on it. In my opinion, it chiefly includes the following aspects: 1) The nature outlook and leisurely spirit ofTaoism and “the unity of the man and heaven”. This seems very stereotyped.However, Chinese culture is indeed very close to the nature. The next is the epitome of the chinization of Buddhism - Zen. Chinese Zen is no doubt valuable cultural heritage of the world. Plus the ability of the two to continuously collide with classic Buddhist thought and mingle and optimize with other civilizations of the world. This is exactly the resources and nutrition that Chinese civilization can provide the contemporary art creation. 


As a matter of fact, in the process of global integration, the orientaland Western art achievements can be shared. In the history, Western artists took away a lot of things from the Orient. Now, the oriental art and Westernart share some common elements, although different artists have different DNA sand selections. It is impossible for ink painting to take the lead in the world now. We only do a little of what we are supposed to do. A loftier ideal entails the effort of the entire society, the national power, the accumulation of several generations. I am nothing but a sermonizer.  


 /


文明的链接与对话(节选)

文/ 阎玉婷

Civilized links and dialogue

Yan Yuting 

《自由的尺度》第五回与意大利卡萨雷斯博物馆的合作代表着中意精神与文明的一次碰撞与现代链接。凝练过的中国当代水墨艺术陈列在卡萨雷斯博物馆这座13世纪的古堡建筑之中具有一种穿越时间、历史、中西地域文明的对撞力。值得一提的是,博物馆的部分展厅保留了西方古代壁画的遗迹,中国的卷轴式作品悬挂其间,水墨与斑驳陆离的壁画残像之间似乎产生了一种精神能量的交换。


此次在卡萨雷斯博物馆的展览同时让我体验到另外一层意义,西方古典主义的艺术与建筑通过严谨的透视学与结构学观念展现着一种理想的、完美理想式的古典尺度,而中国的水墨艺术安静的陈列其中,像是在西方严谨的体系中一笔肆意的落墨,经由内在向外释放出独特的张力与情绪,形成一种文明之间的再度连接与对话。


希望此次展览通过中西方艺术基因的共振与交感体验,再度激活人们有关自由与尺度的深度思考,以中国水墨精神所独有的自由生命力,以及艺术家传达的一种精神的游牧方式让更多的人心中怀有变幻莫测的大千世界,以个体的体悟与表达思考太初有一的“太和”之道。


The cooperation between “The 5th Round of Boundary of Freedom” and CASA DEI CARRARESI museum represents a crash between Chinese and Italian spirit, civilization and modernity connection. When Chinese contemporary ink artworks are displayed in CARRARESI museum, which is anancient castle in thirteenth century, it has strength through time, history and regional civilization of China and the West. What deserves to be mentioned the most is that part of the exhibition halls in this museum have kept the remains of the ancient Western mural paintings. When Chinese scrolled paintings are hanging with it, there seems to be a certain kind of mental energy and communication between ink paintings and the variegated murals. 


Meanwhile, this exhibition in CARRARASI museum lets mefeels other kind of meaning. The art and building of the western classicalism shows an ideal, perfect classic boundary through strict perspective and the concept of structure. When Chinese ink artworks are displaying with them peacefully, it is like ink drops into the strict system of western culture recklessly, and then formed a reconnection and conversation between these civilizations that shows unique tension and emotion from the inside.


I hope that this exhibition will active people’s deep thinking about free and boundary through the resonance and sympathetic experience of Chinese and Western art genes. With the unique free vitality ofthe Chinese ink spirit and a spiritual nomadic way conveyed by the artist, more people could have an unpredictable world in their heart. People could think about the way of "Taihe" at the beginning of individual's understanding and expression.





部分展览作品

A part of exhibition works



刘知白 洗马印象 纸本水墨

Liu Zhibai  The View of Xima  Ink on Paper  69×138cm


姬子 星云天机 纸本水墨

Ji Zi  Star Secret   Ink on Paper 184×146cm  


周韶华 大漠浩歌——开发准噶尔 纸本水墨

Zhou Shaohua  Great Songs of the Desert: A Campaign in the Gurbantunggut Desert   Ink on Paper 247×123cm



张大我  生命玄线027 纸本水墨

Zhang Dawo  Life Archeline027  Ink on Paper  88×177cm


王冬龄 乱书·韦庄诗·江雨霏霏 纸本水墨

Wang Dongling  Messy Calligraphy·Poem of Wen Zhuang·Heavy Rain  Ink on Paper 97×180cm


吴家骅 水墨日志3 纸本水墨

Wu Jiahua  Number3  Ink on Paper 70×138cm


刘巨德 骆驼草 纸本水墨设色

Liu Jude  Camel Grass  Ink and Color on Paper 69×139cm


邱振中 人物2 纸本水墨

Qiu Zhenzhong  Character No.2  Ink on Paper 35.4×45.3cm


樊洲 深水静流 纸本水墨

Fan Zhou  Deep waters run quietly  Ink on Paper  370x145cm


田黎明 都市男孩 纸本设色

Tian Liming  City Boy  Ink and Color on Paper  139×69cm


刘子建 石墨镌华18 宣纸水墨

Liu Zijian  Graphite Engrave China18  Ink and Color on Paper  200×120cm


岛子 裹尸布上没有口袋 纸本设色

Dao Zi  There are no pockets on the shroud  Ink and Color on Paper 300×147cm


黑鬼 水墨思维系列  硬质纸水墨

Wu Guoquan   Ink Thinking  Chinese Ink on Paperboard  90×119cm


茅小浪 草虬 非宣水墨

Mao Xiaolang  Wilderness Dragon  Non-Rice Paper Ink  96×135cm


钟跃英 冥想 纸本水墨

Zhong Yueying  Meditation  Ink on Paper  235x235cm


鲍蓓 一个人要抬头多少次,才能昂望到星空 纸上综合材料

Bao Pei  How many times could a man see the stars by looking up to the sky  Mixed Media on Paper  240×122cm


侯珊瑚 态象系列TW1616 纸本水墨

Hou Shanhu  Dynamic & Phenomenon seriesTW1616  Ink on Paper  180×96cm


郑连杰 布鲁克林的脸 水墨、丙烯

Zheng Lianjie  Face of Brooklyn  Ink on Paper  130×254cm


王舒野 时空祼体·即(117) 墨、朱墨、麻纸

Wang Shuye  Space-time Nude·Identical(117)  Chinese Ink on Jute paper  114×83cm


白明 天河峡江 纸本水墨

Bai Ming  Sky River and Conyon  Ink on Paper  98×198cm


王秋人 丁酉·云山系列 纸本设色

Wang Qiuren  Ding You·Cloud and Mountain Series No.2  Color on Paper  205×70cm


李永波 捕风捉影·印在光里的三字 纸本水墨

Li Yongbo  Terton of Wind and Shadow Three Seed Syllables Stamped inside the Light   Ink on Paper 143×75cm


陈光武  摹写王羲之 纸本水墨

Chen Guangwu  Facsimile Wang Xizhi  Ink on Paper  364×144cm


杨键 钵  纸本水墨

Yang Jian  Alms Bowl  Ink on Paper  120×86cm


侯拙吾 幻像 木板上狼毒草紙、水墨

Hou Zhuowu  Phantom  Wolfsbane Paper and Ink on Wood Block  96.5×66cm×3


智吉(佘文涛) 残荷 宣纸水墨

She Wentao  Broken Lotus  Ink on Paper  146×142.5cm


刘邓 泰一Ⅱ 纸本设色

Liu Deng  Aplomb一Ⅱ  Propene Colour on Leather Paper  221×215cm


贾西贝娃 魑魅魍魉之一 纸本铅笔

Jia Xibeiwa  魑魅魍魉Series No.1  Roller Ball Pen on Paper  152.5×70cm



展览现场

On Exhibition

































关于卡萨雷斯博物馆

About casa dei carraresi



策展人 Adriano Madaro阿德里亚诺·马达罗与意大利卡萨雷斯博物馆


卡萨雷斯博物馆是一栋十三世纪遗留古堡建筑,最初属于意大利北部贵族达卡莱拉家族。博物馆内依然保留了古典的壁画,并于上世纪60年代由卡萨马尔基金会支持正式成立卡萨雷斯博物馆。成为特莱维索地区的文化艺术核心,多年来举办过各类大型国际艺术展览。


卡萨雷斯博物馆作为意大利排名前三的博物馆,一直关注于中国文化的挖掘与传播,曾组织展出大型中国文化项目,历经十余年时间陆续举办秦、汉、唐、宋、元、明、清、西藏等主题的大型专题学术展览,馆长阿德里亚诺·马达罗是个中国通,从70年代开始访问中国,迄今访问达203次。特雷维索市也是意大利知名企业贝纳通所在地。



展览“自由的尺度·第五回——中国当代水墨走向欧洲”举办之际,太和艺术空间携手《库艺术》共同策划、推出同名专题大型画册,以个案研究的方式将每位参展艺术家的访谈、自述以及代表作品收入其中,以便观众能全方位地了解艺术家的学养背景、艺术立场和创作观念。

“自由的尺度”中国当代水墨邀请展,是太和艺术空间创始人贾廷峰先生耗时九年所打造的极富学术价值的品牌展览,其系列巡展已先后在世界各地举办五届,参展艺术家上百位,参展作品近千件,系统梳理了中国当代水墨的历史脉络、现实境遇及未来走向,基本囊括了该领域内最具实验性和东方精神的创作动态,已然成为中国当代水墨具有“风向标”意义的较高水准展览。



大型画册《自由的尺度·第五回:中国当代水墨走向欧洲》现已同步发行!

  • 以中国当代水墨为核心,系统梳理其历史脉络、现实境遇及未来走向

  • 一本具有较高的学术价值的大型文献图书

  • 收录中国最富代表性的28位当代水墨艺术家的作品与自述

  • 以独家访谈的特殊视角重新解读中国当代水墨的现代性问题

  • 中英双语呈现,多地区同步发售

  • 400多页彩色高清特种纸印刷






《自由的尺度·第五回:中国当代水墨走向欧洲》


出版发行:江西美术出版社

开本:787x1092mm 

字数:150千字

页码:400页


 售价:280 RMB 

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