复象的幽灵
2015-05-26 16:44:02    | keywords: 艺术  雕塑  装置  绘画  展览 
复象的幽灵
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展讯
展览时间 Duration | 2015.05.17 – 06.14
展览地点 Venue | 上海市普陀区莫干山路50号6号楼101 玉衡艺术中心
Room 101,Building 6,No. 50 Moganshan Road, Putuo District,Shanghai Alioth Art Center
开幕时间 Opening | 2015.05.17 4pm
策展人 Curator | 鲁明军 Lu Mingjun
 
参展艺术家 Artists
白砥 Bai Di / 陈侗 Chen Tong / 陈彧凡 Chen Yufan / 陈彧君 Chen Yujun / 董文胜 Dong Wensheng / 姜吉安 Jiang Ji`an / 李舜 Li Shun / 梁硕 Liang Shuo / 潘汶汛 Pan Wenxun / 潘小荣 Pan Xiaorong / 王豪 Wang Hao / 魏青吉 Wei Qingji / 吴俊勇 Wu Junyong / 萧亢 Xiao Kang / 余极 Yu Ji / 张洁白 Zhang Jiebai
附 Attached:《小城之春》(费穆作品) Spring in a Small Town, Fei Mu
 
 
玉衡艺术中心即将于5月17日推出新展——“复象的幽灵”。此次展览特邀著名策展人、评论家鲁明军担任策展人,集合了17位当代艺术家的绘画、雕塑、装置、录像等多种媒介形式的作品。展览基于形式的、现实的、文人的等艺术史线索,以一种交叉、缠绕和重叠的关系,探索一种可能的艺术机制:复象。
 
复象来自法国戏剧家翁托南·阿铎(Antonin Artaud)的残酷戏剧理论。阿铎认为,当演员运用情感时,必须将自己作为一个复象。在这里,复象就是一个被赋予了演员形貌和感性的幽灵。真正的剧场就是在这个复象上运作的。当然,艺术家作为演员似乎不是什么新鲜的说法,但是作为“演员”的艺术家在实践中是如何运用自身、面对作品,进而型塑主体的,依然是一个值得探讨的话题。
 
复象不是一种方法,也不是一种现象的描述。我们可以泛泛地认为,艺术家的创作本身就是一种自我的复象,也可以说后者才是最真实的,但我们更关心的是他们是如何复象的,以及其中经验的差异、主体的分离等。按照阿铎的说法,复象是一种自我再造。在这里,它或许是一种形式、图像的反复、重复,也可能是一种媒介—价值层面上的回复、回应,但在根本意义上,它是不可抵达目的或根本就没有目的的一种无止境的主体性建构。自20世纪至今,形式的、现实的及文人的等“艺术史”的复象就像幽灵一般如影随形、无所不在,并构成了一个又一个歧异的历史场域和主体性话语生态。
 
此次展览将持续到6月14日并将于开幕当日上午特别举办以“重复、反复、回复……以及复象——多视角的观察和思考”为主题的学术工作坊活动,邀请6位不同领域的专家学者共同探讨和挖掘此次展览的学术价值与内涵。

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白砥《孟浩然诗 》
Bai Di 《Poem by Meng Haoran》
 
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董文胜《伟大的秘密不在这》
Dong Wensheng 《The Great Secret is Not Here》
 
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姜吉安《手卷》
Jiang Ji`an 《Hand-rolled》
 
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李舜《无题》
Li sun《Sibelius portrait》
 
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潘小荣《2014-53》
Pan Xiaorong《2014-53》

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吴俊勇《树上的渔夫》
Wu Junyong 《树上的渔夫》

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肖克刚《斗牛士》
Xiao Kegang《 Matador 》 

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余极《忽北切-33》
Yu Ji 《Nothing to Black-33》
 
Alioth Art Center has the honor to announce that a new exhibition named The Spectres in the Double Shadow will be held on May 17. We specially invite the famous curator and commenter Lu Mingjun as the Curator. The exhibition gathers works of different forms of media by 17 contemporary artists including paintings, sculptures, installation and video. The exhibition is based on clues of art history of proforma,realistic and literati, and on a relation of crossover, interact and overlap,exploring a possible art mechanism: double images.
 
The idea of double images is originated from Theatre of Cruelty theory by French playwright Antonin Artaud. Artaud believes that when an actor employs his emotions, he must take himself as his double. And herewith,his double is a specter given the actor’s appearance and emotions. A real theatre is operated on these double images. It is of course not a news that anactor is an artist, however, it is still a topic worthy of discussing that how an artist employs himself and confronts works of art in practice, and further shapes the object, as an actor.
 
Doubling images is neither means nor a kind of description of phenomena. We can generally believe that the creation of artists itself is a kind of double images, or we can say that the latter is more real. However,what concerns us most is how they are doubling, and differences of experience and detachment from the main body herein. According to what Artard believed,double images is a recreation of selves. Herewith, it might be a repetition of forms and images; it might also be a response to a kind of media on some level of value, but essentially, it is an endless subjectivity which is not accessible or with no destination at all. So far since 20th century,double images of art history of profoma, reality and literati are shadowing and ubiquitous, constructing several peculiar history settings and subjectivity discourse ecology.
 
This exhibition will be open until June 14, and on the opening day, an academic fair will be held, with a theme of“Copy, Repetition, Response…and Double Images—Observation and Consideration from Different Points of Views”, and six expert scholars from different fields are invited to discuss and dig the academic inner value of this exhibition.


 

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