“长空杨执浮通蜕嗯圆十普信卷在”
前言
咔咔，经过近几十年的酝酿，时值新中国成立六十二周年之际，这个“长空杨执浮通蜕嗯圆十普信卷在”十四人联展终于在杭州宋城展露。
十四位艺术家均出生和生活在中国，他们的艺术道路也分别是从中国美院出发的，但是，在他们各自所呈现的作品当中，无论从艺术语言还是自由的创作思想，我们都看不到那怕一丁点的学院派气息。确实，这十四位艺术家都基本没有被中国当代乃至西方的主流艺术所羁绊。虽然，他们在创作中时常借助西方现代艺术的技术技巧和艺术语境，可是，对于他们来说，艺术的本质是自由的特殊型的创造。而艺术的自由创新，意味着更严格的内在个体的实质内省。在我看来，他们的创作，虽各有其自在的实验和探索的方向，但共同之处，即新艺术的探究都在以历史的艺术经验作最大可能的消解艺术本体。这恰好也给我们呈现及提出了艺术的不可预知的无限之可能性。同时，我们也能清晰的看到：作为新艺术和个体灵性的融生，是这次十四人联展的出发点，也是今次近将几十年筹划的展览意义之所在，更是新中国新艺术的新希望。
展览命名行为：十四位参展艺术家在没有被具体告知的情况下，分别从0到13个数字中各自选一个号码，选定后，按其数字大小排出0，1，2，3，4，5，6，7，8，9，10，11，12，13。第二步，再由十四位艺术家各自选出一个自己喜欢的或有特殊意义的中文字，将十四个字分别嵌入之前的数字排列中“对号入字”，最终出现“长空杨执浮通蜕嗯圆十普信卷在”展览名称。
朵夫 2011.9.21
PREFACE
CHANG KONG YANG ZHI FU TONG TUI EN YUAN SHI PU XIN JUAN ZAI
Kaka. After decades of preparation, by the 62nd anniversary of the found of PRC, the 14 people group exhibition CHANG KONG YANG ZHI FU TONG TUI EN YUAN SHI PU XIN JUAN ZAI eventually unveiled in Hangzhou, all the fourteen artists are born and resident in China, their art road stretched from China Academy of Art, but in the works they each presents, neither in the artistic language nor from the creative idea could we perceive any bit of academic cliché. Indeed, the 14 artist haven’t been trammeled by the mainstream of modern Chinese and western art, though they occasionally take advantage of the technique skills and art context of modern western art. But for them, the essence of art is the creation with freedom and specialty. And the free innovation of art, means stricter virtually self-examination of inner individual.
In my views, their creation, though have their each direction of experiment and explore, but they share the same spirit of exploration for new art, to dispel the noumenon of art to the max extent by the historical art experience. This happens to present and raise the unforeseeable boundless possibility of art. Meanwhile, we can clearly see, the combination of new art and individual aspiration is the original intention of this group exhibition, also the meaning of this decade- preparation-exhibition, the new hope of new China and new art.
Action of name the exhibition:
Under the uninformed circumstance, the fourteen artists who take part in the exhibition each chose a number from 0，1，2，3，4，5，6，7，8，9，10，11，12，13. Then sequence them from low to high. Second, each of the 14 artists chose a Chinese character they like or treasure, and fills it to the former number sequence. Consequently came out the exhibition name CHANG KONG YANG ZHI FU TONG TUI EN YUAN SHI PU XIN JUAN ZAI.
Duo Fu 2011.9.21
“On a knifes head”——“在刀尖”
When 95 years ago the writer Hugo Ball poked a knife into a book, and the knifes head stopped at the word dada, the international group of artists decided to choose Dada as their name and as their artist `s movement denomination.
Though by art history this genesis is sometimes doubted, for me this story, if true or not, makes sense and underlines their radical decision. It was their will to show the difference to previous groups and art-movements. Dada was defined by the change of motivation, to do art. They wanted to show the world their skepticism, and the destruction of increasingly tightened ideals and norms of the time. Through absolute individualism, the movement tried to change the common artistic values of the time, by capturing happenings, paintings and writings in a random way. The group`s artists would always insist that their movement is undefinable.
And as Hugo Ball expressed, "For us, art is not an end in itself ... but it is an opportunity for the true perception and criticism of the times we live in."
Today, I am a university lecturer, and in discourse with art students at the China Academy of Art`s international department of the CDK – (CDK is the Chinesisch-Deutsche-Kunstakademie – a joint venture of the China Academy of Art and the University of Arts in Berlin), I have been asked by the exhibition organizers to write about the project and their work.
The question of how these 14 art-students foregathered/got together seems to me the most important issue of the exhibition – looking at the artists as an exhibition`s necessary raw material. Their motivation and power seem as similar as the 95 year old thinking of Dada, not in the manner of working randomly but through:
The democratic idea is to include all positions from the second year students of the CDK who want to participate in the show; despite the usual practice to make “content exhibitions”,
“theme parks” and normally being able to exhibit when you use “applied thinking”.
To have the chance to use the opportunities and infrastructure of an academy, such as the renowned China Academy of Arts, (over 80 years old) and to do such a project at the right time in the right place is an outstanding experience. By infrastructure I mean, to be fortunate to know and to trust each colleague for the past one and a half years, it is no surprise, that the idea evolved to show together.
In this project, the context of German, European and Western influences are discussed and often interfere with the different cultural values, influencing the student`s own position.
The students talked about how the idea was born to make this exhibition.
They said: We liked the fact that
-- We all are colleagues and want to show our diversity.
-- We make a choice of works which are not the principal elaborate ones, we choose those emerging from experiments; the more flexible and lapidary ones.
--We organize this exhibition, ourselves: nobody tells us what to do, or gives us a topic we have to obey to.
In my opinion, these are very good reasons: not to have a topic, or theme, or any external influences – just the idea of showing individual works and presenting them in a clear room, so that their works talk to the spectators, in their own chosen artistic-language.
At this point I want to express my gratitude to the “Community Art Space” in Hangzhou who understood the idea, offered their amenities to the students for free and gave them the opportunity to self-organize the whole exhibition.
THE ARTISTS
The group consists of 14 heterogeneous Fine-Art-Students, with different experiences, coming from provinces all-around China, yet from the same one country and culture.
Twelve of the fourteen artists are from the painting department of the CDK, including one former graduate and two students from the third year. The other two second-year-students come from the media department.
Looking for a leitmotif in their oeuvres is a most appealing issue. Is there a main common focus in their works? How differently does each individual create one’s work? I try to point how they look at the human being/their personal life, in balance with today`s Chinese society.
However, it would be deficient, not to present the protagonists, and emphasize the details and differences of their work, by showing their unique approach and individual mindsets.
Tao Siqi concentrates in her large sized watercolors on single forms painting (live-necessary)- organs, separated from the rest of the body. She sometimes transforms them into, almost abstract ornaments speaking in a poetic language.
---A more severe vocabulary we can discover in Gao Muxing, often, dark heavy bodied oil colors on canvas, where she seems to introduce one to a poetic but enigmatic world of inner tensions, affiliated to body-organ-animal like forms;
---While Chang Zai paintings are abstract and seem to unveil inner aggressiveness and pressure, transforming human feelings, using oils to create strongly colored painterly and rhythmical abstract structures.
---The simple bare “look out of the window” of Wang Zhen catch today`s urban reality, and Long Han`s small sized drawings of portraits capture specific children faces, where they seem to be calm documentalists of the daily life; whereas, Xu Xinwu`s human figures in the small watercolors disappear in the environment and give the impression of being landscape and figure, all at once.
---The symbol of a single cross drawn permutatively and repetitively with an ink pencil in a seemingly infinite way represents Duo Fu`s strong belief; For Yang Chaofan, the black structural forms made out of pigments and by a poring process of color are symbols for breathing in and out to an inner stage of contemplation; Jiang Cheng shows a frightened individual looking for help in his yellow stained like watercolors – all three artists defining themselves and the work`s aim through different kinds of religious believes.
---A loud and very colorful language we see in Zhang Yuanyuan small canvases painted with acrylics, reminds us of plastic wrappings lost on a geometrical tiled floor, as in Yang Jie`s color-exploding interiors, drawn with markers, we think of pop-art theater sets. In both`s work we are reminded of the loud appearance of our commercialized society.
---Digging in the usually last very dark layer of oil color, Zou Dian excavates well prepared colorful structures in the underneath layers of his paintings to attract the viewer to round forms reminding us of the ancient round Tulou buildings in Fujian and we think of different social and cohabitant relationships as those of the Hakka people.
---Last but not least I would like to present both artist`s works from the media department.
Jiang Chen`s animation “anaesthetize” is playing in a brain, where he underlines by strong acoustical and visual irritations the aftervisions remaining or torturing our consciousness and our memory.
---Jin Qi presents in his work “Room,” with 3D digital tools, a constructed image. In the profound and cavernous image he places all kinds of small objects in this room, with great care, meticulous details, the light and portrays the not visible person even more precisely than if existent. In the past he used the same method to portray all kinds of machines.
The exciting discourse between the works will hopefully give proof of an energetic, self-confident generation of artists, who are not anymore creating for simple and striking art, as recent artists from China so often did.
Because the majority of the artists in this exhibition are painters I also want to encourage them to think of their chosen medium by quoting one of Paul Virilio`s thoughts on the differences between painting and media art:
“The painter brings in, despite to the photographer, who hawks with his camera, his body and his gesture. The photographer is not engaging his body, not with regard to an interpretation, meanwhile the painter with his very sophisticated machinery, is the machinery itself.”
Is it only a challenge to make a group exhibition? No, it seems to me more like a study,
a necessary plan, for a group, itself to experience the different artistic approaches and how each artist’s work will communicate to each other. It is the main idea of the “Academia”, or of Humboldt`s library, to express or define, where knowledge develops, where ideas are exchanged, that groups work together and individual experiences are shared for a higher goal or purpose, with an accessible, research environment within reach.
This first exhibition could become a valuable undertaking for both, the exhibitors and the public.
I hope that the power of their project will exceed the usual quality of “students exhibitions”, and that the idea to exhibit in this constellation, will continue for many years. I wish the students and young artists the best luck, good and fruitful contacts, an interested and questioning public and that their artistic plans will come to their intended fulfillment
Filip Zorzor, Hangzhou 2011.09.24
在刀尖
95年前，作家Hugo Ball将尖刀插入一本书中，刀尖刚好落在“达达”一词上，于是一个由多国艺术家组成的团体决定以“达达”为他们和他们的艺术运动流派命名。
尽管在艺术史上这个起源事件常会受到质疑，但对我来说，无论这个故事是真是伪，都是有意义的，并且暗示了他们的根本观点。与之前的团体和艺术运动相区别是他们的意愿。艺术创作动机的变化是界定达达的标志。他们希望向世界展示他们的批判性以及对于日趋加紧的理想与规范的消解。这一运动试图以绝对的个人主义，通过获取随机的事件，绘画和写作改变当时一般艺术家的价值。这一艺术家团体一直坚称他们的运动是无法界定的。
就像Hugo Ball所言：“对于我们，艺术不是它自身的终结，而是真实的感知和批判我们所生活的时代的一个机会。”
如今我是一位大学老师，在中国美术学院CDK任教（CDK是中国美术学院和柏林艺术大学合作办学的中德学院）。这次展览的组织者请我为这一计划和他们的作品写些文字。
对于我来说，这十四位艺术学生是如何聚集组织在一起的是这次展览最重要的问题——将这些艺术家看作是一个展览的必要天然素材，他们的动机以及力量和95年前达达的思考很相似，并不刻意却又从头至尾都是随机性的工作方式。
所有CDK二年级希望参与这次展览的学生都可以民主的表达立场。尽管通常的实践是“固定内容展”或“主题公园”式的，并且在实用性思考下才得以展出。
有机会利用一个学院的契机和基础，尤其是像中国美院这样著名的学院（超过80年的历史），并且在正确的时间和地点实施这样一个计划是极佳的经历。我说的基础是指，在过去的一年半中有幸结识和信任每一个同仁，难怪想法中会包括集体展览。
在这一计划中，德国，欧洲和西方的环境影响被讨论并且与不同的文化价值观相激荡。影响着学生们自己的立场。
学生这样谈论这次展览的想法是如何产生的。他们说，我们喜欢这样的事实：
－我们都是同仁并且愿意展示我们的多样性。
－我们选择作品时精致的作品并不是首选，我们选择那些由实验萌发，更加灵活而俐落的作品。
－我们自己组织这次展览，没有人告诉我们怎样做或者给我们一个必须遵守的主题。
在我看来，这些都是没有话题、主题或者外在影响的极佳理由——仅仅是一个展示个人作品并把它们放置在一个明亮空间中的想法，这样，他们的作品就会用自己的艺术语言与观者对话。
在这里我想表达我对杭州“共同体艺术空间”的感谢，他们理解这一想法，无私的为学生提供帮助并且给了他们自己组织整个展览的机会。
艺术家：
这一团体混合十四名纯艺术类学生，各自有着不同的经历，来自全中国各个省份但都有着同样的祖国和文化背景。
十四名艺术家中的十二人都来自CDK自由绘画系，包括一名已经毕业的和两位三年级的学生。其他两位二年级学生来自多媒体系。
从他们的全部作品中寻得一个主旨是最有吸引力的话题。他们的作品中有一个主要的共有的中心吗？每个个体创作的作品差别有多大？我试图从中看到他们如何看待人类以及他们的个人生活，并且与当今的中国社会达到平衡。
然而，不去呈现主要人物，而以表现其独特的方式和个体思想形式来强调细节和他们作品的差别，也会有缺点。
陶思琪专注于她大尺幅的水彩画，单一形式的与身体其它部分分离的器官，她有时也以诗化的语言将它们转化为几乎抽象的装饰。
从高牧星的作品中我们可以寻得一种更为严肃的语汇。通常是在布面上阴郁厚重的油彩，似乎是想将人引入一个诗意且神秘的，有内在张力的世界，隶属于身体器官动物化的形式。
常在的绘画则是抽象的像是在揭示着内在的野心和压力，将人的情感变形，用油来产生强烈的色彩和有节奏感的抽象结构。
王桢简单的“望向窗外”抓住了如今都市的现实。龙晗小幅的肖像绘画专门抓取孩子的面孔，他们像是日常生活中冷静的记录者。而徐新武小幅的水墨人物消隐在环境中，给人以风景和人物融为一体的印象。
用一只墨水笔序列而重复的画一个简单的十字符号似乎是朵夫表达他强烈信仰的永恒方式。对于杨超凡，颜料组成的黑色结构性形状和点彩画法是内心冥想呼吸的标志。姜琤展示了黄色沾染的水彩中一个恐惧的个体在寻求帮助——这三位艺术家都是在不同的宗教信仰中界定自己和自己的作品。
张媛圆的小幅丙烯画中有着响亮而斑斓的语言，使我们想起几何形的瓷砖地面上丢弃的塑料包装。如杨洁马克笔绘成的色彩爆炸内容，我们则会想起波普艺术的舞台布景。这两位的作品中我们都能联想到我们商业化社会的喧华表象。
中意于通常非常暗的油彩层，周典在他绘画的底层发掘色彩结构，来吸引观者注意到圆形的形式，使我们想起福建土楼建筑，并想到客家人与众不同的社会和群居关系。
最后我想介绍多媒体系两位艺术家的作品。蒋辰的动画“麻醉”是在大脑中进行，强调了强烈的听觉和视觉痛楚感，持续并折磨我们的感知和神经。金祺的作品“房间”采用了3D技术建立图像。在大而深的图像中他将各种小物件放置在这个房间中。以极小心而一丝不苟的细节中，描绘了一个比存在更真实的不可见的人物。过去他曾用相同的方式来展现不同的机械。
这些令人激动的作品中极有希望是一代有活力而自信的艺术家出现的证明。他们不再像近来的中国艺术家那样创作简单的有冲击力的艺术。因为这次展览中的绝大多数艺术家也是我希望鼓励他们选择自己的媒介的，引用Paul Virilio关于绘画和媒体艺术区别的思考：“尽管摄影师带着相机和他的身体，他的姿态游荡，画家才是得到收获的人。摄影师并不吸引他自身，也不需要阐释。而画家通过他极其精确的机械性，才是真正的机械性。”
办一个集体展览仅仅是挑战么？不，在我看来这更像是学习，一个必要的计划，对于一个团体来说，是体验不同的艺术途径和艺术家各自的作品如何相互交流。这就是“学院”
，或Humbold图书馆的主旨——去表达和界定，知识意见交换发展，团体工作和个人经验分享是为了一个更高的目标，并以力所能及的可行研究氛围来实现。这个首展将是对展览者和公众都极为珍贵的实践。
我希望他们计划的力量会超越普通水平的学生展，并且进行展示的想法在这群杰出艺术家中会持续下去。我祝学生们和年轻的艺术家们好运，保持良好而有活力的交往，有感兴趣而且好奇的公众群，并且他们的艺术计划会成为他们的成就。
Filip Zorzor 2011-9-25于杭州
