【聚焦】时间之镜—首届重庆国际实验影像双年展 之「特别计划」

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原标题:【聚焦】时间之镜—首届重庆国际实验影像双年展 之「特别计划」

首届重庆国际实验影像双年展之特别计划

Special Project of "Time Mirror - The First Chongqing International Experimental Visual Art(photograph&video)Biennale (2018-2019 Huangjueping)"

策展前言

Curatory Preface

如说艺术极珍贵,必由是它极尽体现了人之根本尊严——无需理由的自在。它同源于世界、宇宙、时空的无尽;同源于天、地、万物的不二。人知其为人的思行纵有万千,旦及自在者,人喜以艺术冠之。

When we say art is extremely precious, it must be that it fully reflects the fundamental dignity of human beings - Existence without any additional reason. It is homologous to the endlessness of the world, the universe, time and space; it is homologous to the heavens, the earth, and all the objects in human history. As human beings, there might be thousands of thoughts and behaviors, and for those what are enjoying their freedom, they are always crowned with art.

如说艺术无极限,必由是它的超经验与非线性,今日得称——超链接。无生有、一至万、点及面中——“生”“至”“及”,于艺术超验逻辑而言是刹那、是永续、是瞬至、亦是寂灭,而非日常时空经验的生发、移动、反复。由是从一无到所有,艺术之体,超验自由,万象纵横,大道曲径,各有春秋。

When we say art has no limits, it must be its super-experience and non-linearity, today it would be called —— “Hyperlink”. From nothing to everything, from one to countless, from a point to all surfaces —— “to be someone”become “to being as one”. For the transcendental logic of art, it is not the daily growth, movement, and repetition of time and space, but instant, everlasting, transience and nirvana. Just due to the process from birth to live, art itself can surpass freedom to show that all manifestations of nature are so different and all have their own merits.

如说艺术有价值,必由是它处众生之间,且可知会分离的两端,一端是作者,一端是观者;一端启,一端发;一端是感鸣,一端是知音;一端源,一端流;一端起意,一端生境;一端本,一端末......从无生有,始一至万,由点及面。如此解释,是为助人方便,容易见一始终,观一因果,得一见识,由是驳杂变得简明,由是思想成为路径,亦同时,世界由此化为路边风景。这是人类书写时空为历史的逻辑路径,艺术之路亦如是。路在世界中,修路人自知,行路人不觉,路人看出去是修路人的视界,是非世界,亦非时空。

When we say art is valuable, it must be between the beings, and it can be known that the two ends are separated. One end is the author and the other is the viewer; one end is the opening and the other is the beginning; one end is the cause of voice, the other is the sense of understanding; one end is the source, the other is the flow; one end is the intention, the other is the conception; one end is the essence, the other is the appearance ...It is from nothing to everything, from one to countless, and from a point to all surfaces. This explanation makes it much easier for people to see a simple timelines as a beginning goes a end, effect follows cause, insight makes experience, thus, mixture becomes concise and thoughts become a path. At the same time, the world has turned into a roadside scenery. This is the logical path for human beings to write time and space as history, and so it is with the road of art. The path is just go through the world. The path-founders know path is path,world still world,but the passers-by couldn’t follow that, they see the world as landscape vision of the path-founders, not as time and space, but right and wrong.

如说艺术是路径,路有广狭,径有曲直,移步换景,视随界变,心随相生。百年以降,始于以镜为媒介,至于以镜为眼界;始于以镜载时空,至于以镜造时空;始于以影像现事实,至于以影像为事实;始于以镜观时空,至于以镜观镜。影像之路,始于修路人,至于行路人,由“镜”转“境”,由一道生万径,进而化为风景,尤现艺术转化时空的魔力。

When we say art is the path, we know that the path could be wide or narrow, straight or curve. As the step is changed, the view changes with the sight, so does people's heart. It has been hundreds of years that people have seen the world through the lens. It begins with the lens witnessing time and space, and ends up with it creating time and space. It begins with images showing fact, and ends up with images being fact. It begins with observing time and space through lens, and ends up with observing the lens through lens. The path of image begins from path-founders to the passers-by, from "lens" to "environment", from a path to thousands of roads, and then it is transformed into a landscape, which extremely shows the magic of art transforming time and space.

去年,“时空之镜”于庙堂问大道,溯镜之由;今天,特别计划于民间入曲径,现镜之境,邀三五贤人,访野庐,见境之广。

Last year, the "Time Mirror" showed itself to the world and tracked the source of lens’s as an art history . Today, the special project is set in the path of the folk, in the real environment of the lens. We tend to invite you to visit the wild, and see the vast territory.

—— 曾途

Tu zeng

特别计划基本信息

Special Project Basic Information

特别计划邀请了唐勇、王远凌、罗振鸿&崔付利、董勋&吴剑平、胡燕子、耿直&姜灏桥&王皖玓六组作为分策展人,他们秉持“在地的全球化,在场的当代性”的宗旨,针对黄桷坪艺术社区的现场组织在地创作,以当代艺术和当代文化中影像意识介入为出发点,形成六个既有独立性又有关联性的艺术现场个案。特别计划单元有别于传统美术馆白盒子空间的展览,既是说一次展览又可以说一次艺术活动,在不同的社区空间,不同的时间区段,呈现不同的艺术思维方式。

The special project invited six groups, including Yong Tang , Yuanling Wang , Zhenhong Luo & Fuli Cui , Xun Dong & Jianping Wu ,Yanzi Hu , Zhi Geng& Haoqiao Jiang & Wandi Wang as thesub-curators, who uphold the purpose of"local globalization" and "present contemporaneity" to organizean on-site creationfor the Huangjueping art community. based on the intervention of image consciousness in contemporary art and contemporary culture, six art scenes which are bothindependent and relatedare formed. The special project unit is different from the exhibition of the white box space of the traditional art museum. It is an exhibition and an art event. It presents different artistic ways of thinking in different community spaces and different time sections.

项目说明

Project instruction

此项目以交通茶馆作为艺术实践的现场,从年轻艺术家的视觉与思维出发,利用新技术和新材料在新的语境中重构时间、记忆与日常现实的关系,并在新的关系中让身体获得超越现实的感知体验。进而使我们以另外的逻辑去思考、定义历史之于现在和未来的价值与意义。

This project takes the Traffic Teahouse as the scene of artistic practice, starting from the vision and thinking of young artists, using new technologies and new materials to reconstruct the relationship among time, memory and daily reality in a new context, and let the body gains a perceptual experience that transcends reality in a new relationship. In turn, we use other logics to think and define the value and meaning of history in the present and thefuture.

项目的核心,是强调身体对日常现实的介入,强化新技术、新材料基础上所具有的新方法和新思维。对现场的打破不是对原有空间场域和物质形态的重建,而是在不改变原有状态的基础上,由新技术而引发身体对日常经验的超越。

The core of the project is to emphasize the body's intervention in daily reality and to strengthen new methods and new thinking based on new technologies and new materials. The breaking of the field is not the reconstruction of the original space field and material form, but that on the basis of not changing the original state, the new technology causes the body to transcend the daily experience.

此项目将在拥有三十多年历史,但风貌保存原始、完整的黄桷坪网红打卡地“交通茶馆”内部创作并展出,呈现来自四川美术学院雕塑系九位青年艺术家的五组作品,作品分别是:《平行时空》、《人来人往》、《剥离》、《水底世界》、《洄游》。

This project will be created and exhibited in the network popular “Traffic Teahouse” which has more than 30 years of history, but preserves the original and complete Huangjueping scene. It presents nine young artists from the Sculpture Department of Sichuan Fine Arts Institute. The five works are: “Concurrent Space” “People are passing to and fro” “Stripping” “Underwater World” and “Migration”.

项目说明

Project instruction

本次展览植根于首届重庆国际实验影像双年展 。故而关于影像的实验,应有更加大胆与新颖的尝试。

This exhibition is rooted in The First Chongqing International Experimental Visual Art(photograph&video)Biennale. Therefore, experiments on images should be more daring and novel.

在黄桷坪丰富的生态下去构建一个实验性的艺术展览,怎么去突破重庆在地性展览与当地的融合,怎么突破正在消逝的和正在发生的现场融合,“新”与“旧”的碰撞,都是本次展览在思考和尝试的。

To build an experimental art exhibition in Huangjueping's rich ecology, we have to think about and try on how to break through the integration of Chongqing's exhibitions and the locals, how to break through the scenes that have disappeared and are happening, as well as the collision of the "new" and "old".

黄桷坪因着衣食住行各个方面产生着交集。故我们选择“衣”作为媒介,用经典的影像作品和服装的做法,将文字与图像等文献资料设计到服装上面,衣服就是移动的展览内容载体,跟着穿着的人在空间中流动,在不同时间出没的人中,在时间上流动,此特别展部分让展览内容在时间和空间中流动起来,在流动中呈现你在当下看到的黄桷坪的有可知亦未可知的一部分。

Huangjueping has an intersection due to various aspects of clothing, food, housing and transportation. Therefore, we choose “clothing” as the medium, and use the traditional video works and clothing practices to design texts and images into the clothing. The clothes are the mobile display content carriers, and the people who wear them flow in the space. People who show up in different time flow in time. This special exhibition part allows the exhibition content to flow in time and space. In the flow, it shows the known and unknown part of Huangjueping that you see at present.

注意吧!展览期间,或许,那个与你擦身而过的黄桷坪大叔身上,就带着你前来观看的展览内容。

Just pay attention. During the exhibition, perhaps the man who passed you by at Huangjueping, is the man who takes the exhibition content that you come here to watch.

项目说明

Project instruction:

《一切都还来得及》是由坐落在本届双年展开展地黄桷坪的在地机构HE基地为组织主体、由罗振鸿和崔付利作为策展主体,策划并实施的展览,方案在这里创作的同时,作品最终的展陈地点也为HE基地。这里不仅有军工厂、电厂、火车站、货运码头等工业文明社会的典型记忆,也有像农村集市、农民工成群等乡土时代的遗影,同样也能发现国际艺术家驻留的身影。黄桷坪艺术生态的真实性和现场性就是当今文化的一个缩影,在“世界的黄桷坪”的文化现场,以及坚持十余年的HE基地空间现场,我们究竟要呈现和解决哪些具体的问题,我想这是整个展览的重点,也同样是一个起点,一切都还来得及。

"Everything is still in time" is an exhibition organized and implemented by the local organization HE base located in Huangjueping, the place wher the Biennale is held. The exhibition is planned and implemented by Zhenhong Luo and Fuli Cui. The final exhibition location of the work is also the HE base. There are not only typical memories of industrial civilizations such as military factories, power plants, railway stations, and cargo terminals, but also portraits of rural areas such as rural markets and migrant workers. It is also possible to find the presence of international artists. The authenticity and on-the-spot nature of Huangjueping's art ecology is a microcosm of today's culture. In the cultural scene of the “World's Huangjueping” and the scene of the HE base space that has been in existence for more than ten years, what specific problems should we present and solve? I think this is the focus of the entire exhibition, which is also a starting point that everything is still in time.

《一切都还来得及》将呈现20多组艺术家的作品,敬请期待!

"Everything is still available" will present more than 20 art works from artists, stay tuned!

项目说明

Project instruction

这次董勋、吴剑平策划的在地性艺术项目《重演》,发生和展示地点在黄桷坪喜马拉雅书店和军哥书屋,及两者之间的街道。项目的主题是重演,回忆是重演,存档也是重演。重演不是重复,而是书写与差异,重演是第一存留(感受)、第二存留(记忆)、第三存留(影像)交织在一起。我们不预测未来,不模拟现实,过去一切不完美的,伤痛的,美好的都被档案化。当一切太清楚,生活也就没有了动力,水清则无鱼,我们的最大的生产力是会爱,会犯错,我们可以怀念过去、迷茫当下、担忧未来。

The local art project "Reenactment" planned by Xun Dong and Jianping Wu is held at the Huangjueping Himalayan Bookstore and Junge Bookhouse, and the street between the two. The theme of the project is replay, memory is a replay, and the archive is a replay. Replay is not a repetition, but a writing and a difference. The replay is the first persistence (feeling), the second persistence (memory), and the third persistence (image). We don't predict the future or simulate reality, but we archive everything imperfect, hurtful, and beautiful in the past. Because when everything is too clear, there will be no motivation in life. One should not demand absolute purity. Our greatest productivity is that we can love, make mistakes, miss the past, be lost to the present and worry about the future.

《重演》项目的参与者从艺术家、到当地居民,从中老年人到儿童,场地从本届双年展实践区域的最左侧山上的“喜马拉雅书店”,到最右侧江边的“军哥书屋”,内容从图片影像展陈到儿童科技工作坊等,期待你的加入。

Participants in the "Reenactment" project ranged from artists to local residents, from middle-aged and elderly to children. The venue was from the "Himalayan Bookstore" on the far left mountain in the practice area of this Biennale, to the "Junge Bookhouse" on the far right side of the river. The content varies from photo exhibitions to children's technology workshops, etc. We are looking forward to your joining.

项目说明

Project instruction

本版块题目为“镜中民间---想象的共同体”,由艺术家群体和黄桷坪当地居民合作创作作品,讨论技术进步引发的全民生产时代的影像景观。

The title of this section is “Folk in the Mirror – the community of imagination”. The artists and the local residents of Huangjueping collaborate to create works to discuss the image landscape caused by technological progress in the era of universal production.

技术变革带来了社会现场的极速变化。这个世界的真实性在技术浪潮的冲击中,被重新构建。智能手机已经成为“人类的一个新器官”,影像创作不再只是专业人的特权,举起手机,拍摄生活早已成为每个人的日常。海量的图像影像被生产出来充斥在网络端。

Technological change has brought about a rapid evolution of the social scene. The authenticity of the world was rebuilt in the lash of the technological wave. Smartphones have become "a new organ of human beings". Image creation is no longer just the privilege of professionals. Lifting mobile phones and shooting life has become a daily routine for everyone. Massive images are produced and flood the network.

这些民间影像来源于生活中,生产者是普通人,传播路径是网络自媒体,呈现了世界的丰富性和复杂性,以及这个时代的群体面貌。而被大量点击率推上热点的短视频内容,事实上是观众群体对民间的主观“想象”。本版块希望籍此讨论,全民影像生产中,影像生产行为对生产者自我认知、群体面貌的塑造。

These folk images are sourced in life, whose producers are ordinary people, and the transmission path is the network from the media, presenting the richness and complexity of the world, as well as the group appearance of this era. The short video content that is pushed to the hot spot by a large number of click-through rates is in fact the subjective "imagination" of the audience to the folk. This section hopes to discuss the construction of the image production behavior to the self-cognition of the producers and the shaping of the group in the production of national images.

本版块中,由12位艺术家与黄桷坪居民组成的在地创作小组,将会以手机作为工具,围绕“想象的共同体”展开短视频创作。街头广告车和抖音快手等自媒体平台将会是艺术家们无处不在的展厅。

In this section, a local creative team composed of 12 artists and Huangjueping residents will use mobile phones as a tool to start short video creations around the “imaginary community”. Street advertising vehicles and self-media platforms such Tik-Tok and Kuaishou will be the ubiquitous exhibition halls for artists.

项目说明

Project instruction:

商店不是个好东西,在“交换”中,都有中间商赚差价。

想象力不是个好东西,它使得你每一次的“交换”都心满意足,至少你是这么以为的。

艺术不是个好东西,黄桷坪因为艺术成为了绝版孤品。

艺术家更不是什么好东西,他们通过激发你的想象力,把黄桷坪存在过的证明给卖了,还赚了一波差价。一举几得?三得。

不服气?Imaging商店,3月31日,开业大吉,欢迎光临,任意选购。

你,愿意拿什么来“交换”?

The store is not a good thing. In the "exchange", there are always intermediaries who earn differential prices.

Imagination is not a good thing. It makes your every "exchange" satisfying, at least you think so.

Art is not a good thing. Huang Yiping has become an out-of-print orphan because of art.

The artists are definitely not a good thing. They stimulated your imagination and sold the certificate that Huangjueping had existed, and earned differential prices. How many things did they win? Three.

Not convinced? The Imaging Store, opened on March 31, welcomes you and your purchases.

What are you willing to take to "exchange"?

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