Art works 作品

Systems of organisation 机构的系统

Ehsan Ul Haq 伊山·尤哈克 Systems of organisation 机构的系统 mix media 混合媒介 3rd Ural Industrial Biennale 第三届乌拉尔双年展 2015 ＊photo by Ehsan Ul Haq
Ehsan Ul Haq 伊山·尤哈克 Systems of organisation 机构的系统 mix media 混合媒介 3rd Ural Industrial Biennale 第三届乌拉尔双年展 2015 ＊photo by Ehsan Ul Haq
Ehsan Ul Haq 伊山·尤哈克 Systems of organisation 机构的系统 mix media 混合媒介 3rd Ural Industrial Biennale 第三届乌拉尔双年展 2015 ＊photo by Ehsan Ul Haq
Ehsan Ul Haq 伊山·尤哈克 Systems of organisation 机构的系统 mix media 混合媒介 3rd Ural Industrial Biennale 第三届乌拉尔双年展 2015 ＊photo by Ehsan Ul Haq
Ehsan Ul Haq 伊山·尤哈克 Systems of organisation 机构的系统 mix media 混合媒介 3rd Ural Industrial Biennale 第三届乌拉尔双年展 2015 ＊photo by Ehsan Ul Haq
Ehsan Ul Haq 伊山·尤哈克 Systems of organisation 机构的系统 mix media 混合媒介 3rd Ural Industrial Biennale 第三届乌拉尔双年展 2015 ＊photo by Ehsan Ul Haq
Ehsan Ul Haq 伊山·尤哈克 Systems of organisation 机构的系统 mix media 混合媒介 3rd Ural Industrial Biennale 第三届乌拉尔双年展 2015 ＊photo by Ehsan Ul Haq

Ehsan Ul Haq 伊山·尤哈克

Systems of organisation 机构的系统

mix media 混合媒介

3rd Ural Industrial Biennale 第三届乌拉尔双年展

2015

＊photo by Ehsan Ul Haq

 

＊Ehsan准备了一只鹅和一个沙丘，但是最终未能实施。Ehsan将这看作是一个他更加投入进行创作的起点，Ehsan的工作和很多艺术家一样来自对限制的挑战本身，并探索综合日常物件所带来的美感，他尤其喜欢动物和人共处的空间，并在概念上将两者位置互换，承认动物的自然，承认人的失败。Ehsan的视角和艺术创作将为观者带来一种视觉上和感受上的惊喜，因为他的工作通常是非常接近生活现实种最易碎的部分，而又能表现出一种诗人般的气质。——李振华

Art works 作品

乌拉尔/行为 Ural / Performance

乌拉尔/行为 Ural / Performance 颜磊 Yan Lei 乌拉尔工业双年展 Ural Industrial Biennale 2015 *摄影：九口走召 Photo by 9mouth
乌拉尔/行为 Ural / Performance
颜磊 Yan Lei
乌拉尔工业双年展 Ural Industrial Biennale
2015
*摄影：九口走召 Photo by 9mouth

颜磊——哥萨克骑兵

颜磊的項目是根据脑子里的哥萨克的概念中的图像形成的，这个概念通过委托李振华安排实施，并执行项目的制作：十来个哥萨克骑兵集中在一个六平米的房间里舞弄着马刀，这些哥萨克人同时做出的动作和马刀之间以及磕撞墙壁的声音，会传出这个空间，与展览现场的空间构成了一种空间和能量关系的不匹配。

项目的执行，通过策展人李振华的理解，哥萨克人舞刀的现场，空间局促，刀受到空间的限制。哥萨克人在回避限制的时候，在墙壁和窗台留下刀痕。几个哥萨克人共处一室，刀锋上下盘旋，最终与颜磊需要的图像一致，这一语境被年轻的哥萨克人激动的神情和自然的表演所取代。这个作品是一个来自表演者和被委托人实施的。这与颜磊在之前网络世界，或人与人的交流中，敏锐的发现图像一致。——李振华

… 乌拉尔/行为 Ural / Performance

text 文本

伊利亚·卡巴科夫：装置可以拯救绘画

Artists and friends at Ilya Kabakov’s studio, (l–r): Sergei Letov, George Kiesewalter, Ilya Kabakov, Josef Backshtein, and Dmitri Prigov. (courtesy of Ilya and Emilia Kabakov)
Artists and friends at Ilya Kabakov’s studio, (l–r): Sergei Letov, George Kiesewalter, Ilya Kabakov, Josef Backshtein, and Dmitri Prigov. (courtesy of Ilya and Emilia Kabakov)

与罗伯特·斯托尔的访谈

译/杨帆 胡震

与罗伯特•斯托尔（纽约现代艺术博物馆绘画和雕塑部策展人）的访谈（1994年）曾发表于纽约《美国艺术》杂志（1995年1月，pp.60-9和125），这里摘录的是该访谈的结束部分（pp.68、69和125）。

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text 文本

置身于装置之中

文/伊利亚•卡巴科夫

译/杨帆 胡震

伊利亚·卡巴科夫（Ilya Kabakov），1933年出生于乌克兰，1957年作为一名平面设计师毕业于莫斯科苏里科夫美术学院，随后他以儿童书籍插画家的身份开始正式的职业生涯。然而，在映照苏联社会的镜厅中，一切看似真实的东西皆非原本面貌，由此而言，卡巴科夫也是一位非官方的前卫艺术家。他最初受西方艺术运动的影响，如超现实主义和抽象表现主义 (至少在荒诞性和个人主义这两方面影响突出)，后来又和埃里克•布拉托夫（Eric Bulatov）、维塔利·柯玛（Vitali Komar）和亚历山大·梅拉米德（Alexander Melamid）等艺术家们一道，在1960年代出现的观念艺术的影响下，他们的创作开始摆脱对西方现代主义去语境化的效仿，转向对苏联官方文化形式特征的反思。70年代早期，卡巴科夫凭借其作为一名插画家的经验进行绘本专辑的制作，其中不乏传说中“非官方”艺术家故事的讲述，实际上是把前卫作为主题和探险的开端。卡巴科夫还创作混合视觉和字码的大型“绘画性”（painting-like works)作品，同时恶搞抽象艺术，矛头直指苏联文化现实。当“重建”和“开放”(改革开放政策)理念在苏联产生影响时, 卡巴科夫开始在国外展出作品，并于1988年移居西方。从那以后他的作品主要由取材于苏联社会崩溃前的生活为主题的大型装置组成。也许是为了强化这已然发生的改变，1993年卡巴科夫代表俄罗斯参加了威尼斯双年展。

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text 文本

卡巴科夫与艺术家的“理想国”

文/张未

 

就好像美国人在拥抱索尔仁尼琴时，只能在他对美国无情的辱骂声中掩住自己的耳朵一样，卡巴科夫也是一个被当代艺术史无限误读的怪物。当然，不一样的是，卡巴科夫比索尔仁尼琴所显露的民族主义更狡黠、也更加深刻。他的作品扑面而来的理想与超验主义的气息都超越了简单的意识形态归类法则，从而使得当下美式的泛政治化的解读变得越发困难。于是，评论家与策展人们就必须扯断卡巴科夫的腰带，让艺术家原本就不打算谈论的那些问题，强行的呈现在人们眼前，误导着观众来理解卡巴科夫所表达的伟大理念。

是时候扔掉我们长年叼着的意识形态奶嘴了——当我们从英美学术系统捧回了一些看似有效的方法，却又在本土问题意识的解读中屡屡犯错时，如何超越简单对立的陈词滥调，并接续我们自己的艺术传统，已经成为一个亟待解决的问题。卡巴科夫在上海艺术博物馆（PSA）的本次展览，正好为我们在艺术史中重新梳理马克思的共产主义与列宁的社会主义之间的差别做出了重要铺垫，也为更深入的理解20世纪观念艺术的诞生史提供了做出回应的可能。 … 卡巴科夫与艺术家的“理想国”

crisis of now 现实的危机

“When Attitudes Become Form” at Kunsthalle Bern, 1969

Artists: Carl Andre, Giovanni Anselmo, Richard Artschwager, Thomas Bang, Jared Bark, Robert Barry, Joseph Beuys, Alighiero Boetti, Mel Bochner, Marinus Boezem, Bill Bollinger, Michael Buthe, Pier Paolo Calzolari, Paul Cotton, Hanne Darboven, Walter de Maria, Jan Dibbets, Ger van Elk, Rafael Ferrer, Barry Flanagan, Ted Glass, Hans Haacke, Michael Heizer, Eva Hesse, Douglas Huebler, Paolo Icaro, Alain Jacquet, Neil Jenney, Stephen Kaltenbach, Jo Ann Kaplan, Edward Kienholz, Yves Klein, Joseph Kosuth, Jannis Kounellis, Gary B. Kuehn, Sol LeWitt, Bernd Lohaus, Richard Long, Roelof Louw, Bruce McLean, David Medalla, Mario Merz, Robert Morris, Bruce Nauman, Claes Oldenburg, Dennis Oppenheim, Panamarenko, Pino Pascali, Paul Pechter, Michelangelo Pistoletto, Emilio Prini, Markus Raetz, Allen Ruppersberg, Reiner Ruthenbeck, Robert Ryman, Frederick Lane Sandback, Alan Saret, Sarkis, Jean-Frédéric Schnyder, Richard Serra, Robert Smithson, Keith Sonnier, Richard Tuttle, Frank Lincoln Viner, Franz Erhard Walther, William G. Wegman, Lawrence Weiner, William T. Wiley, Gilberto Zorio … “When Attitudes Become Form” at Kunsthalle Bern, 1969

Art works 作品

Power

Salla Tykka

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Power

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1999, 16 mm film / video, 4 min 15 sec

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Two persons are boxing, a young woman without a shirt and a big man. The black and white image and the timeless space make the atmosphere dream like though the hard action and sounds refer to real life and pain. Power is a statement against the power relations in our society but it can be seen as a symbolic battle for life and surveying through it.

… Power

supporter 支持者

Tang Contemporary 当代唐人艺术中心

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Since 2000 Tang Contemporary Art has been promoting Chinese contemporary art to Chinese and international audiences.  Acting as one of the most progressive and critically driven exhibition spaces in China, Tang Contemporary Art showcases some of the leading key figures in Chinese art such as Wang Du, Yang Jiechang, Sun Yuan & Peng Yu, Yan Lei, Lin Yilin, Liu Xiaodong, as well as collaborating with international renowned artists such as Rirkrit Tiravanija and Navin Rawanchaikul. The gallery strives to initiate dialogue between artists and institutions working both locally and internationally.
In the past decade, ground breaking exhibitions have earned Tang Contemporary Art significant recognition in China, and has established its status as a pioneer of the bourgeoning art scene in Asia. With three locations in Beijing, Bangkok, and Hong Kong, Tang Contemporary Art is fully committed to promoting local and international art, as well as encouraging the dynamic exchange between Chinese artists and those abroad.

… Tang Contemporary 当代唐人艺术中心

supporter 支持者

艺术客 Scope Art

《scope 艺术客》定位为一本以全新角度打造的优质艺术读物。在这里，我们讨论艺术能够带来的一切价值。艺术可以为精神提供栖息地，为财富提供增长点，为精神生活带来愉悦的体验，艺术是离生活最近的哲学，艺术系统好似一台构造精密的永动机。未来，我们将与艺术系统同步，与读者分享专业艺术作者对艺术机制、艺术市场最新动态、艺术机构发展现状、展览、艺术新趋势的独到解读，与顶尖艺术收藏者共享收藏心得，为新晋艺术消费者提供贴心的收藏指南，为艺术爱好者提供一份视角多元的视觉读本。 … 艺术客 Scope Art

crisis of now 现实的危机

Is Time an Illusion?

Is Time an Illusion?
The concepts of time and change may emerge from a universe that, at root, is utterly static
By Craig Callender | May 1, 2010
As you read this sentence, you probably think that this moment—right now—is what is happening. The present moment feels special. It is real. However much you may remember the past or anticipate the future, you live in the present. Of course, the moment during which you read that sentence is no longer happening. This one is. In other words, it feels as though time flows, in the sense that the present is constantly updating itself. We have a deep intuition that the future is open until it becomes present and that the past is fixed. As time flows, this structure of fixed past, immediate present and open future gets carried forward in time. This structure is built into our language, thought and behavior. How we live our lives hangs on it.
CONTINUE READING English Version
时间是幻觉吗？ 中文译文阅读
supporter 支持者

Chronus Art Center 新时线媒体艺术中心

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www.chronusartcenter.org

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Established in 2013, Chronus Art Center (CAC) is China’s first nonprofit art organization dedicated to the presentation, research / creation and scholarship of media art. CAC with its exhibitions, residency-oriented fellowships, lectures and workshop programs and through its archiving and publishing initiatives, creates a multifaceted and vibrant platform for the discourse, production and dissemination of media art in a global context. CAC is positioned to advance artistic innovation and cultural awareness by critically engaging with media technologies that are transforming and reshaping contemporary experiences. … Chronus Art Center 新时线媒体艺术中心

Art works 作品

pic-me

Marc Lee

http://www.pic-me.com/

Pic-me invites you to virtually fly to the locations from where users send randomly selected posts to Instagram, thus creating another view on how the media handles posts on social networks. One might describe these posts – images or short videos accompanied by comments, tags and geolocalization – as a kind of digital small talk or personal conversation. Different than face to face conversations, these fleeting thoughts are accumulated and archived by governments, corporations, and research institutes and then transformed into everlasting stories as well. We can’t tell yet, what the consequences of archiving these often personal and emotional posts are in the long run.

The work by Marc Lee makes us think about the properties of the digital realm and what happens to the data that is generated by people all over the globe. The project, available online at http://www.picme. com, can be shown as an installation, in an interactive form.

Text by Sabine Himmelsbach

supporter 支持者

NUOART

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http://www.nuoart.com/

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NUOART艺术诺亚位于北京黄金艺术区798艺术园内，是一家专门推介中国当代艺术，拥有 300 平米专业化展厅，融商业运作、学术研讨、国际交流为 一体的专业艺术机构。
NUOART致力于挖掘推广和代理收藏当代中国优秀的艺术作品。在国内外艺术品市场，NUOART 都拥有成功的国际 标准化运作经验，为专业机构和私人藏家提供专业的服务。 … NUOART

supporter 支持者

Dima Liu Xuan 刘铉

Independent Film Maker, Producer

Born in 1976, Graduated from Moscow Film Academy

Since 1999 back to China, film and produced several documentary, music video, commercial and experimental films, also work as producer and director for international film and TV series. … Dima Liu Xuan 刘铉

Art works 作品

Untitled: Archive (migration ) 无题：文献（迁移）

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http://www.knutasdam.net/

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Untitled: Archive (migration), consists of a large body of images taken from an organic, growing archive collected from books, the Internet and other publicly accessible sources. It started as a way to look at how migration has been represented in images over the last couple of centuries, in order to work on the building-up of scenes in Åsdam’s films; but it grew and took on its own syntax and logic. The material ranges from the obvious and explanatory to images that are more surprising or tangential and associative. As the archive grew it gained a sub-theme of adaptation to change. An interrelationship among the pictures, presented independently of their original contexts, is formed where connections, similarities and differences arise across their varied origins. A snapshot cross-section of the recent history of change, conflict, the dramatic and the mundane — often within the same images.

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无题：文献（迁移），是Knut选择的一个项目，这个项目涉及到3000张以上的图片，艺术家强调了选择这些图片的意义，以及那些图片可能解释其思考节点，如同一个巨大云图，几乎涉及了诸多今天关于文化、宗教、政治的冲突现场，而艺术家仅仅是提供这些图像吗？他将这些看作历史的重要时刻来保藏——特别响；特别近。这可能是认识伤痛以及共享情感现实的方式，当这些图片成为覆盖、阻挡视线的障碍时，也许会让人思考，现实是什么？我在哪里？所有这些图像都伴随着搜索引擎，提供了更复杂的关于迁移这一概念，计算机和行为方式的收集整理，也正在形成超越人类创造词汇的知识边界，Knut将这一情况呈现，如同一个有着网瘾的人，希望持续的通过这些图像激发思考关于现实社会的潜在危机或想象力。——李振华

Art works 作品

Trilogy by Chris Paul Daniels

Daniels presents three short sequences documenting the specific viewpoints from hotel rooms where he stayed in Hong Kong, Chongqing and Macau.

These films attempt to process the rapid movements and energies from the immediate environments briefly observed by the artist.

The frenetic action of the metropolitan spaces rapidly shifts between day and night and expose the scale of the collective habitats within view. … Trilogy by Chris Paul Daniels

quotations 引言

Zen for Internet

Com&Com

Zen for Internet,

2014

Boredom, materiality, nothingness, silence, time, trace

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Zen for Internet was conceived by Swiss artists Marcus Gossolt and Johannes M. Hedinger, who form the collective Com&Com. Using the iconography of the internet and computer, the work features an endlessly rotating “loading wheel” on a white background. Typically, the “loading wheel” is a temporary, in-between state before the fully loaded image appears. Zen for Internet, however, indefinitely freezes the in-between-ness; the final image never arrives. The artists conceived of this work existing in a variety of media: as a website, www.zen-net.org, a thirty-minute video, a painting, or as various types of merchandise including prints and t-shirts. In addition to appropriating the themes of time and boredom from Paik’s Zen for Film, Zen for Internet  can “authentically” exist in a variety of media rather than as a single instantiation, alluding to the multiple existences of Zen for Film.

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text contributor 文本提供者

Sun Qidong 孙啟栋

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Sun Qidong, works and lives in Shanghai. Assistant Director of Exhibition Department of Shanghai 21 Century Minsheng Art Museum, Aesthetics Master in direction of Film Theory, University of Strasbourg. Since 2012, co‐sponsored the “invisible Elephant” art project, and published academic journals ZAZA. … Sun Qidong 孙啟栋

text contributor 文本提供者

Jun Jiang 姜俊

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Jun Jiang, born in Shanghai, Video-installation Artist, Art Critic，graduated from Kunstakademie Münster, gained Meisterschüler of Prof. Aernout Mik. Now PhD student for Art Theory and Art History in Peking University and China Academy of Art. Member of art group Irrational Amateur Laboratory. Live in Hangzhou, Shanghai, Beijing. … Jun Jiang 姜俊

crisis of now 现实的危机

Letter of support for Greece

Letter of support for Greece

Over the past five years, the EU and the IMF have imposed unprecedented austerity on Greece. It has failed badly. The economy has shrunk by 26%, unemployment has risen to 27%, youth unemployment to 60% and, the debt-to-GDP ratio jumped from 120% to 180%. The economic catastrophe has led to a humanitarian crisis, with more than 3 million people on or below the poverty line. … Letter of support for Greece