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公园

  • 展览海报
  • 陈萧伊,冰屑之一,照相凹版术,32.5×49cm,2014,版数:5
  • 陈萧伊,枯落物,照相凹版术,53.8×56.8cm,2014,版数:3
  • 李胤,无题 No.2,布面油画,30×40cm,2013
  • 李胤,无题 No.1,布面油画,30×40cm,2013
  • 刘传宏,林冲入豫北记-第十场 狐仙洞北,布面油画,67×100cm, 2012
  • 刘传宏,西游记——名媛1,布面油画,50×65cm,2002
  • 沈阳超,仙女梳妆池,多频道录像,2015 (1)
  • 沈阳超,仙女梳妆池,多频道录像,2015 (2)
  • 肖江,公园,布面油画,160×130cm,2015
  • 肖江,两棵树,布面油画,100×80cm,2015
  • 朱兵,梦园 No.7,布面油画,100×100 cm,2008
展览时间:
2015-12-31 - 2016-03-31
开幕时间:
2015年12月31日 14:00-17:00(星期四)
展览城市:
四川 - 成都
展览机构:
展览地址:
主办单位:
博舍•千高原艺术空间
参展人员:
陈萧伊 李胤 刘传宏 沈阳超 肖江 朱兵

展览介绍

博舍•千高原艺术空间呈现的第二个展览项目《公园》是千高原艺术空间“人民公园计划”的一部分。“人民公园计划”是千高原艺术空间策划、发起、运行的一个综合的、持续生长的文化艺术项目,是一个跨学科的知识整合体系统,是千高原艺术空间试图建立的一种新的工作模式,这种工作模式是在策划框架下的一种开放的协商机制;计划参与者包括艺术家、历史、文化学者、建筑师和其他研究者等,在这个计划中将产生新的创作计划和研究、讨论文本、文献资料搜集整理、出版物等等。

在博舍•千高原艺术空间呈现的《公园》项目包括了艺术家陈萧伊、李胤、刘传宏、沈阳超、肖江、朱兵的绘画、摄影和录像装置作品。艺术家在这些作品中通过深入的自我洞察,独特的视角选择和文本构建,以兼具自我拷问和文化思考等方式,展现了现代社会的心理和现实空间,回应了城市空间的历史演变,投射了社会发展对自然空间与心理想象等方面的影响。

作为“人民公园计划”的组成部分,以及切片式的呈现,本次展览并不是一个封闭的主题式展览,也不是将展览作为一个已经完成的整体,直接呈现给观众。展览本身是一个作品整合与互动的过程:不同的艺术家个案集合在一起,在空间中交织,互动,引发新的可能性。这种相互的影响不仅来自作品之间的关系,也来自观众的观看和反馈,以及与周边的真实环境所建立的关系。这些都是“人民公园计划”所需要的,具备现场性的积淀。可以说,整个展览过程,空间的特征,发生的场景,周边的城市环境,参与的人群,都是人民公园项目的一部分。

参展艺术家的创作基础,都是真实的个人生命体验和个体化的艺术思考;而这次展览,也是以真实的在地经验和环境互动为诉求的。当代艺术已经迈过了盲目追逐潮流的时期,也不再服务于单纯的理论诉求,它是以真实的社会场景和个体经验相互作用为基础的,一种去审美化的精神美学的呈现。这不仅是“人民公园计划”的出发点,也是它的每一次现场项目所希望呈现的一种状态。

The Park

Organizer: A Thousand Plateaus Art Space at The Temple House
Artists: Chen Xiaoyi, Li Yin, Liu Chuanhong, Shen Yangchao, Xiao Jiang, Zhu Bing
Time: From 14:00 to 17:00 on Thursday 31st Dec., 2015
Duration: 2015.12.31 - 2016.03.31
Address: The Temple House, No. 81 Bitieshi Street, Jinjiang District, Chengdu
Tel: The Temple House 028-6636 9999
A Thousand Plateaus Art Space 028-8512 6358

Preface

“The Park”, second exhibition presented by A Thousand Plateaus Art Space at The Temple House is part of People’s Park Project, a comprehensive and ongoing culture and art project. It is planned, initiated and undertaken by A Thousand Plateaus Art Space. People’s Park Project is not only a multi-disciplinary knowledge integration system, but also a new mode of production. It is a mechanism for open discussion within a planned framework. Participants include artists, historians, cultural scholars, architects and other researchers. The project will include new creative projects, discussion texts, documentary literature, publications, and more.

Exhibition “The Park” in A Thousand Plateaus Art Space at The Temple House presents paintings, photographs and video installation by artists Chen Xiaoyi, Li Yin, Liu Chuanhong, Shen Yangchao, Xiao Jiang and Zhu Bing. By means of profound self-insight and unique angle of view, as well as self–questioning and reflection of cultural issues, these artists show the physical and psychological status of society, speaking to the evolution of urban space and the influence of society development to the natural space and imaginations.

As part of People’s Park Project and its segmented presentation, “The Park” is other than a closed exhibition with a definite theme. The motif is not to present directly accomplished results as an entirety to public. Exhibition in itself is a process of integration and interaction: it gathers several cases from different artists, which interact in the same space and produce new possibilities. The interaction comes not only from mutual relation between artworks, but also from the reaction of spectators and the relationship with the real environment around. All these elements on specific site form an accumulation process required by People’s Park Project. In other words, the entire exhibition, including the characteristics of the site, the different scenes happened, the urban environment surrounded, the participants…are all parts of People’s Park Project.

Artworks created are based on real personal experience and original artistic reflection. Exhibition at present seeks therefore authentic experience on specific circumstance. In this case, contemporary art has already gotten across the period of pursuing blindly after the trend and no longer at the service of mere theoretic appeals. It is based on the interaction between authentic social scenes and personal experiences, concerns spiritual aesthetics beyond simple appreciation of the beauty. This is not only the original goal of People’s Park Project, as well as the state that should be presented for each sub-project on site.





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