#红砖美术馆 | 新展预览#永远的抽象：消逝的整体与一种现代形式的显现_红砖美术馆-爱微帮
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永远的抽象：消逝的整体与一种现代形式的显现策展人：苏伟，Sonja Lau艺术家： 丁乙，埃乌琴·博巴，李津，刘鼎，K.M.马克西莫夫，倪海峰，庞薰琹，三人联合工作室（隋建国、展望、于凡），石振宇 ，汤集祥、余国宏， 吴大羽，吴印咸，谢南星，颜磊， 张伟，庄言主办：红砖美术馆展览时间：日至日开幕时间：日（周日）16:00展览地点：北京市朝阳区顺白路红砖美术馆电话：＋86 10 &邮箱：pr@redbrickartmuseum.org& & & && &日，“永远的抽象：消逝的整体与一种现代形式的显现”展览将在红砖美术馆开幕。本次展览由苏伟和Sonja Lau担任策展人。如果仅仅从一种现代主义美学形式的角度，在“抽象的”绘画身上，我们看到地常常是填充满国家与民族想象和私密情绪的指义空间，更看到挫败者的身影。在1930年代以来形成的革命意识形态和1950年以来以强制性的现实主义为特征的美学意识形态这两个同构的框架的阴影下，“抽象”艺术更像是一个“在场的缺席者”，它如同“衬影”一般与之共同经历了中国的政治和文化历史，却没有将自身的政治能量和建构历史的潜力，以及最终，自身固有的感性能量和长久以来无法公开表达的意趣内涵，放置于这一历史进程的核心之中。我们感知为“抽象”的那种事物，正是在这种受到压抑、断裂、失去叙述基础、成为阴影中的一部分的情境中，从一种以画面为核心的美学形式演变为一种“抽象”的结构。在今天的当代艺术领域，在缺乏对历史语境关联的正视的情况下，作为画面的“抽象”艺术和作为形态的“抽象”艺术似乎正处于蓬勃发展的时期。“抽象”正因其无所指的外观获得了政治上的肯定。正如我们都能感受到的，一种以经济为唯一载体、带着虚无主义特征的价值倾向，正在权威力量的引领下弥漫在整个文化和政治这两个在此时此地仍旧不可分割的领域之中。如果去做一种至上主义的画面联想，这一价值空间本身就符合一种完全“抽象”的结构：经济作为唯一原则而无所不在，价值的最终归宿是失去时空感的自我指涉。很大程度上，政治层面自我指涉的真空编配了艺术创作的空间。基于对历史和当下中这一“抽象”结构的警觉，我们大胆推测，艺术“抽象”这一典范的历史，并非只是这个美学门类自身的历史可以尽述的。“永远的抽象”指向的是一种从未消失的历史剧情：抽象的方式在政治领域和艺术领域来回穿梭，在对立面寄生，以及相互适应地运动。由于时空错位所带来的历史经验和美学思考的位差，民族的美学传统和现代主义的移植经验并不作为这一叙述的主要内容出现。伴随这一叙述，我们更倾向于激化那种模糊掉历史时空转换的、在历史和当下中并存的权威整体的消逝。“永远的抽象”戏仿的是一种复杂的、受到绝对性和权威主义影响的“永恒”的时间态度，它是对“抽象”这一现代现象无时不在的指认，一种在历史时空变换时产生的质疑，但同时，它也是一种自我嘲讽和肯定。展览将在对图像的隐喻进行解读的基础上，运用“持续”和重复两条主线，激发艺术创作中那些值得玩味的变形、渗透和挪移以及权威的整体叙述里难以企及的欲望的显现。本次展览将展出至日。Permanent Abstraction: Epiphanies of a Modern Form in Escaped TotalitiesCurators: Su Wei, Sonja LauArtists: Ding Yi, Eugen Popa, Li Jin, Liu Ding, K.M. Максимов, Ni Haifeng, Pang Xunqin, Triplicate Studio (Sui Jianguo, Zhan Wang and Yu Fan), Shi Zhenyu, Tang Jixiang and Yu Guohong, Wu Dayu, Wu Yinxian, Xie Nanxing, Yan Lei, Zhang Wei, Zhuang YanHosted by:&Red Brick Art MuseumDates: 6 November 2016 to 19 February 2017&Opening: 16:00, Sunday 6 November 2016Address: Red Brick Art Museum, Shunbai Road, Chaoyang District, Beijing&Tel:＋86 10 &E-mail: pr@redbrickartmuseum.org & &On November 6, 2016, Permanent Abstraction: Epiphanies of a Modern Form in Escaped Totalities will open at the Red Brick Art Museum in Beijing. The exhibition is curated by Su Wei and Sonja Lau.We can see in “abstract” painting the imagination of the nation and the state and also private sensibilities, but despite this “abstract” painters are marginalized and sadly often not given a historical position. However, this might only be the case if we perceive “abstract” painting from a modernist aesthetic perspective. From the 1930s onwards, revolutionary ideology and from the 1950s onwards, the aesthetic ideology of mandatory realism, constructed a narrative that dominated Chinese culture. “Abstract” art was like a “present absentee” in these two societally and government- “abstract” art experienced Chinese political and cultural history along with the rest of art, but it did not seem to exercise its political power or ability to construct history, its intrinsic perceptual power and long-standing inability to openly present its aesthetic sensibility meant it failed to claim its historical position. What we perceive as “abstraction” was repressed, broken, and without h it existed in the shadows, scattered to all corners of history, so an aesthetic imagery form became an “abstract” structure.Today in the Chinese contemporary art world, with a lack of this historical and contextual linkage, “abstract” art is currently flourishing as both imagery and form. “Abstraction” received political affirmation precisely because it made no outwardly apparent references. In the meantime, we can all sense that the political value system carries a dose of nihilism, and that economic value is all that is allowed to be expressed. This veneration of the economic has permeated the still inseparable cultural and political worlds. If we foster a cognitive dialogue with a Suprematist painting, these values suit the completely “abstract” structure: economics, as the only set of foundational principles allowed, are omnipresent, and thus the final site for values are a reference to a sense of lost time and space. To a large extent, the self-referential political/economic vacuum, dictates the space for artistic creation.Based on this focus on “abstract” structures, we might boldly infer that the history of “abstract” art as a canon does not give a full account of the history of the genre. This history compels us to look back and discover a new historical conclusion and interpretive space. “Permanent Abstraction” refers to a historical story that has not yet disappeared. “Abstract” methods move between the political and artistic realms, which are parasites of one another and move in ways that suit one another. Due to the differences in historical experience and aesthetic ideas brought about by spatial and temporal dislocation, Chinese aesthetic traditions and modernist transplantations did not emerge as the primary threads of this exhibition. We tended to intensify the disappearance of a totality that was absolute, which blurred the temporal and spatial transformations of history and coexisted with both the past and the present. "Permanent Abstraction" parodies a complex “eternal” attitude to time, drawing also on its absoluteness and authoritarianism. It is the "abstract", this modern identification of the everlasting but ever changing, a historical space-time transformation, but at the same time, it is also a kind of self-affirmation and self-mockery. On the basis of the interpretation of the metaphors of the images, the exhibition will use two narrative threads, "continuation" and “repetition”, to stimulate the transformation, penetration and diversification of this artistic trope, as well as the unattainable desire that the authoritative and dominant narrative cannot illustrate.The exhibition runs through February 19, 2017.策展人：苏伟Curater: Su Wei
& &苏伟（1982年生于北京）是生活在北京和香港的独立策展人、写作者。2012年，他曾参加了ICI（Independent Curators International）纽约的策展课程。2014年，他获得首届国际艺术批评奖（IAAC）第一名。2012年，他联合策划了第七届深圳雕塑双年展“偶然的信息：艺术不是一个体系，也不是一个世界”（深圳OCT当代艺术中心）；2014年，他策划了展览“让现代继续：沉浸、等待、理想主义”（深圳OCT当代艺术中心）；2015年，他作为演讲者参加了在伦敦泰特美术馆举办的研讨会“错位：重绘艺术史”；2016年，他策划了展览“没有先例：一次重塑香港录像和新媒体艺术叙述的尝试”（录映太奇，香港）。他曾在国内外的众多艺术期刊中发表文章，包括& YISHU. Journal of Contemporary Art&和&Kunstforum&。他编著的出版物有：《小运动：当代艺术中的自我实践》（合著），广西师范大学出版社，2011年；《艺术不是一个体系，也不是一个世界》（合著），岭南美术出版社，2012年；《个体经验：年中国当代艺术实践的对话与叙述》（合著），岭南美术出版社，2013年；《现代主义之后的艺术史》，[德]汉斯·贝尔廷著，苏伟译，卢迎华、苏伟评，蜜蜂出版社，2013年。& &Su Wei (born in Beijing, 1982) is an independent art critic and curator based in Beijing and Hong Kong. He participated in the 2012 Curatorial Intensive at Independent Curators International (ICI) in New York. In 2014, he was awarded first place at the first International Awards for Art Criticism (IAAC).&In 2012, Su Wei co-curated the 7th Shenzhen Sculpture Biennale Accidental Message: Art is Not a System, Not a World, OCT Contemporary Art Terminal (OCAT), Shenzhen. In 2014, he curated Keep the Modern Going: Immersion, Awaiting and Idealism, at OCAT, Shenzhen. In 2015, he participated in the symposium Dislocations: Remapping Art Histories at Tate Modern, London. In 2016, he curated No References. A Revisit of Hong Kong Media and Video Art from 1985 at Videotage, Hong Kong.He has published a number of articles in local and international art journals including YISHU: Journal of Contemporary Chinese Art and Kunstforum. His publications include Individual Experience: Conversations and Narratives of Chinese Contemporary Art from
(with others), Ling Nan Art Publishing House, 2013; Hans Belting, Art History after Modernism, translated from German to Chinese by Su Wei, with additional annotations by Carol Yinghua Lu and Su Wei, Beepub Publishing House, Jan. 2014.策展人：Sonja LauCurater: Sonja Lau & &Sonja Lau是生活在柏林的独立策展人和文化生产者。在完成伦敦切尔西艺术与设计学院的策展硕士学位之前，她曾获得为期两年文化创新奖学金支持她的实践，她最近作为罗伯特·博世研究学者集中考察了艺术、权力和历史在地拉那以及东南欧地区的动态关系，以及宏大叙述结束之后这一区域艺术的发生状况。她曾和KW当代艺术研究所（KW Institute for Contemporary Art） 以及德累斯顿的德国卫生博物馆 (DHMD)合作开展项目。最近几年，她的工作包括在“再绘画”展览（地拉那国家美术馆，2008）中对替代性艺术史和社会主义现实主义的修订，以及在展览“TRY… AGAIN… BETTER. Cornelius Cardew / Korneljus Kardju in Tirana”（国家历史博物馆，2012）中对一场交响音乐会和“政治倾听体验”的呈现。从2013年到2014年，她曾以以研究员的身份在马斯特里赫特的杨·凡·艾克学院进修，2015年，她在杜塞尔多夫Schloss Ringenberg做驻地策展人，并在杜塞尔多夫艺术中心推进了行为作品“Zusammenhang GesamtKunstwerk”（以哈罗德·史泽曼的项目"Hang zum GesamtKunstwerk"为基础改编）。& Sonja Lau is an independent curator and cultural producer based in Berlin. Upon completing her Curatorial Masters at the Chelsea College of Art and Design, London, she was awarded a two-year Fellowship for Cultural Innovation and most recently worked as a Robert Bosch fellow, with a focus on Tirana and South Eastern Europe and “art after the end of the grand narratives”. She has curated shows at various art institutes, including the KW Institute for Contemporary Art and the German Hygiene Museum (DHMD), in Dresden.In the course of the last few years her work has focused on alternative art histories, as in, “Ri-Pikturim / Re-Paintings” (National Gallery of Tirana, 2008), a show that offered a revision of Socialist Realism, and “TRY… AGAIN… BETTER. Cornelius Cardew / Korneljus Kardju” in Tirana (National Historical Museum, 2012), a symphonic concert and "political listening experience". From 2013 to 2014, she held a research position at the Jan Van Eyck Academy in Maastricht. She was the curator-in-residence at Schloss Ringenberg in 2015, for which she developed the performance piece "Zusammenhang Gesamtkunstwekr" (based on Harald Szeemann’s Der Hang zum Gesamtkunstwerk) at Kunsthalle Düsseldorf.
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