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2022第七届广州三年展主题背后......

录入时间: 2022-09-06

2022年底,广东美术馆将举办第七届广州三年展。本次展览由王绍强担任总策展人,吴洪亮、菲利普·多德、艾墨思、姜俊担任策展人。
 
一个以“变”为特征的时代意味着什么?生物、信息、航天等技术的迅猛发展、经济模式的多样生成,全球化格局的震荡?来自世界各个角落庞杂的信息以前所未有的量级和速度交织在一起,这同时也代表着我们必然要面对未来更多的不确定性。回顾刚刚过去的三年,一场突发的公共卫生事件,打破了人类对自己可持续发展的乐观预期。那么,艺术何为呢?去中心化、多学科交叉或许只是表象,其在“变”中的内质更需要置于历史中再思考。故而,本届广州三年展的主题,经过学术委员及策展团队讨论,拟围绕“变化”展开,其实“变化”本来是世界运行的常态,但这个时代变化之快速与强烈或许前所未有,故而展览将普遍性与特殊性一并思考,推演出本次展览的主题:化作通变。
 
The 7th Guangzhou Triennial hosted by the Guangdong Museum of Art will open at the end of 2022. The curatorial team includes the chief curator Wang Shaoqiang and four curators, Wu Hongliang, Philip Dodd, Thomas Eller, and Jiang Jun. The past three years have seen an unexpected public health crisis that has shattered our expectations of the continuing development of globalization. "Change" has become an issue that cannot be ignored. After discussion between the academic committee and the curatorial team, the theme of the Triennial focuses on "change" and "transformation” and is thus titled "Symphony of All the Changes".
 
 
中国当代艺术40余年的发展是伴随着改革开放生成的,广东是改革开放的前沿,是最早体会其先锋性与复杂性的地方。“广州三年展”作为广东美术馆重要的学术项目,从2002年创立至今,一直以艺术的形式见证着时代的发展变迁。2023年,广东美术馆白鹅潭新馆即将落成,未来广州三年展的展出场地也将迁往新馆,因此,我们将第七届广州三年展视为一次阶段性的总结。回顾从来不是为了单纯的纪念,当我们把观察的视野扩展到更长的历史阶段和更广的空间维度,今天中国乃至世界所面临的巨大变局显得更为清晰。
 
本届三年展的主题“化作通变”是基于在地性的国际化考量的结果,取自《庄子·天道》中的“万物化作,萌区有状”和《文心雕龙》中的“变则其久,通则不乏”。“化作”指向当前世界演化时事物与现象的化育生成,“通变”则是借古人之思来表达今天我们对艺术发展的态度。此处的“通变”至少涉及了两个维度:“贯通”与“求变”,而四位策展人分别从各自或内部或外部的视角探查艺术与世界伴生中所产生的情感、形态与责任。
 
 
The development of Chinese contemporary art over the past 40 years has been accompanied by the same period of reform and opening up. Guangdong was at the forefront of reform and opening up, the first place to experience the pioneering nature and complexity such opening up entailed. Likewise, the Guangzhou Triennial, a significant academic program of GDMoA since its 2002 establishment, has witnessed the development of Chinese experimental art over the past 20 years. In the context of the museum’s relocation to Bai’e Tan Greater Bay Art Centre, the 7th Guangzhou Triennial can be seen as the conclusion of a particular phase in the museum’s history. A proper review of history is no mere memorial; history provides a mirror with which to reflect on the future. When we expand our horizon of observation over a longer historical period and a wider spatial dimension, the huge changes that China and the world face today appear more distinct. 
 
The theme “Symphony of All the Changes” has been chosen after sustained reflection on both local conditions and the wider global context. It is inspired by Zhuangzi’s the Way of Heaven, which states, "All things are transformed; every bud and feature have its proper form", and by Wen Xin Diao Long, which holds, "Change is a form of longevity, and generalization does not lack.” The word "change" refers to the evolutionary process of the world in which all things and phenomena come into being, while the phrase "through change" is an expression of our attitude toward the development of art today. Change is the only way to endure and the only way not to become impoverished is to transform ourselves across the past and into the present. This exhibition divides the curators’ perspectives into four sections, each of them overseen by a single curator.
 
 
“它们自有其意义,如时代碎片的闪光,折射出异样的精彩。”
 
吴洪亮以《边缘》为题,讨论那些发生在边缘却不容忽视的问题。地缘中的边缘往往是对外交流的最前沿,思想与艺术的生发之地。以广州为例,在其多元的文化土壤中,个体特性得到最大程度的凸显与包容,但广州当代艺术作为一个地域的整体形象因而被弱化,显得相对“边缘”,呈现出“碎片化”的特征。同样,这种“边缘化”不仅体现在地域上,也体现在创作方式上,在中国当代艺术史的历程中,有一些个性独特但并未汇成洪流的尝试,恰是今天艺术生态的支点。它们自有其意义,如时代碎片的闪光,折射出异样的精彩。
 
 
Wu Hongliang alludes to the problems that occur on the edge, yet cannot be ignored by the center, with the title Bumps on the Edge. The fringes of society are typically the forefront of foreign exchange, the birthplace of ideas and art. In Guangzhou, for example, individual characteristics have been highlighted and incorporated into its diverse cultural soil to a profound extent, yet at the expense of Guangzhou’s overall image as a proper center of contemporary art, deemed relatively "marginal" and "fragmented". Such "marginalization" is not only reflected in its regional expression but also in its modes of creation, as they pertain to poetry and other arts. In the narrative of Chinese contemporary art history, there has been a stream of artists and works with unique personalities, but certainly no flood. Alas, it is all too easy to be obscured by the grand narrative, while the creations of famous artists, touchstones in art’s ecology, take on their own meaning. The flashes of these "fragments" reflect a splendor that may lead to mainstream acceptance and positive regard.
 
 
“本次展览极力避免落入寻找‘下一位炙手可热的年轻艺术家’的俗套,反对当前全球化的艺术界大为推崇的商品化现象。”

虽然世界变幻莫测,但目前超全球化和超数字化仍是大势所趋。在这样的背景下,菲利普·多德观察到,某些方向上,艺术正愈发与世界反其道而行。在这个快节奏的时代,人们开始重新认识“慢艺术”,回归并重新审视传统材料和媒介,关注身体及其能力和极限,并拥抱“慢时光”。如今,一些年轻艺术家正在使用传统材料和媒介来讲述国家或地方故事;而不少老一辈艺术家可能很早就已开始使用传统材料和媒介进行创作,现在我们需要重新审视这些艺术家及其作品。本次展览《慢板》极力避免落入寻找“下一位炙手可热的年轻艺术家”的俗套,反对当前全球化的艺术界大为推崇的商品化现象。
 
 
Philip Dodd begins from the position that, despite recent stumblings, hyper-globalisation and hyper-digitalisation are still the dominant, if increasingly fragile, story - not least in the artworld where marketisation and digitalisation (NFTs etc) are still rampant. The paradox of the present is that art is increasingly 'brushing against the grain' of the world. A new recognition of the importance of 'Slow Art' (compare the Slow Food Movement) is emerging - the return and revaluation of traditional materials and media, an embrace of the physical body and its capacities and limits, of 'slow time' (rather than digital time).
 
In Praise of Slow Art: when all that is solid melt into the air brings together Chinese and foreign artists, young and old, women and men. Some of the younger artists are making use of traditional materials and media to tell national or local stories; other older artists may have been working for a long time with traditional media and materials - yet the present moment enables us to see them and their work afresh. This exhibition deliberately avoids the temptation to identify 'the next hot young artist. It is opposed to such commodification which the present globalised art world encourages.
 
 
“而在今天,数字化对人与自然、人与物质互动的方式产生了全球性影响。”
 
艾墨思以《触屏》为题探索人与物质世界的关系。回顾历史,在文化观念上,儒家的中庸之道和道家的自然主义深刻塑造和影响了中国人对自然的审美与认识论联系,而西方的功利主义则认为自然是可供开发和积累的资源;而在今天,数字化对人与自然、人与物质互动的方式产生了全球性影响,相较于中西方有很大差异的文化遗产,我们的未来走向将更加相似。
 
 
Thomas Eller explores the relationship between man and the material world with Touch Screen / Me. In retrospect, the cultural concepts of the Confucian middle way and Taoist naturalism have profoundly shaped and influenced the Chinese aesthetic and epistemological connections to nature, while Western utilitarianism sees nature as a resource to be exploited and accumulated. Today, digitalization has had a global impact on the way people interact with both nature and matter. Under these two themes, the curators of this section have drawn from four specific topics: "Touch", "Mother and Information", "Water" and "The Human Body". The curators of this section discuss those four specific topics, arguing that the West and China’s future will be more similar than the respective cultural heritages, which of course have been dramatically different.
 
 
“四十多年后的今天,当代艺术的本土观众从无到有、不断扩大,他们不再满足于表层的‘中国性’。”
 
姜俊以《内生》为题,从全球回眸本土,基于本土的现实展开反思。1978年以来,在西方主导的全球艺术话语中,中国当代艺术长期的“走出去”和“全球化”导向形成了某种自我“东方化”和“自我异域化”的“中国特征”和“中国情调”。四十多年后的今天,当代艺术的本土观众从无到有、不断扩大,他们不再满足于表层的“中国性”,而是期待一种深入本土文脉中,能和当下生活和当下意识产生对话和强烈共鸣的艺术创作。这个板块试图转变视角,从以西方为中心的“冲击和反应”说转向以中国为中心的“内生动力”说,更多的聚焦中国当代艺术在2008年后的本土生产和生态,欣赏和接受,特别关注艺术对中国社会、本土意识、传统遗产的表达和展现。
 
 
Jiang Jun takes "Immanence" into the title, in the process of looking back at the local from the global perspective, yet basing the reflection on local reality. Since 1978, in a global art discourse dominated by the West, the entrenched "outward-facing" and "global" orientation of Chinese contemporary art has perforce shaped a self-conscious take on "Chinese characteristics" in Chinese artists self-orientation, leading so far as a certain self-exoticism. Today, more than 40 years later, the local audience for contemporary art has been growing. This audience is no longer satisfied with a superficial "Chineseness", but are instead looking forward to a kind of deep-rooted local context, thriving in and reconciling the present within the present. In order to subconsciously generate dialogue and strong resonance with the creations therein, this section shifts perspective from a Western-centric "shock and response" approach, to a China-centric "endogenous power" dynamic, one which focuses on local production and the ecology of Chinese contemporary art after 2008, instilling a new appreciation and acceptance, with special attention paid to the impact of art on Chinese society, local consciousness, and traditional heritage.
 
审阅 / 涂晓庞
视觉设计 / TEN BUTTONS
字体支持 / 方正字库

开放信息

开放时间:每周二至周日900-1700(逢周一闭馆)

每日1630停止入场

地址:广东省广州市越秀区二沙岛烟雨路38

咨询电话:020-87351468

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