刘鼎：华盛顿湖，展览进行中

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发起人：布鲁克　　回复数：3 　　浏览数：2505 　　最后更新：2014/04/29 12:15:29 by guest

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[楼主] 布鲁克 2014-04-29 12:15:29

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展期 Duration：2014年3/29 － 5/15

天线空间

上海莫干山路50号17号楼202

天线空间荣幸地推出居住于北京的艺术家刘鼎在上海的首个个展“华盛顿湖”。该展览将呈现艺术家在最近两年围绕着他的一个新的工作和研究领域所开始的系列创作。这个研究计划围绕着“社会主义现实主义”的创作传统和艺术意识展开，以创作观看创作、讨论创作，将塑造以及制约创作背后的组织方式和逻辑带到前景。在刘鼎的实践中，艺术史的组织方式和意识形态，以及它们所赋予人们的经验、惯性和意识始终是讨论的焦点。他的作品不厌其烦地对它们发起质问，并总是希望把它们内在的样子一次又一次地描述出来。他不满足于我们已有的工作基础，这种不满足不止于事不关己的批评，而是以置身其中和自我描述的方式将自己与他所怀疑的基础共同地赤裸于创作之中，敞露心扉，并准备好迎接随着而来的一切危险。

“华盛顿湖”的题目来自展览中的两幅摄影作品《华盛顿湖》，它们拍摄于刘鼎的一次美国之旅。2012年，他首次来到美国西雅图，在西雅图逗留期间，他发现华盛顿湖原来不在华盛顿，而在西雅图。虽然当地的朋友不断地告诉他华盛顿湖就在西雅图，他发现这是一个他并不太在意更正自己的“误解”。他在华盛顿湖游览时偶然拍摄到了一派白人中产阶级优雅浪漫的休闲时光：湖面上的游艇、湖中晒着太阳的比基尼少女、温和的宠物等，他发现意识的坚固性比起美好的景象而言更加挥之不去。以这件作品命名整个展览，“华盛顿湖”将展现“两种现实主义”，交错的现实，以及我们错乱的意识和经验。

这个展览中同时交织着几种旅行的记录，其中之一是刘鼎工作旅行途中的所见和所思，新作《卡尔·马克思在2013》来自2013年底艺术家参观伦敦北部马克思墓的偶遇，在寻访的路途中，刘鼎遭遇了一群来自中国的游客，刘鼎与他们之间的互动，他们与马克思墓的互动，成为这个作品记述的内容，远离中国，却在身处西方的马克思墓前遭遇了一场在意识形态驱动下的行为模式上的小冲突，它远比有意为之来得更加必然和具有强烈的冲突感。《报春花山的拐角》来自艺术家在伦敦的另一次偶遇，在一个中产阶级生活方式和氛围浓郁的街区行走时发现了恩格斯的故居。

《证据》与《一件从王鲁炎那里听到的作品》来自艺术家自己在艺术史中的遭遇和重返，通过正视过去和描述过去来关照我们今天的立足点。《证据》以拼贴组合的方式将出版于七十年代末至九十年代的《美术》杂志中的文章与艺术家自己的早期作品以及他所收集的不知名的艺术家的作品并置在一起，迫使我们不得不对于这些塑造了我们关于艺术的经验与意识的文字、信息和视觉线索再次重新打量和评估。《一件从王鲁炎那里听到的作品》再次触及了认识艺术的基础这一论题，从王鲁炎那里听到的一件他所收藏的来自七十年代文革结束之后的作品打动了刘鼎，促使他通过重新想像和再次创作以他的理解重现这件作品，这个重现的行为不拘泥于细究原作的细节，刻意通过再次描述，和他者从他的描述所获得的感知和手来完成这件作品，在一床被单上绘制了这件作品的样子，并用晾衣服的线把被单拉起来呈现的方式完成了这次表达。在听说刘鼎这件作品之后，王鲁炎把原作的照片发给刘鼎，使这两个不同时空下的作品得以相遇，刘鼎把原作的图片包括在这个作品的呈现之中，作为这个装置的组成部分，完成了以创作对话创作的过程。

在展览中出现的四幅油画，以“社会主义现实主义”刻画画面主体的创作方式分别在黑色的背景中描绘了一堆油黑发亮的大煤块、在白色的背景上刻画了装在白色花瓶里的一束白玫瑰，以及由两幅画面构成的一件作品，左边的画幅中出现了两个上身裸体的男子处于一种意欲加害于彼此的图像，背景是图样式的银灰色条纹，而另一边则是一盆仅有一朵，但充盈了整个画面的黄菊花。这些绘画并不是刘鼎创作中的岔口，它们来自再次审视“社会主义现实主义”传统的欲望，艺术家通过提出具体要求和目标，运用委托定制，并在过程中不断进行调整的方式来完成。艺术家自己是这样描述的，“在文革中被抽空的艺术不仅是一个视觉表象问题，艺术的社会政治化也给艺术和艺术史叙述、艺术行业留下了政治遗产和政治逻辑，而对于这些方面的质疑与反抗在我看来反思是不够的。我重拾了这一类型的创作，再次运用类似‘社会主义现实主义’的手法，从被文革抽空的艺术遗产开始，以实在的‘空洞’作为一个信号来反思在文革中和文革后寄生在艺术和艺术史话语中的‘政治逻辑’。”

刘鼎在近年的创作中常适时恰当地透过选取或委派制作所进行的历史叙述及观念表达。微观的、有机的、难以描述的、生动的、有语境的，这是刘鼎所理解的创作者工作的形貌。展览中的作品之一，《冒险者》拼贴了他所收集来的他人旅行途中在登高处或达到某一个有标志性的景点的纪念性留影，也成为艺术家的另一种自我叙述。

刘鼎于1976年出生于江苏常州，现居住于北京，他是艺术家和策展人。他的作品曾经在英国泰特美术馆、特纳美术馆、布里斯托Arnolfini艺术中心、奥地利维也纳Kunsthalle Wien、挪威奥斯陆Astrup Fearnley现代美术馆、巴西圣保罗国家美术馆、德国卡尔斯鲁厄ZKM新媒体艺术中心、瑞士比尔PasquArt艺术中心、意大利都灵Sandretto Re Rebaudengo基金会、韩国首尔市立美术馆、美国旧金山Luggage Store艺术中心和西雅图Frye美术馆、中国北京伊比利亚艺术中心、上海当代美术馆和广东美术馆，以及台北市立美术馆等机构展出。他曾参加过2012年台北双年展、2009年威尼斯双年展中国国家馆、2008年首尔媒体双年展和2005年广州三年展。他和卢迎华共同发起策划的小运动：当代艺术中的自我实践于2011年9月在深圳OCT当代艺术中心展出，并于2013年巡回至意大利博尔扎诺的美术馆Museion。2012年，刘鼎担任第七届深圳雕塑双年展偶然的信息：艺术不是一个体系，也不是一个世界的联合策展人。他撰写和编辑的出版物包括《小运动：当代艺术中的自我实践》（广西师范大学出版社，2011年）、《小运动II：当代艺术中的自我实践》（Walther Konig，2013年）、《偶然的信息：艺术不是一个体系，也不是一个世界》（岭南美术出版社，2012年）以及《个体经验：1989–2000年中国当代艺术实践的对话与叙述》（岭南美术出版社，2013年）。

Exhibition Dates: 2014.03.29-2014.05.15

ANTENNA SPACE, Room 202, Building 17, N0.50 Moganshan Rd., Shanghai

ANTENNA SPACE is delighted to present "Lake Washington”, the first solo exhibition of Beijing-based artist LIU Ding in Shanghai. This exhibition presents his most current series of works based on the subject matter that he has been working on and doing research about during the last two years. This project evolves around the working tradition and artistic consciousness of “social realism”, exploring the issue of artistic practice through his own form of artistic practice, and bringing the organizational principle and logic shaping and constraining artistic practices to the foreground. In LIU Ding’s practice, the organizational method and ideology of art history, and the experience, habit and consciousness that they have imposed on us remain the core of his investigation. His works question them repeatedly and wish to describe their inner nature again and again. He is not satisfied with the existing foundation for our practice. His sense of frustration does not end with taking a critical position as an outsider. He sees himself as part of the structure that he is questioning and exposes himself together with the basis that he critiques in his work with a self-descriptive approach. He is ready to open himself to every bit of challenge and danger that comes along such self-exposure.

The exhibition title, Lake Washington, has come from the same title of two photographic works in the show, which the artist took during his trip to the U.S. It was in 2012 that LIU Ding visited Seattle for the first time. During his stay there, he learned that Lake Washington was not in Washington at all, but in Seattle. Even when his local friends kept telling him that Lake Washington was in Seattle, he realized that it was a “misunderstanding” of his own that he was not in a rush to correct. When cruising on the lake, he captured scenes of middle-class white people in their classy and romantic leisure: yachts on the lake, girls in bikinis having their sunbath, and mild pets, etc. He became aware that the solidity of ideology would be more un-erasable than pleasant scenarios. Using the same title as the exhibition title, the exhibition Lake Washington is about presenting two kinds of “realism”, interwoven realities, our misguided consciousness and experience.

This exhibition weaves together documentations from a variety of journeys, one of which is the journeys Liu Ding undertakes for work and the encounters and thoughts derived from them. New work Carl Marx in 2013 was inspired by the artist’s experience of visiting Marx’s grave in North London at the end of 2013. On the way there, LIU Ding encountered a group of tourists from China. The interaction between LIU Ding and them, and their interaction with Marx’s grave are the content of this piece. Being away from China, but right in front of the grave of Marx in a western country, a little conflict occurred due to certain ideologically shaped patterns of behavior. The inevitability and confrontation on the scene were much stronger than a planned scene. Around The Corner of Primrose Hill comes from another experience of him coming across Engel’s former residence in London as he was walking through a community full of middle class atmosphere and life styles.

Evidence and A Story Told to Me by Wang Luyan was originated from the artist's personal experience of encountering and revisiting the art history, by confronting with and describing the past, as a way to shed lights on our positions today. Evidence is a collage, juxtaposing published articles in magazine Fine Arts from the 70s to the 90s, his earlier works, and his collection of works by unknown artists. It compels us to reexamine and reassess the words, information and visual clues that have shaped our experience and consciousness of art. A Story Told to Me by Wang Luyan explores the subject of the basis for our understanding of art. Liu Ding once learned about a work collected by Wang Luyan in the 1970s. Moved by the story about the painting and without actually laying eyes on the work, Liu Ding created a work in his own way to represent this past work that he heard from Wang Luyan through his imagination. This act of representation was not about copying exact details of the original, but about the process of retelling it –Liu Ding commissioned a painter to complete this painting for him based on his further description. The painting was made on a bed sheet, which would be hung by a clothesline when presented in an exhibition. After hearing about Liu Ding’s reproduction, Wang Luyan sent Liu Ding a picture of the original painting. The two works from two different times and circumstances are brought together. LIU Ding would then include the original image as part of the installation, realizing the conversation with artistic creation through the creation of art.

The four oil paintings shown in the exhibition were all done in a “social realist” style. One is a pile of hefty coal lumps on a black background, another a white bunch of rose flowers in a white vase against a white-colored setting. The other two paintings form a piece of work. A painting on the right shows the image of two topless men engaged in an act of violence against each other with silver strips pattern in the background, while on the left there is a pot with one and only yellow chrysanthemum flower filling up the space of the painting. These paintings are not diversions of LIU Ding’s practice, but rather they emerge from the desire to examine the tradition of “social realism” again. It is said by the artist that, “The art that has been emptied of meaning in the Culture Revolution is not merely an issue concerning visual appearance. The socialization and politicization of art leaves behind its political baggage and logic in the discourse of art, the historical narrative of art and the art industry. In my view, our contemplation and questioning of these issues is far from enough. By re-appropriating this type of creation and reusing this quasi-socialist-realistic technique in my work, I wish to reflect on the political logic that parasitizes in art and art history during and after the Cultural Revolution. At the same time I hope the two distinct yet conversing paintings could be a message for initiating a meticulous discussion over this kind of “political” logic.”

In his recent works, LIU Ding often deals with historical narration and conceptual expression by sampling others’ works or commissioning. Microscopic, organic, un-describable, vivid and contextual, these are characteristics of what Liu Ding understands as the character of a practitioner. One of the works in this exhibition, Risk-taker, collaged photographs Liu Ding had collected of other people posing on a hill or in front of memorable scenic spots as documents of memories from their journeys. This, in a way, is another self-description of the artist.

（Translation: FAN Jingwen）

Liu Ding was born in Changzhou, Jiangsu province in 1976. He’s now based in Beijing and is both an artist and a curator. His work has been shown at a number of art institutions including the Tate Modern, Turner Contemporary, both London, UK; Arnolfini – Contemporary Arts Center, Bristol, UK; the Kunsthalle Wien, Vienna, Austria; the Astrup Fearnley Museum of Modern Art, Oslo, Norway; the São Paulo Museum of Art, São Paulo, Brazil; the ZKM, Zentrum für Kunst und Medientechnologie, Karlsruhe (ZKM), Germany; the Centre PasquArt, Biel, Switzerland; the Fondazione Sandretto Re Rebaudengo, Turin, Italy; the Seoul Museum of Art, Seoul, South Korea; the Luggage Store Gallery, San Francisco, USA; the Frye Art Museum, Seattle, USA; the Iberia Center for Contemporary Art, Beijing, China; the Museum of Contemporary Art Shanghai, China; and the Taipei Fine Arts Museum, Taipei, China. He took part in the 2012 Taipei Biennial, the exhibition at the Chinese Pavilion at the 2009 Venice Biennial, the 2008 Seoul International Media Art Biennale, and the 2005 Guangzhou Triennial. With Carol Yinghua Lu, he exhibited Little Movements: Self-Practice in Contemporary Art in September 2011 at OCT Contemporary Art Terminal, Shenzhen, China. In 2013, the work went on tour and was exhibited at MUSEION in Bolzano, Italy. In 2012, Liu Ding served as a curator of the Seventh Shenzhen Sculpture Biennale – Accidental Message: Art is not a System, not a World. Works which he has written and published include Little Movements: Self-practice in Contemporary Art (Guangxi Normal University Press, 2011), Little Movements II: Self-practice in Contemporary Art (Walther König, 2013), Accidental Message: Art is not a System, not a World (Lingnan Art Publishing House, 2012), and Individual Experience: Conversations and Narratives of Contemporary Art Practice in China from 1989 to 2000 (Lingnan Art Publishing House, 2013).