刘韡个展——长征空间
展览日期:2012-9-1 至 2012-10-7 | |
开幕酒会:2012年9月1日下午4:00 主办单位:长征空间 展览地址:北京市朝阳区酒仙桥路4号院 | |
艺 术 家:刘韡 新闻稿: 刘韡拒绝描述这个展览和作品,事实上描述不仅是无效的同时也是无法进行的。这个准备了一年的大型个展,占据了长征空间左右两个大厅。我们深知这两个隔断的展厅充满了问题,以及关于这些问题的问题,但我们只能在“进场”时才能进入问题的视觉和身体关联,此前对刘韡的归类和总结,把脉和想象,都与“观念”“装置”“现场”等一干词一样失去了描述功能。刘韡在工作中用高低杠、大圆桌、立方柱、帆布、钢管、大小、横竖、包裹、捆扎、切割等词来为自己在物件和空间之间寻找各种逻辑,展览准备时从自己的系统中出走的欲望,在一次次的进场后,是否还是转化成完全失控的对自己系统的加持 —— 他的“形式是最政治的”观念。刘韡经常使用“现实”这个词,我们可以肯定的是,不是关于现实的常态和现形,而是结构和意识的多层次肌理。 作为当下最令人瞩目与活跃的艺术家之一,刘韡(1972年生)以其不断扩张的跨媒介艺术实践进入国际视野,为当下中国提供了一份间接而尖锐的视觉释本。相较于早期作品对文化差异、社会及政治元素的指涉及利用,他的近期创作专注于材料和构成世界的客体之间的关系,试图“摆脱单纯的材料,感受物质自身的内在价值。”
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做为不"懂"当代艺术的观众,可否请自称"懂"的专业人士来讲讲,你懂了什?
引用guest的发言:
IT 长征店
IT 是三什么意思?
刘韡个展798长征空间开幕
99艺术网
2012年9月1日,刘韡个展在798艺术区长征空间开幕。此次展览据称准备了一年,而刘韡说“正式动手只有1个月的样子”。空间门口对外海报上印着横七竖八、躺着的几个工人,来者错误的意会为现场“可能有行为艺术”。事实上,左右两个大展厅呈现着大型的装置作品,在描述现场时可以零碎的使用高低杠、大圆桌、立方柱、帆布、钢管等词,整体而言作品相当精致,来自体量上的观感极具震撼力。当然,这庞大的工作量必须要求有木匠、焊工的技术,不可能是刘韡一个人的“手工活”,那么海报上出现的那些“躺着的工人”可以解释了,权当是主办方对他们工作的致敬。
关于“拒绝描述”
此次展览值得玩味,孤立的作品没有任何“支撑”,没有名字、没有材质、没有尺寸…甚至前台处的一张简介上明确写着“刘韡拒绝描述这个展览和作品”。而艺术家本人一出现,我还是走了过去,因为实在无法忍受这些不做任何交代的作品,虽然做好了被拒的准备,刘韡也非常配合我的预感,礼貌的拒绝了:“我的作品就是我的描述,观众看到了什么就是什么”。他的说辞感觉上在理,艺术家的作品即是他理念的呈现方式,仔细一想,这其实有点“不负责任”。我现场随机采访了10名观众,8个直言“看不懂”,一个说“想看懂”,状态最好的为“右边好像是个游乐场,但艺术家肯定有他深层的东西;左边的没看懂”……实际上,90%的观众根本观察不出什么门道,更别指望他们能看懂。
很显然,当观众在搜集日常经验中无法获得匹配的信号时,他们的思路无从进入作品,摆在那里的一件件装置只不过是一些奇怪的工艺品罢了。很多时候,要求艺术家描述作品的出发点是想了解一个艺术家,了解他的创作过程,了解作品的指向性。虽然说某些“胡说八道”、不实诚的阐释会误导观众,但阐释的程度分很多,批评家的过度阐释自是不可取,但艺术家有效的阐释、适度的阐释是有必要的,不能拿“拒绝描述”敷衍大众、继而成为问题本身的挡箭牌。
尊重艺术家的创作意图
如果找“拒绝描述”的源头,首先想到的无疑是苏珊-桑塔格的“反对阐释”。然而她针对的是评论家的阐释,并非艺术家的描述。作品是艺术家创作的,他们的想法应该放在第一位,这是对艺术家的尊重,对作品原初状态的尊重。作品的展出并不意味着作品的完成,介入到公共领域所引发的连锁反应才是最终目的。
连作品到底是什么都搞不清楚,还要求观众“借题发挥”、一味探索玄之又玄的东西,实在有点勉为其难。通过颜色和几何的分割,大胆假设刘韡的这些装置力图传达“政治诉求”或者“现实某种针对性”(这是他的艺术一贯所标榜),作品本身实在太过含蓄。
圈内人士指出:“刘韡的作品体量壮观,一如庞然大物所具备的压倒之势,但观看过后依旧难以引发相应的爆发力。”这般颇费心思、却晦涩难懂的作品虽然无从引发现实的追问,可以肯定的是已渐趋成为一种国际流通的方式,这是继异域风情、意识形态策略日渐式微过后,另类抽象艺术的崛起。
据悉,此次展览将持续至2012年10月7日。
严厉打击抄袭Banks Violette
10 September – 19 October
Review by James Westcott
A monstrous roar and ominous darkness greets you as you enter the Maureen Paley gallery for gothic minimalist sculptor Banks Violette's new show. The cacophony is made by a huge mist machine, a couple of industrial fans and an air vent, which together produce a translucent, suspended three-dimensional screen of mist on which Violette miraculously projects a short video loop of a galloping white horse. The effect is astonishing, and perfectly ghostly. If it wasn't for the overwhelming noise of the machinery and the very deliberate way it's all left out on raw display, you might think some apparition had appeared before you – in fact, you start to think this anyway.
The loop is from the Tristar pictures opening credit, and, aptly for Violette, the white horse is also a kitschy icon of goth and metal culture. The piece is an homage to the late Jack Goldstein's loop of MGM's roaring lion (1975). The proud lion and majestic horse – which both deliver us into the fantasy world of a movie – are overexposed, overdetermined icons made freshly mysterious through autistic repetition and violent deracination.
Violette has always been interested in moments where the cultural fictions we voluntarily inhabit are 'periodically / tragically exceeded', as he puts it. In the past, his installations had heavy backstories of incidents where mythology leaked into reality: Arroyo Grande 7.22.95 (2002) – consisting of a kind of drum kit smothered in black epoxy, and a painting of teary eyes – referred to the location (in California) and date of the murder of a young woman by three teenage boys looking to get cred for their death metal band; at the Whitney in 2005 Violette presented a cast salt sculpture of a burned-out church, referring to the spate of church arson and death metal-inspired murders in Norway in the 1990s.
Now though, Violette seems to be liberating himself from specific narratives and heading directly for their essence instead. With the aid of increasingly daring (and expensive) installations (at Barbara Gladstone last year he tried to have pieces of a shattered drum kit permanently aflame, but fire codes precluded it), Violette is attempting to orchestrate moments of slippage in fiction and apprehension, rather than referring to them.
Banks Violette, as yet untitled, 2008
In the upstairs gallery are two large stages, made of modular panels, positioned on their sides. Violette has made many vertical stages like this before, with the glossy black surface evocative of John McCracken's monoliths and the modularity reminiscent of Sol Lewitt's frameworks. But here Violette attacks the pristine surface of his minimalist forbears with unprecedented gusto: several panels have been mangled, buckled, warped, punched in, seemingly by some satanic or extra-dimensional force. The brute scaffold support structure visible round the back is just as crucial as the mottled and mangled epoxy surface, which makes a horrible black mirror: again, you can see how the whole thing is being held up, but you are still ensconced in some kind of mute and malevolent staging ground, where the drama is you, bereft. Violette distills a very contemporary horror, where we're utterly aware of the production but still snarled in the spectacle.