“视觉就是经济”当代艺术活动 第二回
“视觉就是经济”应是一个具有审视性质的判断。
“视觉”在这里不单单是生理的功能，更重要的是“视觉”如何变成一个社会生活系统中重要中介者——它成为思考的一个主要素材来源，对大部分人来说，这就是他们日常生活的重要构成部分。不断制造出来视觉传播载体及资讯扩充个体的认知界面，同时也造成了不同程度的认知干扰。
当代社会的经济运作方式的转变是如何的塑造了我们今天的视觉文化，如何影响了我们的辨别系统，以及更进一步地引发了我们的思维上动荡与焦虑——我们什么时候需要这么多的视觉符号来指导我们对生活的判断？
“视觉”在社会的政治经济活动中充当了不可缺少的作用，“视觉”要变成成品就必然需要成本，它被策划，被设计，被制作，被建造，变成视觉成品，形成大批量极具侵略性和诱惑性的符号，通过传播系统将图像、影像、物品迅速散发、辐射，影响力和繁殖力惊人。这是一个视觉符号过剩的时代，一切社会经济生产运作的关系都这些表面的符号所暗示和引证。
城市有城市的视觉系统，乡镇有乡镇的视觉系统，农村有农村的视觉系统，这是一种政治经济活跃程度的等级化体现。当然这是一个很正常的视觉分配。
作为视觉成品的艺术品是特殊的终端产品。它的产生来源于艺术生产者的精神成本及资金成本，艺术生产者通过复杂的心智、体验、灵感的融合与投入，同时也将社会的文化现实作为某种内在的参照，在一个整体考量的基础上，作品的生产就有了充分的条件。
实际上，大部分艺术品的生产会对应一种特定的社会政治经济的语境，它们对特定的现实状态作出反应也从这种特定状态中产生。
“视觉就是经济”第二回活动是在第一回的基础上再发展和丰富，是在空间运用、开辟上的进一步拓展，这要通过思路和角度上的进一步舒展来配合进行。这次我们对原有的空间进行了一定程度的整修，活动主要以在空间现场及周围的考察以及相关的讨论和作品的创（制）作为主，在作品创（制）作期间艺术家可以自由组织开展讨论活动，此次活动的艺术家有新增加的，也有第一次的人员，希望能找到新的契合点，在既独立又能协作的基础上继续寻找更丰富的创作状态和角度，持续而又良性地进行艺术实践。
空间所在地背景资料：
顺德市容奇工农路十六号，原为容奇米厂。周围顺德德胜河大堤外约200米的范围内，有大大小小数十家老厂房。这些厂房大都建于上世纪50年代的“大跃进”时期，其中包括著名的顺德缫丝机械配件厂、桂洲石灰厂、容奇米厂、顺德冰厂等，形成早期顺德的老工业区。有些厂房甚至是解放前所建，多在2000年前后或倒闭或转产。由于位处省一级水源保护区，政府已下发搬迁令，这些曾经代表着顺德工业辉煌时期的老厂房再近年内都将被拆除。
“Vision is economy” art activities of contemporary 2nd
“Vision is economy” should be a judgment of perspective nature.
“Vision” does not merely refer to physiological function, but more importantly how to change “vision” into an important medium in social life system, which has become a major source material for thinking. For most people, this is an important component for their daily life, i.e. to create continuously the cognition interface of visual communication carriers and information extension units, but meanwhile it results in cognitive disturbance of different levels.
How has the economical system of our society today changed our culture of vision, how has it influenced our discriminating system, invigorating a turbulence and anxiousness on our way of thinking? When has it become that we need so many symbols to guide our judgment towards life?
“Vision” plays an indispensable role in social political and economic activities. To change “vision” into finished products naturally needs cost. Once designed, manufactured and published, it changes into finished visual products, and forms into a large number of aggressive and seductive visual symbols. Images and pictures, videos and articles are distributed and spread rapidly via the transmission system, with an amazing influence and reproduction potential. This is an era of superfluous visual symbols, since all the social economic production and operation relations are implied and adduced by these superficial symbols.
Cities have their own visual system, and towns and rural areas have their own systems too. This is a kind of hierarchical embodiment of political and economic dynamic levels. Naturally, this is also a normal visual distribution.
The artworks as the finished visual products are special terminal products. Its origin comes from the psychic cost and financing cost of the artists, who integrate and utilize their complicated thinking, experience and inspirations, and meanwhile consider comprehensively the refer to the conditions about social and cultural reality, and thus obtain substantial conditions for artwork creation.
In fact, the creation of most artworks corresponds to a special kind of social, political and economic context. Such artworks respond to the specific realist situation and meanwhile originate from such situation.
The 2nd activity is preceded and enriched on the foundations of the 1st activity, a progressing step in the usage and reclaiming of space, which accomplished in the coordination of the extension of the point of view and the train to thoughts. This time, we have made further renovating on the original space. The activity is mainly composed of investigations, discussions, and art creations on the space itself and its surrounding. Discussions can be held spontaneously while the artists are working on their art. This activity has added new artists, some are in their first time, finding a new cross point, who are looking for a more varied creating state and viewpoint based on the ability of independent and cooperating creation.
参展艺术家（排名不分先后）
刘庆元 周 滔 黄小鹏 孙晓枫 胡向前 第五工作室 喻旭东 秦 晋 水木堂工作室 洪荣满 腾挪小组 邓猗夫 梁健华 谢剑波 王 楠 金丹丹 许惠晶 雷绍文 大项目小组
策展
张嘉平
策展助理
汤 沁 黄夷白
支持机构：德懿艺术馆 博尔赫斯书店艺术机构 上海非艺术中心
支持媒体：《城市中国》杂志
活动时间：2009年6月13日——2009年6月21日
活动地点：顺德容奇工农路十六号
Artists:
LIU Qingyuan ZHOU Tao HUANNG xiaopeng SUN xiaofeng HU xiangqian FIVE studio YU xudong QIN Jin JI Huai Qroup of TengNuo HONG rongman ShuimutangStudio DENG yifu LIANG jianhua XIEjianbo WANG nan JIN dandan XU huijing LEI shaowen Qroup of Big project
Curator：Zhang jiaping
assistant curator：Tang qin Huangyibai
Supporting Agency: Deyi Museum of Art Libreria Borges Institute for Contemporary Art FEI Contemporary Art center
Supporting Media: Urban China
Time: Jun 13, 2009—July 21，2009
Place: No.16 Gongnong Road, Rongqi, Shunde
“视觉就是经济”应是一个具有审视性质的判断。
“视觉”在这里不单单是生理的功能，更重要的是“视觉”如何变成一个社会生活系统中重要中介者——它成为思考的一个主要素材来源，对大部分人来说，这就是他们日常生活的重要构成部分。不断制造出来视觉传播载体及资讯扩充个体的认知界面，同时也造成了不同程度的认知干扰。
当代社会的经济运作方式的转变是如何的塑造了我们今天的视觉文化，如何影响了我们的辨别系统，以及更进一步地引发了我们的思维上动荡与焦虑——我们什么时候需要这么多的视觉符号来指导我们对生活的判断？
“视觉”在社会的政治经济活动中充当了不可缺少的作用，“视觉”要变成成品就必然需要成本，它被策划，被设计，被制作，被建造，变成视觉成品，形成大批量极具侵略性和诱惑性的符号，通过传播系统将图像、影像、物品迅速散发、辐射，影响力和繁殖力惊人。这是一个视觉符号过剩的时代，一切社会经济生产运作的关系都这些表面的符号所暗示和引证。
城市有城市的视觉系统，乡镇有乡镇的视觉系统，农村有农村的视觉系统，这是一种政治经济活跃程度的等级化体现。当然这是一个很正常的视觉分配。
作为视觉成品的艺术品是特殊的终端产品。它的产生来源于艺术生产者的精神成本及资金成本，艺术生产者通过复杂的心智、体验、灵感的融合与投入，同时也将社会的文化现实作为某种内在的参照，在一个整体考量的基础上，作品的生产就有了充分的条件。
实际上，大部分艺术品的生产会对应一种特定的社会政治经济的语境，它们对特定的现实状态作出反应也从这种特定状态中产生。
“视觉就是经济”第二回活动是在第一回的基础上再发展和丰富，是在空间运用、开辟上的进一步拓展，这要通过思路和角度上的进一步舒展来配合进行。这次我们对原有的空间进行了一定程度的整修，活动主要以在空间现场及周围的考察以及相关的讨论和作品的创（制）作为主，在作品创（制）作期间艺术家可以自由组织开展讨论活动，此次活动的艺术家有新增加的，也有第一次的人员，希望能找到新的契合点，在既独立又能协作的基础上继续寻找更丰富的创作状态和角度，持续而又良性地进行艺术实践。
空间所在地背景资料：
顺德市容奇工农路十六号，原为容奇米厂。周围顺德德胜河大堤外约200米的范围内，有大大小小数十家老厂房。这些厂房大都建于上世纪50年代的“大跃进”时期，其中包括著名的顺德缫丝机械配件厂、桂洲石灰厂、容奇米厂、顺德冰厂等，形成早期顺德的老工业区。有些厂房甚至是解放前所建，多在2000年前后或倒闭或转产。由于位处省一级水源保护区，政府已下发搬迁令，这些曾经代表着顺德工业辉煌时期的老厂房再近年内都将被拆除。
“Vision is economy” art activities of contemporary 2nd
“Vision is economy” should be a judgment of perspective nature.
“Vision” does not merely refer to physiological function, but more importantly how to change “vision” into an important medium in social life system, which has become a major source material for thinking. For most people, this is an important component for their daily life, i.e. to create continuously the cognition interface of visual communication carriers and information extension units, but meanwhile it results in cognitive disturbance of different levels.
How has the economical system of our society today changed our culture of vision, how has it influenced our discriminating system, invigorating a turbulence and anxiousness on our way of thinking? When has it become that we need so many symbols to guide our judgment towards life?
“Vision” plays an indispensable role in social political and economic activities. To change “vision” into finished products naturally needs cost. Once designed, manufactured and published, it changes into finished visual products, and forms into a large number of aggressive and seductive visual symbols. Images and pictures, videos and articles are distributed and spread rapidly via the transmission system, with an amazing influence and reproduction potential. This is an era of superfluous visual symbols, since all the social economic production and operation relations are implied and adduced by these superficial symbols.
Cities have their own visual system, and towns and rural areas have their own systems too. This is a kind of hierarchical embodiment of political and economic dynamic levels. Naturally, this is also a normal visual distribution.
The artworks as the finished visual products are special terminal products. Its origin comes from the psychic cost and financing cost of the artists, who integrate and utilize their complicated thinking, experience and inspirations, and meanwhile consider comprehensively the refer to the conditions about social and cultural reality, and thus obtain substantial conditions for artwork creation.
In fact, the creation of most artworks corresponds to a special kind of social, political and economic context. Such artworks respond to the specific realist situation and meanwhile originate from such situation.
The 2nd activity is preceded and enriched on the foundations of the 1st activity, a progressing step in the usage and reclaiming of space, which accomplished in the coordination of the extension of the point of view and the train to thoughts. This time, we have made further renovating on the original space. The activity is mainly composed of investigations, discussions, and art creations on the space itself and its surrounding. Discussions can be held spontaneously while the artists are working on their art. This activity has added new artists, some are in their first time, finding a new cross point, who are looking for a more varied creating state and viewpoint based on the ability of independent and cooperating creation.
参展艺术家（排名不分先后）
刘庆元 周 滔 黄小鹏 孙晓枫 胡向前 第五工作室 喻旭东 秦 晋 水木堂工作室 洪荣满 腾挪小组 邓猗夫 梁健华 谢剑波 王 楠 金丹丹 许惠晶 雷绍文 大项目小组
策展
张嘉平
策展助理
汤 沁 黄夷白
支持机构：德懿艺术馆 博尔赫斯书店艺术机构 上海非艺术中心
支持媒体：《城市中国》杂志
活动时间：2009年6月13日——2009年6月21日
活动地点：顺德容奇工农路十六号
Artists:
LIU Qingyuan ZHOU Tao HUANNG xiaopeng SUN xiaofeng HU xiangqian FIVE studio YU xudong QIN Jin JI Huai Qroup of TengNuo HONG rongman ShuimutangStudio DENG yifu LIANG jianhua XIEjianbo WANG nan JIN dandan XU huijing LEI shaowen Qroup of Big project
Curator：Zhang jiaping
assistant curator：Tang qin Huangyibai
Supporting Agency: Deyi Museum of Art Libreria Borges Institute for Contemporary Art FEI Contemporary Art center
Supporting Media: Urban China
Time: Jun 13, 2009—July 21，2009
Place: No.16 Gongnong Road, Rongqi, Shunde
船号 洪荣满 装置 2009
大人物 陈明生 装置 2009
大项目 展览现场 张嘉平 陈明生 2008
地球一人 许惠晶 录像现场
冯立培作品 VIP通道 2009
工具史2 张嘉平作品 2009
工具史 张嘉平 作品 2009
工农路16号艺术空间所在地
工农路16号艺术空间所在地2
工作照
工作照2
工作照3
进入时间的深渊之内的跳跃(当我看在天空上面,我的思想开始绊倒) 黄小鹏 装置 2009
刘庆元作品
刘庆元作品2
梦想.月亮房产工程(第一期) 梁直南 装置 2009
梦想.月亮房产工程(第一期) 局部 梁直南 装置 2009
木刻组画 刘庆元 2009
青花系列之三 雷绍文 装置 2009
石丙煌 腾挪小组 2008
世界1 100 x135cm 数码迷彩布(ACU)丙稀 2009
世界2 100 x135cm 数码迷彩布(ACU)，丙稀 2009
说再见 王楠 布料声音混合媒介 2009
说再见（局部 ） 王楠 布料声音混合媒介 2009
我已经江郎才尽,什么也做不了,怎么办 胡向前 装置 2009
阳台 秦晋 装置 2009
艺术家工作照2
喻旭东作品 2009
圆形的篮球场 陈明生 装置 2009
展览开幕的篮球赛
展览现场 孙晓枫作品
障碍物 Obstacle单频录象 12分钟周滔 2009
转运风车阵 王华栋 装置 2009
