兴安西艺写生团——刘传宏个展
发起人:千高原艺术空间  回复数:0   浏览数:1940   最后更新:2017/07/20 19:02:26 by 千高原艺术空间
[楼主] 千高原艺术空间 2017-07-20 19:02:26

兴安西艺写生团——刘传宏个展


展览日期:2017,07,22–2017,09,22

开幕酒会:2017,07,22 (星期六) 15:00-18:00

出品:千高原艺术空间

艺术家:刘传宏

作品媒介:绘画、摄影、综合材料

展览地点:四川省成都市高新区盛邦街,铁像寺水街南广场,千高原艺术空间

电话:+86-(0)28 8512 6358

邮箱:info@1000plateaus.org



1938年,抗日战争已经开始。在新京市,也就是今天的吉林省长春市,来自中日两国的金雨淞,酒井香织,木一少,和上官言秋四人,组成了一支跨越战争界线的艺术团体,名为“兴安西艺写生团”。他们希望以对景写生为基本方式,创造出有别于欧美的新型艺术形式。由于此团体位于所谓“满洲国”境内,所以也宣称要以此促进以“满洲国”为代表的东亚艺术文化发展。


这四人的身世与来历都很特殊。金雨淞是该团体的发起人,1904年生于辽宁兴京县,毕业于东京大学农科,并在日本加入了共产主义青年联盟,1935年回国后加入了共产国际远东情报局,实际上是一位情报人员。金雨淞的表兄时任新京市长,能给予写生团许多便利。


酒井香织是金雨淞的妻子,在满洲通讯社担任摄影记者,摄影作品多有出版。她的父亲是“满洲国”少将酒井镐次,时任留守第七师团长,而她也许是因为艺术的原因与金雨淞相恋。她与家人是否清楚金雨淞的真实身份?这只能是个永远的谜团。


木一少1906年生于安东省通化市,大学时完成了染织图案设计与园艺两个专业学位,1939年任吉林省烟政科副科长,负责鸦片培育和种植,可以说是忠于“满洲国”的“汉奸”官员。


上官言秋是金雨淞的同乡,1907年生人,同样留学日本,还曾追随内田良平加入黑龙会,1934年回国后担任酒井镐次的秘书与中文翻译。1936年,他加入共产国际远东情报局,成为金雨淞的同志;1938年调任满洲铁路调查部翻译,负责情报文书的翻译工作。


四人的身份与相互之间的复杂关系,为这支写生团添加了不少传奇色彩,几乎可以立刻编织出一个谍报故事,但他们的真实活动却鲜有人知,淹没在历史的大潮中。不知道是否发生过惊心动魄的事件?金雨淞与酒井香织的爱情故事也没有可查阅的结局。艺术团体也许是他们在动乱年代聊以自慰的消遣,又也许是情报活动的幌子。究竟有多少发自真心,大概他们自己也无法知道。


这个尘埃般消散的团体只留下了一次展览纪录。他们宣称要创造出属于东亚的新艺术形式,对于关心这一点的读者来说,他们留下的作品却并没有那么重要。无论如何,这些展览文献竟然得以重见天日,本身就是一件值得珍惜的事情。在那个动乱的年代,一切生活的碎片都被史书一笔带过,其中包含了多少人轻薄却又绚烂的生命,和多少真切的细节。


1940年12月30日,兴安西艺写生团在新京宝山百货公司的展厅举办了他们的第三回展览,展出的作品来自团体四人在大兴安岭地区旅行创作的部分作品。据记载,这次旅行是在1940年6月至12月间,四人作为警务厅警备电话架设督查组的随行人员,进入了兴安东省与蒙古交界的边境地区。展出的作品包括油画,植物拓印,摄影,诗稿等。


这次展览将于2017年7月22日,在成都千高原艺术空间得以重现。为什么可以有这个机会呢?因为这个团体,连同它的所有故事与文献,以及成员们创作的作品,都是由当代艺术家刘传宏创造的。2015年秋,他独自一人沿着中国和外蒙古的国境线驾车缓缓前行。车厢里装着画布和睡袋,还有炊具,地图和沿途收集的史料书籍。汽车就是他的工作室,灵感也由此而来。


可是,即便知道了这个真相,我们却还是会期待看见那个团体,进入他们所在的那段时光,看看那些被历史遗忘的片段。真正的时间,总是创造着比想象还要精彩的故事,却又总是亲手将它埋葬。刘传宏的这个展览就叫做“兴安西艺写生团”;它是一段不存在的故事,也是一段艺术家用微不足道的想象对抗时间与历史的故事。




Xing’anWest Art Group



Duration:2017,07,22–2017,09,22

Opening:2017,07,22 (Saturday) 15:00-18:00

Organizer:A Thousand Plateaus Art Space

Artists:Liu Chuanhong

Media:Painting, Photograph,MixedMedia

Venue:A Thousand Plateaus Art Space, South Square, Tiexiang Temple Riverfront, ShengbangStreet, High-tech Development Zone, Chengdu, China

Tel:+ 86 - (0) 28 8512 6358

E-mail:info@1000plateaus.org



In 1938, when the War of ResistanceAgainst Japan started, in Xinjing, today’s Changchun in Jilin Province, four young people Jin Yusong, Sakai Kaori, Mu yishao and Shangguan Yanqiu,from China and Japan formed an art group beyond the war boundaries,named  Xing’an West Art Group. They tried to go against over westernarts through landscape drawings as well as build a new form of art. As thegroup was located in the socalled “Manchukuo”, it announced to promote thedevelopment of culture and art in East Asia represented by “Manchukuo”.


All of them had special backgroundsand experiences. Jin, the initiator of the group, had been born in Xingjingcounty, Liangning Province, in 1904. He had graduated from Agriculturedepartment in Tokyo University and joined the Communist Youth League in Japan,after coming back to China in 1935, he was actually an Agent of the Far EastIntelligence Agency of the Communist. His cousin was the mayor of Xingjing andcould provide possible convenience for the art group.


Jing’s wife Sakai Kaori worked forthe Manchukuo News Agency as a photographer, and many of her works werepublished. Her father Koji Sakai was major general of “Manchukuo”, colonel ofNo.7 left-behind Division. For Kaori, it might be the arts that made her fallin love with Jin. However, did her or her family know the real identity of Jin?The anwser would be kept as mystery with time passing by.


Mu had been born in Tonghua inAndong, 1906, he did double majors in Dyeing & Weaving Design andHorticulture and served as deputy chief  of tobacco administrationsection, in charge of cultivating opium, as it were, a “loyal Chinese traitor”for Manchukuo.


Shangguan Yanqiu was Jing’s fellowand born in 1907. He went to Japan for university as well and followed UchidaRoyhei to join the “Black Dragon” gang organization. When he returned to Chinain 1934, he became Koji Sakai ’s secretary and Chinese translator. In 1936, hejoined the Far East Intelligence Agency of the Communist and became Jin YuSong’s comrade. Later then, he was transferred to Manchuria RailwayInvestigation Department for translation in 1938, where he shouldered thetranslation of information documents.



The complexities of their identitiesand relationships added a sense of legendary to this sketch group, which couldeven make up a spy story. But the truth was hardly known and submerged byhistory. Had anything thrilling happened?  There wasn’t any reliablereference for Jin and Sakai’s love story. The art community might be anamusement during the trouble times, or an excuse of intelligence activities forthem. Which part of the group was the real? Maybe they themselves didn’t knowat all.


The dustylike group disappearedwith only one exhibition record. They claimed to create a new form of artbelongs to East Asia. However, for viewers who cared about this, the works theyleft didn’t achieve the goal. In any case, it is worth and valuable that theexhibition archive was brought to light. In the troublous age, all details wereskipped  over, while behind that, there were a lot of gorgeous lives anddetailed stories.


On December 30, 1940, Xing'an WestArt Sketch Group held their third exhibition in the exhibition hall of newJingbaoshan department store. The exhibited works were selected from travelingcreations in Daxinganling area. As recorded, the trip was from June to Decemberin 1940, the four served as  the accompanying staffs of the policecall-setting Inspectorate of  police station, and entered the Xing'an Eastand Mongolia border areas. The medium of this exhibition included oil oncanvas, plant monotype, photography, poetry, etc.


The exhibition will berepresented on July 22, 2017 in A Thousand Plateaus Art Space inChengdu. Why can we have this chance? Because the group, its storiesand literature as well as their works are all made up by the contemporaryartist Liu Chuanhong. In the fall of 2015, he drove along the borderbetween China and Mongolia with prepared canvas, sleeping bags, kitchwares andcollected historical materials on the way.  The car was his studio, andhis inspiration also came from the road trip.


Although we know the truth, we stillexpect to see the group. We are looking forward to access to their time, feelthe fragments that were forgotten by history. Real time always creates storiesmore dramatic than imagination, but always buries them afterwards. Thisexhibition by Liu Chuanghong is called “Xing’an West Art Group” , a story thatdoes not exist anymore, in which the artist attempts to fight against the timeand history with imagination.



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