AMNUA展讯：
新诗集
2017年9月5日——10月7日
第2展厅＋公共空间
南京艺术学院美术馆，南京，中国
A NewCollection of Poetry
September 5, 2017 – October 7, 2017
Hall 2 and Public Spaces
Art Museum of Nanjing University of the Arts, Nanjing,China
Opening time / September 5, 2017 15:00
范晓 Fan Xiao、姜吉安 Jiang Ji’an、金阳平 Jin Yangping、康学儒 Kang Xueru、李继开 Li Jikai、李文旻 Li Wenmin（澳大利亚 Australia）、刘任 Liu Ren、马国峰 Ma Guofeng、田芒子 Tian Mangzi、任瀚 Ren Han、王彤 Wang Tong（瑞典 Sweden）、伍伟 Wu Wei、吴啸海 Wu Xiaohai、于艾君 Yu Aijun、张光琪 Zhang Guangqi（中国台湾 Taiwan, China）
策展 Curator：
于艾君 Yu Aijun
展览择取了当下若干位在“素描”领域有所进取的艺术家，通过“作者研究”的方式对其工作成果进行样本化的编排呈现，以期展开关于当下素描的思考研究。文学、叙事和（传统）素描形式的纠葛构成展览的表达线索。
作为主要（绘画）作品形态和生发缘起基本来自素描或素描启示的艺术工作者，我经常在被问起相关问题时想到，从素描到当代（纸本）绘画及其他具有实验性和“平民性”的艺术，从（架上）素描到将作品或行为展示或实施于公共空间现场的“泛素描”作品，它们之间必然的分野在哪里？以素描的方式和占了半壁江山的物质性素描参与构成的雕塑、动画和行动现场及其遗迹，到底应该如何界定和论述它们的工作？
素描，这种被“市场”边缘化的表达，可以说是一种新的充满活力的当代“贫穷艺术”。其实，在跨媒介成为表达常态的当代，作为一个艺术家，将绘画——或者说素描——放置于表达的框架和需求下才是最为重要的，按照一种结构性和方向性的需要，再去选择哪怕是最为简单的材质、工具甚或方法。
所以，与其说我把某些——与“素描”之间存在着某种明确的联系，继而引起命名争议的——作品与实践视作素描（经验），莫如说，我愿意把它们看作素描（的荣耀），我认为这是对艺术“根性”的追慕和艺术品质的赞许。
作为策展人，我认为对艺术家的选择就是观点和观念本身，剩下的，就交给他们具有冲突性的自我实现吧。我乐于看到坚定、敏感以及民间的、生成状态中的、可见可感的未来，也着迷于呈现素描（创造）的中间状态，比如，像草图却语言特异的绘画，依赖“素描”经验的绘画（装置），完成度极高的类“素描”，作品推进状态和情节氛围像“素描”的视频、行动及其“物证”或影像作品，等等。传统造型媒介在当代的许可和激发下，相互侵入、相互控制、相互重组，重新化合成新的艺术物种，这才是一种令人着迷并值得艺术从业者以身相许的景观，也发散着艺术真正的活力。
——于艾君
This exhibition presents artists who are making important strides in therealm of drawing. After researching these artists, we have edited a sampling oftheir work, in order to present a considered study of the current state ofdrawing. The entanglements between literature, narrative, and (traditional)drawing forms make up the expressive threads of this exhibition.
As an artist whose primary (painted) works and sources come from or areinspired by painting, when I am asked these questions, I often wonder: where isthe necessary division between drawing and contemporary painting (on paper) andother experimental and “democratic” art forms, and between (easel) drawing and“flow drawing” works or performances that are presented or installed in publicspaces? How should we define and discuss the proliferation and role of thesculptures, animations, performances, and their traces, which use drawing as amethod or contain physical drawings?
Drawing is a form of expression marginalized by the market, so it couldbe called a new and vital contemporary “arte povera.” In fact, in acontemporary moment in which multi-media is the expressive norm, as an artist,placing painting, or drawing, within an expressive framework is important. Inthis way, the artist can then choose the simplest materials, tools, and methodsaccording to structural and thematic needs.
Instead of saying that I see these works and practices as drawing(experiences), a statement that may cause controversy despite the clear linksto drawing, it would be better to say that I want to see them as (the halo of)drawing; I believe that these works reflect the pursuit of art’s true natureand lionize artistic quality.
As a curator, I think that the selection of artists is a viewpoint and aconcept in itself. The rest can be left to the artists’ conflictedself-realization. I delight in seeing a future that is firm, sensitive,popular, growing, and perceptual, and I am fascinated by the intermediate statepresented by (works of) drawing. For example, there are drafts, which arepaintings in a specific mode, there are paintings (installations) that rely onthe experience of drawing, and there are formal, complete drawings. Push theseworks forward and add a plot, and we arrive at drawing-related videos andperformances, and their documentation or films. Permitted and inspired by thecontemporary moment, traditional plastic media are infiltrating one another,controlling one another, and reconstructing one another, which results in thesynthesis of new artistic media. This is a fascinating and worthwhileintermingling for members of the artistic community, reflecting the truevitality of art.
Curator’s statement, Yu Aijun
素描新辑
——AMNUA素描四
2017年9月5日——10月7日
南京艺术学院美术馆，南京，中国
A New Journalof Drawings:
AMNUA DrawingProject IV
September 5, 2017 – October 7,2017
Art Museum of NanjingUniversity of the Arts, Nanjing, China
出品人 Producer：
李小山 Li Xiaoshan
策划&协调 Curator & Mediator：
王亚敏 Wang Yamin
展览、视觉设计 Designer：
曲俊 Qu Jun、高雅 Gao Ya、张鑫 Zhang Xin
媒体 Media Specialist：
刘婷 Liu Ting
策展助理 CuratorialAssistant：
胡心仪 Hu Xinyi、蒋雨航 Jiang Yuhang、范佳韵 Fan Jiayun、弗朗西斯卡·
蕾裴 Francesca Leiper、阿丽娜·科诺駦科 Alina Krotenko
公教 Public EducationSpecialist：
宣文陵 Xuan Wenling、李莉 Li Li
行政 AdministrativeSpecialist：
毛春海 Mao Chunhai、王韵 Wang Yun
《素描新辑——AMNUA素描四》是南京艺术学院美术馆策划的 “AMNUA素描系列”项目的第四回。这一回，项目采取“素描合辑”的形式，用若干不同独立展览和项目的形式，用不同专题案例研究的方法集体编辑和造型。
“A New Journal ofDrawings: AMNUA Drawing Project IV” is the fourth edition of the AMNUA DrawingProject planned by the Art Museum of Nanjing University of the Arts. For this edition, ‘collectionsof drawings’ were collectively assembled into different exhibitions and events,juxtaposing and aligning case studies.
© AMNUA素描系列 AMNUA Drawing Project & 南京艺术学院美术馆 ArtMuseum of Nanjing University of the Arts
