AMNUA展讯：
叙事的瓦解
2017年9月5日——10月7日
第5展厅＋第2展厅&公共空间
南京艺术学院美术馆，南京，中国
The Collapseof Narrative
September 5, 2017 – October 7, 2017
Hall 5, Hall 2, and Public Spaces
Art Museum of Nanjing University of the Arts, Nanjing,China
艺术家 Artits：
徐悲鸿 Xu Beihong、刘海粟 Liu Haisu、吕斯百 Lv Sibai、吴作人 Wu Zuoren、杨建侯 Yang Jianhou、卢是 Lu Shi、毕颐生 Bi Yisheng、苏天赐 Su Tianci、刘稼祥 Liu Jiaxiang、杨培钊 Yang Peizhao、徐明华 Xu Minghua、张华清 Zhang Huaqing、吴支超 Wu Zhichao、冯健亲 Feng Jianqin、李荣洲 Li Rongzhou、沈行工 Shen Xinggong、高柏年 Gao Bainian、陈少立 Chen Shaoli、陆长根 Lu Changgen、朱新建 Zhu Xinjian、钱大经 Qian Dajing、丁方 Ding Fang、王浩辉 Wang Haohui、杨志麟Yang Zhilin、朱青生 LaoZhu、管策Guan Ce、盛梅冰Sheng Meibing 、吴维佳 Wu Weijia、封加樑 Feng Jialiang （按作者生年排序）
策展 Curator：
许力炜 Xu Liwei
鸣谢Acknowledgement：
南京师范大学美术学院 School of Fine Arts,Nanjing Normal University
在1929年那场关于艺术标准的争论中，素描从一开始就是一个充满政治色彩的命题而非画种内部的媒介技术要求，艺术家们有着自觉的介入社会意识形态塑造的愿望和信仰，即通过艺术革命达到社会革新的政治抱负。
伴随着宏大叙事向形式风格的让渡，争论中的“艺术家”渐渐转变为埋首耕耘的“画家”，绘画回到了一个较为“安全”和去先锋、去政治的境地，当初所争论的那些命题，如今在很大程度上已经由绘画之外的“当代艺术”承担起来。可是这种“担当”带来了新的质疑：艺术是否真的可以如此广泛地“介入”？这种“介入”在多大程度上是艺术对于其它学科领域的妄自尊大和肤浅图解？而貌似“退守”的绘画是否真如想象一般在纯形式语言的天地里而无涉政治？
我们以南京为地域范畴，对“二徐之争”以来的素描演变加以整理研究，试图重新审视这一叙事的瓦解和作为“旧媒介”的素描中仍然潜藏的可能性。
——许力炜
In the 1929 debate about artistic standards, drawing immediately became apolitical issue, and not a technical aspect intrinsic to painting. Artists hadthe conscious desire and belief to engage with shaping ideologies within society;they had the political aspirations to achieve social change through artisticinnovation.
With the shift from grand narratives to formalist styles, the artists inthis debate gradually became painters immersed in self-cultivation, andpainting returned to a rather safe, less avant-garde, and apolitical place. Theideas that these people had initially debated are now, to a large extent,undertaken by contemporary artworks other than paintings. However, this shiftgave rise to new questions. Can art really serve as a broad-based form ofintervention? To what extent is art self-important and superficial regardingother disciplines? Was seemingly retrograde painting really as pure andapolitical a realm of formal language as we imagined it to be?
With a geographic focus on Nanjing, we have researched and evaluated theevolution of drawing since the “debate of the two Xus,” in an attempt toreexamine the collapse of this narrative and the latent possibilities hidingwithin the “old” medium of drawing.
Curator’s statement, Xu Liwei
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 Curatorial Assistant：
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 Education Specialist：
宣文陵 Xuan Wenling、李莉 Li Li
行政 Administrative Specialist：
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
