BANK 新展｜《新建构主义的猜想》Towards a Neo-Constructivism｜9月25日开幕 Sept 25

建构主义，20世纪最重要的文化运动之一，宣称要进行一场“决不妥协的艺术战争！”它试图将艺术瓦解成最基本的部分，挑战既定传统的合法性，并构建一种以支持后沙皇时代俄罗斯社会革命的简朴美学形式。这个展览提出了在今天错综复杂的文化景观中，潜在或新兴的新建构主义的猜想。虽然建构主义挥之不去的遗产无处不在，但这群艺术家聚集在一起，是为了解码“新建构主义”的种种可能性。

建构主义曾在以装饰性的资产阶级消费主义横行当道之时，试图重塑审美和社会规范，设想一种可以解放受压迫的苏联群众们的纯粹而全面的总体艺术。新建构主义通过审视我们现当下的全球现实，见证着意识形态的崩坏，对这一乌托邦理想的遗留之物重新评估，试图将我们从社会弊病中解放自身，创造任何哪怕零星半点的安全感、解放或者新的主流美学主张。新建构主义重新洗牌艺术的基本，在这样一个时代，早已失去活力或是颠覆能力的前卫派，恰恰是晚期资本主义多元化的讽刺花边情节之一。

除了对绘画上的关注，自身反映现代工业社会蓬勃发展的技术进步的建构主义者们，当时对建造或建设的艺术感兴趣。他们使用稀疏零落，几何形态和原始材料来创作纯粹艺术，模糊设计与建筑的边界。今天，抽象、朴素和几何状的艺术作品仍在继续，艺术与科技的交互亦在不断破圈突围，而它们背后的意义却已消弭不再。今天，几何抽象不仅反映的是建构主义最初的“民主”或是非具象审美，它不再是原始意义上的颠覆，而恰相反反应了它曾经谴责抨击的资产阶级装饰艺术。正如俄罗斯先锋派意图消除大众和精英之间的社会经济差距，当今世界也正在经历着历史上最大的贫富差距。一方面，曾经被认为是“朴素”的艺术追求，已经沦为对小部分享有特权的人群的象征性价值。另一方面，艺术家们探索所有与“简朴”或是与之相关的艺术形式的效仿，正自由地参与到应对社会规范及文化遗产的挑战之中。

Preface

Constructivism, one of the 20th Century’s most important movements, declared an “UNCOMPROMISING WAR ON ART!” It attempted to break art down into its fundamental parts, challenge the legitimacy of established traditions, and construct an austere form that supported social revolution in post-Tsarist Russia. This exhibition poses the possibility of a latent or emergent Neo-Constructivism in today’s convoluted cultural landscape. While Constructivism’s lingering legacy is pervasive, this group of artists are gathered to decode on what terms, if any, a ‘new constructivism’ might be deployed.

Constructivism recouped aesthetic and social concerns from the reign of decorative, bourgeoise consumerism by imagining a total art that could liberate the oppressed masses. Neo-Constructivism is a reevaluation of the remnants left behind by this utopian legacy through the lens of our contemporary global reality which is witnessing the ultimate failure of ideology, and the systems it has spurned to, not only liberate us from social ills, but create any sense of security, liberation, or dominant aesthetic discourse. Neo-Constructivism reshuffles art’s fundamental parts but, in an era, where the avant-garde, which has long lost its ability to subvert, is one of many ironic subplots to late-capitalist pluralism.

In place of painterly concerns, Constructivists, reflecting modern industrial society’s burgeoning technological advancements, were interested art that was constructed or built. They used sparse, geometric forms and modest materials to produce a pure art that often borrowed or blurred boundaries with design and architecture. Abstract and geometric artworks continue to proliferate today as does art’s engagement with technology but their import has changed. While the geometric abstraction of today not only reflects Constructivism’s original ‘democratic’ or non-representational aesthetic, it is no longer subversive in the original sense, instead it reflects the decorative bourgeoise art it once sought to denounce. And just as the Russian avant-garde’s imperative was to bridge the social-economic gap between the masses and elite, the world today is experiencing the largest economic disparity in history. On the one side, what might’ve once been considered an ‘austere’ artistic pursuit has now been reduced to symbolic value for a privileged small percent. On the other side, artists are free to engage with their challenging social conditions and cultural heritage by exploring all the possible parodies and modalities of an ‘austere’ or ‘relevant’ art form.

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