展览预告 Exhibition Preview｜项目协商：关于“后艺术”的讨论
项目协商：关于“后艺术”的讨论
Project Negotiation: A Discussion on "Post-Art"
艺术家 Artists:
李波 Li Bo
刘冠南 Liu Guannan
刘耀华 Liu Yaohua
石玩玩 Shi Wanwan
耶苏 Ye Su
策展人 Curator:
高远 Gao Yuan
开幕时间 Opening Time:
2022.01.16, 15:00
展览时间 Exhibition Dates:
2022.01.16 - 2022.02.23
“项目”是一种朝向未来的规划，每时每刻都有大量的“项目”没有通过审批而被抛弃，仿佛卡尔·波普尔所论的“乌托邦工程”一样，永远不可能实现。那种国家意志和历史主义者想象中的愿景正像诸多“艺术项目”一样，最终的结果是：项目取代了作品，方案取代了真实。
展览针对当今艺术家与作品关系的变化，讨论艺术家作为“项目发起人”，而非作品的制作者；而项目的参与者，可以是包括艺术家在内的社会各行各业的公众。在这些“项目”执行的过程中，往往充满不可控性；不预设结果，不规定具体方法，消解艺术家作为创作者的独占权力。艺术家不再行驶作品的主动权，把“制作”作品的权力下放给诸位参与者，采取社会调查或者公众参与的形式，以“项目”和“方案”取代“作品”，实际上也强调了事件的过程而非结果——似乎正是当下中国一些艺术家工作的常态。这种制定项目的工作方式也逐渐演变成一种艺术形式。就如理论家格罗伊斯所言：“艺术不再是为了创造出艺术作品，而是为了记录项目生活（life-in-the-project）”。如此，艺术与生活之间关系的陈旧话题不得不被重新提起，“艺术变成了生命政治（biopolitical），因为它自身已经通过艺术手段创造生活和记录生活”。批评家杰瑞·萨尔茨在《纽约杂志》上评论第13届卡塞尔文献展时，用到了“后艺术”（Post Art）这个词，用来描述那些“甚至不把艺术与生活分开的作品......那些不是艺术品的东西，而是关于制造东西的动力，它们像艺术一样，把想象力嵌入材料中，把握住创造力是一种宇宙力量......一个化学家或将军可能每天都在办公室里做‘后艺术’”。实际上，关于“后艺术”的讨论一直不绝于耳，从艾伦·卡普罗到库斯比特，都是在意识到了艺术和生活微妙的互换关系时提到了这个词。“后艺术”确实消解了艺术家的身份，使艺术家不再独自占有创造艺术作品的权力；但实际上，又赋予了艺术家更多的选择：首先就是其放弃创作作品的权力，其次是艺术家发起项目引导参与者的权力。
展览以5位项目发起人（艺术家：李波、刘冠南、刘耀华、石玩玩、耶苏）的具体项目实施过程为展示对象，注重展陈方式和视觉逻辑的探讨，通过空间搭建和参与者的互动设置展陈模式，形成一种开放式的现场。尝试将“项目”的征集和协商方式以视觉化呈现。对项目和计划本身的展示不仅仅是乏味的文献和档案，而是不同参与者社会和生活实践的汇总，这同时也是“后艺术”讨论的对象。5位“项目发起人”的项目仿佛生动可视的“项目协商”，既是与空间和策展人的协商，又是在互相协商，在有限的展陈空间内“协商”出无限的可能。
文/高远
李波
李波，四川简阳人，重庆工作研究所成员，四川美术学院教师，硕士毕业于中央美术学院，生活、工作于北京和重庆。
李波的艺术活动着重研究“生活、艺术、行为”之间的关系，他从自己的生命经验出发，编织个体与集体话语关系的艺术行动，是他城市化进程中的心路历程和生存痕迹，也是个人价值与集体话语相互渗透的结果。
刘冠南
刘冠南，2014年硕士毕业于中央美术美院雕塑系，现于中央美术学院博士生在读。
刘冠南感兴趣于历史性的图像叙事生产，及其与身体的作用关系。他的工作起始于对广泛传播的叙事类知识的考察，并在考察中发现了图像叙事是如何介入社会规训活动，最终作用于我们的身体。近年来，他的工作聚焦于日常中社会关系的重新发现。
刘耀华
刘耀华，出生于山西霍州，经过五年小学、五年初中、五年高中、五年大学的学习，2008年毕业于长安大学建筑系，获建筑学学士学位。先后从事过建筑师、艺术家助手、杂志编辑和艺术项目策划及统筹的工作。他的作品涵盖多种媒介，主要倾向于艺术在观念维度的延展和发掘。此外，他还于2018年创办“一件作品”公众号，并自主发起和策划了一些艺术项目。
石玩玩
石玩玩是一个特定场域创作的艺术家，毕业于中央美术学院雕塑系，获得艺术硕士学位。毕业于中国美术学院跨媒体艺术学院，获得艺术学博士学位。现任教于苏州大学艺术学院，工作生活于苏州。
耶苏
耶苏 (张帆) ，出生于中国浙江绍兴，作为艺术家和写作者居住生活在北京。他长期致力于基于梦境的小说《油瓶记》的写作，并将其中的故事情节作为重要的创作灵感来源。作品展出于OCAT西安馆、中间美术馆、泰康空间、歌德学院、当代唐人艺术中心、上海双年展等；评论写作则散见于专业媒体和艺术书籍。
高远
高远，艺术史学者、策展人。中央美术学院人文学院艺术史博士，清华大学美术学院艺术学理论博士后，任教于北京工业大学艺术设计学院传媒与艺术理论系。在重要学术刊物发表学术论文和艺术评论50余篇，译著2部。2010年起，在国内外独立艺术机构、美术馆等主持策划40余场学术展览。
高远的艺术史研究和策展工作主要致力于以跨媒介视角对欧洲艺术史、当代艺术展览展示的考察和关照。曾赴佛罗伦萨哈佛大学意大利文艺复兴研究中心（Villa l Tatti，2014）及巴黎德国艺术史研究中心（DFK Paris，2017）及佛罗伦萨艺术史研究所（KHl，2018）访问研究。
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A "project" is a plan for the future, and every moment a large number of "projects" are abandoned without approval, as if they were "utopian projects" according to Karl Popper. which can never be realized. This vision of the state's will and the historicist's imagination, like so many "art projects," ends up with the project replacing the work and the program replacing the real.
The exhibition addresses the changing relationship between the artist and the works of art, discussing the artist as the "project initiator" rather than the producer of the works of art, and the participants in the project, who may be members of the public from all walks of life, including the artists. The process of executing these "projects" is often full of uncontrollability; there is no predetermined outcome, no specific method, and the artist's exclusive power as creator is dissolved. The artist no longer takes the initiative of the work, but delegates the power of "making" the work to the participants, taking the form of social surveys or public participation, replacing the "work" with "projects" and "programs. "In fact, it also emphasizes the process of the event rather than the result - which seems to be the norm of some Chinese contemporary artists' work nowadays. This way of working to develop projects has also gradually evolved into an art form. As the theorist Groys puts it: "Art is no longer about creating works of art, but about documenting life-in-the-project". In this way, the age-old topic of the relationship between art and life has to be revisited, "art becomes biopolitical because it has itself created life and documented it through artistic means". Critic Jerry Saltz, reviewing Documenta 13 in New York Magazine, used the term "Post Art" to describe works that "don't even separate art from life ...... Things that are not works of art, but about the drive to make things that, like art, embed imagination in materials and capture creativity as a cosmic force ...... A chemist or a general might spend every day in his office doing 'post-art'. In fact, there has been much discussion of "post-art," from Alan Kaprow to Kuspit，the term was mentioned in the awareness of the subtle interchangeable relationship between art and life. It is true that "post-art" dissolves the identity of the artist, so that the artist no longer possesses the power to create works of art alone; but in fact, it gives the artist more options: first, the power to renounce the creation of works, and second, the power to initiate projects to guide participants.
The exhibition takes the specific project implementation process of the five project initiators (artists: Li Bo, Liu Guannan, Liu Yaohua, Shi Wanwan, and Ye su) as the exhibition object, focusing on the exploration of exhibition methods and visual logic, and setting up the exhibition mode through space construction and participants' interaction to form an open site. The exhibition attempts to visualize the collection and consultation of the projects. The projects and programs themselves are not just boring documents and archives, but a summary of the social and life practices of different participants, which is also the object of "post-art" discussion. The projects of the five "project initiators" are like a vivid and visible "project negotiation", both with the space and the curator, and with each other, "negotiating" infinite possibilities within the limited exhibition space.
—— Gao Yuan
Li Bo
Li Bo was born in Jianyang city, Sichuan province，who now is living and working in Beijing and Chongqing, the member of Chongqing Work Research Institute, working in Sichuan fine arts Institute. He graduated from the Central Fine Art Institute, Obained master degree.
Li Bo's artistic activities focus on the relationship between "life, art and behavior". Starting from his own life experience, he weaves the artistic action of the relationship between individual and collective discourse, which is not only his mental process and survival trace in the process of urbanization, but also the result of the mutual penetration of personal value and collective discourse.
Liu Guannan
Liu Guannan, graduated from the Sculpture Department of the Central Academy of Fine Arts in 2014. He is currently a doctoral student at the Central Academy of Fine Arts.
Liu Guannan is interested in the historical production of pictorial narratives and their relationship to the Liu Guannan is interested in the production of historical image narratives and their relationship to the role of the body. His work begins with an examination of the widely disseminated narrative knowledge, and in doing so, he has discovered how pictorial narratives and how it intervenes in social disciplinary activities and ultimately acts on our bodies. In recent years, his work has focused on the everyday. In recent years, his work has focused on the rediscovery of social relations in the everyday. In recent years, his work has focused on the rediscovery of social relations in the everyday.
Liu Yaohua
Liu Yaohua graduated from the Department of Architecture of Chang'an University with a bachelor's degree in architecture in 2008, following five years of primary school, five years of junior high school, five years of high school, and five years of undergraduate studies.
His works cover a wide range of media, with a focus on the extension and discovery of the conceptual dimension of contemporary art.In addition, he founded the ONEWORK WeChat platform in 2018, dedicated to the independent promotion and dissemination of contemporary art, and has initiated and planned a series of art projects on his own.
Shi Wanwan
Shi Wanwan is a conceptual artist based on the creation of a specific context. Graduated from the Sculpture Department of the Central Academy of Fine Arts with a master degree, He graduated from the School of Intermedia Art of China Academy of Art and received his PhD.He is currently teaching at School of Art of Soochow University.
Ye Su
Ye Su (Zhang Fan) ,born in Shaoxing, Zhejiang Province, China. AS an artist and writer, Ye Su lives and works in Beijing. He has been working on a dream record novel “Oil Bottle”, and some of the story scenes of the novel become very important inspiration for his art creation. His work was exhibited in OCAT Xi'an Museum, In Side out Museum, Taikang space, Goethe college, Tang Contemporary Art, Shanghai Biennale, etc; Comment writings are published in professional media and art books.
Gao Yuan
Gao Yuan is an art history scholar and curator. He has a PhD in art history from the School of Humanities, Central Academy of Fine Arts, and a postdoctoral research fellow in art theory from the Academy of Fine Arts, Tsinghua University. He has published more than 50 academic papers and art reviews in important academic journals and two translations, and has curated more than 40 academic exhibitions in independent art institutions and art museums at China and abroad since 2010.
Gao Yuan's art historical research and curatorial work is mainly devoted to the examination and care of European art history and contemporary art exhibition display from a trans-media perspective. He has visited the Center for Italian Renaissance Studies at Harvard University in Florence (Villa l Tatti, 2014) and the German Art History Research Center in Paris (DFK Paris, 2017) and the Florence Art History Institute (KHl, 2018) for research.