新展预告 | 剩余空间展览《信使》将于2023年4月8日开幕

信使

出品人：眭群

策展人：鲁明军

艺术家：冯骏原，龚辰宇，郭城，金锋，李汉威，刘昕，王芮，王思顺

开幕时间：2023年4月8日下午4点（周六）

展期：2023年4月8日—2023年9月10日

地点：武汉市宏图大道8号武汉客厅F栋慕金文岸2层剩余空间

Messengers

Producer：Sui Qun

Curator：Lu Mingjun

Artists：Feng Junyuan,Gong Chenyu,Guo Cheng,Jin Feng,Li Hanwei,Liu Xin,Wang Rui,Wang Sishun

Opening: Saturday 4pm April 8th, 2023 

Duration: April 8th - September 10th, 2023

Address: 2nd-floor Building F, Wuhan Living Room, No.8 Hongtu Avenue, Wuhan.

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| 展览前言 | 

在艺术史上，杜尚一直被神化为一个革命者。评论家蒂埃利・德・迪夫（Thierry de Duve）则认为，杜尚不是革命者，他只是一个“信使”（messenger），他所带来的消息“一切都可以成为艺术”其实出自1880年巴黎秋季官方沙龙——至于在此之前还有没有这样的说法就不得而知了。

且不论迪夫的观点是否可靠，但它至少提示我们，无论是于漫长的艺术史，还是于风云激荡的现实世界，其实没有任何一个艺术家是真正意义上的革命者，他/她只是一个信息的打捞者，一个最早传递变革将临的“信使”。也即是说，艺术（家）扮演的角色既不是历史的招魂者，也不是未来的（盲目）构想者，而是连接过去与未来之间的一个（最初）媒介。在这个意义上，所谓前卫与其说是它改变了什么，不如说是透过过去，它带来了什么，并预见了什么。

身处后互联网时代，试图通过艺术改变社会或整体地构想一个未来，都变得愈发困难，艺术家能做的只有通过历史的打捞，探察未来变革的可能，或我们正在经历但尚未被发现的某个迹象。在这里，无论是金锋致信丢勒、哥白尼，还是冯骏原、龚辰宇关于中世纪骑士的技术—图像考古，无论是李汉威数字荒漠中的算法绘画，还是郭城、刘昕的（低）科技生态危机预警，无论是王思顺身体本能的溢出和抗拒，还是王芮魔法般的童话或寓言……都在提示我们，我们或许正经历着一场某种尚未可知变革，而这种变革其实早在几百年前、几十年前或几年前就已经出现过;也或是，另一场更为深刻的变革正在萌芽当中。这其中，艺术家只是像一个谦卑的使者，并不动声色地行使着自己的使命。因为他们并不期待被同时代人所发现，他们实践的意义其实不在当下，也不在过去，而在几十年、几百年乃至几千年后。到了那个时候，他们的艺术家身份才真正得到确认。

| Abstract |

In the history of art, Duchamp has often been deified as a revolutionary. However, Thierry de Duve, an art critic, believes that Duchamp is not a revolutionary, but just a "messenger". Duchamp’s message - "everything can become art" - actually originates from the ‘1880 Paris Salon d’Autumn’.

Regardless of whether Duve's viewpoint is reliable or not, it at least reminds us that no artist is truly a revolutionary, whether in the endless history of art or in the turbulence of the contemporary world. The artist is just a fisherman of information, the first "messenger" to convey the impending change. 

In other words, the role played by art (artist) is not a historical summoner or a future (blind) visionary, but rather a (initial) medium that connects the past and the future. 

At this point, the significance of avantgarde is not so much what it has changed but rather what it has brought in view of the past.

In the post-internet era, trying to change society through art or envisioning a future as a whole are becoming increasingly difficult. Artists, mediating between history and future, are limited to exploring the possibility of future changes, or to share a notice of what we are experiencing but have not yet discovered. 

Looking at the artists in our “Messenger” exhibition, whether it is Jin Feng's letter to Dürer, Kopernik; Feng Junyuan; Gong Chenyu’s image archeology about the technology of medieval knights; Li Hanwei's algorithmic painting in the digital desert; Guo Cheng; Liu Xin's (low) tech ecological warning; the overflow and resistance of Wang Sishun's physical abilities; or Wang Rui's magical fairy tales or fables... these all remind us that we are experiencing unknown changes. 

This kind of change is happening continuously, hundreds of years ago, decades ago, or several years ago, while another more profound change is in the making. Within this setting, the artist is merely a humble messenger, quietly exercising his mission. They therefore do not expect to be discovered by their contemporaries.

The significance of their practice is not situated in the present or in the past, but is steeped in and shaped by history, decades, centuries, thousands of years of practice.

These artist have therefore confirmed their identity, being a humble messenger!

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