查看原文
其他

跨界大展|九层塔⑤陈文骥+丁乙+梁铨+谭平 “相似的结果,不同的路径”预告

△左右滑动查看下一张
九层塔:空间与视觉的魔术Nine-Tiered Pagoda: Spatial and Visual Magic
“九层塔:空间与视觉的魔术”是一次跨界行动,是中国从未有过的展览方向和形式。它将邀请9位/组艺术家提供作品,作为展览的基础素材,同时邀请9位建筑师,9位设计师,组成九个临时团队。艺术家、建筑师、设计师三方联名合作,没有“主次”和“中心”,只是分工与协作,最终形成9个全新类型的展览。

空间和设计是决定展览的核心元素,也是对展览和作品的再创作和再生产,它决定了观众看到什么,怎么看,看的次序和节奏。空间和设计,在这里不再是为展览服务,而是独立自主的体验,给予展览无数的变量和可能。

一直以来,我们缺乏一种高质量的跨界,它们不是流俗于明星和网红效应,迎合一种快餐式的出圈,就是自说自话,拘泥于专业壁垒。“九层塔”倡导的跨界方式,创造了一个艺术、建筑和设计的连接点,一个全新的交叉学科,它既是三个专业间的实际需求,有益协作,又保留了各自的专长和优势,分工得当。

作为中国古代建筑,“塔”有着一种特殊的结构,它的每一层讲述着不同的故事。这些故事和空间、设计,紧密围绕成一个彼此叠加的整体,成为展览的外在形象和精神内核。

“九层塔:空间与视觉的魔术”由策展人崔灿灿建筑师刘晓都共同在2020年发起,它是一个混合了思想、方法、工具的实践项目,也是对跨领域工作的兴趣班,拓展彼此方向的攻关小组。

“九层塔”的出现,饱含着创造一个全新领域和事业的雄心,旨在发明一种新的合作方式和展览观念,重塑这个时代的感知体验。


 “相似的结果,不同的路径”
陈文骥+丁乙+梁铨+谭平

+ 空间呈现张永和+ 平面设计韩家英   + 策展人崔灿灿  + 出品人刘晓都  + 开幕2021年5月9日+ 地点+ 主办深圳市坪山区文化广电旅游体育局+ 承办坪山美术馆   + 协办华润文化体育发展有限公司坪山分公司


作为九层塔的第五个项目,“相似的结果,不同的路径”是第一个群展,也是对抽象艺术创作方法的讨论,它关注艺术、建筑、设计中基础而又核心的议题:点、线、面在作品中的不断变化。展览以艺术家陈文骥、丁乙、谭平、梁铨的作品为基础,邀请建筑师张永和进行空间的呈现,平面设计师韩家英进行海报等视觉系统的创作。

“相似的结果”指艺术家共同使用点、线、面,作为创作的全部元素,最后呈现出相似的画面形式;“不同的路径”指四位艺术家运用了截然不同的工作方式、观念意图、生产机制和创作语法。

陈文骥用工业化的色彩和模块,以不同的组合和拼接方式,给出相异的节奏和停顿,形成一组排列有序的抽象作品。丁乙的5张作品从1993年开始,他将“十字”以各种媒介、材质、笔触、色彩、结构,进行“重复” 创作,产生了无限的变量。梁铨有自己的法则,他制作不同颜色的纸片,在画面中进行拼接,纸片多样的分布形成了永不重复的点线面关系。谭平的“位置系列”,则设计了一个规则:在画面上随机画上几个点,拉出放射线,然后在多次相交的放射线中确定几个交叉点,最终得出点在画面中的位置。我们会发现,四位艺术家的作品中,形式只是执行的手段,“路径”自身会发展作品,会产生变量。变量近乎无限。

“相似的结果,不同的路径”为我们提供了重新认知抽象艺术的视角:它不再以形式创新为目的,而呈现了艺术家的观念思考、创作语法和系统性工作的重要性。

建筑师张永和将这些“视角”转化为空间感受,为作品搭建了一个全新的场域。展览空间成为另一种形式的“点、线、面”的建造,观者有了不同的观看体验:大与小、内与外、上与下、动与静、看与被看。于是,建筑与绘画互动,观者与展览互动。设计师韩家英则提供了另一种交汇,艺术家的名字和作品元素的交汇,让简单的元素具有了现实感和个人性。

“相似的结果,不同的路径”展现的是艺术家、建筑师和设计师共同的工作——对于点、线、面在秩序世界的无限探索。这些探索取决于情感和观念的变化,也取决于我们在各个领域中不断创造的工具、手法、路径。无数种方向和抵达,丰富了我们的语言世界。也因为点线面的本质、基础,所以永恒存在,近乎不朽。

策展人:崔灿灿


1
艺术家

陈文骥 《叠/对系列 (粉绿色)》铝塑板上油画140 X 140cm(2020)

陈文骥,中央美术学院壁画系教授。1954年生于上海, 1978年毕业于中央美术学院版画系,目前生活、工作于北京和河北燕郊两地。

八十年代初期,他有过一段不长的版画创作经历,自八十年代中期,开始转而以油画作为个人的创作方式,经历了从写实到抽象视觉形态的表达方式,近十年来始终通过这种绘画思考途径来完成个人的艺术创作。作品曾参加《中国现代艺术展》(北京·1989),《演变—中国当代艺术展》(德国科布隆茨·2008),《中国当代艺术三十年历程1978-2009》(上海·2009), 《Ctrl+N非线性实践2012光州双年展特别展》(韩国光州·2012),《2017巴西库里蒂巴双年展·脉动——中国当代艺术展》(巴西·2017),《鲍博·勃尼斯+陈文骥》(北京·2018)。

丁乙 《十示 2020-23》椴木板上综合媒介 120 x 120cm(2020)

丁乙,1962年生于上海,1990年毕业于上海大学美术学院,现工作、生活于上海。丁乙的创作领域包括绘画、雕塑、空间装置和建筑。从80年代后期开始,他将视觉符号“十”字以及变体的“X”作为结构和理性的代表,以及反映事物本质的图像表现的代名词。

丁乙的作品在全球各大机构广泛展出,包括上海当代艺术博物馆、美国旧金山现代艺术博物馆、古根海姆博物馆、德国柏林戴姆勒当代艺术馆、法国巴黎蓬皮杜艺术中心等;大型国际双年展包括第45届威尼斯双年展(1993) 、第一届亚太三年展(1993)、第11届悉尼双年展(1998)、第一届横滨三年展(2001)、第六届上海双年展(2006)、第七届深圳雕塑双年展(2012)、第七届釜山双年展(2016)。


梁铨 《空山不见人 2 》 宣纸水墨拼贴 91 X 61cm (2015)

梁铨 《空山不见人 3 》 宣纸水墨拼贴 121 X 91cm (2013)

梁铨,1948年出生于上海,祖籍广东中山,1980年赴美国旧金山艺术学院学习,1984年任教于中国美术学院版画系,现工作和生活于深圳。

梁铨是中国最早将传统水墨结合抽象表达的艺术家之一,构建了东西方美学语言贯通却相互区别的个人表达。写实和写意的思考用细碎的言语辩白,在形与无形之间重建秩序,细节的极致调和以至“空”的境界。水墨轻重有序的晕染,形的消融,真实被层层措置与堆叠的细节阐释,以一种近乎消失的方式置于现实中再次显现,空白意味着无限。表达上的让步和不明确指向,用不对抗不强加的态度应对瞬息万变,梁铨以其最具代表性的水墨拼贴,铺开淡然悠远的禅意。


谭平 《手稿》 纸本铅笔 45 X 30cm X 6 pcs (2018) 

谭平,1960年生于河北。现为中国艺术研究院教授,博士生导师,享受国务院政府特殊津贴;1984年毕业于中央美术学院版画系并留校任教;1989年至1994年,获得DAAD奖学金留学德国柏林艺术大学自由绘画系。2002年,任中央美术学院设计学院院长;2003年,任中央美术学院副院长。2014年,任中国艺术研究院副院长,中国美术家协会实验艺术委员会主任,国际当代艺术研究中心主任。


2
空间呈现

《九层塔:空间与视觉的魔术⑤“相似的结果,不同的路径” 陈文骥+丁乙+梁铨+谭平》空间呈现效果图


张永和,美国注册建筑师/美国建筑师协会院士,非常建筑创始人、主持建筑师。于1984年获得伯克利加利福尼亚大学建筑系建筑硕士学位。自1992年起开始在中国实践,1993年在美国与鲁力佳创立非常建筑。他曾荣获诸多奖项,如1986年荣获日本新建筑国际住宅设计竞赛一等奖第一名,美国“进步建筑”1996年度优秀建筑工程设计奖,2000年获联合国教科文组织艺术贡献奖,2006年获美国艺术与文学院的学院建筑奖,2016中国建筑传媒奖实践成就大奖,2019年Domus世界最佳100+建筑事务所,2020年度美国建筑师协会(AIA)建筑奖,2020 ArchDaily中国建筑年度大奖等。


3
平面设计
《九层塔:空间与视觉的魔术⑤“相似的结果,不同的路径” 陈文骥+丁乙+梁铨+谭平》折页设计示意图

韩家英,1961年生于天津,1986年毕业于西安美术学院,韩家英设计公司创办人,国际平面设计联盟(AGI)会员。

从《天涯》系列开始,韩家英围绕汉字构建自有的视觉思考,东方哲思与文化通过当代表达方式传递出来,呈现出简练的美感。这一思路在《字象乾坤》、《妙法自然》、《赞美我们的星球》等作品中延续,在《同晷》等装置中立体呈现。《诗歌》、《相遇》等作品,则是在进行实验性艺术创作。曾获亚洲最具影响力设计大奖金奖,福布斯“中国最具影响力的设计师”。多项作品收藏于英国、法国、日本、中国香港等国际艺术机构。


4
策展人

崔灿灿,策划人,写作者。策展的主要展览和活动从2012年开始一百多场,个展涵盖中国最具代表性的老、中、青三代艺术家,群展包括夜走黑桥、乡村洗剪吹、不在图像中行动、六环比五环多一环、十夜、2015-2019过年特别项目系列、策展课、九层塔等。



“九层塔”系列同时展出


九层塔:空间与视觉的魔术⑥“形式的狂想”  刘韡个展
九层塔:空间与视觉的魔术④“天堂电影院”厉槟源个展 
九层塔:空间与视觉的魔术③毛焰、韩东展览“我的诗人”
九层塔:空间与视觉的魔术②“陈列与重现”李青个展
九层塔:空间与视觉的魔术①“团结就是力量”政纯办个展



关于坪山美术馆





坪山美术馆位于坪山文化聚落北区,是深圳重要的公共文化设施。坪山美术馆以创新的体制机制,推动传统公立美术馆与民间美术馆的资源融通,汇聚各方能量,办一个专业化、品质化、国际化的“正而酷”的美术馆,成为集活力、包容、创意、互动为一体的新时代新都市美术馆新标杆,为市民群众带来新鲜、多元的文化享受和体验。


Nine-Tiered Pagoda:Spatial and Visual Magic
Nine-Tiered Pagoda: Spatial and Visual Magic, as a cross-disciplinary event, represents an unprecedented direction and form of exhibition in China.  Nine (groups of) artists will provide their works as the basis material for the exhibition. Besides, nine architects and nine designers will also join to form nine temporary teams, hence the cooperation among artists, architects and designers. There is no ‘priority’ or ‘center’ in the exhibition, only division of labor and collaboration, presenting nine individual exhibitions of a brand-new type.
As the core determinant for the exhibition, space and design are also a kind of re-creation of the exhibition and the work; They determine the content and how the audience see the exhibition, as well as the sequence and pace. Space and design, no longer in the service of the exhibition, provide an independent and autonomous experience for the audience, granting the exhibition a myriad of variables and possibilities.
There has always been a lack of quality cross-disciplinary exhibitions, which are neither a fast food product preached by celebrities and online influencers nor a highbrow art confined to professional barriers. The cross-disciplinary advocated by Nine-Tiered Pagoda creates a nexus joining art, architecture and design together with a new cross-discipline, which reflects the practical needs and collaboration of the three professions, while it also retains the expertise and strengths of each with a proper division of labor.
As an ancient Chinese architecture, ‘Pagoda’ has a special structure, with each tier telling a different story. These stories, spaces, and designs are closely intertwined with each other into a superimposed whole, formulating the external image and spiritual core of the exhibition.
Nine-Tiered Pagoda: Spatial and Visual Magic, launched by curator Cui Cancan and architect Liu Xiaodu in 2020, is a hands-on project that mixes ideas, methodologies and tools. It's not only a workshop for cross-disciplinary art, but also a platform for artists, architects and designers to cooperate and expand their development realms together.
The advent of Nine-Tiered Pagoda represents the ambition to create an entirely new field, with an aim to invent a new way of collaboration and to create a fresh exhibition concept that can reshape the perceptual experience of our times.




Nine-Tiered Pagoda: Spatial and Visual Magic ⑤
Similar Results, Different Approaches - Chen Wenji + Ding Yi + Liang Quan + Tan Ping

Spatial Design: Chang Yungho
Graphic Design: Han Jiaying
Curator: Cui Cancan
Producer: Liu Xiaodu
Opening: 5/9/2021
3rd Floor, Exhibition Gallery, Pingshan Art Museum
Host: Culture, Broadcast and Television, Tourism and Sports Bureau of Pingshan District
Organizer: Pingshan Art Museum
Co-Organizer: China Resources Culture and Sports Development Co,. Pingshan Ltd Pingshan Branch
Project Team: Pingshan Art Museum
Production: Jinkuntai Culture Communication



As the fifth project of “Nine-Tiered Pagoda”, “Similar Results, Different Approaches” is the first group exhibition unveiling a discussion on abstract art creation methods, with the focus on elementary and core issues in art, architecture, and design: the constant change of dots, lines and planes in the work. The exhibition is based on the works of the artists Chen Wenji, Ding Yi, Tan Ping, and Liang Quan, with the architect Chang Yungho designing the space, and graphic designer Han Jiaying in charge of posters and other visual designs.

“Similar Results” refers to the common use of dots, lines, and planes as elements of creation to finally present a similar form of picture; while “Different Approaches” refers the completely different working method, conceptual intention, production mechanism, as well as the artistic language employed by the four artists.

Chen Wenji uses industrialized colors and modules to form a matrix of ordered abstratic works with various rhythms and pauses by using different combinations and splices. Ding Yi has started to create these five exhibited works since 1993. He uses multiple media, materials, brushstrokes, colors, and structures to “repetitively” create the “cross”, therefore creating a myriad of variables. Liang Quan has his own rules. He makes pieces of paper of different colors and collages them all in one picture. The diverse distribution of the pieces forms a never-repeated relationship between dots, lines and planes. Tan Ping sets up a rule in his “Position Series”, where he draws a few dots randomly on the paper , pulls out the radiating rays,  pins down a few intersections on the rays, and finally gets the position of dots in the plane. We will find that in the works of the four artists, the form is only a means of execution, while the “Approach” itself will develop the work and generate infinite variables. 

“Similar Results, Different Approaches” provides us with a new perspective for recognizing abstract art, which no longer aims at form innovation, but shows the importance of the artist's conceptual thinking,  artistic language, and the systematic work.

Architect Chang Yungho transforms these “perspectives” into a spatial feeling, and thus building a brand new field for the works. The exhibition space has become another form of “dot, line and space”, giving the viewers different experiences: big and small, interior and exterior, top and bottom, movement and stillness, seeing and being seen. Here, architecture is interacting with paintings, just as the viewers are interacting with the exhibition. Designer Han Jiaying provides another intersection of artist's names with dots, lines and planes of the work, making these simple elements ideological, realistic and personal.

“Similar Results, Different Approaches” shows the joint work of artists, architects and designers, which carries out infinite explorations of dots, lines, and planes in the world of order. These explorations depend on changes in emotions and concepts, as well as the tools, techniques, and approaches that we continue to create in various fields. Countless directions and arrivals (reflected in all these explorations) have enriched our language world. And also because of the essence and basis of dots, lines and planes, they can exist eternally and are almost immortal.

Curator: Cui Cancan

1
Artists


Chen Wenji. Professor of Mural Department, China Central Academy of Fine Arts(CAFA). Chen Wenji was born in Shanghai in 1954. He graduated from the Printmaking Department of CAFA in 1978, Chen lives and works between the city of Beijing and Yanjiao of Hebei province.

In the early 1980s, the artist had a fair amount of experience in printmaking. Since the mid-1980s, oil painting has been used as his primary creative medium, which further experienced a conversion of visual forms from figurative realism to abstract expression. In the past fifteen years, he has stood by this way of thinking to follow his artistic pursuit. Chen Wenji has participated in “Chinese Modern Art Exhibition” (Beijing, 1989) , “China's Revision” (Koblenz,Germany, 2008) , “Thirty Years of Chinese Contemporary Art 1979-2009” (Shanghai, 2009) , “Ctrl+N Non-Linear Practice - 2012 Kwangju Biennale Special Exhibition” (Kwangju,Korea, 2012) , “Brazil Curitiba Biennale 2017: Pulse - Contemporary Chinese Art Exhibition”(Brazil, 2017) , “Bob Bonis + Chen Wenji”(Beijing, 2018) .

Ding Yi (b.1962) was born and currently resides in Shanghai. He graduated from Shanghai University with B.F.A. in 1990. The practice of Ding Yi encompasses painting, sculpture, spatial installation and architecture. He works primarily with “+” and its variant “x” as formal visual signals, above and against the political and social allegories typical of painting in China. He chose this sign in the second half of the 80s as a synonym of structure, rationality and of a pictorial expressiveness that reflects the essence of things.

Ding Yi has exhibited extensively at various institutions and galleries, among many others, Power Station of Art (Shanghai, 2019); San Francisco MoMA (2018-2019); Solomon R. Guggenheim Museum (New York/Bilbao, 2017-2018); Daimler Contemporary (Berlin, 2017); Centre Pompidou (Paris, 2015). His works has also been included in 45th Venice Biennale (1993), The First Asia-Pacific Triennial of Contemporary Art (1993), 11th Biennale of Sydney (1998), Yokohama 2001 International Triennale of Contemporary Art (2001), 6th Shanghai Biennale (2006), 7th Shenzhen Sculpture Biennale (2012), 6th Busan Biennale (2016).

Liang Quan was born in Shanghai in 1948. In 1980, Liang studied at Academy of Art College in San Francisco. He back to China in 1984 and started his career of teaching as a professor at the Printmaking Department of  China Academy of Art. Liang currently lives and works in Shenzhen.

Liang Quan was one of the earliest artists in China to combine traditional Chinese ink-wash painting with abstract expressions. He framed a personal expression that western and eastern aesthetic languages interacted with each other while either of them could be distinguished. The abstract and realistic thinking is debated by fine fragments, rebuilding the order between form and immateriality, the details are subtly adjusted to “Blank”. The fact is re-interpreted by arranged layers and back to reality with an almost faded way. Blank means infinity. The expression of ambiguous point and nonresistant attitude towards reaction to constant changes, the picture renders naturally calm.

Tan Ping was born in Hebei in 1960. Now he is a professor of Chinese National Academy of Arts, doctoral supervisor, and enjoys special government allowance from the State Council. He graduated from the Print-making department of Central Academy of Fine Arts in 1984 and worked in it. From 1989 to 1994, He was awarded the DAAD scholarship to study at UDK, and received a master's degree and a Meisterschule degree. He also was the honorary doctor of Kingston University, dean of the Design Institute of China Central Academy of Fine Arts and vice president of CAFA. He is regarded as the leading figure of Chinese abstract art, the pioneer of the contemporary Chinese art design discipline and the promoter of Chinese experimental art discipline.

2
Spatial Design
Chang Yungho , FAIA .

Founding Partner and Principal Architect, Atelier Feichang Jianzhu 
Chang received Master of Architecture degree from the University of California at Berkeley in 1984. Since 1992, he has been practicing in China and established Atelier Feichang Jianzhu (FCJZ) with Lijia Lu in 1993. Chang has received numerous prizes, including the First Place in the Shinkenchiku Residential Design Competition in 1986, the Progressive Architecture Citation Award in 1996, the 2000 UNESCO Prize for the Promotion of the Arts, and the Academy Award in Architecture from American Academy of Arts and Letters in 2006, and 2016 China Architecture Media Award Excellence in Practice Prize. 2019, FCJZ has been recognized as one of the 100+ Best Architecture Firms 2019 by Domus magazine.

3
Graphic Design
Han Jiaying was born in Tianjin in 1961 and graduated from Xi'an Academy of Fine Arts in 1986.  He is the founder of Han Jiaying Design & Associates and a member of the Alliance Graphique Internationale (AGI).
Since the “Frontiers Magazine” series, Han has constructed his own visual thinking around Chinese characters. Eastern philosophy and culture are conveyed through contemporary expressions, presenting a concise beauty. This idea is continued in works such as “Forms of Words on Heaven and Earth”, “Ingenuity Follows Nature”, “Celebrate Our Planet”, and three-dimensionally presented in installations such as “The Sundial”. Works such as “Poetry”and “Meeting”are experimental artistic creations.

Han has won the Grand Prize of Asia's Most Influential Design Award, and was named Forbes “China's Most Influential Designer”. Many of Han’s works are collected by international art institutions in Britain, France, Japan, Hong Kong, etc.

4
Curator
Cui Cancan, an active Chinese curator and writer, has curated nearly 100 major solo and group exhibitions for the most representative Chinese artists of different generations since 2012. His group exhibitions include Hei Qiao Night Way, Rural Wash, Cut and Blow-dry, Unlived by What is Seen, Between the 5th & 6th Ring Road in Beijing, The Decameron, Spring Festival Projects (2015-2019), The Curation Workshop and Nine-Tiered Pagoda.



About PAM
Situated in the north district of Pingshan Culture Quarter, The Pingshan Art Museum (PAM) is an important public cultural institution in Shenzhen. It is a major force for resource fusion from conventional public art museums and private art institutions, fueled by its institutional innovation. Aiming to build an art museum that is “positive and cool”, PAM actively explores professional development with high-quality in an international scope. The Pingshan Art Museum dedicates to be a new landmark in our time by bringing fresh and diverse cultural enjoyment and experiences to its citizens and celebrating vitality, inclusion, creativity, and interaction.


翻译|叶可非
编辑|李超群
审校|郭琳 李耀

    您可能也对以下帖子感兴趣

    文章有问题?点此查看未经处理的缓存