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相聚熱土系列展之關(guān)系——2021中國(guó)當(dāng)代藝術(shù)邀請(qǐng)展

BEYOND THE PERSPECTIVE·2021 CHINESE CONTEMPORARY ART INVITATION EXHIBITION

主辦 Organizer

深圳美術(shù)館  Shenzhen Art Museum

展期 Duration

2021年8月4日至8月22日 August 4th - August 22nd, 2021

藝術(shù)總監(jiān) Art Director

陳履生 Chen Lvsheng 

學(xué)術(shù)主持 Academic host

彭 鋒 Peng Feng

策 展 人 Curator

游  江  孫  粹You Jiang  Sun Cui

策展助理 Exhibition Assistant

鄧麗君  張  騰   鄧正杰Deng Lijun  Zhang Teng  Deng Zhengjie

設(shè)計(jì) Designer

一木設(shè)計(jì) YIMU

地點(diǎn) Venue

深圳美術(shù)館  Shenzhen Art Museum

攝影 Potographer

張騰 Zhang Teng 

鳴謝 Acknowledgement

深圳市宣傳文化基金 Shenzhen Publicity and Culture Fund

參展藝術(shù)家(按照姓氏筆畫為序) Artists（Order By Strokes of Surname）

王葉子、余加、應(yīng)天齊、李政德、李景湖、陳劼、楊光、黃一山、姚明峰、戴耘

Wang Yezi  Yu Jia  Ying Tianqi  Li Zhengde  Li JingHuChen Jie  Yang Guang  Huang Yishan  Yao Mingfeng   Dai Yun               

展覽組委會(huì)Organizing Committee

主    任：張燕方
Director:Zhang Yanfang 

副 主 任：王子蚺Vice Director:Wang Ziran 

委員：（按姓氏筆劃排列）Committee Member (Order By Strokes of Surname）

萬(wàn)黃婷  王子蚺  陳履生 張燕方 趙偉東  覃京俠 游 江 黎曉陽(yáng)

Wan Huangting  Wang Ziran Chen Lvsheng Zhang Yanfang Zhao Weidong Qin Jingxia You Jiang Li Xiaoyang 

前言

Preface

　　2002年以來(lái)深圳美術(shù)館在“關(guān)注本土、關(guān)注當(dāng)代”的學(xué)術(shù)定位下，舉辦了一系列當(dāng)代藝術(shù)展覽和學(xué)術(shù)活動(dòng)，受到了業(yè)界的普遍關(guān)注。與此同時(shí)，深圳美術(shù)館也用展覽、收藏、研究等方式積極扶持當(dāng)代藝術(shù)的創(chuàng)作，展示當(dāng)代藝術(shù)家的藝術(shù)面貌。

Ever since 2002 when Shenzhen Art Museum set “Local and Contemporary” as its academic theme, a series of contemporary art exhibitions and academic seminars have been held successfully which won the museum extensive reputation and attention in the art world. Meantime, Shenzhen Art Museum spared no efforts in supporting contemporary art creations and in demonstrating the spirits of contemporary artists, through exhibitions, collections and researches.

　　“相聚熱土”系列項(xiàng)目是深圳美術(shù)館關(guān)注青年藝術(shù)、當(dāng)代藝術(shù)的一個(gè)常設(shè)項(xiàng)目，在深圳市宣傳文化基金的支持下，自2009年開(kāi)始，每隔一年舉辦一次學(xué)術(shù)性的展覽活動(dòng)，已經(jīng)成功地舉辦了五屆。該項(xiàng)目每一屆以學(xué)術(shù)主題展的方式，從本土藝術(shù)家出發(fā)，邀請(qǐng)國(guó)內(nèi)優(yōu)秀的藝術(shù)家參展，力求展現(xiàn)當(dāng)代藝術(shù)家的藝術(shù)風(fēng)格和成果。如“相聚熱土——2009 深圳青年藝術(shù)家邀請(qǐng)展”“相聚熱土——2013 深圳青年藝術(shù)家邀請(qǐng)展”“溫度——2015當(dāng)代藝術(shù)邀請(qǐng)展”“透鏡——2017 中國(guó)當(dāng)代藝術(shù)展”“法?！ば姆丁?019中國(guó)當(dāng)代藝術(shù)邀請(qǐng)展”等。

The Gathering in Shenzhen Exhibition Series are regular exhibitions at Shenzhen Art Museum which are focused on the works of young artists and contemporary arts. Supported by the Shenzhen Publicity and Culture Fund, the exhibition was started in 2009 and held once every two years since then over the past more than ten years. So far, five exhibitions have been held successfully, and each exhibition was focused on an academic theme and participated by some outstanding native artists invited, showing the artistic styles and latest achievements of contemporary artists. Such exhibitions include: the Gathering in Shenzhen – 2009 Shenzhen Young Artists’ Works Exhibition, the Gathering in Shenzhen – 2013 Shenzhen Young Artists’ Works Exhibition, the Thermomatter – 2015 China Contemporary Art Exhibition, the Simulacrum Living – 2017 Chinese Contemporary Art Exhibition, and the Inheritance · Innovation – 2019 Chinese Contemporary Art Invitation Exhibition, etc.

　　從全球化時(shí)代到所謂的“逆全球化”時(shí)代，我們的世界一直在改變。在信息時(shí)代它變“平”了，在萬(wàn)物互聯(lián)的時(shí)代它變“快”了，而隨著技術(shù)對(duì)物理世界介入的越來(lái)越深，它又開(kāi)始不斷變“深”了。如果把2020年作為一個(gè)歷史節(jié)點(diǎn)的話，后疫情時(shí)代一方面讓人們?cè)诤髨D像時(shí)代“似是而非”的擬像狂歡中“看卻看不見(jiàn)”，另一方在后疫情生活的親歷中，亦讓人們看到了自然的強(qiáng)大力量，從一種進(jìn)步觀中走向“本來(lái)無(wú)一物”的思索和哲學(xué)追問(wèn)，所以當(dāng)下與世界一直迭代的不僅僅是我們所觀照的物質(zhì)的世界，還有我們對(duì)于世界的認(rèn)知。

From globalization to reverse globalization, our world keeps changing all the time. It turns FLAT in the Information Age, FAST in the Internet Age, and DEEP as technologies play more roles in the physical world. If year 2020 is to be a critical point in history, on the one hand, the Post-pandemic Age has treated people with painful lessons that they “see nothing” beyond the carnival of “plausible” simulacra in the Post-image Age, while on the other hand life experience after the pandemic let people see the mighty powers of mother nature. People are moving from a progressive view to the philosophical question “is it empty out there”. Therefore, what keeps iterating with this world is not only the physical world that we are observing, but also our understanding of the world.

　　2021年，“關(guān)系——2021中國(guó)當(dāng)代藝術(shù)邀請(qǐng)展”中，我們邀請(qǐng)到了應(yīng)天齊、余加、戴耘、陳劼、李政德、李景湖、楊光、黃一山、姚明峰、王葉子10位藝術(shù)家，他們圍繞“關(guān)系”這一主題，從各自的經(jīng)驗(yàn)和視角出發(fā)，呈現(xiàn)了當(dāng)代藝術(shù)家在全球化語(yǔ)境中的獨(dú)立思考和藝術(shù)風(fēng)貌。他們的創(chuàng)作材料來(lái)自于我們的城市，作品內(nèi)容取材于日常的生活，這些凝結(jié)著藝術(shù)家智慧、精心組織的藝術(shù)材料和語(yǔ)言，雖然很多時(shí)候我們“視而不見(jiàn)”，但是卻深深融入到我們自身的生存經(jīng)驗(yàn)，甚至文化之中。磚、混凝土、馬賽克、瓷磚、金屬、電線···等，這些作品中的元素一定程度上從生活層面或者說(shuō)技術(shù)層面呈現(xiàn)了世界形態(tài)的變化，藝術(shù)家多樣的視角和藝術(shù)表達(dá)不僅拓展了人們認(rèn)知世界的維度，也從一定角度加深了我們對(duì)于世界的理解。

To the Beyond the Perspective · 2021 Chinese Contemporary Art Invitation Exhibition, we have invited 10 artists: Ying Tianqi, Yu Jia, Dai Yun, Chen Jie, Li Zhengde, Li Jinghu, Yang Guang, Huang Yishan, Yao Mingfeng, and Wang Yezi. They will focus their works on the theme “Beyond the Perspective” and present the audience with their independent thinking and art styles in the context of globalization, based on their personal experiences and perspective. The materials they use to build the art works are taken from our city, and the content of their arts are extracted from our daily lives. It seems that the elaborately organized art materials and languages have the wisdom of their creators in there. Though we most often neglect them, they have been deeply integrated into our life experiences and even cultures. Bricks, concrete, mosaic, ceramic tiles, metal, wires… the elements in these art works have presented us a changing world, to some extent, from the life level or in other words the technical level. The diverse perspective and art expression of artists not only broadens people’s perception of the world, but also pushes us to a deeper understanding of the world.

深圳美術(shù)館
Shenzhen Art Museum
2021年8月
August 2021

部分展出作品欣賞

第一部分：“似是而非”

Section One: Plausibility

王葉子《約等于悉尼歌劇院》57cm × 43cm × 7cm 裝置 2018-2019

王葉子《約等于悉尼歌劇院2》57cm × 43cm × 7cm 裝置 2018-2019

王葉子《約等于兵馬俑》57cm × 43cm × 7cm 裝置 2018-2019

李政德《圖層系列：城市1》112.5cm × 200cm 微噴 2020

李政德《圖層系列：駕校》119.15cm × 150cm 微噴 2019

李政德《圖層系列：觀摩》80cm × 100cm 微噴 2019

第二部分：“看卻看不見(jiàn)”

Section Two: See but See Nothing

戴耘《物境—6》60cm × 60cm × 10.5cm 水泥、建筑廢料、現(xiàn)成品 2018

戴耘《再造——操場(chǎng)》56cm × 49cm × 25cm 水泥、建筑廢料、現(xiàn)成品 2019

戴耘《雙子座》24cm × 29cm × 40cm ×2 水泥、建筑廢料、現(xiàn)成品 2019

楊光《新景觀2016》尺寸可變 裝置 2016

楊光《新景觀2016》局部 尺寸可變 裝置 2016

楊光《新景觀2016》局部 尺寸可變 裝置 2016

余加《紙故鄉(xiāng)》局部 60cm × 40cm × 30cm 裝置 2021

余加《紙故鄉(xiāng)》局部 60cm × 40cm × 30cm 裝置 2021

余加《紙故鄉(xiāng)》 60cm × 40cm × 30cm 裝置 2021

第三部分：“本來(lái)無(wú)一物”

Section Three: Nothing There

應(yīng)天齊《徽洲之夢(mèng)二》 93cm x 117cm  水印版畫 2000年

應(yīng)天齊《眾聲之聲》局部  裝置 2021年

應(yīng)天齊《眾聲之聲》350cm × 350cm × 165cm 裝置 2021年

陳劼《關(guān)系-9 》21cm × 35cm × 37.5cm 空心磚、丙烯、VAE乳液、亞克力  2019 

陳劼《微弱關(guān)系-4》98cm × 71cm × 85cm 不銹鋼（鑄造）、廢舊木頭、鐵片鐵釘、VAE乳膠 2021

陳劼《鏡像-7》110cm × 120cm 微噴 2020

李景湖 《陪伴》 尺寸可變 馬賽克 2021

李景湖 《陪伴》局部 尺寸可變 馬賽克 2021

李景湖《彩虹Ⅱ》 100cm × 100cm × 4cm ×3 裝置  日用塑料碎片、亞克力框 2021

李景湖《彩虹Ⅱ》局部 裝置  日用塑料碎片、亞克力框 2021

黃一山 《吻-1》 130cm × 104cm 板上綜合材料 2017

黃一山《擁抱》 155cm × 110cm 板上綜合材料 2019

姚明峰《測(cè)試》75cm × 91cm 收藏級(jí)噴印、鋁塑板、亞克力 2020

姚明峰《參照系》100cm × 62cm 收藏級(jí)噴印、鋁塑板、亞克力 2020

姚明峰《MY—59.94，25》尺寸可變 屏幕、音箱、海沙、鼠屋 2021

姚明峰《MY—1275和1》135cm×97cm 70cm×70cm 哈內(nèi)姆勒藝術(shù)紙、鋁合金畫框、亞克力 2021

（深圳市文化廣電旅游體育局）

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