展览 | 邓岩："如果艺术可以从新再来If Art Can Start A New Again"

If Art Can Start A New Again

如果艺术可以从新再来

从“平面呈现 ”到“物理空间占据”

摄影艺术

一次新的实验与探索

如果艺术可以从新再来

If Art Can Start A New Again

策展人｜邓 岩

Curator｜Yan Deng

参展艺术家｜安吉尔、方珉瑶、胡农欣、黄乖儿&汪润中、马炎林、孙存明、卢杉、王红璇、王拓、向帆、张金、周倩楠、Alina Tenser(乌)、Bobby Davison(美)、INDUSTRIAL JP(日)、Marievic(法)、P·Seth Thompson(美)、Thibault Brunet(法)

Participating Artists｜Jier An、Minyao Fang、Nung-Hsin Hu、Guaier Huang&Runzhong Wang、Yanlin Ma、Cunming Sun、Shan Lu、Hongxuan Wang、Tuo Wang、Fan Xiang、Jin Zhang、Qiannan Zhou、Alina Tenser、Bobby Davison、INDUSTRIAL JP、Marievic、P·Seth Thompson、Thibault Brunet

展览日期｜2017年11月15日—12月15日

Duration ｜15th Nov—15th Dec 2017

展览地点｜中国浙江丽水市油泵厂

Exhibition Venue｜Oil pump plant Factory，Lishui City，Zhejiang Province，China

主办｜中国浙江省丽水市

Sponsor｜ Lishui City，Zhejiang Province，China

协办｜清华大学美术学院信息艺术设计系摄影专业

Co-organizer｜ The information art and Design Department of photography，Academy of Arts & Design，Tsinghua University

赞助商｜NEC，鸿合科技，品唐微喷，老林灯光

Thibault Brunet (法)，Territoires Circonscrits，2016，Video，885×498mm

20世纪后的艺术由于资本做为文化的动力，艺术就“社会问题”的探究和“文化导向”的发掘，甚至是地域性艺术权利的争夺成为当代艺术的主要内容和评价坐标。在这个过程之中艺术功能凸显——这是它积极的一面。但随着艺术与资本、社会、政治关系越发的紧密，且当艺术逐渐成为当代文化思考判断输出方式时，导致它必将成为资本和政治利用的工具，也最终导致它的附属特征。

这种“附属特性”愈演愈烈，它在不同体制的表现各有不同。在西方他必然附属于资本，而在另一些国家他必然还是附属于政治。这也是当代艺术的评价坐标逐渐被资本和政治垄断的现状。但其实艺术的力量远不止于此。今天，由于科技介入，让各种所谓的艺术方法论变得渐渐惨淡无力，这是艺术力量美学重新建构的另一个开始。在这里我并不是反对观念，而是我们需要重新面对和建构的一个新的美学认知，开始新的尝试。

王红璇 (中)，对“墙”的一次剖白，2016，装置，1000×3000mm

Capital is the power for art. So the art generated after the 20th century studies on social problems and explores the orientation of culture. Even the fight for regional art right has become the main content and evaluation benchmark for contemporary art. Positively, the artistic function stands out during this process. However, when art is becoming the output mode for thinking and judgment of modern culture, as art becomes closer-related with Capital, society and politics, it will surely be led to become the tool for capital and politics. Finally it will result in its affiliated characteristics, which will become increasingly violent. It varies in different systems.

Marievic (法)，Blowing Riccardo，2015，Video

In Western countries it is sure to be affiliated to capital while in other places it is certain to be subsidiary to politics. This is also the reason why the evaluation benchmark of contemporary art is gradually monopolized by capital and politics. But in fact the power of art is far from this. Nowadays the introduction of technology makes the so called artistic methodology pale and weak. This is another start for the reconstruction of artistic power aesthetics. Here I am not against the concept but we need to face and build a new start for aesthetic acknowledgement.

P·Seth Thompson (美)，The apotheosis of edgar mitchell，2012，图像，508×1066.8mm

现代主义运动使得人类对于今天科技介入后突发的社会格局的变化有了相对充分的准备，人们可以更加宏观的利用现代主义时期所赋予的警惕性和源于西方资本主义的观念和逻辑来迎接每一天的挑战。中国社会也在这样的大的国际历史背景下吸收并迅速的建立具有中国特点的文化发展新格局。

中国文化在对待科技创新、科技经营甚至是科技消费的能力和权利上都不会受到本土历史问题的过多的干扰。这样的阶段是我们可以通过与全球同步的科技消费权利来反观和追述我们本土文化的绝好机会。但在今天人们正在面临一场比现代主义时期更为严峻的挑战，那就是现代资本运营的方式对于科技迅速发展的依赖超越历史上任何一个阶段 ——简单来说就是人对于人造物的“依赖”和“期待”超越了人们可控的范围。

Industrial JP (日)，Industrial jp，2016，Video，4000×2250mm

Modernism enables human beings to get comparatively well prepared for the emergence of technology on social pattern. Thus, we can face the constant challenge of new concepts and logic originated from Western capitalism, and be vigilance embedded by modernism. In this global and historical context, the Chinese will absorb and rapidly establish our own cultural development pattern with typical Chinese characteristics.

孙存明 (中)，Masturbation，2015，小电视、Video，3106×2330mm

We will not be greatly affected in our abilities and rights involved in dealing with scientific innovation, scientific and technological management and even consumption. At this stage, we may take is as an excellent opportunity to reflect on and trace back our local culture from the perspective of the global scientific consumption rights. But we are currently facing more severe challenges than that during the modernism period. That is the approach of running modern capital is highly dependent on the rapid scientific development, which is beyond any other period in history. To put it simply, we may say that man rely and expect the creation of something human being created, which is far from what human beings can possibly control.

孙存明 (中)，Untitled (Dream Real) ，2014，Video，4400×2475mm

艺术也将面临这场由于科技的“超现实活动”所带来的文化突变，艺术家也必然会被这个超现实文化景观所影响。二战后，由于资本发展的必然诉求所导致的国家间对于科技和文化发展的对抗愈演愈烈，这使得科技的研究目标和文化艺术的发展方向都变得模糊起来。

展览将会在这样一个大的历史背景下描述今天的艺术所需要面对的新科技介入后艺术格局的变化； 虚拟数字时代的读图方式和方法的变化以及科技目标模糊化后艺术策略的变化。同时今天由于科技的进步以及消费模式的变化，艺术家对于新的艺术体验方式的诉求非常强烈。

Marievic (法)，Masculine／Feminine，2013，Video，3200×1800mm

Similarly, art will also be faced with the "Cultural Revolution" caused by the science and technology; the artist will also be affected by the surreal cultural landscape. After the Second World War, the competition of science and technology and cultural development is becoming increasingly intense because of the inevitable demand of capitals among different countries. This class will describe the artistic changes in a global and historical context, in which new technologies are adopted as well as changes of interpreting graphics and the methods of interpretation in digital and virtual age. Owing to these changes, both the further research goal in science and technology and the direction of cultural and artistic development become less clear and transparent. At the same time, the artists have a higher demand for trying new artistic experiences, which are possible because of the progress in science and technology and the changes in consumption pattern.

方珉瑶 (中)，I AM Waiting For The Day We Meet Again，2016，Video，22Inch Screen

展览“如果艺术可以从新再来”正是通过呈现艺术家对于摄影艺术本体语言的多媒介的转化，来探讨摄影作为艺术在面对新科技媒介介入后的图像美学延长体特征和与之而来的新的美学可能，而在这个过程中传统摄影艺术的读图方法也会随着新的读图媒介呈现方式的改变而发生变化，拍摄过程本身以及新的读图逻辑的解构和重组是展览对于摄影从“平面呈现 ”到“物理空间占据”的一次新的实验与探索，而在这个过程中新的成像技术的应用和由此而产生的新的图像功能必将和当代社会的发展发生紧密的联系。所以今天摄影艺术面临的挑战必然是技术的革新和当代图像文化供需关系突变所产生的新的艺术纬度的思考。

Alina Tenser (乌)，Kismet Tutorial，2016，Video（5’55’’），88×495mm

The exhibition “If art can start anew again” is presented through the transfer from the fundamental photographic language to multimedia presentation. This is an attempt to explore the potential of exhibiting the prolonged aesthetic characteristics of photography, with the reformulation of new high-tech media.

Marievic，Kiss W/Matisse，2011，video

In this new effort to explore the new possibilities of artistic representation, the traditional graphic interpretation approach will change accordingly, together with the new media presentation. The destruction and reconstruction of the new graphic interpretation logic in the shooting process will undergo a series of exploration and experiments of moving from “graphic design” photography to the “occupation of physical space” photography.

王拓 (中)，Addicted中毒，2016，Video，5000×2812mm

In the process of developing new image-generating technology application and the resulting new image will function and contemporary society relations, so facing the challenges of today is the art of photography technology and when Reflections on the new artistic latitude caused by the abrupt change of supply and demand relation of image culture.

文/邓岩

周倩楠 (中)，Mermaid Can，2016，装置、投影，1000×400×1000mm

策展人｜邓 岩

Curator｜Yan Deng

当代新媒体影像艺术家

清华大学美术学院信息艺术设计系教师（硕士生导师）

研究方向：当代跨媒介影像艺术、新媒体艺术、科学影像艺术可视化

现工作生活在北京

Deng Yan received his MFA from Parsons The New School for Design in New York and BA from Academy of Art and DesignTsinghua University in Beijing.He is a Multimedia Artist primarily focusing on Video Art and physical interactive installation. He is an Assistant professor of Information Arts and Design in Tsinghua University.

策展团队｜方珉瑶、黄一洋、李艺潇、朴之贤、阳文、周天

Curator Assistant｜Minyao Fang、Yiyang Huang、Yixiao Lee、Jihyun Park、Wen Yang、Tian Zhou

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