“链接”展览所处的虚拟时代以及艺术创作
刘礼宾
“城市”既可以是具有物理形态的实在之城，又可以是信息交织而成的虚拟之城。
以“物理形态的实在之城”为基础，则对现实的体验的真实性和对虚拟的体验的虚幻性泾渭分明，易于分别。在此环境下，如果对现实的体验为虚幻，则颇具佛教所说的“万物皆空”的意味；如果对虚拟的体验为真实，则仿佛在编造童话，或在虚构人间天堂。以实为实，以虚为虚，此时的感知主体注重的是外物的实在性，而“心”在此平静如水，犹如镜面，缺少主动性。
以“信息交织而成的虚拟之城”为基础，对虚拟的体验的真实性和对现实的体验的虚幻性顺理成章。如果再以为只有对物理实在的体验为真实，对虚拟时空的体验为虚幻，则有点泥古不化了。以实为虚，以虚为实，此时的感知主体注重的是“心”的体验性，而非外物的实在性。
现实条件是，我们所处的城市是“物理形态的实在之城”和“信息交织而成的虚拟之城”的综合体，“信息交织而成的虚拟之城”越来越具有“物理形态的实在之城”的实在性，而“物理形态的实在之城”越来越具有“信息交织而成的虚拟之城”的虚拟性。
如此一来。
以“物理形态的实在之城”为基础，则对现实的体验的真实性和对虚拟的体验的虚幻性不再泾渭分明，易于分辨。在此环境下，对现实的体验如果为虚幻，如果对虚拟的体验为真实，则也顺理成章了。实中有虚，虚中有实，此时的感知主体虽然注重外物的实在性，而外物本身就有了虚拟的成分，“心”即使平静如水，犹如镜面，它所映照出来的物象已经是亦幻亦真了。
以“信息交织而成的虚拟之城”为基础，对虚拟的体验的真实性和对现实的体验的虚幻性还是顺理成章。面实为虚，面虚为实，此时主体的“心”的体验性像浮萍一枝，更多了摇曳动荡。
完全以“物理形态的实在之城”为基础，或者以“信息交织而成的虚拟之城”为基础面对世界的人毕竟是少数，绝大多数人动摇在两者之间。由上面的分析我们可以得知，伴随着信息时代的到来，体验到“实城实景”、“虚城虚景”的人数在迅速减少，体验到“实城虚景”、 “虚城实景”的人物在迅速增多。当代人穿越于虚实之间，基于这种经历而形成了一种带有普遍性的社会心态，在虚拟和现实两个社会并存又相互转换的现状下，人的主体意识在穿越中谋求达到平衡。
“实城虚景”、“虚城实景”给当代社会带来巨大变化，对个人体验形成了巨大冲击。将这种“变化”和“冲击”可以视为激发新的艺术创作、推动当下理论界“话语转向”的重要契机。以往对信息时代的虚拟性做反思性的批判和解构式的证伪是一些学者的立场，我则想通过对这种虚拟性的强调，为当代艺术创作提供新的契机。
具体来讲，这种可能性体现在两个方面：
首先，对“虚拟性”的肯定、推崇、切身体验可以改变艺术家感知世界的方式（体验到“实城虚景”、 “虚城实景”的人物迅速增多），表现“虚拟性”可以成为艺术创作的核心（正如以往表现对 “现实主义”创作方法的强调一样，现在可以在艺术创作中强调基于虚拟的“现实主义”）。艺术家生存体验的虚拟性加强，会使艺术家处于不同以往的虚拟存在之中，这种生存体验会进一步模糊艺术家创作状态和生存状态之间的界限，正所谓“人生如梦”，现在是梦与人生同步。众所周知，艺术创作本身便有很强的虚拟性，这表现在各种艺术形式的创作之中。现实存在的虚拟性增强，会使艺术家更加容易进入本身便具有虚拟性的艺术创作。这里不是强调一种实用主义的创作渠道，而是强调艺术家在这种虚拟感受的笼罩中，只有保持现实感觉的虚拟感，才能在创作中真的当下现实有关联。在这一过程中，主客体之间以往的对立关系变得模糊，反映论式的艺术创作模式不再生效。
其次，对虚拟时代的肯定给时下的艺术批评提出了新的课题和新的可能性。以对虚拟时代的肯定为基础的批评，将对以往建立在“现实”基础上的批评提出挑战。“现实”已经变得虚拟，在这样的时代，怎样思考“现实主义”成为了一个问题。
虚拟时代的到来，照以往的语言模式来表述，应该是一个“新时代的到来”。但在虚城时代，“新”和“旧”本身就具有了同时性。对这样一个时代，艺术将会有怎样的走向？难以定论，但是一种值得珍惜的契机已经出现，期待这样一个时代的艺术家。
刘礼宾
“城市”既可以是具有物理形态的实在之城，又可以是信息交织而成的虚拟之城。
以“物理形态的实在之城”为基础，则对现实的体验的真实性和对虚拟的体验的虚幻性泾渭分明，易于分别。在此环境下，如果对现实的体验为虚幻，则颇具佛教所说的“万物皆空”的意味；如果对虚拟的体验为真实，则仿佛在编造童话，或在虚构人间天堂。以实为实，以虚为虚，此时的感知主体注重的是外物的实在性，而“心”在此平静如水，犹如镜面，缺少主动性。
以“信息交织而成的虚拟之城”为基础，对虚拟的体验的真实性和对现实的体验的虚幻性顺理成章。如果再以为只有对物理实在的体验为真实，对虚拟时空的体验为虚幻，则有点泥古不化了。以实为虚，以虚为实，此时的感知主体注重的是“心”的体验性，而非外物的实在性。
现实条件是，我们所处的城市是“物理形态的实在之城”和“信息交织而成的虚拟之城”的综合体，“信息交织而成的虚拟之城”越来越具有“物理形态的实在之城”的实在性，而“物理形态的实在之城”越来越具有“信息交织而成的虚拟之城”的虚拟性。
如此一来。
以“物理形态的实在之城”为基础，则对现实的体验的真实性和对虚拟的体验的虚幻性不再泾渭分明，易于分辨。在此环境下，对现实的体验如果为虚幻，如果对虚拟的体验为真实，则也顺理成章了。实中有虚，虚中有实，此时的感知主体虽然注重外物的实在性，而外物本身就有了虚拟的成分，“心”即使平静如水，犹如镜面，它所映照出来的物象已经是亦幻亦真了。
以“信息交织而成的虚拟之城”为基础，对虚拟的体验的真实性和对现实的体验的虚幻性还是顺理成章。面实为虚，面虚为实，此时主体的“心”的体验性像浮萍一枝，更多了摇曳动荡。
完全以“物理形态的实在之城”为基础，或者以“信息交织而成的虚拟之城”为基础面对世界的人毕竟是少数，绝大多数人动摇在两者之间。由上面的分析我们可以得知，伴随着信息时代的到来，体验到“实城实景”、“虚城虚景”的人数在迅速减少，体验到“实城虚景”、 “虚城实景”的人物在迅速增多。当代人穿越于虚实之间，基于这种经历而形成了一种带有普遍性的社会心态，在虚拟和现实两个社会并存又相互转换的现状下，人的主体意识在穿越中谋求达到平衡。
“实城虚景”、“虚城实景”给当代社会带来巨大变化，对个人体验形成了巨大冲击。将这种“变化”和“冲击”可以视为激发新的艺术创作、推动当下理论界“话语转向”的重要契机。以往对信息时代的虚拟性做反思性的批判和解构式的证伪是一些学者的立场，我则想通过对这种虚拟性的强调，为当代艺术创作提供新的契机。
具体来讲，这种可能性体现在两个方面：
首先，对“虚拟性”的肯定、推崇、切身体验可以改变艺术家感知世界的方式（体验到“实城虚景”、 “虚城实景”的人物迅速增多），表现“虚拟性”可以成为艺术创作的核心（正如以往表现对 “现实主义”创作方法的强调一样，现在可以在艺术创作中强调基于虚拟的“现实主义”）。艺术家生存体验的虚拟性加强，会使艺术家处于不同以往的虚拟存在之中，这种生存体验会进一步模糊艺术家创作状态和生存状态之间的界限，正所谓“人生如梦”，现在是梦与人生同步。众所周知，艺术创作本身便有很强的虚拟性，这表现在各种艺术形式的创作之中。现实存在的虚拟性增强，会使艺术家更加容易进入本身便具有虚拟性的艺术创作。这里不是强调一种实用主义的创作渠道，而是强调艺术家在这种虚拟感受的笼罩中，只有保持现实感觉的虚拟感，才能在创作中真的当下现实有关联。在这一过程中，主客体之间以往的对立关系变得模糊，反映论式的艺术创作模式不再生效。
其次，对虚拟时代的肯定给时下的艺术批评提出了新的课题和新的可能性。以对虚拟时代的肯定为基础的批评，将对以往建立在“现实”基础上的批评提出挑战。“现实”已经变得虚拟，在这样的时代，怎样思考“现实主义”成为了一个问题。
虚拟时代的到来，照以往的语言模式来表述，应该是一个“新时代的到来”。但在虚城时代，“新”和“旧”本身就具有了同时性。对这样一个时代，艺术将会有怎样的走向？难以定论，但是一种值得珍惜的契机已经出现，期待这样一个时代的艺术家。
顶年轻批评家一个
刘礼宾
挺差的，那书上的破烂说事，没有新关点。
去你妈的年轻批评家
看好刘礼宾
[quote]引用第5楼guest于2010-1-19 16:32:13发表的:
看好刘礼宾...[/quote]
那就好好添吧，小2
“你选择强权，刘选择吃屎”，
[quote]引用第9楼guest于2010-1-19 23:36:05发表的:
“你选择强权，刘选择吃屎”，...[/quote]
刘选择分析，你选择无赖
我看好刘
也看好刘礼宾
支持!
刘礼宾怎么也成了个人物了？文章写得很差。这个虚拟之城不是去年还是前年卢缓小姐的提法吗？奇怪，奇怪
常来这个网站逛的骂家好像从来不承认人的存在，什么人想在说人话，就会被认为脑残
同为历史的承载者——当代艺术中的艺术家与批评家
刘礼宾
艺术家与批评家同为当代艺术历史的承载者。艺术家以艺术创作的方式介入社会，创造并进入历史；批评家以评判的方式选择作品，编排并塑造历史。两者自觉承担的文化使命是启动他们创作或书写的共同动因，对艺术作品质量几近苛刻的要求是两者对话的基础。
看似极其个人化的艺术创作其实是艺术家溶化个人集聚的文化积淀，借助“创作”途径，实现为“作品”载体的一个过程。作品在社会、文化界、艺术界三个层面生效与否，要看它触及问题的深入程度，以及对艺术语言创新的贡献，两者缺一不可。一个出色的艺术家，必然是触觉极其灵敏的鲜活个体，他或者向个体深处挖掘，从而激活个体的共性，其深度往往决定了共鸣的广泛程度；或者向具体的（而非弥漫的）历史和现实深处走去，使个体成为某段历史或某种现实的承载者。批评家则无疑是最能和艺术家产生共鸣或达成共识的群体，并期望将这些零散的创作“星光”整合为艺术现象、艺术流派，乃至当代艺术史。
与艺术家对自己艺术语言苛刻要求相对应，批评家对艺术作品质量极其重视。贡布里希在他的贯穿古今的《艺术的故事》的“序言”中便强调，他的艺术史的写作基于他对艺术作品的选择，并说明他选择作品的三个原则。其实何止贡布里希这样的美术史学家，批评家策展、撰写批评文章、梳理艺术现象以及艺术流派，乃至进行当代艺术史的写作，也都是基于这一判断。所谓的史学方法是在此基础上“被”要求出来的。
被选择的“艺术品”便构成了艺术史的“历史事实”。
问题是，当“艺术史”和“当代”连接在一起的时候，这些“历史事实”和被选择的艺术家经常被质疑。某个批评家对艺术作品的评判，对艺术家的选择，会被视为一种“权利”，或者被视为一个“谋略”，或者被庸俗化为“关系”，甚至会导致对选择者“动机”的揣测。
面对质疑，被选择的艺术家和进行写作的批评家进行任何反驳都是无益的，乃至把“心”掏出来也是无用的，因为这是历史的承载者必须面对的命运。
艺术家和批评家能在多大程度上承载起历史？在艺术家这里，必然是通过作品说话，声音的高低取决于作品根基的深入和延展。在批评家这里，一方面需要对艺术本体的把握更加精准，对艺术作品质量的评判更加准确，另一方面则是向更宽广的文化领域和现实领域迈进。文化视野的高低，决定批评家脚下支架的高低。
“君子坦荡荡，小人常戚戚”。坦荡者有何秉持？才能不和“戚戚者”同流？
[quote]引用第15楼guest于2010-1-20 17:17:19发表的:
刘礼宾怎么也成了个人物了？文章写得很差。这个虚拟之城不是去年还是前年卢缓小姐的提法吗？奇怪，奇怪...[/quote]
卢小姐,刘里宾是搭档啊。卢小姐极不靠谱，满嘴跑火车的上海人。
A city is a material city, while at the same time it could also be an illusionary one where all information gathers.
Today the city we live is a combination of both.
Naturally in a material city, the experience towards reality could either be real or illusionary. There is always a mixture of reality and illusion. It is rare that a person completely lives on a material city or an informational city, and actually many people are swaying between the two. With the coming impact of the information epoch, the number of people that experience ``real city and real landscape’’ or ``illusionary city and illusionary landscape’’ decreases while the number of people that experience ``real city and illusionary landscape’’ or ``illusionary city and real landscape’’ increase. Modern people shuttle between reality and illusion, which forms a common social psychology. Under the parallel and switch between reality and illusion, one’s potential reaches its balance in the process.
``Real city and illusionary landscape’’ or ``illusionary city and real landscape’’ brings dramatic changes to the society and forms a huge impact on individual. Such change and impact inspire art creation.
Firstly, the recognition, respect and experience of ``illusion’’ could change an artist’s mode in interpreting towards the outside world. The expression of illusion is the focus in art creation. Such illusion, different from the past, blurs the bondage between the living condition and creating condition of an artist. It is widely recognized that the creation of an artist has a strong illusionary flavour which is expressed in their works. But the enhancement of illusion in reality enables the artists to enter their illusionary art creating process more easily. Here, I am not stressing the pragmatism but the realistic yet illusionary feelings of the artist who can create artworks that truly related to the present condition.
Secondly, the recognition of an illusionary epoch suggests new possibilities for the art critics. They will challenge the former attack to the illusionary epoch based on a realistic base. Reality becomes illusionary, how to ponder about the realism is a question.
The coming of an illusionary epoch should be the coming of a new era. But under an illusionary epoch, ``new’’ and ``old’’ co-exist. What is the direction of art? It’s hard to say, but the new opportunity emerges. We expect the artists could grow up alongside with the era.
Today the city we live is a combination of both.
Naturally in a material city, the experience towards reality could either be real or illusionary. There is always a mixture of reality and illusion. It is rare that a person completely lives on a material city or an informational city, and actually many people are swaying between the two. With the coming impact of the information epoch, the number of people that experience ``real city and real landscape’’ or ``illusionary city and illusionary landscape’’ decreases while the number of people that experience ``real city and illusionary landscape’’ or ``illusionary city and real landscape’’ increase. Modern people shuttle between reality and illusion, which forms a common social psychology. Under the parallel and switch between reality and illusion, one’s potential reaches its balance in the process.
``Real city and illusionary landscape’’ or ``illusionary city and real landscape’’ brings dramatic changes to the society and forms a huge impact on individual. Such change and impact inspire art creation.
Firstly, the recognition, respect and experience of ``illusion’’ could change an artist’s mode in interpreting towards the outside world. The expression of illusion is the focus in art creation. Such illusion, different from the past, blurs the bondage between the living condition and creating condition of an artist. It is widely recognized that the creation of an artist has a strong illusionary flavour which is expressed in their works. But the enhancement of illusion in reality enables the artists to enter their illusionary art creating process more easily. Here, I am not stressing the pragmatism but the realistic yet illusionary feelings of the artist who can create artworks that truly related to the present condition.
Secondly, the recognition of an illusionary epoch suggests new possibilities for the art critics. They will challenge the former attack to the illusionary epoch based on a realistic base. Reality becomes illusionary, how to ponder about the realism is a question.
The coming of an illusionary epoch should be the coming of a new era. But under an illusionary epoch, ``new’’ and ``old’’ co-exist. What is the direction of art? It’s hard to say, but the new opportunity emerges. We expect the artists could grow up alongside with the era.
[quote]引用第21楼guest于2010-1-21 21:27:47发表的:
[quote]引用第15楼guest于2010-1-20 17:17:19发表的:
刘礼宾怎么也成了个人物了？文章写得很差。这个虚拟之城不是去年还是前年卢缓小姐的提法吗？奇怪，奇怪[/quote]
卢小姐,刘里宾是搭档啊。卢小姐极不靠谱，满嘴跑火车的上海人。[/quote]
你的意思是陆小姐没有刘立斌口活好？
楼上几个人的口活太好了，敬佩你们，并向你们质疑最崇高的敬意：艺术界的渣滓们，把脑子和眼睛放到头上，别放到裤裆里！
[quote]引用第23楼guest于2010-1-22 10:31:19发表的:
[quote]引用第21楼guest于2010-1-21 21:27:47发表的:
[quote]引用第15楼guest于2010-1-20 17:17:19发表的:
刘礼宾怎么也成了个人物了？文章写得很...[/quote]
人做不好，肯定有人指脊梁啊，还谈啥学术啊。
人做不好，肯定有人指脊梁啊，还谈啥学术啊。
链接：关于人的存在与艺术的空间
白家峰
一百多年前，高更在塔希提岛上创作了他著名的《我们从哪里来？我们是谁？我们往哪里去?》，这件艺术家去世前的完成的力作，揭开了艺术创作中对于人的存在的思索，这句选自《圣经》的话语隐含了艺术家对于面临巨变的生存空间的哲学式的敏感与追问。五十多年前，英国艺术家汉密尔顿创作了以时尚元素为母题的拼贴作品《我们今天的生活为什么如此不同，如此富有魅力》，它不仅开启了波普艺术的大门，而且更直接地面对了工业文明与物质发展对于我们生存状态与生活形式的改变。工业文明深刻地改变了人的生存状态，也极大地丰富了人的生活经历与视觉经验。更重要的事，从高更的思索到汉密尔顿的感叹，人们已经经历了惊讶、不适、反思、自我膨胀与自我毁灭的境地间的反复折腾，也已经磨练出一些在日新月异中见怪不怪，处变不惊的气质来。直至近年，人们开始面临新一波的新技术浪潮的洗礼，又一种系统的，全面地、无孔不入的生活嬗变正在悄然来临。
曾几何时，而那些正日益紧密地勾连起我们生存的基本要素与物质空间的网络力量，也在潜移默化中深刻地改变了人在整个社会结构中的存在方式与互相关系。这种改变，不因你的知识结构、年龄层次、性别差异、社会角色而有所豁免，反之却由于主体的不同显示出多样的表现形式与存在感。也许，每个个体所存在的物理空间、所感受的物质生活并没有如同那些科幻片那样变得虚拟，也不曾表现出鲜明的“未来学”式的生活体验的集中爆发，但是，虚拟网络勾连起的世界，却切实地将一个个个体存在的“表现”形式，以更快捷、更迅速、更多元、更贴近生活却又更超越常识的形式“链接”起来。不管一个人是否直接接触网络，“链接”也已经成为其知识结构与信息来源中反复出现的一个“高频概念”。
此次展览拟定的主题是“链接”，即意在从这样一种网络空间的连接形式入手，强调一种对于当下社会形态中“关系”的思考。如果刨除繁杂的技术概念不谈，链接其实是勾连一个个不同的网站、网页、博客、空间的基础的技术手段。在任何一个网页上出现的链接，都能够将浏览者直接带入一个完全不同的虚拟空间中去，因此，它无处不在、面目多样、可以涂改、难以遮蔽、未经选择、强制关联、快捷而缺乏温情，甚至突兀而挥之不去。这也正是链接勾连起的网络让人又爱又恨的地方，也是任何一个习惯了网络生活、网上冲浪的人直接而深刻的体验。而当它的影响被扩展到线下以后，在以网络为技术基础的传统媒体、以网络为依托的话语平台甚至是以网络为对象的“舆论”与“话语”中，这种影响的扩散日益彰显。从搜索引擎的快捷检索、Web 2.0的博客式的自我言说、个人媒体与草根的公众话语权、乃至现今越来越司空见惯的“被上网”、“被人肉”、“XX门”，私密与公众之间的界限日益模糊，接受与传播的方式日益多元、直接、无孔不入，越来越前置于个人的主观认可，这在很大程度上影响了人的社会存在方式。它改变了人获取信息的途径与方式，同时间接地改变了人做出判断的结果；它改变了人自我言说、表达与自我实现的途径与样式，同时也间接地改变了人介入、改造周边环境的方式与结果；它改变了人被了解、被传播、被认识的形式、途径与时机，这种改变甚至是强制性、排他的，由此也间接地改变了人的社会存在的样式、状态，进而反诉到人的本身。最终人与人、人与对象之间的关系变得更直接而复杂。贴近而模糊。人与社会之间的关系会变得交错而复杂，个人的观点、存在的状态会在互相链接的过程中穿插、交织、互文乃至异化，而这必将最终导致人的存在的异化。
因此，此次展览，即是建立在这样的认识基础上，展现一种从不同立场出发的对于“关系”的思考。此次参展的艺术家，作品涵盖了不同的媒材与形式，所关注的问题、所选择的切入点也各有不同，但是他们都形成了自己独立与相对完整的思考。他们的作品，有的关注于一种本质主义式的内在追问，将对于不同情境中的人的存在的思考内化为对人的生命境遇的本质追问；有的则更多地关注于一个具体人物的个人叙事，而将这种个性化的叙事加以放大、凸显、截取并呈现的方式本身便是一种非常后现代的传播与呈现的形式。当然，与此相对的，也不乏以摄影的形式对于一种集体记忆进行追忆的作品，以及以一种波普式的智慧对时尚、观念、商业与艺术之间的关系进行思考的作品。有的艺术家从抽象的角度入手，通过多媒体互动影像的形式对于人的存在感、错位感与时空对应关系的错位与悖论进行视觉化的再现，有的关注于当下的现场，着重阐释在面临当下特殊的历史时期与社会境遇时，作为参与者的个人的感触，喜悦、迷茫、拥抱与抵触相纠结的集体记忆。此外，还有艺术家将自己非常个人化、带有神秘主义与极多主义倾向的作品以一种近乎暴力的倾向介入到展示空间之中，进而近乎强制性地与观看者产生交流与互动。这些作品，充分考虑了形式语言、观念内涵、叙述倾向、空间营造等诸多因素，同时在呈现形式上也注重一些有意识地对照与穿插。
这些作品，并不是针对展览主题的命题创作，而是从宏观与微观两个层面与此次讨论的主题相应和。首先，从整体结构而言，整个展览中的作品关系，就好比一个个完整的网站。通过链接相互串联。他们的空间关系与并置的形式将是打通的，链接事实上是以一种排他的方式将不同的内容联系起来，这种联系在某种程度上是非逻辑的，它使得人可以不经意间很轻易地进入一个完全不同的领域，由此，人的存在的多样性、不确定性将得到呈现，而从媒介立场、社会学问题、个人经验等各个角度出发的思路也将得到共同呈现。其次，从具体作品层面而言，这些作品所进行的立足当下的思考，实验了新技术背景下的当代艺术呈现中，人的自我体认、个体经验、主观言说在阐释与传播的过程中与不同知识背景、视觉经验、价值立场的观看个体之间传递、交互、嬗变、演绎的可能性，触及了自我认知、个体实现、集体记忆、人与人、人与环境、人与时代的关系等多个层面的话题，同时在实践中探索了人的存在的多元维度与艺术表现的独立空间。
白家峰
一百多年前，高更在塔希提岛上创作了他著名的《我们从哪里来？我们是谁？我们往哪里去?》，这件艺术家去世前的完成的力作，揭开了艺术创作中对于人的存在的思索，这句选自《圣经》的话语隐含了艺术家对于面临巨变的生存空间的哲学式的敏感与追问。五十多年前，英国艺术家汉密尔顿创作了以时尚元素为母题的拼贴作品《我们今天的生活为什么如此不同，如此富有魅力》，它不仅开启了波普艺术的大门，而且更直接地面对了工业文明与物质发展对于我们生存状态与生活形式的改变。工业文明深刻地改变了人的生存状态，也极大地丰富了人的生活经历与视觉经验。更重要的事，从高更的思索到汉密尔顿的感叹，人们已经经历了惊讶、不适、反思、自我膨胀与自我毁灭的境地间的反复折腾，也已经磨练出一些在日新月异中见怪不怪，处变不惊的气质来。直至近年，人们开始面临新一波的新技术浪潮的洗礼，又一种系统的，全面地、无孔不入的生活嬗变正在悄然来临。
曾几何时，而那些正日益紧密地勾连起我们生存的基本要素与物质空间的网络力量，也在潜移默化中深刻地改变了人在整个社会结构中的存在方式与互相关系。这种改变，不因你的知识结构、年龄层次、性别差异、社会角色而有所豁免，反之却由于主体的不同显示出多样的表现形式与存在感。也许，每个个体所存在的物理空间、所感受的物质生活并没有如同那些科幻片那样变得虚拟，也不曾表现出鲜明的“未来学”式的生活体验的集中爆发，但是，虚拟网络勾连起的世界，却切实地将一个个个体存在的“表现”形式，以更快捷、更迅速、更多元、更贴近生活却又更超越常识的形式“链接”起来。不管一个人是否直接接触网络，“链接”也已经成为其知识结构与信息来源中反复出现的一个“高频概念”。
此次展览拟定的主题是“链接”，即意在从这样一种网络空间的连接形式入手，强调一种对于当下社会形态中“关系”的思考。如果刨除繁杂的技术概念不谈，链接其实是勾连一个个不同的网站、网页、博客、空间的基础的技术手段。在任何一个网页上出现的链接，都能够将浏览者直接带入一个完全不同的虚拟空间中去，因此，它无处不在、面目多样、可以涂改、难以遮蔽、未经选择、强制关联、快捷而缺乏温情，甚至突兀而挥之不去。这也正是链接勾连起的网络让人又爱又恨的地方，也是任何一个习惯了网络生活、网上冲浪的人直接而深刻的体验。而当它的影响被扩展到线下以后，在以网络为技术基础的传统媒体、以网络为依托的话语平台甚至是以网络为对象的“舆论”与“话语”中，这种影响的扩散日益彰显。从搜索引擎的快捷检索、Web 2.0的博客式的自我言说、个人媒体与草根的公众话语权、乃至现今越来越司空见惯的“被上网”、“被人肉”、“XX门”，私密与公众之间的界限日益模糊，接受与传播的方式日益多元、直接、无孔不入，越来越前置于个人的主观认可，这在很大程度上影响了人的社会存在方式。它改变了人获取信息的途径与方式，同时间接地改变了人做出判断的结果；它改变了人自我言说、表达与自我实现的途径与样式，同时也间接地改变了人介入、改造周边环境的方式与结果；它改变了人被了解、被传播、被认识的形式、途径与时机，这种改变甚至是强制性、排他的，由此也间接地改变了人的社会存在的样式、状态，进而反诉到人的本身。最终人与人、人与对象之间的关系变得更直接而复杂。贴近而模糊。人与社会之间的关系会变得交错而复杂，个人的观点、存在的状态会在互相链接的过程中穿插、交织、互文乃至异化，而这必将最终导致人的存在的异化。
因此，此次展览，即是建立在这样的认识基础上，展现一种从不同立场出发的对于“关系”的思考。此次参展的艺术家，作品涵盖了不同的媒材与形式，所关注的问题、所选择的切入点也各有不同，但是他们都形成了自己独立与相对完整的思考。他们的作品，有的关注于一种本质主义式的内在追问，将对于不同情境中的人的存在的思考内化为对人的生命境遇的本质追问；有的则更多地关注于一个具体人物的个人叙事，而将这种个性化的叙事加以放大、凸显、截取并呈现的方式本身便是一种非常后现代的传播与呈现的形式。当然，与此相对的，也不乏以摄影的形式对于一种集体记忆进行追忆的作品，以及以一种波普式的智慧对时尚、观念、商业与艺术之间的关系进行思考的作品。有的艺术家从抽象的角度入手，通过多媒体互动影像的形式对于人的存在感、错位感与时空对应关系的错位与悖论进行视觉化的再现，有的关注于当下的现场，着重阐释在面临当下特殊的历史时期与社会境遇时，作为参与者的个人的感触，喜悦、迷茫、拥抱与抵触相纠结的集体记忆。此外，还有艺术家将自己非常个人化、带有神秘主义与极多主义倾向的作品以一种近乎暴力的倾向介入到展示空间之中，进而近乎强制性地与观看者产生交流与互动。这些作品，充分考虑了形式语言、观念内涵、叙述倾向、空间营造等诸多因素，同时在呈现形式上也注重一些有意识地对照与穿插。
这些作品，并不是针对展览主题的命题创作，而是从宏观与微观两个层面与此次讨论的主题相应和。首先，从整体结构而言，整个展览中的作品关系，就好比一个个完整的网站。通过链接相互串联。他们的空间关系与并置的形式将是打通的，链接事实上是以一种排他的方式将不同的内容联系起来，这种联系在某种程度上是非逻辑的，它使得人可以不经意间很轻易地进入一个完全不同的领域，由此，人的存在的多样性、不确定性将得到呈现，而从媒介立场、社会学问题、个人经验等各个角度出发的思路也将得到共同呈现。其次，从具体作品层面而言，这些作品所进行的立足当下的思考，实验了新技术背景下的当代艺术呈现中，人的自我体认、个体经验、主观言说在阐释与传播的过程中与不同知识背景、视觉经验、价值立场的观看个体之间传递、交互、嬗变、演绎的可能性，触及了自我认知、个体实现、集体记忆、人与人、人与环境、人与时代的关系等多个层面的话题，同时在实践中探索了人的存在的多元维度与艺术表现的独立空间。
大家搞错了吧,策展人是小白啊
[quote]引用第26楼guest于2010-1-22 14:18:17发表的:
人做不好，肯定有人指脊梁啊，还谈啥学术啊。...[/quote]
来这里就要做好不是人的准备，这里被戳的不是人，还是戳人的不是人？就你做人好？刘礼宾怎么做人不好了？你他妈的在背地诋毁人家，就是做人好？
[quote]引用第29楼guest于2010-1-22 16:45:49发表的:
[quote]引用第26楼guest于2010-1-22 14:18:17发表的:
人做不好，肯定有人指脊梁啊，还谈啥学术啊。[/quote]
来这里就要做好不是人的准备，这里被戳的不是人，还是戳人的不是人？就你做人好？刘礼宾怎么做人不好了？你他妈的在背地诋毁人家，就是做人好？
关键是学问也差啊
楼上的学问好，大家都笑了
29楼的公用电话该修啦。
“链接”展在沪举行 主题探讨社会关系
早报记者 徐佳和
在任何一个网页上出现的链接，都能够将浏览者直接带入一个完全不同的虚拟空间中去，链接是勾连一个个不同的网站、网页、博客、空间的基础的技术手段。昨天，“链接——京、沪、杭三地艺术家展”在上海明圆文化艺术中心举行。展览主题意在从这种网络空间的连接形式入手，强调对于当下社会形态中“关系”的思考。此次参展的艺术家试图综合运用各种媒材，展现从不同立场出发的对于“关系”的疑问。
展览为参展艺术家王煜宏、吴小军、邱加、金阳平、周明、曹小冬、黄奎、蒋崇无、黄墨寒，提供了一个相对较大的空间，来提倡一种对于艺术家观念的完整阐释，而不仅仅是见缝插针地展示作品。这就好比一个个完整的网站，通过“链接”相互串联。由此，存在的多样性、不确定性得到了呈现。
曹小冬的作品是一份虚拟的民国军人私人照相簿，他带着些戏谑的意味改写了老照片，用自己的形象替代了照片中人物的面貌，混淆了个人叙事史，内容涉及家族流传、情感纠葛、社会动荡、军事战争。整件作品有时间线索可寻，但图像之间没有严密的逻辑关系，个人角色不稳定，身份、年纪随意切换。曹小冬认为，这是为历史的“意淫分子”提供了精神疗法，也是自我娱乐。“我的祖父曾经是个国民党军人，家里有关他的照片在‘文革’中被我们家族自觉地销毁殆尽，等我再看到他的照片时，他已经成为一个行将就木的目光呆滞的老人。”曹小冬说，对他而言，这是对祖辈残缺记忆的信息填空，在面对国家历史上的政党纠葛的得失问题时获得心理自慰。
女艺术家王煜宏的影像装置作品《量杯》则对婴儿的哺乳过程进行了重新解读。新生儿喝到的第一口奶多是医院里提供的配方奶，由护士扶着脖子喂入嘴里，这也是他们人世“替代品”的第一课。这是否也可以看作所谓科学化育儿的开始？作品中，雪白的墙上巨大的投影中，婴儿在母亲怀里安稳单纯地体验着被哺乳的快乐，母亲的抚慰声、婴儿的啼哭声、吮吸声，在不间断地循环往复。婴儿纯真的本能让一切外力强加的所谓“科学”变得苍白无力，而成人的伪善从人生最初的一刻就已经开始。
有些“链接”未经选择，甚至带着强制，因此缺乏温情，人与对象之间的关系变得更直接而复杂，贴近而模糊。艺术家个人的观点在互相链接的过程中穿插、交织，甚至异化。展期将持续到2月10日。
好展览,好策展,刘离并牛
奶奶的
小白出手不凡啊!恭喜!
Link: About man’s existence and art space
A hundred years ago, Gaugun created his masterpiece titled “Where are we from? Who are we? Where are we going?” on the Tahitian islands. In fact, the artwork unveiled the pondering on man’s existence in art.
Today the power of internet closely links with our basic living elements and material space, and unwittingly yet thoroughly changes the living mode and mutual relationship of the entire social structure.
The theme of this exhibition is “link”, implying the link with an internet space and focusing the pondering on the relationship in current society. Let’s put the complicated technical concept aside, the word is actually a basic technological mode in different web-sites, web-pages and blog link. Any link on the webpage could guide the viewers into a totally different illusionary space. Thus it is everywhere with different images, hard to correct and hard to hide, shortcut yet without tenderness or choice. Sometimes it is forcibly linked and even can’t be closed. That is the loving-hatred part of linking to internet, which is also the deep experience for net surfers. The bondage between private and public space blurs and the direct spreading mode becomes dimensional. Sometimes it influences a man’s living condition, changes the mode for obtaining information and even a person’s judgment. Such change is compelled. The relationship between man and its subject becomes more direct and complicated, and so does the relationship between man and society. Personal opinion and living condition overlap, mix, and even dissimilate in the linking process, which will certainly lead to the dissimilation of mankind.
The participating artists use different media and forms in their artworks. What they are keen on or concerned about are different. But they all form their independent and complete pondering. They question man’s living condition in different scenario. The artworks on display fully include the language mode, conceptual contents, narration and space.
These artworks are not created under the theme, but responding the theme in a microscope and macro scope levels. The relationship between each artwork in the exhibit is akin to a complete website. Their relationship in arrangement and space is linked. Such link, to some extent, is illogical, which makes the viewers easily and unwittingly enter another different area that fully expresses the uncertainty and diversity of man’s existence. What these artworks pursue actually experiments the expression under the background of new technology of contemporary art. The possibility of rendering, overlapping or changing between the viewers and artworks when different background, visual experience and values collide with self-recognition and personal experience. It involves with self-recognition, personal experience, collective memory, man and environment, man and epoch.
白家峰不错
Wu Xiaojun
《Project 2025》 is based on the idea of Jeffrey D. Sachs, an American economist, designer of “Shock therapy” on Eastern Europes reform, He promised a future to the world, which is the end of extreme poverty.
《Project 2025》 is based on the idea of Jeffrey D. Sachs, an American economist, designer of “Shock therapy” on Eastern Europes reform, He promised a future to the world, which is the end of extreme poverty.
支持小白！！在上海的北方男人，呵呵
Link: a joint exhibition featuring artists from Beijing, Hangzhou and Shanghai
Preface
It’s time to begin a new year of 2010. Since its establishment, now Mingyuan Art Centre is five years old. I hope that this exhibition will be a start for 2010. As a contemporary art show venue, Mingyuan Art Centre follows its continuous principle to observe, nurture and express the Chinese contemporary art. I hope to see the efforts and development of our local artists in the following days. At that same time, I earnestly hope that this exhibition will be a beginning. Thanks again to the artists, critics and all the working staffs for this exhibit.
--- Lin Feifei
Wang Yuhong
Her latest artworks involve with ethical conflict, ranging from spirit and body, goodness and evilness, illusion and reality, to life and death. Wang prefers to produce her artworks through different media including photograph, DV, installation and oil painting. Through hidden metaphors, she reviews the decisive power of collective potential on the individual, revealing the ``fleeting existence’’ is the living condition of many people who are perplexed today. We are facing the questions on whether to destroy or to construct.
``Measure Cup’’ is an art piece which based on Wang’s personal experience. Through the process of breastfeeding for her daughter, she re-interprets the meaning behind the act. When a new-born baby eats the baby formula in a measure cup fed by the nurse, he or she actually finishes the first infant learning through a substitute. Is it the beginning of a scientific baby nurturing or the depriving of primitive learning of early education? The continuous screening of the video in a faded light actually guides the audiences into an unlimited numbness especially when facing the whole breastfeeding process accompanied by the baby’s crying, sucking and the mom’s pampering. The repeated and boring mission conjures up the happiness on the surface, but actually the artist is hinting the seemingly intricate process is actually a sluggish and tedious life fragment. Through the depiction of the naive and ignorant baby, the artist is questioning if we are all children without our choices under this dark, indifferent and sensible world controlled by adults?
In her ``Desire’’ series, she uses intricate depiction on Monroe, Yamato-e and some Hollywood actors to discuss the trait of today’s entertainment icons. Abandoning the tradition, we are at a loss in dreaming those different meanings. When illusion evaporated in reality, where is our religion?
Her latest artworks involve with ethical conflict, ranging from spirit and body, goodness and evilness, illusion and reality, to life and death. Wang prefers to produce her artworks through different media including photograph, DV, installation and oil painting. Through hidden metaphors, she reviews the decisive power of collective potential on the individual, revealing the ``fleeting existence’’ is the living condition of many people who are perplexed today. We are facing the questions on whether to destroy or to construct.
``Measure Cup’’ is an art piece which based on Wang’s personal experience. Through the process of breastfeeding for her daughter, she re-interprets the meaning behind the act. When a new-born baby eats the baby formula in a measure cup fed by the nurse, he or she actually finishes the first infant learning through a substitute. Is it the beginning of a scientific baby nurturing or the depriving of primitive learning of early education? The continuous screening of the video in a faded light actually guides the audiences into an unlimited numbness especially when facing the whole breastfeeding process accompanied by the baby’s crying, sucking and the mom’s pampering. The repeated and boring mission conjures up the happiness on the surface, but actually the artist is hinting the seemingly intricate process is actually a sluggish and tedious life fragment. Through the depiction of the naive and ignorant baby, the artist is questioning if we are all children without our choices under this dark, indifferent and sensible world controlled by adults?
In her ``Desire’’ series, she uses intricate depiction on Monroe, Yamato-e and some Hollywood actors to discuss the trait of today’s entertainment icons. Abandoning the tradition, we are at a loss in dreaming those different meanings. When illusion evaporated in reality, where is our religion?
不知道是刘的语言能力有问题，还是它故意要把一个简单的陈述包装成复杂无比的样式。以为自己在德云社？说绕口令赚钱啊你
楼上的阅读能力有问题吗？
Qiu Jia
Qiu’s sculpture is based on the tenon and mortise joint. Butterfly-shaped tenon is the basic element in linking with the iron and wood sculptures. In fact, the man’s living condition, thinking mode and action mode are all reflected through the ``tenon-and- mortise- joint- like’’ way. Unwittingly we are building an judgment similar to tenon-and-mortise-joint mode. Via the simple shape and arrangement, the artwork provides an opportunity for the viewers to ``see’’ themselves.
Qiu’s sculpture is based on the tenon and mortise joint. Butterfly-shaped tenon is the basic element in linking with the iron and wood sculptures. In fact, the man’s living condition, thinking mode and action mode are all reflected through the ``tenon-and- mortise- joint- like’’ way. Unwittingly we are building an judgment similar to tenon-and-mortise-joint mode. Via the simple shape and arrangement, the artwork provides an opportunity for the viewers to ``see’’ themselves.
展览题目：2010年明圆当代艺术提名展
展览主题：链接——京、沪、杭三地艺术家展
展览时间：2010年1月9日——2月9日
展览地点：上海明圆美术馆 复兴中路1199号
主办单位：上海明圆文化艺术中心
支持网站：www.m50.cn
支持媒体：艺术地图、艺术当代、艺术世界、东方艺术财经、国家美术、Hi艺术、画廊、文汇报、新民晚报、解放日报、新闻晨报、外滩画报、上海壹周、艺术国际、ATR巴巴、雅昌艺术网、中国艺术品网
艺术总监：凌菲菲
策展人：白家峰
执行总监：侯萍
特邀批评：刘利宾
翻译：王捷
参展艺术家：王煜宏、吴小军(北京)、邱加、金阳平(杭州)、周明、曹小冬(北京)、黄奎、蒋崇无、黄墨寒
展览主题：链接——京、沪、杭三地艺术家展
展览时间：2010年1月9日——2月9日
展览地点：上海明圆美术馆 复兴中路1199号
主办单位：上海明圆文化艺术中心
支持网站：www.m50.cn
支持媒体：艺术地图、艺术当代、艺术世界、东方艺术财经、国家美术、Hi艺术、画廊、文汇报、新民晚报、解放日报、新闻晨报、外滩画报、上海壹周、艺术国际、ATR巴巴、雅昌艺术网、中国艺术品网
艺术总监：凌菲菲
策展人：白家峰
执行总监：侯萍
特邀批评：刘利宾
翻译：王捷
参展艺术家：王煜宏、吴小军(北京)、邱加、金阳平(杭州)、周明、曹小冬(北京)、黄奎、蒋崇无、黄墨寒
展览题目：2010年明圆当代艺术提名展
展览主题：链接——京、沪、杭三地艺术家展
展览时间：2010年1月9日——2月9日
展览地点：上海明圆美术馆 复兴中路1199号
主办单位：上海明圆文化艺术中心
支持网站：www.m50.cn
支持媒体：艺术地图、艺术当代、艺术世界、东方艺术财经、国家美术、Hi艺术、画廊、文汇报、新民晚报、解放日报、新闻晨报、外滩画报、上海壹周、艺术国际、ATR巴巴、雅昌艺术网、中国艺术品网
艺术总监：凌菲菲
策展人：白家峰
执行总监：侯萍
特邀批评：刘礼宾
翻译：王捷
参展艺术家：王煜宏、吴小军(北京)、邱加、金阳平(杭州)、周明、曹小冬(北京)、黄奎、蒋崇无、黄墨寒
展览主题：链接——京、沪、杭三地艺术家展
展览时间：2010年1月9日——2月9日
展览地点：上海明圆美术馆 复兴中路1199号
主办单位：上海明圆文化艺术中心
支持网站：www.m50.cn
支持媒体：艺术地图、艺术当代、艺术世界、东方艺术财经、国家美术、Hi艺术、画廊、文汇报、新民晚报、解放日报、新闻晨报、外滩画报、上海壹周、艺术国际、ATR巴巴、雅昌艺术网、中国艺术品网
艺术总监：凌菲菲
策展人：白家峰
执行总监：侯萍
特邀批评：刘礼宾
翻译：王捷
参展艺术家：王煜宏、吴小军(北京)、邱加、金阳平(杭州)、周明、曹小冬(北京)、黄奎、蒋崇无、黄墨寒
Jin Yangping
The film narrates the spiritual changes of a female worker who switched from a state-owned company to a private company. All these changes fused with the metaphors in the movie create a conflict between the capitalism and the individual. The artist provides the possibilities of a new aesthetic taste between the social conflict and a mechanism under social changes.
The artist engages in the experiment hand-painting cartoons with the mix of sundry media.
The film narrates the spiritual changes of a female worker who switched from a state-owned company to a private company. All these changes fused with the metaphors in the movie create a conflict between the capitalism and the individual. The artist provides the possibilities of a new aesthetic taste between the social conflict and a mechanism under social changes.
The artist engages in the experiment hand-painting cartoons with the mix of sundry media.
Zhou Ming
The artist uses the identity of the third person, neither the identity of the artist nor that of the viewers. He is independent while at the same time relies on the whole exhibition space. He doesn’t exist on the site but interacts directly with the exhibition. The artist conjures up an imagined figure between reality and illusion through an on-site painting of cartoon. Due to such certain yet uncertain condition, the work stirs up an unlimited relationship without any direction.
What is illusion? It is a fancied intuition that does not exist. The sutra says that all things and people are fancied illusions. Then is it real for all those surround in our life? For most of the time, we are doing things without our control, but the influence of sundry unreal fancies that we are not aware of, on the contrary, are treated as realities.
The artist uses the identity of the third person, neither the identity of the artist nor that of the viewers. He is independent while at the same time relies on the whole exhibition space. He doesn’t exist on the site but interacts directly with the exhibition. The artist conjures up an imagined figure between reality and illusion through an on-site painting of cartoon. Due to such certain yet uncertain condition, the work stirs up an unlimited relationship without any direction.
What is illusion? It is a fancied intuition that does not exist. The sutra says that all things and people are fancied illusions. Then is it real for all those surround in our life? For most of the time, we are doing things without our control, but the influence of sundry unreal fancies that we are not aware of, on the contrary, are treated as realities.
Cao Xiaodong
My artwork is a faked private album of the soldier of Republic of China. I “rewrite” the old pictures and make a role play in it, forming an obscure witness of a private narration of history that involves with family heritage, personal experience, emotional struggle, turndown of the society, vicissitudes of history and wars. Among them, a part is formed by role play, and another part is faked historical images, using personal history to build up a direction of the real big history. There is a basic timeline without proof inside. There is no strict logical relationship between the images, let alone the fixed age and identity of the roles. It could be viewed as self-entertaining, or merely provide a visual witness towards history, or even a kind of psychotherapy. This is a blank-filling for my ancestors and me, or a kind of compensation for personal memory. While for others, it might be a spiritual comfort. Sometimes memory is rewritten that leads to its fading. Could the rewriting of one’s memory fight against obliteration? These faked old pictures test the bondage between illusion and reality.
My artwork is a faked private album of the soldier of Republic of China. I “rewrite” the old pictures and make a role play in it, forming an obscure witness of a private narration of history that involves with family heritage, personal experience, emotional struggle, turndown of the society, vicissitudes of history and wars. Among them, a part is formed by role play, and another part is faked historical images, using personal history to build up a direction of the real big history. There is a basic timeline without proof inside. There is no strict logical relationship between the images, let alone the fixed age and identity of the roles. It could be viewed as self-entertaining, or merely provide a visual witness towards history, or even a kind of psychotherapy. This is a blank-filling for my ancestors and me, or a kind of compensation for personal memory. While for others, it might be a spiritual comfort. Sometimes memory is rewritten that leads to its fading. Could the rewriting of one’s memory fight against obliteration? These faked old pictures test the bondage between illusion and reality.
Jiang Chongwu
“Lao Zhang’s life” is one part of Jiang’s artworks titled “Social Relationship: Lao Zhang”. The artist explores the personal history of a friend based on his own social relationship, using the visual language to observe his microscope individual history. The artist overlaps his artworks with Lao Zhang’s ordinary life, Lao Zhang’s experience and memory. Lao Zhang’s life, memory and imagination are visualized through the artist’s interpretation and are presented by installation, video and pictures. Part of the installation of “Lao Zhang’s Life” is co-produced by Lao Zhang himself.
“Lao Zhang’s life” is one part of Jiang’s artworks titled “Social Relationship: Lao Zhang”. The artist explores the personal history of a friend based on his own social relationship, using the visual language to observe his microscope individual history. The artist overlaps his artworks with Lao Zhang’s ordinary life, Lao Zhang’s experience and memory. Lao Zhang’s life, memory and imagination are visualized through the artist’s interpretation and are presented by installation, video and pictures. Part of the installation of “Lao Zhang’s Life” is co-produced by Lao Zhang himself.
Huang Kui
Huang Kui
In June 2007 on the square at Venice, artist Huang Kui kept throwing one craps. The craps is a bit strange with only two faces, each written with ``yes’’ and ``no’’. The artist cautiously recorded the results on a white fabric after each craps’ throwing. He continued the action for six days. At last, the artist gave up the logical reasoning and used the uncertain craps to seek a final answer. After seventy hours, the number of Huang’s ``yes’’ finally won over his ``no’’, which made the artist’s belief in the existence of God.
Huang Kui
In June 2007 on the square at Venice, artist Huang Kui kept throwing one craps. The craps is a bit strange with only two faces, each written with ``yes’’ and ``no’’. The artist cautiously recorded the results on a white fabric after each craps’ throwing. He continued the action for six days. At last, the artist gave up the logical reasoning and used the uncertain craps to seek a final answer. After seventy hours, the number of Huang’s ``yes’’ finally won over his ``no’’, which made the artist’s belief in the existence of God.
