Categories
English Posts 艺术现场 | Art Scence

“无为”张永正纸本艺术展

“无为”张永正纸本艺术展

展览开幕酒会:2012年4月6日晚8点
展览时期:2012年4月6日——5月26日(周日闭馆)
展览地点:TCG诺地卡画廊(昆明市西坝路101号创库艺术社区内)

品鉴会:2012年5月12日,14:30——16:00
品鉴会地点:昆明顺城K座5楼味彩顺城“框余画廊”

策展人:罗菲
学术主持:和丽斌
特邀评论:安德士(瑞典)
翻译:马睿奇
展览助理:沙玉蓉,朱筱琳
联合主办:TCG诺地卡画廊,框余画廊
电话:0871-4114692
网址:www.tcgnordica.com

甘肃籍画家张永正于2004年移居昆明,全职从事艺术创作。云南的气候和文化对他的艺术产生了深刻影响,开始了名为“过程”系列的抽象艺术创作,同时也一直从事大量的纸本即兴绘画。

张永正的纸本即兴绘画以线、绳、抹布、衣物、刮刀等材料沾墨或水在纸面上鞭打、滴洒、拓印,通过对纸本的“行动”来留下痕迹,形成线或块面互为交错、对冲、叠加关系,画面形象具有升腾、下坠、周旋等奔放的运动效果,注重颜料水墨的表现性,和绘制工具生动的灵性状态。画面率性洒脱、洗练、充满动感和幽默趣味,犹如道家哲学中道作为形上实体在宇宙间生生不息、毫无阻拦、无微不至地运行一般。

张永正曾于2005年在昆明TCG诺地卡画廊举办过首次画展,反响强烈。时隔7年张永正再次在TCG诺地卡画廊集中展示他从2004年至今创作的从未公开过的纸本即兴绘画,精选其中约50幅精品与大家分享。展览名为“无为”,意在呈现道家“无为”思想与抽象绘画的暗通。

此次展览由TCG诺地卡画廊和框余画廊联合主办,为大家带来云南罕见的抽象艺术视觉体验。展览将于2012年4月6日晚上8点在西坝路101号创库艺术社区TCG诺地卡画廊举办开幕酒会,展览将持续到5月26日。

相关阅读:
道:生生不息——关于张永正的纸本即兴绘画(文/罗菲)
日行千里路(文/安德士)
张永正访谈(文/和丽斌) 
张永正访谈(文/马睿奇)

zyz-2005-Improvisation

zyz-2008024

zyz-2010011

zyz2010057

“Wu Wei” Zhang Yongzheng Paper-based Improvisational Painting Exhibition

Exhibition Opening: 8pm, April 6th, 2012
Exhibition Duration: April 6th–May 26th, 2012 (Sunday Closed)
Exhibition Address: TCG Nordica Gallery, Chuangku, Xibalu 101, Kunming

Art Tasting: 14:30–16:00, May 12th, 2012
Art Tasting Address: Kuangyu Gallery, 5th floor, Caiwei Shuncheng, K, Shuncheng, Kunming

Curator: Luo Fei
Academic Host: He Libin
Invited Writer: Anders Gustafsson (Sweden)
Translator: R. Orion Martin (US)
Exhibition Assistants: Sha Yurong, Zhu Xiaolin
Co-hosted by TCG Nordica Gallery and Kuangyu Gallery
Tel: 0871-4114692
Website: www.tcgnordica.com

Gansu Artist Zhang Yongzheng came to Kunming in 2004 and has been making art here ever since. Yunnan’s climate and culture have left a deep impression on his art, particularly on his “Process” series of abstract works. At the same time he has been engaged in a great number of paper-based improvisational works and it is these that will be exhibited in the upcoming exhibition.

Zhang Yongzheng’s paper-based improvisational works are made with materials such as string, rope, rags, clothing, and palette knives. These he wets with ink in order to whip, rub or drip the image onto the paper. The paper, having gone through these “actions,” carries the vestiges that are left behind in the form of lines or shapes. These forms are related in the way they crisscross, hedge, and superimpose upon one another. The shapes on the page rise, fall, and interact, resulting in a feeling of unrestrained movement. They emphasize the expressiveness of the paint and ink while exposing the vividly spiritual nature of the tools. The works are unaffected and nimble, brimming with dynamism and humorous delight. They are reminiscent of the metaphysical view in Daoist philosophy that an entity in the universe is ceaselessly growing and multiplying, unstoppably, meticulously in motion.

Zhang Yongzheng held an exhibition in TCG Nordica Gallery in 2005 that had profound repercussions. Now, after seven years, he returns to TCG Nordica Gallery to collect and display the paper-based improvisational works he began making in 2004, works which until now have never been displayed. 50 works have been specially selected to share with the public in this special exhibition. The exhibition has been named “Wu Wei”, in reference to the Daoist concept of active inaction and its close relationship to abstract art.

This exhibition has been organized by the combined efforts of TCG Nordica and Kuangyu Gallery in order to present a rare chance to experience the works of this abstract artist. The exhibition opening will be held on April 6th, 2012 at Xiba Road 101, Artist Loft, TCG Nordica Gallery, and the exhibition will continue until May 26th.

Related Articles:
The Dao: To Ceaselessly Grow and Multiply(Luo Fei)
Travel 1000 li in one day(Anders Gustafsson)
Interview with Zhang Yongzheng(He Libin)
Interview Zhang Yongzheng(R. Orion Martin)

zyz-2008077

zyz-2010060

zyz-2010001

zhangyongzheng

Categories
English Posts 艺术现场 | Art Scence

山景•各从其类

山景•各从其类
瑞典艺术家乔纳斯•波顿(Jonas Böttern)与艾米莉•孟娜达(Emily Mennerdahl)的“山坡艺术项目”

展览开幕式:2012年4月6日晚8点
展览档期:2012年4月6日—5月1日
地点:TCG诺地卡-UP画廊空间,昆明市西坝路101号创库艺术社区内
电话:0871-4114692

山景•各从其类 – 艺术家自述

“山景•各从其类”项目是对中国西南地区山脉的研究。这项研究涉及三个部分:植物、动物和地理。这个项目通过人造环境来描绘自然景观中的环境元素来表达了人与自然的关联。它质疑并挑战关于人造景观与“自然”的概念。

我们的主题专注于植物园、动物园和山脉主题的明信片,使之带有本土特性或政治、文化色彩。当这些事物离开它们的原产地,处于人为的环境中,这些经过雕琢和搭建的“新家”清楚的表明出人类如何看待自然、与自然相处。因此自然和人造景观的界限变得模糊。尽管这源自一个充满好奇和意义的课题,但我们尽可能让事物从时空中隔离出来,简化它们存在的具体地点。

植物园

植物园的“自然景观”是一个有组织有系统的自然。它通常由树的科学研究性或娱乐性构成,当然或者两者兼具。这是一种使得自然变得亲近和温顺的景观理念。在“山景•各从其类”项目里我们学习和记录了植物园里的五棵树。蓝桉树是一种有着银绿色树叶的大型树木。多叶的特性使得它总是投下斑驳的影子。高大壮丽的它于1896年被引入中国。它在新中国建立初期被大量种植于大型农场。今天的它在中国出口业里扮演了重要的角色。这个系列的另一种树是三棱栎,它的树叶很脆弱,是一种互生叶,即便在冬季也不会掉落。它是一种常青树,但在栖地流失过程中导致濒危。它原产于气候温和的低纬度高海拔地区。现在它被保护在植物园的大墙内成为了自然历史档案的一部分。

“景观(风景)是历史性构建各地区社会、经济、文化状态的一面‘镜子’”1

动物园

在一个显眼的位置上,一匹狼被收关在玻璃墙里。一棵干焦的树倾斜在透明的墙上、岩石散布在水泥地上。这匹狼,野性的象征,被供养在一个专门将野生动物展示给公众的系统中。这种系统——动物园,通常被认为人能够在这里理解自身与动物的关系。仅隔一道栅栏、一条浅壕沟或一面玻璃墙就产生的分隔,观众可以平静地站着观赏“野生动物”。作为动物研究的一部分我们拍摄了这匹狼的三种姿势,它在洞穴边被抓拍,凝固在时间里。然后我们用油画颜料去除原始图像的背景,狼被孤立并被从它的环境里抽离出来。狼被剥夺了先前的条件,被标记在一个空无的空间里徘徊。之后我们再通过涂画、消除的方式加工,这其实并没有拒绝空间,而是更增强了空间感,虚空正象征着现实的模糊性。

山地覆盖了中国西南的广大地区。这些山脉在延伸了很长后突然戏剧性的急转向南。在东方,山总是被视为神圣的,而在西方,直到18世纪山还被认为是丑陋和危险的。在工业时代和浪漫主义时期人们的观点开始发生转变,人们突然产生了一种对至高点的着迷。在白雪皑皑中沉浸于炫目的白色,同时又有令人怯步的巅峰,在恒久的努力登峰过程中遇见广袤的风景。在这种追求过程中,山便对象化了,一个有待被攻克的对象。为了到达顶峰,它的周围环境和文化都被忽略。

我们展示了十张有关山作为对象的明信片。我们用了在植物和动物研究的作品里相似的工作方式:涂白。留下的只有一个形状奇怪的物体;它抽象得几乎只剩下形状,在这个过程中风景被具体化和拆分。我们不再知道事物如何,以及怎样存在。事物进入了一种介于真实和想象的状态。

“我们阅读风景,换句话说我们根据我们自己的经验、记忆和我们共同的文化记忆来阐释它们的形式。”2

1, Robert Macfarlane, ”Mountains of the Mind”, page 18, Granta Books, 2008
2, Zhang, P. G. Shao, D. C. Le Master, G. R. Parker, J. B. Dunning Jr. and Q. Li, “China’s Forest Policy for the 21st Century”. Science 288.5474 (June 23, 2000): p2135.

A Categorisation of a Mountain Landscape
HILLSIDE PROJECTS – JONAS BÖTTERN AND EMILY MENNERDAHL

Exhibition Opening: 8pm, April 6th, 2012
Exhibition Duration: April 6th – May 1st , 2012
Add: TCG Nordica-UP Gallery, Xi ba lu 101, Kunming

A CATEGORISATION OF A MOUNTAIN LANDSCAPE – ARTIST STATEMENT

A Categorisation of a Mountain Landscape is a detailed study of a mountainous region in South-western China. The study involves three parts that examine flora, fauna and geology. Using artificial environments to depict elements from the natural landscape the project concentrates on the correlation between man and nature. It questions and challenges ideas surrounding the artificial and “the natural”.

Focusing on an arboretum, a zoo and found postcards of mountains we are working with subjects that are either native to the region or play a significance politically or culturally.
Removed from their natural habitat, the subjects now dwell in man-made environments. These sculpted and architected new “homes” articulate how humans look upon and relate to nature. The boundaries between the natural and the artificial become blurred. Although continuing to be a source of wonder and meaning the subjects are reduced to exist in places isolated in time and space.

The Arboretum

The “natural landscape” of the arboretum is an organisation and systemisation of nature.
It consists of a living collection of trees grown for scientific observation, for pleasure, or both. It is a conception of a landscape where nature can become both accessible and compliant.
In A Categorisation of a Mountain Landscape five trees from an arboretum are studied and documented. Eucalyptus Globulus is a large tree with fine silver green crowns. Fully leafed, the trees shade is characteristically patchy. Towering and majestic it was introduced to China in 1896. At the foundation of the People’s Republic of China the tree was applied for use in large-scale plantations. Today it plays a major part in China’s export industry. Another tree in the series, Trigonobalanus Doichangensis, appears delicate yet its alternate leaves remain despite winter. An evergreen, it is threatened by habitat loss. It is native to a climate tempered strongly by low latitude and high elevation. Now contained within the walls of the arboretum, the tree is part of a historical record in an archive of nature.

“Landscape is the historically constructed “mirror” of social, economical and cultural conditions in each area.”1

The Zoo

In a place seemingly remarkable and impressive, a wolf is collected and contained within walls of glass. Against invisible partitions lean brittle trees, rocks are spread out on a cement floor. The wolf, a symbol of the wild, subsists in an institution in which wild animals are kept and exhibited to the public. It is suggested that this institution, a zoo, is a place in which humans can come to understand their relationship to animals. With only a fence, a shallow moat or a wall of glass that separates, the viewer can stand in peace as he looks into the “wild”. As part of the study of fauna we photographed the wolf in three different positions. Captured in its den the animal becomes frozen in time. By then physically removing the original image’s background using oil paint, the wolf is isolated and taken out of its context. The wolf lingers in an empty space destitute of earlier conditions and signifiers. The application of paint as an act to erase is not a renunciation of space but rather an encouragement of space. The void comes to symbolize the ambiguity of the real.

The Mountains

In South-western China the mountain range spreads over massive areas. Having travelled from a far, it dramatically changes direction as it stretches south. In the East, mountains have always been seen upon as sacred. In the West, up until the 18th century, mountains were considered as something ugly and dangerous. In the era of industrialism and romanticism people’s views began to change. Suddenly there was an obsession with experiencing the sublime. To be immersed in blinding whiteness whilst accompanied by daunting peaks. Encountering vast landscapes in a continuous strive for a summit. In this pursuit, mountains become objectified; they become entities to be conquered. Surroundings and culture are disregarded in an attempt to reach the top.

Displayed on a table ten postcards describe mountains as objects. Conducted in a similar manner to that of the studies of flora and fauna, white paint erases whatever information is left of the surroundings in which the mountains rest. What remains is a strangely shaped object; almost abstract it is devoid of any meaning other than its form. In the process of categorising a landscape we objectify and take apart. We no longer know how or where things exist. The subjects come to remain in an indeterminate state, somewhere between the real and the imaginary.

“We read landscapes, in other words we interpret their forms in the light of our own experience and memory, and that of our shared cultural memory”2

1, Robert Macfarlane, ”Mountains of the Mind”, page 18, Granta Books, 2008
2, Zhang, P. G. Shao, D. C. Le Master, G. R. Parker, J. B. Dunning Jr. and Q. Li, “China’s Forest Policy for the 21st Century”. Science 288.5474 (June 23, 2000): p2135.

Categories
艺术现场 | Art Scence

讲座:与瑞典艺术家电影人面对面

按:这些天一直在与Karin和Janna的“自由”艺术项目在一起,发展她们与本地电影人和艺术家的合作,与其他相关项目的交叉关系,需要和不同的人反复讲、沟通、翻译,每天几个小时的头脑风暴,讲得肚子里的空气都干了。同时开始用OneNote做项目管理,发现是个很好用的软件,非常适合管理项目和个人知识库,记录头脑风暴的痕迹,又让各种痕迹产生链接。
Karin和Janna都是瑞典乃至欧洲非常活跃的电影人和当代艺术家,“自由”项目的发展我会在今后的博文里再细说,这里贴出一个她们的讲座安排,她们将在讲座上介绍她们的作品,以及瑞典当代艺术现状,欢迎在呈贡大学城的师生们前来捧场!

主题: 与瑞典艺术家电影人面对面

主讲: Karin Wegsjö (卡琳) , Janna Holmstedt(乔安娜)
主持:和丽斌
翻译:罗菲

时间:2012年3月22日(星期四),2点半–4点半
地点:云南艺术学院呈贡新校区公共教学楼一楼视听教室

主办:
云南艺术学院外事办
云南艺术学院美术学院
昆明TCG诺地卡画廊

主讲人简介:

卡琳 (Karin Wegsjö 瑞典)
生于1968年,居住和工作在瑞典斯德哥尔摩。电影及剧场导演、设计师、剧作家。自2010年起任诺贝尔博物馆国际电影节“电影与科学”单元艺术总监及创始人。瑞典双年展行为艺术单元统筹委员会委员。
个人网站:http://wegsjo.se/

乔安娜 (Janna Holmstedt 瑞典)
1972年出生于瑞典斯德哥尔摩。艺术家,剧场设计师。2010年瑞典于默奥大学博士候选人。在线文本档案SQUID项目管理员与发起人。
个人网站:http://www.jannaholmstedt.com/

她们合作的NU Institute(现在研究所):http://www.nu-institutet.org/

Categories
艺术现场 | Art Scence

“四季·夏天”云南女性艺术展现场

今年的“四季”云南女性艺术展分作两次开展,展厅不像以往那样拥挤,留出空间供人行走和专注在作品本身上,而非一个集市的面貌。和男性相比,女性艺术家的展览在面貌上呈现出适当的趣味、感性与丰富,表达内容大多与个人情愫紧密相连。而且这种个人化的感受在年轻一代女孩身上特别明显,细腻、孤独、封闭、轻盈……这可能正好说明了这个时代年轻人的精神状况。这是一个简单的看法。下面是部分现场图片:

“四季·夏天”云南女性艺术展现场(上集):

summer-1-13

summer-1-11

summer-1-12
费敏布面油画(左至右):猪、猪与荷花、四个好朋友

summer-1-07
雷燕《15岁的夏天》,纸雕

summer-1-18
雷燕(右)

summer-1-02
王钰清软雕《如花》(左),与Marjan Verhaeghe录像《绽放的花朵》

summer-1-04
白雪娟油画“挪威的森林”系列

summer-1-05
苏亚碧,裙子,布面油画 刺绣,82×100cm

“四季·夏天”云南女性艺术展现场(下集部分):

summer-2-26

summer-2-28

summer-2-31
王爱英《瞰》油画,122×116cm

summer-2-20
杨文萍,荷-色No.2,油画,120×150cm

summer-2-07
杨文萍油画与孙谨油画

summer-2-15
刘双《青青》装置


吕丽蓉《孤儿》雕塑,60×16cm×14cm

summer-2-11
王钰清《日记No.4》刺绣,30×40cm (局部)

summer-2-17
马丹《暖丘一趣》布面油画,55×80cm

summer-2-06a
筱琳《肿瘤之子》,装置,17×12×27cm×5

summer-2-03
筱琳作品内部,插画

summer-2-13
徐芸《存在方式》,装置(局部)

summer-2
诺地卡入口

Categories
艺术现场 | Art Scence

榕树计划:艺术+偶遇

朋友们好!这里是TCG诺地卡本周五晚上即将开幕的来自德国艺术家Alfred Banze的展览预告,云南好些艺术家都对这位德国艺术家有很深的印象.相信他带着实验性、跨界特征和周游世界的艺术方式将会给大家带来新的惊喜!特别邀请您参加周五晚上(3月18日)开幕式!也请留意展览后的一些列工作展示活动,期待您的参与!谢谢!

=======================
展览及相关活动均为免费参加
=======================

榕树计划:艺术+偶遇

TCG诺地卡,昆明
展期:2011年3月18日——4月1日
开幕:2011年3月18日(周五),晚8点

在北纬地区榕树以盆景中的植物为人熟知,而在热带地区它却被尊敬、爱戴和敬畏。中国南部地区,榕树在当地文化里扮演了非常重要的作用。继泰国、柬埔寨、德国、塔希提岛、库克群岛、斐济、印度之后,昆明将成为榕树计划全球巡展的第9站城市。它将展示超过50位来自20多国的艺术家的绘画、雕塑、录像、摄影和装置。所有艺术作品由德国媒体艺术家阿尔弗雷德•班泽(Alfred Banze)收集。受这些作品的启迪他在全球多个国家的学校、画廊、文化中心、艺术家工作室组织了数次针对儿童和年轻人的工作展示(workshops)。本次展览将展出两部分作品,原始的艺术作品,以及由儿童、年轻人再混合创作的作品,所有作品灵感均来自榕树。上海的刘BB和昆明的罗菲代表了当下的中国活泼的艺术状况。同时也选取了一组2005年在云南艺术学院开展榕树工作展示时创作的作品。

====================================
伴随展览,工作展示、现场表演和对话将在以下地点进行:
====================================

– 榕树计划下视觉艺术家、音乐家、作家的工作展示:
2011年3月30日(周三)——4月1日(周五),上午10点-下午5点

– 榕树社会艺术研讨会+榕树工作展示报告:
2011年4月1日(周五),晚8点

更多信息:www.banyan-project.de, abanze@web.de
支持:昆明TCG诺地卡,丽江工作室,德国外交部,德国对外关系研究所(IFA),柏林市文化厅

=================================

THE BANYAN TREE – ART + ENCOUNTER

TCG Nordica Kunming
Friday 18 March – Friday 1 April
Opening: Friday 18 March, 8 pm

In the northern latitudes the Banyan Tree is known as “Ficus” in the flowerpot, in the tropics, he is revered, loved and feared. In the southern parts of China, the Banyan Tree had and has enormous cultural importance. After Thailand, Cambodia, Germany, Tahiti, Cook Islands, Fiji and India, Kunming is the 9th station of the worldwide touring exhibition THE BANYAN TREE. It shows paintings, sculptures, videos, photos and installations by more than 50 artists from 20 countries. The art works have been collected by the German media artist Alfred Banze. Inspired from these artworks, he organized numerous workshops for children and young people in schools, galleries, cultural centers and artists’ studios in many countries around the globe. The now displayed exhibition shows both, the original artworks and the „remixes“ by children and young people, all inspired by the Banyan Tree. BB Liu from Shanghai and Luo Fei from Kunming represent the lively Chinese art scene. Also on display are selected results from Banyan Workshop at Yunnan Art Academy in 2005.

Accompanying to the exhibition, workshops, screenings and talks take place:

Banyan Workshop for visual artists, musicians, writers
Wednesday, 30 March – Friday, 1 April, 10 am – 5 pm

Banyan Social Art Symposium + Banyan Workshop Presentation
Friday, 1 April, 8 pm

further information: www.banyan-project.de abanze@web.de

Supported by: TCG Nordica Kunming, Lijiangstudio, German Ministry of Foreign Affairs, German Institute for Foreign Relations (IFA), Culture Department, City of Berlin-Neukölln,

Categories
艺术现场 | Art Scence

桥梁:一个连接瑞典和中国艺术家的项目

桥梁

一个连接瑞典和中国艺术家的项目
……日常事件、运动模式、生命线……

展览简介:
“桥梁”让你想到什么?连接、互通、交叉、传输、跨界、互动、彼此了解、信任、没有阻碍……我们希望让一切有障碍的、被遗忘的事物和人能够连接在一起。

2010年10月8日,国庆收假的第一个周末,昆明创库TCG诺地卡画廊将为大家带来一个名为“桥梁”的艺术展,展览源于一个名为“桥梁”的艺术项目,由四位瑞典艺术家发起,与居住在云南的七位中国艺术家共同合作的艺术项目,旨在通过艺术方式为不同文化、记忆和国度的人群搭建相互认识、沟通和信任的桥梁。(更多项目详情附后)

参展艺术家出生于不同的时代和国家,有上世纪40年代50年代的中坚力量,也有70后80后的新生代群体,因为艺术相遇在一起,寻求互信与合作,在一起创作展出。此次展览包含一件以中国艺术家与瑞典艺术家共同合作完成的关于彼此国家印象的集体装置作品,也包括了每位艺术家以“桥梁”为主题的个人作品,它们有关童年记忆、个人经历、信仰、民族、文化以及当下发生的公共事件,展出作品囊括了装置艺术、录像艺术、互联网艺术、行为艺术等新兴艺术样式,也包括绘画、摄影、雕塑等传统艺术样式。此次展览将是今年云南艺术群体与国际艺术家合作展出的重要事件,也是近年来云南本土展览中艺术样式最为丰富的一次展览。而此次在昆明创库TCG诺地卡画廊的展览只是“桥梁”项目的第一站,该项目将会在明年夏天于瑞典乌普萨拉博物馆艺术家们合作创作的另一部分。值得我们期待!

项目协调人(瑞典):
Kajsa Haglund
Anders Rönnlund
Sanne Sihm
Johan Fremling

展览策展人:罗菲

参展艺术家:Kajsa Haglund, Anders Rönnlund, Sanne Sihm, Johan Fremling, 和丽斌, 郭鹏, 程良春, 苏亚碧,孙国娟, 雷燕, 罗菲

展览开幕酒会: 2010年10月8日(周五)晚上8点
展览档期:2010年10月8日——10月30日

展览地址:昆明创库TCG诺地卡画廊(昆明西坝路10号)
电话:0871-4114692
网址:http://www.tcgnordica.com

桥梁

孟安娜,Arts Nordica(www.artsnordica.com)国际文化协调员,2007年春天与乌普萨拉Kajsa Haglund取得联系。孟安娜长期工作和居住在昆明,同吴月蓉女士共同建立了一个北欧—中国文化中心——TCG诺地卡。今天这个文化中心正在由吴月蓉女士、中国艺术家以及TCG诺地卡共同带领着。

以下的艺术家已经收到由TCG诺地卡画廊总监罗菲(同时也是策展人、艺术家)发出的正式邀请。展览开幕式定在2010年 10月 8日。

瑞典受邀到艺术家是:
Kajsa Haglund
Anders Rönnlund
Sanne Sihm
Johan Fremling
所有瑞典参展艺术家均是专职艺术家,KRO(瑞典国家艺术家组织)的成员。

中国参展的艺术家是:
和丽斌 艺术家/云南艺术学院教师
郭鹏 艺术家
程良春  艺术家,文化协调人
孙国娟 艺术家
苏亚碧 艺术家/大理艺术学院教师
雷燕 艺术家
罗菲 策展人/艺术家

项目宗旨:

随艺术活动的展开,我们将测试和分析如何深入发展两种文化间的合作,以及建立互信。我们希望改变态度,找出交点,通过画展和两国孩子的教育工作为共同探讨创造机会。这个艺术事件将同中国艺术家合作,最后促成在中国和瑞典举办的两次展览。作为艺术家的我们能否通过创作来贡献一种更好的理解方式?我们希望通过对话,使用或不使用词语,来达到反思。通过艺术项目有没有可能达到态度的转换和开启其他感官?我们的目标是用积极的对话来搭建跨界的桥梁。

实现:

基础方案已经设定;瑞典艺术家将会到昆明TCG诺地卡同中国艺术家共同完成主题为:“日常事件、运动模式、生命轨迹”的展览。之后,2011年的秋天,中国艺术家到瑞典举办同样主题的展览。

已取得联系的展览机构有:画廊1(乌普萨拉,艺术家俱乐部),Theatre画廊,Bror Hjorths博物馆,乌普萨拉艺术博物馆以及图书馆。

在学校举办的工作成果展示将在昆明和瑞典的乌普萨拉进行。教育方面的作品将由儿童作品组成,以“生活中的一天”为主题,以系列直观的形式呈现。

推进:

孟安娜和罗菲挑选了合作的艺术家。初步行程是瑞典艺术家2010年在中国做展览,开幕式定于10月8日,中国艺术家于2011年到瑞典做展览。准确时间会在与相关机构的合作中确定。

目标群体:

我们希望通过展览和工作展示关注两国的孩子、学生以及生存在郊区和边远地区的人。我们将用相同的方式来管理中国的工作展示。

预期成果:

在两个国家、两国人民之间建立积极的对话。我们期待一次中瑞文化间的积极交流和创造性对话。希望能通过“桥梁”这个项目找到两个国家之间的共同点。通过聚焦共同点我们将为对话、互相了解和包容差异创造更多机会。我们将通过展览、会议、工作展示和指南册传播信息、经验及成果。

BRIDGES

An art project between Swedish and Chinese artists
… everyday events, movement patterns, lifelines …

Project Coordinators:
Kajsa Haglund
Anders Rönnlund
Sanne Sihm
Johan Fremling

Exhibition Curator:
Luo Fei

Artists:
Kajsa Haglund, Anders Rönnlund, Sanne Sihm, Johan Fremling, He Libin, GuoPeng, Cheng Liangchun, Su Yabi, Sun Guojuan, Lei Yan, Luo Fei

Exhibition Opening: 20:00, 8th of Oct, 2010
Duration: 8th of Oct — 30th of Oct, 2010

Address: TCG Nordica Gallery, Chuangku, xibalu 101, Kunming, Yunnan, China
Tel: 0871-4114692
Web: http://www.tcgnordica.com

BRIDGES

Anna Mellergård, Cultural Coordinator at Arts Nordica, www.artsnordica.com, took in the spring of 2007 contact with Kajsa Haglund in Uppsala. Anna Mellergård which for a long period of time, has lived and worked in Kunming, China founded together with Wu Yue Rong TCG Nordica, a Nordic-Chinese Culture center. Today the cultural centre leads by Wu Yue Rong with the Chinese artists ‘ Corps and TCG Nordica.The following artists have now received an official invitation from Luo Fei, curator and artist and cultural Coordinator at TCG Nordica, Kunming, China.The opening of the exhibition will be on 8/10/2010.

The invited artists from Sweden are:
Kajsa Haglund
Anders Rönnlund
Sanne Sihm
Johan Fremling

All Swedish artists are professional artists and members of the KRO, artists ‘ National organization. The Chinese artists participating in the project are:
He Libin, teacher at art school
Guo Peng, artist
Cheng Liangchun, artist, cultural Coordinator
Su Yabi, artist, teacher at Dali Art college
Sun Guojuan, artist
Lei Yan, artist
Luo Fei, curator, artist

OBJECTIVES OF THE PROJECT

by means of artistic processes, examine and analyze how a cooperation between the two cultures can be developed, as well as create understanding. We want to change attitudes, find out what unites and create conditions for meetings through our art exhibitions and through the educational work with children in both countries. The artistic process is carried out in cooperation with the Chinese artists, resulting in two joint exhibitions, in China and Sweden. Can we as artists through our jobs offer a contribution to a better understanding? We wish to work with dialog, with or without words, in order to reach the reflection and reflection. Can we as artists through our jobs, to play with a bet for better understanding? We wish to work with dialog, with or without words, in order to reach reflection. Is it possible to change attitudes and open other senses through artistic projects? Our desire is to build bridges across borders by creating a creative dialogue.

IMPLEMENTING

A common concept has been developed; the Swedish artists will travel to TCG Nordica In Kunming and together with the Chinese artists organize an exhibition on the theme: everyday events, movement patterns, lifelines. Later, in the fall of 2011, when the Chinese artists come to Sweden we will set up a joint exhibition of the same theme.Contact has been taken with the following institutions for an exhibition: Gallery 1 (Uppsala, the artists ‘ Club), Theatre Gallery, Bror Hjorths Museum, Uppsala Art Museum and libraries across the County.Workshops in schools will take place both in Kunming and in Uppsala County, Sweden. The educational work will consist of the childrens work in serialized visualized form: “A day in my life.”An image story without words. The Swedish report is read from left to right, and the Chinese from right to left. In the middle of the book there will be a meeting and a bridge has been built.

APPROACH

Anna Mellergård and Luo Fei contributes with their Chinese contacts and has selected the Chinese artists that we cooperate with. Preliminary schedule is that the Swedish artists exhibit in China by 2010, with opening 8/10, and that the Chinese artists come to Sweden for an exhibition in 2011. Exact date will be determined in cooperation with the relevant institutions.

THE TARGET GROUP

We want through exhibitions and workshops turn to children, students, people in rural and urban areas in both countries. We will conduct workshops in China as well as in Sweden.

THE EXPECTED RESULTS

To create a positive dialogue between our two countries and people and countries in General. We expect an active Exchange and a creative dialogue between Chinese and Swedish culture. We hope through the project BRIDGES found similarities between our countries. By focusing on what unites, we create greater opportunities for conversations and, therefore, understanding and more tolerance for differences. We will disseminate information, experiences and results through exhibition, meetings, workshops, and directory.

Categories
艺术现场 | Art Scence

“四季.春天”云南女性艺术展

这是本周五即将在创库开幕的展览,欢迎大伙儿前来参观!

“四季·春天”云南女性艺术展

【展览信息】
主办人: 毛迪
策展人: 孙国娟
艺术总监: 雷燕
学术主持: 张光华
参展艺术家: 白雪娟, 白薇, 陈玲洁, 陈弈伟, 费敏, 费雪梅, 管赛梅, 郭俊秀, 姜静, 吉燕飞, 雷燕, 刘丽芬, 刘晶晶, 陇艺梅,李竞飞, 李双玲, 茅以芸, 马丹, 普艳, 普华仙,裴梓烨, 苏娅碧, 宋梓萍, 孙瑾, 孙和林, 屠潇, 王涵, 王爱英, 王钰清, 王海琳, 武妍希,叶松青, 杨文萍, 杨雁楸, 杨丽花, 玛丽安娜·萨基Marianne Csaky (匈牙利), 玛丽安 Marjan Verhaeghe (比利时)

承办 云南嘉利传媒有限公司,云南信息港房网频道,云南当代艺术网络社区
合作: TCG诺地卡画廊, 井品画廊
开幕酒会:2010年3月5日,20:00
展期:2010年3月5日–3月31日
展览地点:昆明创库TCG诺地卡画廊,井品画廊
电话:0871-4114691, 4114692, 4181088
网址:www.tcgnordica.com

【展览推介】

春天是万物吐纳希望、抖擞精神的美丽时节,此时总有令人振奋的消息传来。2010年的新春伊始,云南的女性艺术家群体首当其冲,用一场精彩的视觉盛宴揭开云南当代艺术的又一个嘉年华。由云南的35位女性艺术家和来自国外的2位女性艺术家联合举办的“四季·春天”云南女性艺术展,3月5日晚八点在位于西坝路101号的创库艺术主题社区内的TCG诺地卡画廊和井品画廊同时开幕,展览将开放至3月31日。

一直以来,“边缘”是云南当代艺术语境中的核心问题,对云南的艺术家尤其是女性艺术家来说,边缘就意味着需要克服更多的“艰难”,需要付出更多的“坚持”。云南的女性艺术家做到了,她们就像苦争春的桃李一样,在寒冷又漫长的冬季里仍然保持着创造力和战斗力,在无枝无叶的外表里面做着开花、结果的准备,当第一缕春风掠过的时候砰然绽放。这种绽放并非孤芳自赏,而是女性艺术群体单纯的生活方式和朴素的价值体系的互勉互励,是女性追求自由、平等精神的广泛传播。在她们的作品中,观众既可以读出花草什物中蕴含的浪漫主义的细腻情感;又可以读出她们从政治、审美、历史和心理分析的多重维度阐释生活的复杂尝试。“四季”这个由云南女性艺术家孙国娟发起策划筹备的云南女性艺术展事项目,从2009年的“冬”展到2010年的“春天”展,已成功举办了两季,它仍将继续。我们相信有着自发且强大生命力的云南女性艺术家群体,对推动中国女性主义艺术的繁荣有着积极而深远的意义。

【展览召集】

2010 四季 · 春天 云南女性艺术展 序
孙国娟

我们为期四年的展览计划从寒冬来到了春天,春天能让人想到的总是很多。

我年轻的时候以为,自然中的那些枝叶落尽的树木,在漫长的冬季里生命是完全静止的,只是到了春天,那温暖的风,才把它们从深睡中召唤了出来,后来有一次我坐火车坐在一个老农的对面,那时春天才刚刚开始来到,车窗外昆明郊野的桃花已经在盛开,我们谈论着那些掠过的花和树,老农告诉我:桃李都是苦争春的!他的一句“桃李苦争春”,让我突然间有了一种很深感动,也开始了解了那些花和树,原来树木并没有在冬天了无生机的外表中沉睡,它们在寒风中仍然保持着创造力和战斗力,在寒冷又漫长的冬季它们在无枝无叶的外表里面忙碌着,为了创造一朵花儿,一片树叶,一颗果实,它们已经为春天准备了很久,等待了很久,它们是真正知道珍惜春天的,当春风掠过山川还带着寒意的时候,春天的第一个时间来到了,桃花和李子花砰然绽放了。

2009-10-10

【展览前言】

2010“四季·春天” 云南女性艺术展 前言
文/张光华

自是寻春未有迟,何须惆怅怨芳时?南风复沁满园色,绿叶簪阴花满枝。恰那蓬勃春色于春城绽蕊,是这被瑟瑟寒冬封存一载之云南女性艺术再度蜕变,现涌动于静寂而下之铮容的视觉盛宴。云南女性艺术家集体破译2009金融顽巫的冷酷咒语,消解了在玫瑰温柔的毒刺下息作“睡美人”的黯淡传说,毅然于彩云妆扮的群山南缘精彩演绎女性艺术“国际之春圆舞曲”,在观众的期待中迎来2010的璀璨绽放。

云之南的女性艺术既非“主义”也非“策略”,而是一个信仰“自由”与“美”的集群单纯的生活方式和朴素的价值体系。在社会性别的文化预设所编织的性别差异谎言中,她们表现出善良地聪睿和温柔地挞伐,从公共领域的敏锐指涉到私人空间的窃言密语,嘲讽一切不怀好意地政治化关联,重新审视性别、种族、年龄和阶级等加诸于女性身体的标签属性。在现实的生活中,她们从身边的花草什物召唤浪漫主义的细腻情感;在艺术的世界里,她们从政治、审美、历史和心理分析的多重维度阐释具体化的复杂尝试。不懈地努力使她们寻到了打破谎言的意愿、决心和想象力,使我们的生活可以重塑、改变和改善。

四季交替如月历之晦朔,云之南的女性艺术势必在破茧、蜕变、翩飞、孕育的美丽重奏中帧帧刷新这个不断提升的艺术语言系统,这是从孤独中觉醒的女性艺术家个体发出得新的集体宣告。

在此,谨代表所有参展艺术家向为云南的女性艺术事业无私丰献的孙国娟与雷燕,表示诚挚的感谢!

2010.02.25

【主办寄语】

春 语
文/毛迪

春是让我度过严冬的期盼和幻想。夜来风雨声,花开终有时,春城的春天总是悄然而至,那些花就这么笑盈盈的开了。

从“85”一路走来的女性艺术家孙国娟及70年代就开始艺术创作的女性艺术家雷燕,精心策划了为期四年的云南女性当代艺术联展,以轮回的四季为周期,从去年的银装中走进了今年的春意。在春城昆明和煦而温暖的气氛中开幕了,带着女性特有的温婉浪漫的气息,也有着铿锵玫瑰的坚毅。云南女性当代艺术以一种独立,团结,进取的姿态展现在大家面前,这是一份难能可贵的精神,也是一份春天的礼物。在此孙老师及雷老师整合了云南活跃而优秀的女性艺术家作品,带来一股芳香的艺术之风,呈现了云南女性当代艺术的整体面貌及现状,同时也让大家看到云南女性当代艺术的活力与希望。优秀的女性批评家张光华女士为展览担任学术主持,更为展览的呈现添上了精彩的一笔。

这个四年计划是由女性艺术家自主策划筹备的艺术项目,有着自发且强大的生命力,对整个中国女性当代艺术的推动有着深远的意义,我为之赞叹,也为之感动。在此感谢诺地卡及井品画廊提供了展览空间,嘉利传媒王利军先生以及云南信息港房网频道的大力支持。希望云南的当代艺术受到社会各界的关注及支持,更希望女性当代艺术能够成为中国当代艺术史上的绚丽奇葩!

2010年3月3日于昆明