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English Posts 折腾项目 边想边写

不像画

展览开幕:2018年12月28日晚8点
展览时间:2018年12月28日——2019年1月7日(周日闭馆)
地点:TCG诺地卡文化中心,昆明西坝路101号创库艺术社区
联合主办:TCG诺地卡文化中心、云南艺术学院美术学院油画系

策展人:罗菲
参展艺术家:
弗雷德里克·费慕林 Fredrik Fermelin(瑞典) 和丽斌
刘辉 杨鼎 饶建雄 李思雨 王成龙 张龙 蒋才 何汝婷 蒋启建 董春文 刀继成
刘再明 杨振琦 段宇航 邵琳鉴 王胜凯 李振宇 刘俊妤 张俊鹏 焦勇 刘梦云 梁紫瑞 黄梓恒 李红梅 魏陆婕 刘宇 李涛 陶昱希 晋锐娜 白再阳 汤邵元 和玉菊 张磊 马隽哲 徐国鑫 卞文俊 马煜程 杨琪 周子晋 张晨阳 闻宽 安炤宇 杨杰 李华 傅尔加周
现场音乐:Eilev Stoveland Dekko(挪威),Fredrik Fermelin(瑞典)

《不像画》前言:

文: 罗菲

绘画可能是今天艺术领域最具亲和力也最令人头疼的事情之一,它总是能提供有关自身的故事,那些故事又为后来的画家们设定了诸多无法绕开的路标。它时而预示着某种终结,时而预示着某种回归,更多时候,它只是让人感到尚可继续下去的古老的游戏。对很多画家来说,画画只是属于自己的事情,那种眼界与手艺的持续成长让人着迷,仅此而已。

只是今天的绘画已不再是艺术家们的拓荒之地,今天的艺术家面对的不只是绘画,而是整个艺术世界。人们从绘画的方法、观看和绘画这个行动本身去寻找突破口,去尝试“重新”画“一张画”的可能,去尝试画“画画”这件事情。这不只是让“画画”变得更加复杂,也让“看画”变得更加复杂,它们都变得不再直观。绘画的任务不再是再现或者表现,而是提供“画画”和“看画”的某种可能。这也正是我们今天这个展览的出发点。

2015年从瑞典皇家美院毕业的艺术家弗雷德里克今年9月来到昆明TCG诺地卡驻留,整整三个月他完全专注于绘画,在此之前,他主要从事表演艺术、声音艺术等现场艺术形式。弗雷德里克的绘画观念与gif格式的图像生成有关,两张看上去相似的图像并置在一起,由观众自己去联想它们之间的关联,类似电影蒙太奇的方法。但他只是让两张绘画在空间上并置,而不是时间上关联。在画面的最表层,是一种表现主义倾向的风格,尽管他极力否认自己的绘画与表现主义风格有关,因为那不是他要追求的,他关注的是画面和画面之间潜在的建构关系。

和丽斌近些年的绘画实践融合了行为艺术的方式——盲画,在户外或室内,在深夜里,他在大尺幅的画布上画他对一个场景的印象和感受。在他的盲画实践中,绘画这一拥有悠久历史的艺术实践被逼入临界状态:可知与不可知之间,可见与不可见之间,可画与不可画之间。唯一能确定并不断被确定的,就是在广袤自然环境中的艺术家自身的存在和自我的增长,这种确认在漫长黑暗中通过对话和较量来完成。这让绘画成为摄影一样,在暗中显影,在日光之下观看。

和丽斌的绘画与弗雷德里克的绘画在风格层面十分相似,他们都用表现主义手法去画风景,但又都提供了一种非常规的“看画”经验。和丽斌刻意让自己看不见的时候画自己的看见,画面的最终显现依赖时间。弗雷德里克通过不同画面空间上的并置,让画面和看画产生不确定性和异样感。他们都用最直观的方式去画,但又都制造出多层次的观看逻辑。

这次展览还有四十余位参加和丽斌短期表现性绘画课程的云艺的同学们,他们的画作结合了行动绘画的练习方法,同样探讨的是画面以外的有关绘画如何可能的问题。弗雷德里克、和丽斌还有诸位同学们,为我们呈现这样一个有关“绘画背后的绘画”的交流展,我姑且把它命名为“不像画”。

Outrageous, like a painting.

Outrageous, like a painting.
text: Luo Fei
editor in English: Sanne Raabjerg

Painting is probably one of the most intimate and vexing things in the art world today. It always provides stories about itself. These stories set a lot of road signs for later painters. Sometimes, it heralds some sort of end, and sometimes it heralds a return. More frequently, it is just an ancient game that makes people feel like they can continue on their paths. For many painters, painting is just a matter of their own interest, and the continuing growth of their vision and craftsmanship is fascinating, and nothing more.

But painting today is no longer the wild land of artists. Today’s artists are not only facing painting itself, but also the entire art world. People go from looking for breakthroughs, in the methods of painting, in the way of seeing images and in the performative part of painting, to painting the possibility of “painting a painting” and to painting the matter of “painting”. This does not only make “painting” more complicated, but it also makes “seeing paintings” more complicated, since they are no longer as intuitive. The task of painting is no longer just to represent or express something, but to provide different possibilities in “painting” and “seeing”. Correspondingly, this is the starting point of our exhibition today.

Fredrik Fermelin, an artist who graduated from the Royal Academy of Fine Art in Sweden in 2015, came to TCG Nordica in September as an artist in residence. Here, he spent three full months focusing on painting. Before that, he mainly engaged in performance, installation, video and digital media, etc. Fermelin’s concept of painting is related to image generation in gif format. Two seemingly similar images are juxtaposed, and the audience themselves associate their correlation, similar to the method of making film montage. However, he just makes two paintings juxtaposed in space, not in time. Although he strongly denies that his paintings are related to the expressionist style, on the surface level they might seem to comprise expressionist tendencies, but that is not what he wants to pursue. He is more concerned with the potential constructional relationship between the pictures.

He Libin’s painting practice in recent years combines the way of performance art with blind painting. In the middle of the night, he paints his impressions and feelings on a large-scale canvas, both indoors and outdoors. In his practice of blind painting, painting, an art form with a long history, is forced into a critical state: Between visible and invisible, between known and unknown, between painting and non-painting. The only thing that can be identified and continually confirmed is the artist’s own existence and self-growth in the vast natural environment. This confirmation is accomplished through inner dialogue and contests in the long-lasting darkness. This turns the painting process into photography development: Developing it in the dark, watching it in the daylight.

He Libin’s and Fermelin’s paintings are very similar in style. They both use expressionism to paint landscapes, and they both provide an unconventional “seeing” experience. He Libin deliberately paints what he has seen when he cannot see; therefore, only time will show the final appearance of the painting. Fermelin’s juxtaposition in space of different paintings, creates uncertainty and dissimilarity in the paintings themselves and in the seeing of the paintings. They both paint in the most intuitive way, but at the same time they create paintings that can be seen on multiple levels.

For this exhibition, more than forty students from Yunnan Arts University participated in He Libin’s short-term expressive painting course. They combine their paintings with the practice methods of action painting, in order to discuss how paintings can be. Fredrik Fermelin, He Libin and the students present us with such a communicative exhibition about “Paintings Behind Paintings”. Here, I have just named it “Outrageous, like a painting”.

Curator: Luo Fei
Artists: Fredrik Fermelin, He Libin and his students from the Yunnan Arts University
Live Music on the opening: Eilev Stoveland Dekko, Fredrik Fermelin

Opening: 8pm, Dec 28th, 2018
Exhibition Time: Dec 28th 2018 to Jan 7th 2019 (Sundays Close)
TCG Nordica Culture Center, Chuangku, Xibalu 101, Kunming
Organized by TCG Nordica and Oilpainting Department of Yunnan Arts University

Categories
边想边说

反思絮语

各种微观的去中心的艺术在地实验
正在各地发生
这是文化上的生态多样性的开始
它最终可能不会成为令人瞩目的浪潮
而是自成小溪滋养各个角落
—— 罗菲

回答诸如:“当代艺术”是否已经终结?中国“当代艺术”的精神特质与审美特征是什么?“当代艺术”是否已远离大众?下一个艺术浪潮(或艺术运动)什么时候到来?……等问题。

访谈内容为上海喜马拉雅美术馆“反思絮语”专题之罗菲个人内容,“反思絮语”当代艺术专题由上海喜玛拉雅美术馆及英盟当代艺术馆联合发起,点击这里阅读访谈原文。

罗菲行为作品《我是一个难民吗?》,斯德哥尔摩Studio44艺术空间,2016
Categories
寻路世界 折腾项目

KISS小组步行练习

此次步行数据档案

2018/12/09 周日 晴

旅行者:Vera van de Nieuwenhof、罗菲、程新皓、薛滔、加加、黎之阳

全程约40公里,历时10小时,实际行走8小时。

练习:KISS小组成员(一个成员不固定的有关情境主义国际的读书小组)带着小凳子从昆明呈贡大学城南站走到翠湖。一群人的城市远足,边走边聊。从空旷的找不到一个厕所和商店的大学城主干道出发,沿途经过高速公路、呈贡老城区、上个世纪的赶集巷子。刻意避开商场和购物中心,在一个小区门口小店享受一顿美美的猪脚米线豆花米线……在商贸枢纽的广福路上和密集的电动车流抢占人行道……在喧嚣的官渡古镇寻找历史遗迹……在官南立交地下通道随着回家的人群继续前行……沿着盘龙江,在夜色中进入熟悉的市区……在翠湖公园最中心的庭院结束一天的旅行。心情愉快,脚有些累……随身携带的小凳子让我们可以随处歇脚。从一座城市最末端的脚尖,慢慢走进它的心脏。感受城市的肌理、尺度和历史变迁。

起点:昆明大学城南地铁站外,步行者的小凳与车站
途径呈贡老城区三台山附近
途径官渡古镇,小凳与金刚宝座塔合影
小凳在翠湖公园莲华禅院结束此次步行
Categories
边想边写

不可化约的剩余物

不可化约的剩余物

文/ 罗 菲

苏亚碧自1998年从云艺毕业以来,一直将身边的日常什物作为绘画的对象:一把梳子、一枚别针、一把钥匙、一件衣物、一张床、一个抽屉……它们以轻盈的姿态游离,成为被捕捉、被凝视的对象。在过去二十年始终如一的专注里,苏亚碧从对日常什物状态的描绘发展为对日常生活本身的隐喻。

这些朴素的日常什物来自艺术家早年的生活现实——学生宿舍和家里简单的个人用品。那是一个生活尚未被商品及其品牌全面覆盖的年代,每件物品都与它的主人有着情感上的联系。艺术家却从描绘这些什物的过程中把握住了某种隐微的精神性力量——那种极易被抹杀也极易被滥用的内在品格——诗意。这种力量的真实性来自她作品中所投入的生活时间的痕迹和对日常生活的位移性陈述。

这些朴素的日常什物显然不是生活的重点,更不是目标,它们在苏亚碧二十多年的画作中,只是生活现实与绝对精神之间的某种剩余物,不可化约的部分。在商品与信息大量堆积的景观社会,身边的日常物常常遮蔽着本真生活,也遮蔽着这些物件的使用者。

苏亚碧通过不断描绘、塑造这些日常什物的游离状态,使其从日常生活空间中流放,获得进入诗意与精神的领域。苏亚碧的任务则是去捕捉那些日常什物被流放时刻的仪式感。在近期画作中,那些神秘的火焰、光晕和帷幕,让这种仪式感变得更加强烈。

尽管如此,这些形象同时也处于即将消散的神秘气氛中,仿佛随时都可能坠落,回到物质世界的关系中。苏亚碧的艺术也正是把握住了那种消瞬即逝的诗意中的人与物的关系,使它们偏移了自身所处的物质世界的位置。这也使得艺术实践变成一种可以让日常生活产生位移的陈述,从而让人发现日常生活中布满了诗意与神迹的瞬间。

这不断重复的对日常什物和生活在形象上的位移与流放,成为一种基于景观社会的抵抗,也是一种实践逃离的自由。这是苏亚碧的艺术区别于很多矫揉造作的浪漫的私密日记体艺术的地方,她在那些被流放的日常什物中捕获了一系列针对日常生活的反规训的隐喻。

2018年9月2日雨夜

不可化约的剩余物 Irreducible Reminders 

艺术家 | Artist 苏亚碧 Su Yabi

策展人 | Curator 罗 菲 Luo Fei

艺术评论 | Essays 薛 滔 Xue Tao 乔丽丹 Qiao Lidan

开幕 | Opening 2018.10.13 周六 15:00

地点 | Gallery 昆明苔画廊 Tai Project, Kunming

Categories
寻路世界 折腾项目

讲座:国际驻留作为一种会面状态

罗菲在Helmhaus Zurich与策展人Daniel Morgenthaler对话“苏黎世的艺术让我打瞌睡”

国际驻留作为一种会面状态

——罗菲在苏黎世驻留项目中的邂逅与观看

2018年5月至8月,昆明策展人、艺术家罗菲受邀参加昆明-苏黎世友好城市交换驻留项目,这也是罗菲首次造访瑞士。在驻留苏黎世期间,罗菲寻访当地美术馆、画廊、艺术家自营空间,拜访策展人、艺术家,深入当地丰富的艺术生态。罗菲注意到瑞士当代艺术中的结构主义传统在今天的魅影无处不在,注意到瑞士行为艺术家中口语表演的传统,艺术家们对娱乐文化的拥抱与再造。

在近三个月的观察与交流中,罗菲经历到一个充满魅力的苏黎世城,一种普遍富裕、安稳、高标准的日常生活。正是这样一种日常生活,塑造着当代艺术在今天的“形式正确”和“媒介轰炸”。也正是在这样一个凡事都有保障的社会里,人们仍然表达着对现实的不满,诘问艺术的批判性在哪里?在那里,日常生活和当代艺术一样,越加文本化、理论化,任何一种“野蛮”、“自嘲”、“无聊”或者“学究化”的艺术,都成为了虚无的文雅生活的一部分。那里提供了对欢愉和虚无的保障,提供了免于道德评价的保障。那么,生活的目标又是什么?艺术的魅力又是什么?

在驻留苏黎世期间,除了拜访意大利、挪威、瑞典等地,罗菲特意寻访了波兰克拉科夫的奥斯维辛集中营和灭绝营。罗菲带着“奥斯维辛之后不再有诗”的困惑,行走在看上去漂亮而理性的“乡村地狱”。在那里,一切都超出了人的想象。在那里,启蒙运动以来的“人性”究竟是被隐藏还是被放大了呢?汉娜·阿伦特“恶之平庸”的反思在今天还有怎样的价值?

对于罗菲而言,艺术家驻留项目作为一种不断与人会面又不断回到自身的临时生活状态,在一个陌生的地方,他并没有设定一个预期的目标,他只是不断积累和调整自己,保持开放,保持交流,保持思考,保持分享。

相关访谈阅读: 《阿德里安·诺茨:艺术有保障……》《安德里亚斯·马蒂:当艺术生产过剩……》

主讲:罗菲

特邀嘉宾:李季、和丽斌、薛滔

讲座时间:2018年9月14日(周五)晚7点–10点

讲座地点:昆明·TCG诺地卡文化中心(西坝路101号创库内)

讲座报名:请在本文下方留言“讲座报名+人数”即可。

trekking on Dolomiti

International Residency as an Encounter State

– Luo Fei’s encounter with and observations in the Zurich Residency Project

From May to August 2018, Kunming curator and artist Luo Fei, also the director of TCG Nordica gallery was invited to participate in the Kunming-Zurich Friendship City Exchange Residency Project. This was also the first time that Luo Fei visited Switzerland. During his stay in Zurich, Luo Fei visited local art museums and galleries. Furthermore, he visited off-spaces, curators, artists, and deepened the local rich artistic ecology. Luo Fei noted that the structuralist traditions in Swiss contemporary art are ubiquitous in today’s phantom, noting the tradition of oral performances among Swiss performance artists, and the artists’ embrace and re-engineering of entertainment culture.

During nearly three months of observation and communication, Luo Fei experienced the charming city of Zurich – an ordinary, affluent, stable, and high standard of daily life. It is such daily life that shapes the “formal correctness” and “media bombing” of contemporary art today globally. It is also in such a society where everything is guaranteed, that people still express their dissatisfaction with reality. Where is the criticality of art? Political art? There, everyday life, like contemporary art, is more textual and theoretical, and any kind of “barbarous”, “self-deprecating”, “boring” or “scientific” art has become part of the vain and elegant life. It provides protection against pleasure and nothingness, and provides protection from ethical evaluation. So, what is the goal of life? What is the appeal of art?

During his stay in Zurich, in addition to visiting Italy, Norway, Sweden and other places, Luo Fei purposefully visited the Auschwitz concentration and extermination camp in Krakow, Poland. With the confusion of “no poetry after Auschwitz”, Luo Fei walked in the “rural hell” that looked beautiful and rational. There, everything is beyond the imagination of man. Where has “humanity” been hidden or enlarged since the Enlightenment? What is the value of Hannah Arendt’s reflection on “the banality of evil”?

To Luo Fei, the artist resides in the project as a temporary life that constantly meets people and returns to himself. In a strange way, he does not set an expected goal. He just keeps accumulating and adjusting himself. Keep open, keep communicating, keep thinking, and keep sharing.

The talk will be on Sep 14th, 7pm at TCG Nordica.

It will be in Chinese.

Sign up for free by leaving a comment “join the lecture + number of participator”

Luo Fei’s talk at TCG Nordica