多重编译——从诗歌到诗歌 从诗歌到视觉艺术

多重编译——从诗歌到诗歌 从诗歌到视觉艺术(TCG诺地卡2015·荷兰—中国诗歌与艺术交流项目)

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项目背景介绍:

这个项目是由6位昆明TCG诺地卡文化中心推荐的中国艺术家和6位来自阿姆斯特丹AGA版画工作室的艺术家、版画家共同结合诗歌朗诵和以诗歌为创作灵感的艺术展览构成。

此次活动的发起源于厄休拉•纽鲍尔于2012年11月的时候拜访了TCG诺地卡文化中心。TCG诺地卡所举办的活动涉猎范围之广泛且所涉及的艺术家均为当地出色的艺术家,给当时来昆明的她留下了深刻印象。TCG诺地卡地处昆明一个老厂房内,并且具有强烈的社区精神。透过艺术展览、电影、诗歌朗诵、戏剧、舞蹈和咖啡,TCG诺地卡展示了非常丰富的文化。阿姆斯特丹AGA版画工作室并不像普通的机构,它有活力且充满创新,对于TCG诺地卡而言是一个很好的伙伴,这给双边驻地艺术家的生活、工作空间注入了新能量,与此同时吸引了很多国际艺术家和实习生来这里工作。
厄休拉•纽鲍尔最初的动力源于对远方文化的好奇心,因此组织了这个长期的交流项目,她相信通过这个联合策划项目来扩宽彼此的眼界和在更大语境里的挑战。她和所有参与者分享了这个灵感来源,尤其是与来自TCG诺地卡的艺术总监、策展人、艺术家罗菲先生分享后,这个灵感最终得到实现。

该项目的理念在双方的共同努力下产生,基本想法是每一个诗歌的译本与来自其他国家的艺术作品相关联。读者、观众和听众会呈现出一个多维和表演性的展览,将诗歌印刷在较大的横幅上,也是展览的一部分。在展览开幕时,艺术家、诗人们会以中文、英文或荷兰语朗诵诗歌。诗歌的讨论、编写、翻译也包含在此次展览中。荷兰AGA的艺术家听取了罗菲的建议,他们的工作主要聚焦在中国知名诗人、纪录片工作者——于坚先生的作品上。荷兰的艺术家将根据于坚的诗歌在纸上或布上创作最新的版画作品。中国昆明的艺术家则根据柯雷(M.van Crevel)翻译成中文的《荷兰现代诗选》选取了瓦萨利斯、戴尔波克、高文纳尔、凡•黑尔、瓦尔蒙特和法弗利等6位荷兰现代诗人的诗歌进行绘画创作。

这个项目最初的设想是中国与荷兰的艺术家用各自的艺术作品来阐释对方国家的诗歌,借此方法向读者、观众及听众展示一个具有全方位、多维度体验的展览。所涉及诗歌将与艺术作品共同展出。展览开幕式上我们还邀请到了于坚先生来朗读他的诗歌,同时云南本土青年行为艺术家们将根据于坚的诗歌展开的精彩表演。

此次“多重编译:从诗歌到诗歌、从诗歌到视觉艺术”项目的昆明部分将分作三场与本地观众分享,第一场是2015年4月24日晚8点的“于坚诗歌实验表演朗读现场 暨 展览开幕酒会”,第二场是4月25日晚8点的“诗•歌——从诗歌到音乐 现场音乐会”,第三场是4月26日下午2点半的“品读才女张爱玲”品汇人生读书会及相关品鉴活动。

此项目展览也将于今年秋季在荷兰阿姆斯特丹展开。

项目发起人:厄休拉•纽鲍尔(荷兰AGA版画工作室)
项目组织人:罗菲(中国TCG诺地卡文化中心)
中国艺术家:常雄、陈梵元、和丽斌、宁智、苏家喜、苏亚碧
荷兰艺术家:安琪莉可•威斯迈(Angelique van Wesemael)、克里斯蒂娜•霍尔斯道姆(Christina Hallström)、赫尔曼•德伦(Herma Deenen)、玛莎•特布库娃(Masha Trebukova)、纳安•瑞杰科斯(Naan Rijks)、厄休拉•纽鲍尔(Ursula Neubauer)
项目执行小组:梁译丹、何凝一、张清、刘黎雅(瑞典)
平面设计:张清
联合主办:中国•TCG诺地卡文化中心、荷兰•阿姆斯特丹AGA版画工作室
项目支持:荷兰王国大使馆

展览开放时间:2015年4月24日至5月31日,12:00—20:30(周日闭馆)
地址:昆明市西山区西坝路101号(永乐路60号)创库艺术主题社区内,TCG诺地卡画廊
搭乘公交提示:乘4路、62路、93路、106路、120路、184路乙线至安康路站下车,沿永乐路步行300米
电话:0871-64114692,64114691
微信公众号:TCG诺地卡文化中心

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第一场:2015年4月24日(周五)晚8点

于坚诗歌实验表演朗读现场 暨 展览开幕酒会

关键词:诗歌、画展、于坚、行为艺术、跨界混搭

策划:罗菲

特邀诗人:于坚

行为表演/诗歌朗读:
黄越君
杨辉
赫尔曼•德伦(荷兰)
“阿里巴巴他哥”和张紫韵(野狗芳芳、村长!冲浪吧、张紫韵)
九坑艺术小组(蒋明辉、吴若木、杨雄盛、董雪莹、桑田、叶其霖)
和丽斌 + 云南艺术学院美术学院新表现工作室(赵伟家、王敏姣、王珏琳、刘晓东、李斌红、腾锐妍、黄朝玉、杨蕊菱) + 陈金诚

语言:中文、英文、荷兰语

免费进场

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第二场:2015年4月25日(周六)晚8点

诗•歌——从诗歌到音乐 现场音乐会

关键词:诗歌、音乐会、合唱、特朗斯特罗姆、莎士比亚、苏轼

现场演唱托马斯•特朗斯特罗姆(瑞典)、威廉•莎士比亚(英国)、艾米莉•狄更生(美国)、苏轼(宋•中国)以及张若虚(唐•中国)等古今中外文学大师的11首经典诗歌名曲。

演职人员:刘黎雅(瑞典)、刘约翰(瑞典)、艾丽莎(瑞典)、麦小芬(瑞典)、彭耀龙(美国)、金小韵(中国)、张羽(中国)、TCG诺地卡合唱团(中国)、郑薇佳(中国)

语言:中文、英文、瑞典语、德语

门票:40元(预售)、50元(现场)

订票方式:微信及电话订票

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第三场:2015年4月26日(周日)下午2点半

“品读才女张爱玲” 品汇人生读书会

关键词:张爱玲、读书会、人生、民国范儿

导读:宋风英(昆明学院中文系教授)

古筝:张羽

相关精彩活动:画展与诗歌品鉴、民乐欣赏、舞蹈欣赏、诗歌朗读

着装建议:中式正装(旗袍,唐装,汉服等)

语言:中文

入场:30元

座位有限,须提前报名预定,订票方式:关注“TCG诺地卡文化中心”微信公众号发送消息预定,或手机短信至倪先生13008688624预定

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Multiple Adaptations: from Poem to Poem, from Poem to Visual Art

(Chinese-Netherlands Art and Poetry Exchange Project)

Project Background

The project consists of an art exhibition based on poetry and accompanied by poetry readings. The participants are six Chinese artists working with the TCG Nordica, a Kunming art center with strong ties to Scandinavia and six Amsterdam artist/printmakers from the Amsterdams Grafisch Atelier (AGA).

The initiative came from Ursula Neubauer, a longtime member of AGA, who had visited Nordica in November 2012 and met there its artistic director Luo Fei. She found the quality of the Kunming artists and the broad spectrum of activities at the art center very impressive. Nordica, located in an old factory building, radiates a strong communal spirit. It shares the riches of culture with a wide range of visitors via exhibitions, cinema, poetry readings, theater, dance, and a café. AGA is an excellent counterpart to Nordica, for it is vibrant and innovative, with two living/working spaces for artists-in-residence which attract many international artists and interns to work there.
Ursula Neubauer’s prime motivation to organize this long-term project is curiosity about a distant culture, belief in joint projects that expand one’s horizon, and challenge to work in a larger context. She shares these motivations with all the participants, especially Luo Fei, artist, curator and artistic director of Nordica.

The concept of the project was worked out in a joint effort of both sides. The basic idea is that each individual artist correlates a translated poem from the other country with his or her art work. The readers, viewers, and listeners will thus be presented with a multidimensional and performative exhibition: The poems will be printed or written on long banners, as integral part of the exhibition. At the opening of the exhibition they will be recited in Chinese, English, and possibly Dutch. Discussions on poetry and adaptations/ translations could be included in the event. The AGA artists have followed the suggestion of Luo Fei to focus their work on poems by Yu Jian, a well-recognized poet and documentary filmmaker from Kunming, whose works have been translated into many languages. The Dutch artists will present large innovative prints on paper or fabric. The Kunming artists are free in their choice of medium with the exclusion of three dimensional works. They chose their poems from the volume ‘Moderne Nederlandse Poëzie’ translated into Chinese by M.van Crevel.

The project will be presented in Amsterdam and Kunming.

Initiator: Ursula Neubauer (AGA in Amsterdam)

Organizer: Luo Fei (TCG Nordica in Kunming)

Dutch Artists: Angelique van Wesemael, Christina Hallström, Herma Deenen, Masha Trebukova, Naan Rijks, Ursula Neubauer

Chinese Artists: Chang Xiong, Chen Fanyuan, He Libin, Ning Zhi, Su Jiaxi , Su Yabi

Project Execution Team in Kunming: Adam Zhang, Cornelia Newman (SW), Liang Yidan, River He

Graphic Design: Adam Zhang

Co-organized by TCG Nordica Culture Center and Het Amsterdam Grafisch Atelier

Project Sponsor: Embassy of the Kingdom of the Netherlands

Exhibition Opening Time: 12:00—20:30, Sundays Close, April 24th to May 31st 2015

Venue: TCG Nordica Culture Center, Chuangku, Xiba Lu 101 (Longle Lu 60), Kunming city

Bus: No. 4, 62, 93, 106, 120, 184乙线, Ankang Lu Bus Station, walk along on Yongle Lu for 300 meters.

Tel: 0871-64114692, 64114691

WeChat: tcgnordica

SECTION ONE: 20:00, Fri, April 24th 2015

Opening Reception and Experimental Poetry Reading Performance on Yu Jian’s Poems

Key Words: Poetry, Exhibition, Yu Jian, Performance Art, Crossover Practice

Curator: Luo Fei
Honored Guest Poet: Yu Jian
Performance Artists/The Readers:
Huang Yuejun
Yang Hui
Herma Deenen (NL)
Alibaba’s Brother and Zhang Ziyun (Wild Dog Fang Fang + Go Surfing Village head! + Zhang Ziyun)
Nine Pit Group (Jiang Minghui, Wu Ruomu, Yang Xiongsheng, Dong Xueying, Sang Tian, Ye Qilin)
He Libin + NEW EXPRESSION Studio of Yunnan Arts University (Zhao Weijia, Wang Minjiao, Wang Yulin, Liu Xiaodong, Li Binhong, Teng Ruiyan, Huang Chaoyu, Yang Ruiling) + Chen Jincheng
Language: Chinese, English, Dutch
Free Entrance

SECTION TWO: 20:00, Sat, April 25th 2015

“From Poetry to Music” Live Concert

Key Words: Poetry, Concert, Choir, Tranströmer, Shakespeare, Su Shi

Poems from Tomas Tranströmer (Sweden), William Shakespeare (England), Emily Dickinson (US), Su Shi (Song Dynasty, China), Zhang Ruoxu (Tang Dynasty, China) and more…

Musicians: Cornelia Newman (Sweden), Johan Newman (Sweden), Lisa Eriksson (Sweden), Stephanie MacMullin (Sweden), Michael Peng (US), Jin Xiaoyun (China), Zhang Yu (China), Zheng Weijia (China), TCG Nordica Open Choir (China)

Ticket: 40RMB(In Advance), 50RMB(In Door)

Language: Chinese, English, Swedish, German

Ticket Booking: Sending message to TCG Nordica’s WeChat “tcgnordica” or Call: 0871-64114692, 64114691

SECTION THREE: 14:00, Sun, April 26th 2015

Theme: Reading a Talented Woman Zhang Ailing

Key Words: Zhang Ailing, Book Club, Life, Fan of the republic of China

The Guest Speaker: Song Fengying (Professor of Chinese literature of Kunming Collage)

Guzheng Player: Sophia

Related Events: Exhibition Guidance, Appreciation of Chinese Ethnic Music, Dance, Poetry Reading

Language: Chinese

Ticket: 30RMB

Require advance booking: Through TCG Nordica’s WeChat, phone call. Or sending SMS to 13008688624

玩水墨

 “迹•象”展之后,两位艺术家为诺地卡的北欧学子分别做了两次工作坊。一次是冯贤波为大家简单介绍书法艺术的常识,分作作为阅读书写功能的书法,和作为艺术的书法。他让大家体会对笔墨的运用,一开始就写草书,对本来就不会写中文的老外来说可能更合适。据说,草书的书写样式最初作为军事用途中为了传递敌国难以识别的“编码”。我理解,也类似于医生在病历本上的潦草字迹,只有开药的人才能“解码”。从草书学写书法,颠覆了很多人对书法的理解,笔墨的感受比规整的模仿更重要。这比一开始学写楷书有趣多了。我上学那会儿曾经学写书法就多次放弃,很大程度上是把这个当作某种“品格修炼”,最后彻底失去耐心。

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陈梵元引导的工作坊是基于书象艺术的观念,先介绍东巴文、古埃及文、希伯来文符号、日本书法等具有象形特征的文字和符号。然后是练习,一个练习是让同学们在规定的六个点中用线连接(见下图),随意发挥,背景音响起。另一个练习是盲画。

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最后艺术家将六个点按文字结构连接时,发现其实是一个“中”字。当人们去除了文字结构的观念来重新发挥时,具有更多可能性。艺术家说,要回到孩子的样式,什么都不想,只是打发时间,涂涂画画。

再之后是用毛线画水墨,抽象表现主义,或曰行动绘画,正如我曾在“绘画作为行动”展览里所看到的,从绘画到行为的演变,东方与西方之间的互动。这种方式很容易让大家玩high起来。这里也可以看到当代艺术教育和创作观念里“玩”和“游戏”的成分十分重要(作为策略?),“玩”可以轻易突破传统工具和观念的制约,并且找到全新的可能性。

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Interview with Chen Fanyuan and Feng Xianbo

Chen Fanyuan's work

Chen Fanyuan’s work

Interview with Chen Fanyuan and Feng Xianbo

On the afternoon of January 29, 2013 at TCG Nordica Gallery in Kunming

Luo Fei: Please introduce yourselves.

Feng Xianbo (Feng): I first came into contact with art during middle school, watching old men write calligraphy. In high school, I formally began to study painting under Yang Mei of Zhaotong, and it was only then that I realized the subject could be studied in university. Before, I’d always wanted to be a doctor or something; it wasn’t until I’d started studying calligraphy and traditional Chinese painting that I discovered I really enjoyed it and wanted to pursue it further. Later, I applied for the calligraphy major at the China Academy of Art. Only once I was at school did I discover that I didn’t even know the difference between writing and calligraphy. I was a total layman compared to the students around me.

Slowly, I caught up to everyone else’s rate of progress. By sophomore year, my seal-style script was actually rather well-known, thanks in large part to the patience and guidance of my teachers Wang Yongjiang and Lu Jinzhu. Overall, what impressed me most about the teachers at the academy was their dedication to their profession; our thesis advisors there would even go so far as to point out punctuation errors in our essays. Having returned to Yunnan these past few years, I haven’t found a comparable sense of duty to their students in the university professors here.

My calligraphy particularly aspires towards simplicity and a lack of complication, in the vein of inscriptions on ancient bronze objects, or seal scripts from the Han and Qin dynasties. After graduation, I worked for two years at the Zhejiang Fine Art Press and also frequently taught substitute classes in Hangzhou, where I discovered that the pleasures of creating art and teaching are endless and mutually reinforcing.

In terms of traditional Chinese painting, I’m most drawn to the works of the Yuan Dynasty, and out of the four great Yuan dynasty masters particularly idolize Ni Zan. His kind of landscape is one of the most characteristic ancient styles of that period–very removed from reality, desolate and of a primal simplicity, solemn, quiet and bleak. It is particularly timeless. Many of our works today pander to audiences and tend towards the mundane. They seek only to be deemed pretty by the largest number of people possible. Absent is exactly Ni Zan’s turn away from materialism and the physical world.

Chen Fanyuan (Chen): I probably began down this path back in second or third grade, when I demonstrated particular prowess in writing. I continued to get the encouragement of my peers, teachers and managers, and thanks to this sense of pride slowly began to want to become a calligrapher. Because I spent my childhood in the countryside, it wasn’t until I was 15 that I really came into contact with writing brush copybooks and began to understand calligraphy, and only then that I learned about Ou, Liu, Yan, Zhao and other great classics of calligraphy script forms.

In 1997, I was assigned to work in Kunming, and from then on had more opportunities for study. At that time, contemporary calligraphy had just entered its most exciting period. The magazine “Contemporary Calligraphy” opened up new visual possibilities for me. Instinctively, I’m more inclined towards contemporary calligraphy. I like novelty and am intensely curious about the things I don’t know about. Contemporary calligraphy is obviously influenced by Western forms, an influence that I have only a very limited understanding of. Graphic design is a very good field for me to pursue further, as it requires one to combine new ways of thinking with the use of one’s visual sense. This is exactly what I want.

In 2010, I enrolled in advanced studies at the China Academy of Calligraphy and developed a more comprehensive knowledge of the treasure trove that is this traditional form. I had the further good fortune during that period in Beijing to meet a pioneer of contemporary calligraphy, Professor Wei Ligang, and study as a member of his International Shuxiang Society[1] . Actually, the course of my studies over these past ten or so years has traced a path from tradition calligraphy to contemporary calligraphy to contemporary Shuxiang. In this exhibition, the majority of my works have already broken away from the expression of Chinese characters themselves, and so I personally believe that they are more readily classified as a sort of contemporary Shuxiang.

LF: So you both began with calligraphy.

Chen: Yes. In fact, I can’t draw –the foundation of my work is pretty much only calligraphy. Before, I’d looked at calligraphy as calligraphy, but now, I increasingly view calligraphy through the lens of visual arts, and from this have found a number of new entry points into the discipline.

LF: Xianbo, you refer to ink paintings as traditional Chinese paintings, but do you find differences between the two?

Feng Xianbo's works

Feng Xianbo’s works

LF: Xianbo, many of your works, such as those depicting Kunming’s Western Hills or Dianchi Lake, are made through sketching from nature. You also make use of poetic inscriptions. Oil painting has always been associated with the practice of sketching from nature, but traditional Chinese painting typically hasn’t. Why do you choose to sketch?

Feng: Actually, traditional Chinese painting also emphasizes the importance of sketching. It’s just that method of sketching is different. Sketching in traditional Chinese painting is first and foremost an expression of cultural ideals. For instance, depictions of flowers and birds are most frequently associated with Confucian thought. The plum blossoms, orchids, bamboo and chrysanthemums that often appear all symbolize a corresponding facet of the spirit. Landscape painting is more influenced by Daoist and Zen thought. In the Western artistic tradition, no distinction is made between sketches of bamboo and other plants. Traditional Western painting emphasizes realism, perspective, and the play of light and shadow in enclosed spaces.

Traditional Chinese art represents different perspectives of the same object on the same plane, and so demonstrates a more fluid relationship between reality as it is observed and space. The “three distancing techniques” of landscape painting clearly demonstrate this mode of observation. The first half of the title of Du fu’s “Roving an eye over the river (游目俯大江)”is particularly apt: one’s“eye” doesn’t remain fixed, but rather roves across the expanse of the river. There is no stable perspective; space itself is in flux because the observing eye is itself in motion. The process of “sketching” in traditional Chinese painting is this process whereby real world images are examined from different vantage points in space and time and thus transformed, purified and sublimated into an expression of the most ideal crystallization of emotions. Therefore Chinese painting is not constrained by space or time; images of winter can show up in a scene depicting summer.

Another reason Chinese painting is associated with sketching is related to the very technique of using brush and ink. In order for one to express the particular temperament and feeling of an object, one must necessarily first begin one’s studies of Chinese painting with imitation. Only after a particular level of brush and ink technique has been mastered can one then begin to truly depict objects. Yet it is also because one begins directly with the brush that it’s easy for everyone to mistakenly believe that Chinese painting doesn’t emphasize sketching.

LF: Your works have layer upon layer of mountains and lakes, and are dotted with thatched huts and ships, but all of these are drawn in an ancient style. Do you believe this to be authentic?

Feng: I believe the categories of “real” and “fake” are not so clear in art. Artists should seek to portray our most ideal spiritual state. Reality perhaps inspires my painting and directs my attention, but I need not reproduce it. To paint landscapes, one must harness one’s own cultural philosophy and individual brushwork style, and these are distilled from one’s experience of reality. What ancient styles frequently portray is a kind of cultural symbol. The objects in the painting are not just simple visualizations of the real, material world. The essence of a true landscape painting cannot be expressed in words, as its meaning remains boundless.

LF: Fanyuan, you didn’t begin with traditional Chinese painting, yet you create ink painting works. Does this mean that you come to ink painting with a fresher perspective?

Chen: Being traditional doesn’t mean being constrained. These traditions are in fact endlessly freeing; they are my treasure trove, an inexhaustible source. All of my contemporary Shuxiang is an extension of traditional calligraphy practice.

LF: Fanyuan, your works experiment with the use of multiple types of materials. Compared to the elegance of Xianbo’s work and the Chinese scholarly tradition, your approach is much wilder, and explores the possibility of integrating calligraphy with Western modernist traditions. Does this sort of exploration indicate that traditional ink painting has now become problematic?

Chen: I think so. Ink and oil as materials each have their pros and cons. Ink is inherently imbued with national characteristics, and was developed as a medium in our formerly sealed off cultural environment. In today’s globalized world, industrialization and modernization are changing the times. Artists must reflect the spirit of our current age, and must use different types of formal expression to convey this. Even among my teachers, many who continue to make ink paintings are slathering propylene, oil paints and other sorts of materials on them. I think what’s important is the spirit of a piece, an oriental spirit, which isn’t determined by tools or materials. So a lot of my works don’t use ink but still, in fact, are a form of calligraphy.

Chen Fanyuan's work

Chen Fanyuan’s work

Feng: I find the Tang dynasty particularly inspiring, as they played a large role in preserving the traditional forms of their time while also remaining open to new forms of expression. In this period, calligraphists such as Chu Suiliang and Lu Jianzhi inherited and continued to propagate the traditions of the Two Wangs of the Wei and Jin dynasties[2], while others like Zhang Xu and Huai Su were boldly exploring the possibilities of romanticism. The Tang Dynasty was very tolerant of foreign cultures, but at the same time its own culture was also very widespread. It is easy to become closed off from the outside possibilities if the conception of “ink painting” is limited to only its most traditional forms. Therefore it is important to explore, and within a multicultural context allow different traditions to collide and coalesce. Chinese art is essentially a tradition that develops along one continuous line, with periods of daring experimentation. Both these paths of development are necessary – they are not mutually exclusive, but rather depend on each other.

Chen: In the 50s, many Western artists were influenced by Japanese modern calligraphy, and their formal language became much more direct. Many works of Abstract Expressionist painters have countless ties with calligraphy. When modern calligraphy began in China in the 80s, it absorbed this Western style, emphasizing a sense of dynamism. At this point, the barriers between eastern and western culture were broken down, and they began to mutually influence each other. I believe that as the world becomes more globalized, this will become more and more obvious trend. There’s no way to turn back time; we can never again return to the cultural environment of our ancestors. It’s therefore even more important for us to pay attention to the present and the future. Artists and scientist have this essential point in common: both must explore the unknown.

LF: Xianbo, in one of your own autobiographical narratives, you write, “The ultimate aim of calligraphy is to ‘enlighten the mind and improve human relations. ’ If created in an age without faith, it will inevitably confuse right with wrong, be unable to distinguish what is genuine from what is imitation, beauty from ugliness, the high from the low.” In other words, you believe art is not just to be enjoyed, but also serves to educate and influence people, and to build human relationships. Implied here is a premise, also Confucian, that you see artists put in the instructive position of saints or intellectuals. Do you think that today, this is possible?

Feng: What is most lacking in the world today is exactly this. Now, many people study art just because it’s an easier way to get into university. After graduation, the majority of art academy students never again devote themselves to artistic work, because using one’s own artistic ability to make a living is terribly hard and is not a path as direct as that of other industries. To this day, I still remember that at the opening ceremony of our first school year, academy president Xu Jiang said: “If you had wanted to get a good job after you graduate, you might as well have gone to a vocational school, because all great artists of past generations never gave up on their craft no matter what their financial circumstances or how much of a dead end they seemed to be facing.”

People say that this is an age without faith. For this very reason, it is even more important for artists to have their own reserve of determination and courage.

Feng Xianbo's works

Feng Xianbo’s works

Even supposing calligraphy from now on is fated for a bleak future according to the words of certain prophets who say “the glory days are over, never to return again,” we cannot at this point lose our drive. Even if we fail and cannot return to the glorious days of the masters of old, we must still carry on the mission to continue our practice.

LF: Really, though, people of any age all have faith, it’s just that the things that they believe in are different. If we say there is no faith today, what we’re actually saying is that people believe in the wrong things. We worship money, material goods, and personal gain as God. The result is that hypocrisy, ugliness, fame, wealth, and excitations have filled our hearts.

Chen: We are actually doing this exhibition to open a discussion about the inheritance of tradition and broaden the sense of what that tradition can mean.

Feng: In painting and calligraphy, all is a balance between the two poles of emptiness and plenitude. One factor that affects this balance is the type of brushwork. If there are only strong marks and no soft ones, the work will look dull; if there are only soft marks and no strong ones, it will look thin. Another factor is the ink. Maintaining a proper balance of black and white depends on the interaction of the two shades with each other. Between these two poles, we have much room to experiment.

Notes:

[1] Shuxiang(书象): a contemporary, experimental form that explores the line between calligraphy and abstract art.
[2] Eastern Jin Dynasty calligrapher Wang Xizhi and Wang Xianzhi, they are father and son, Later generations called them “Two Wangs”.

Translated by Becky Davis

related posts:
About the exhibition: http://blog.luofei.org/2013/03/chen-fanyuanfeng-xianbo-signs-exhibition/
Interview in Chinese(本访谈中文): http://blog.luofei.org/2013/02/interview-with-chenfanyuan-and-fengxianbo/

迹•象:陈梵元、冯贤波当代水墨书法艺术展

signs-poster-web

迹•象
——陈梵元、冯贤波当代水墨书法艺术展

展览主题:迹•象
艺术家:陈梵元、冯贤波
策展人:罗菲
展览地点:昆明创库TCG诺地卡画廊(西坝路101号)
展览开幕酒会:2013年3月16日,晚上8点
展览时间:2013年3月16日至5月4日
画廊网址:www.tcgnordica.com
联系邮件:info@tcgnordica.com
联系电话:0871-64114692
展览免费参观

陈梵元作品(部分):

chenfanyuan02

chenfanyuan06

chenfanyuan04

chenfanyuan03

chenfanyuan05

chenfanyuan01

关于“迹•象”

水墨与书法艺术作为中国传统文化里独特的艺术形式,在百年来中西方文化碰撞交融过程中面临着前所未有的挑战,艺术界在对水墨画、书法等国画形式进行如何定位、传承发展、或者颠覆超越,表现出截然不同的方向和立场。此次将在创库TCG诺地卡画廊展览的两位艺术家陈梵元与冯贤波的作品正好反映出这样一种多元的面貌。
展览主题“迹•象”包含痕迹、心迹、现象、万象等含义,艺术家试图表达他们的作品作为心境与笔墨的痕迹,与心中所感受到的世间万象之间的关系。
陈梵元是国际书象学社的成员,他常以表现性的方式运用水墨、丙烯、油漆、绳子、布料等各种材料来表达现代书法的观念。他的艺术实验注重书法之精神性,而非识别性,在手法与形态上和西方抽象表现主义遥相呼应。
冯贤波毕业于中国美术学院书法研究生专业,西冷印社成员,对传统山水画、篆书有着深厚的体会和把握能力,自觉传承着传统文化中的精髓。他将元代山水画中高古、静穆的超拔心境赋予到今天的绘画之中,让我们体会到国画艺术的涵养与价值。

相关深度阅读:陈梵元、冯贤波访谈

陈梵元的主页:http://www.artist.cn/chenmo55/StyleBasis_Six/

冯贤波的博客:http://blog.sina.com.cn/u/1251116855

冯贤波作品(部分):

fengxianbo01

fengxianbo04

冯贤波作品

冯贤波作品

冯贤波作品

冯贤波作品

Signs
–Chen Fanyuan, Feng Xianbo Contemporary Ink and Calligraphy Art Exhibition

Curator: Luo Fei
Exhibition opening: 20:00 March 16, 2013
Exhibition duration: March 16 to May 4, 2013 (Sundays close)
Add: TCG Nordica Gallery, Chuangku, Xibalu101, Kunming
Website: www.tcgnordica.com
Email: info@tcgnordica.com
Tel: 0871-64114692
Free Entry

Ink painting and calligraphy are unique art forms within traditional Chinese culture. For almost a century, western and Chinese cultures have collided and intermingled, a process that has continued to present an ever-changing set of challenges for artists. In the art world, there is no fixed definition or critical stance towards ink painting, calligraphy or other traditional Chinese forms. There is no single answer to the question of how to carry on traditions while also experimenting with the new, and how to overturn past traditions when necessary. In this exhibition, TCG Nordica Gallery has chosen the works of two artists, Chen Fanyuan and Feng Xianbo, who reflect this pluralism.
In Chinese, the title of the exhibition, “Signs,” is meant as a reference to traces, moods, appearances and the world at large. The works presented are not merely depictions of traces of ink on a page, but also of mental states and an inner acknowledgement of the interconnectedness of all things.
Chen Fanyuan is a member of the International Shuxiang Society. As a practitioner of contemporary calligraphy, he uses a wide variety of materials, such as ink, propylene, oil paints, rope, and cloth. By being illegible, his art experiments with and draws attention to the inner character of calligraphy – the spirit of the form that exists even in the absence of actual Chinese characters. Echoes of Abstract Expressionism can be found in his technique and style.
Feng Xianbo graduated from the China Academy of Art with an advanced degree in calligraphy, and is a member of the Xiling Society of Seal Arts. He has a deep understanding of landscape painting and seal-style script, and is very conscious of the aspects of Chinese traditional culture that he inherits. He infuses his canvases with a solemnity and silence reminiscent of Yuan Dynasty landscape paintings, bringing a modern twist to an ancient approach that allows us to experience the self-restraint and patience that characterizes the traditional Chinese arts.

Translated by Becky Davis

陈梵元、冯贤波访谈

冯贤波水墨作品

冯贤波水墨作品

按:这篇访谈是为陈梵元、冯贤波将于3月16日在TCG诺地卡举办的展览而作,提前发布出来与大家分享。预祝各位春节快乐!

陈梵元、冯贤波访谈

时间:2013年1月29日下午
地点:昆明TCG诺地卡画廊

罗菲(以下简称“罗”):请你们俩介绍下自己的经历。

冯贤波(以下简称“冯”):我初中开始接触书法艺术,那时很喜欢看一些老先生写书法,高中开始正式投身昭通的杨眉老师门下学习绘画,才知道原来这些学科可以考大学,以前一直想当个医生什么的,学了才发现特别喜欢书法和国画,也发现自己的志向更贴近这个方向。后来去报考了中国美院的书法专业,到美院读书的时候才发现,我连什么是写字,什么是书法都分辨不清楚,和身边的同学相比,我简直就是一个门外汉。
后来慢慢就赶上大家的进度了。到二年级的时候我的篆书还比较出类拔萃,这也得益于汪永江和吕金柱两位良师的耐心指导,整体来说美院老师留给我的最大影响就是敬业精神。论文指导老师看你的文章小到连标点符号的错误都会给你提示出来,回云南这几年我没有发现哪个大学的老师对自己的学生有类似的责任体现。
我的书法偏重追求比较古朴、稚拙的方向,取法比较多的如:钟鼎文、秦诏版、汉金文等等。毕业后在浙江美术出版社工作了两年,也经常到杭州的几个学校去代课,才发现创作和教学之间乐趣太多了,可以相互促进。
国画我更关注元代,元四家中特别崇拜倪瓒,他的山水格调非常“高古”。离现实非常远,苍凉古朴、静穆萧疏,具有对时代的超越性价值。我们今天很多作品都是往世俗方向靠,迎合受众,只要多数人觉得漂亮的就去表现。缺乏的正是倪瓒那种超越世俗化,功利化,物质化的精神取向。

陈梵元(以下简称“陈”):我走上这条路可能源于小学二、三年级就表现出来的书写特长,一直受到周围同学、老师、领导的鼓励,在这种自豪感中慢慢确立了想要成为一名书法家的信念。因为从小生活在农村,直到十五岁以后才真正开始接触毛笔字帖,开始了解书法,才知道有欧、柳、颜、赵以至于更多的书法经典。1997年,我被分配到昆明工作,从此有了很好学习的条件。而此时恰逢现代书法最热火的时候,《现代书法》杂志开拓了我的视野,本能地我更倾向于现代书法。我喜欢新鲜事物,对很多未知的东西有强烈的好奇心。现代书法有明显的西方形式构成的影响,而对此我了解非常有限。平面设计是一条很好的学习途径,强调创新性思维并运用于视觉表现,这正是我想要的。2010年,我进入中国书法院进修,对传统这座宝库才有了更为全面的认识。更有幸的是在北京的那段时间认识了现代书法的先锋人物魏立刚老师,进入他的国际书象学社学习。实际上我这十多年的学习历程是循着传统书法到现代书法,再到现代书象这条线一路走过来的。此次展览我的大部分作品已经脱离了汉字本身,我个人认为应该归到现代书象一类。 Continue reading