昆明菜市场艺术项目

caishichang昆明菜市场艺术项目

//项目简介//

“昆明菜市场”是一项为期两周,定位于菜市场的综合性艺术活动,它将发生 在有着7百万人口的中国西南城市-昆明。不同的中 国艺术家或艺术家团体将利用视觉、行为和其他媒体形式同公众产生互 动。参与“昆明菜市场”项目的艺术家被设定在特别的场合完成艺术,这 种场合是无数代中国人进行货物交换的中心,在昆明保存得非常良好,但 也正在被现代商业的发展所侵蚀。艺术家需要沿用菜市场的风俗惯例像卖菜人一样把作品展 示在桌子、地面、或任何形式的摊位上。这些作品将被保存几个小时到几天。

“昆明菜市场”项目得到了位于昆明的国际画廊、文化中心 – TCG诺地卡的支持,并由中国和国际策展人合作组织。 策展人将提供指导和资源,在概念连贯性上引导艺术家。艺术家不出售作品。但却被鼓励将观众和特定场域囊括入创作,并同 好奇的观看者们讨论作品想法。两周期间将通过艺术作品、论坛、在线媒体等方式,全面公开的激发对艺术角色、公众角色、市场角色以及传统社区等方面的讨论。

概念和目标

“昆明菜市场”项目致力突破艺术发生场合以及从事 人群的边界。这个事件的观众是和 当代艺术完全没有关系的普通中国公众。这些人去菜市场只是为了购买食物和杂货而不是欣赏艺术。所以对艺术家的挑战就是他们 必须调整作品使之直接和公众及和作品安置环境有联系,因为如果没有关 联就没有交流。这打破了艺术呈现的习惯— 即谁在看艺术和在哪里艺术被欣赏—这直接决定了艺术可以表达什么及艺 术在当代社会的意义。

通过在菜市场完成作品,将打破艺术家对在这个地方所能进行的交换的传 统思维认识习惯。观众大概都会问一个明显的问题,“艺术家 为什么在这里做艺术? ”这个问题提供和开启了艺术 家和观看者的交流。这个作品的目的是什 么? 菜市场的社 区角色是什么? 变化中的经济和文化 规范如何影响了菜市场,对艺术又有什么影响? 通过对环境和处境的深入体会,艺术家能够提供一种新鲜的、具有批评性的并且开放给观众以直接回应的观点。而观看者得以融入当代艺 术,得以挑战自己对于艺术是什么,艺术能做什么的看法。“昆明菜市场”项目的目标是策划这个特 别的情景,用另类的方法达到价值交换。

关于策展人

这个事件由四个策展人(罗菲/中国、Joe Sneed/美国、Orion Martin/美国、朱筱琳/中国)共同组织。我们作为策展人的角色是双重的。首先我们负责日常后勤,包括筹资和宣传。其次,也是重要的,我们将会鼓励艺术家之间,艺术家与社区之间的信息和思想交流交换。交流是整个事件的核心,这为艺术作品提供了概念上的连贯性,也为参与者和社区提供价值。我们也将建立相关网页促进艺术家同公众的交流。

我们所寻求的

由于这个项目是在菜市场进行的,它成为一个同不熟悉艺术的观众群互动的上好机会。我们希望寻求擅长于探索非常规空间和新方式进行作品互动的艺术家。我们寻求喜欢同观众互动而不被白盒子方式和商业艺术市场模式所限制的 艺术家。本项目的作品不仅会是具体的物体,它带出的交流和价值交换将是更加重要的。我们期望得到的作品可以不是具体物体,而是由作品引起的交流和互动。

艺术家承诺

这个项目将在昆明菜市场实施。我们希望所有参与的艺术家 都在8月初的两周内抵达昆明参加艺术家团体活动。活动开始前我们要求艺术家参与同策展人和其他艺术家的在线讨论以确保每位艺术家的作品创作得到充分准备和能够达到紧密联合。除活动事 件本身我们也要求艺术家在事件发生前参与在线讨论及在昆明同 其他艺术家见面。事件中我们将会有一个面向公众的论坛和一次同云南艺术学院学生交流的活动。我们认为社区互动是本次事件的中心。

//后勤//

时间表

我们希望在8月初的两周内促成这次事件。但如有必要的话也有可能会根据艺术 家的时间来进行延长。请标注你可以进驻昆明并参与项目的时间。当然如果你的时间越自由对我们来说是最方便的。

经费情况

我们已筹集到租赁市场铺面及艺术材料花费的大部分资金,目前正在申请资金覆盖附加费用,如旅费、住宿等。项目总经费目前在待定状况中,参与的艺术家需要有灵活应变的能力。请填写以下信息 让我们知道你的需要,是否愿意参与此次事件。

你预计的需要

请预估如果你参与项目你将需要什么
住房:你是否愿意住在志愿者家中?
旅 行:你到昆明的路费至少是多少?
其他生活费用:请预估其他生活费用(食物、本地运输等)

材料

请简述你的创作方式 请根据你的项目经验和本 提议书的描述预估你参与本事件的材料费。你还有其他需要或 上述没有提及的?

你的作品情况:简单介绍你参与此次项目的的原因,及你的艺术经历如何能够切合本次事件?
请把你的简历、网站或其他信息资料提供给我们

全部问题和申请可以发到 kunming.markets@gmail.com

谢谢!

资源
我们打算举办这个艺术活动在:
沙坝营农贸市场 http://j.map.baidu.com/tmOZf
篆新农贸市场 http://j.map.baidu.com/I1OZf
虹山南路永合兴农贸市场 http://j.map.baidu.com/DoJQf

策展团队:
罗菲 Luo Fei (中国)www.luofei.org
Joe Sneed (美国)www.joesneed.com
马睿奇 Orion Martin(美国)www.orionnotes.com
朱筱琳Zhu Xiaolin (中国)www.yangband.com

昆明TCG诺地卡
2012年6月7日

Kunming Markets

Project Description

“Kunming Markets” is a two week event that consists of multiple art projects located in traditional markets throughout Kunming, a city of seven million in Southwest China. Each project is created by a different Chinese artist or team of artists who use visual, performance, or other media to interact with their audience in public spaces. For “Kunming Markets” the artists will present their work in a setting that has served as a center for the exchange of goods for countless generations in China, and which has been preserved particularly well in Kunming, though its presence is diminishing due the advance of modern commerce. The artists will engage the traditions and conventions of this unique setting by installing art on tables, on the ground, in booths, or in any other manner of presentation common to market vendors. Each project may last a few hours to several days.

“Kunming Markets” is sponsored by TCG Nordica, an international gallery and cultural center based in Kunming, and is jointly organized by Chinese and international curators. The curators will provide the participating artists with guidelines and resources to ensure the conceptual coherence of the event. The artists will not sell their work. They will also be encouraged to involve the audience and the site in the creation of their work and to discuss the ideas and intention behind the art with curious viewers. The two week event will stimulate dialogue around the role of art, the public, the market, and traditions through the art projects, as well as discussion forums and online media that will be accessible to the entire community.

Concepts and Goals

“Kunming Markets” aims to push the boundaries of where art takes place and who it engages. The audience of the event is a broad range of the Chinese public that is largely unexposed to contemporary art. These people go to traditional markets with the expectation of buying food and other goods, not of viewing art. The challenge for the artist is to reorient their work so that it directly relates to the audience and the setting in which it is installed, because if it does not relate, it does not communicate. This breaking of habits in artistic presentation– who views the art and where it is viewed– is critical to expanding what art can say and mean in contemporary society.

By installing art in traditional markets, the artist will be crossing long-established conventions of what happens in these places of exchange.
An obvious question that any viewer can ask is, “Why are the artists working here?” This opens up both the viewer and the artist to dialogue around the context of their meeting. What is the intention of this art? What is the role of traditional markets in the community? How have changing economic and cultural norms affected markets, and how have they affected art? By working out of context, the artists can offer a viewpoint that is fresh and critical and open to immediate response by the viewers. The viewers are in position to participate in contemporary art and challenge their assumptions as to what art can and should be. The goal of “Kunming Markets” is to host these unusual situations and to suggest alternative forms for exchanging value.

About the Organizers
This event is organized by four curators, two American and two Chinese. Our role as curators is twofold. First, we are responsible for the day to day logistics of the event, including fundraising and publicity. Second and more importantly, we are here to encourage information and idea sharing both among the artists and between the artists and the community. This dialogue is the core of the event; it will provide conceptual coherence to the artwork as well as value to the participants and the community. We will create a website to facilitate artistic collaboration and communication with the public.

Who Are We Looking For
Because this project will take place in traditional markets, it is an opportunity to engage with audiences who have had little exposure to art. We are looking for artists who explore alternative spaces and new forms of interaction through their work. The art in the event will not be objects, but rather the communication and an exchange of values that arise from it.

Artist Commitments
This event will take place in the traditional markets of Kunming. We ask that all participating artists travel to Kunming during the first two weeks of August to take part in the group events. Before the event, we ask that artists participate in online discussions with the curators and the other artists to ensure that their work is well-prepared and cohesive. There may also be discussion forums that will be open to the public and a meeting with students from Yunnan Arts University during the event. We believe that this interaction with the community is central to the event.

Calendar
We aim to have the event take place in the first two weeks of August. However, we may extend the duration of the event if it works better for the participating artists’ schedules. Please mark all of the days that you can be in Kunming to participate in the event. The more flexible you can be with the timeline, the better.

Status of the Budget
We currently have funds for the cost of the market spaces and art materials. We are also applying for grants to cover additional costs, such as travel and modest accommodations. Given that the budget’s size is undetermined, the participating artists will need to be flexible. Please fill out the information below to give us a sense of your needs if you were to participate in this event.

Your Estimated Needs
Housing: Are you willing to sleep in lodging provided by a volunteer?
Travel: What is the minimum cost for you to travel to Kunming?
Other living expenses: Please estimate additional living expenses (food, local transportation, etc)

Materials
Based on previous projects and the nature of this project, what do you estimate a material budget would be? Do you have other needs not mentioned above?

Your Artwork
Briefly describe why you would like to participate in this event and how your artistic practice corresponds to the goals of the event?

Please send a CV/resume, artist website, or other material you would like to share with us.
Mail to: “kunming.markets@gmail.com

Resources
We are planning to hold the event in the following markets:
Shabaying http://j.map.baidu.com/tmOZf
Zhuanxin http://j.map.baidu.com/I1OZf
Yong Hexing market on Hong Shan Nan Lu http://j.map.baidu.com/DoJQf

Curators
Luo Fei (CN) www.luofei.org
Joe Sneed(US) www.joesneed.com
Orion Martin(US) www.orionnotes.com
Zhu Xiaolin(CN) www.yangband.com

“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)

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“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)

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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.