Lacuna:Relationships 空隙：關(guān)系當(dāng)代裝置藝術(shù)
展覽海報(bào)
“Lacuna:Relationships 空隙：關(guān)系”當(dāng)代裝置藝術(shù)展
策展人：Denise(德妮絲) 劉水洋 賈晶晶
學(xué)術(shù)支持：陳劼
特邀表演：沒(méi)譜音樂(lè)/下午
展覽時(shí)間：2016.4.23|24 10:00-18:00
展覽地址：宋莊小堡藝術(shù)東區(qū)工業(yè)東路 空隙空間
《空隙：關(guān)系》
在蒼茫的大地上，有一個(gè)物象，它含著露珠迎著朝霞。人們把它叫做“爛尾樓”。作為一類(lèi)事物被迫中斷的程序，或許先前的推動(dòng)力其實(shí)是帶著浪漫迷人的色彩和諸多美好遐想的。作為一種空間存在，它和“人身”和“人生”的欲念緊密關(guān)聯(lián)著。雖然它非中國(guó)專(zhuān)屬，但在“地產(chǎn)經(jīng)濟(jì)”的中國(guó)模式里，它是事實(shí)的建筑和人類(lèi)痕跡。在藝術(shù)和文化快速發(fā)展的浪潮里，“爛尾樓”也成為了宋莊新區(qū)劃里的歷史存在和“新物種”。
在這個(gè)有著豐富背景含義的字眼里，裸露的鋼筋混泥土框架，既是一個(gè)“現(xiàn)實(shí)”，一個(gè)“被中斷”程序的存在物。同時(shí)，它的呈遞狀態(tài)及其背后被人猜測(cè)的故事，也給予了藝術(shù)家們無(wú)窮的遐想。 在“睹物”與“延伸”的思維結(jié)構(gòu)里，這類(lèi)不大不小的構(gòu)架，它是親昵著思索的眼睛，還是冷漠地釋放著曾經(jīng)凝聚良久的訊息?作為存在，它的信息密碼到底是什么? 難道它灰色、高低錯(cuò)落、某端露著銹跡鋼筋的框架，只是呈示著“物”特性及其關(guān)于“未完成”的哀思?
冥想空乏著概念及其隱喻。框之“空”是不言而喻的，架之“隙”是顯而易見(jiàn)的。“空隙”應(yīng)對(duì)著無(wú)所不支的框架，讓吻合了信息密碼的藝術(shù)主體，做最自由自在的思維穿越。 “空隙”的現(xiàn)實(shí)存在其實(shí)是種“虛妄”的遐想。宇宙是沒(méi)用真正空隙的，世界皆是物質(zhì)的存在。通過(guò)設(shè)想和關(guān)聯(lián)的步驟，真實(shí)的“空隙”，顯然是被現(xiàn)實(shí)的各種“關(guān)系”填充的。關(guān)系，才是世界的實(shí)體!對(duì)于人類(lèi)的心靈來(lái)說(shuō)，對(duì)于諸如“爛尾樓”框架起來(lái)的“空隙”來(lái)說(shuō)，“關(guān)系”構(gòu)建著虛實(shí)、主客之間的各種特征性構(gòu)造。
如此看來(lái)，“空隙”和“關(guān)系”只是藝術(shù)主體的心靈代碼，二者的概念引發(fā)只是類(lèi)推的意義符號(hào)。 《空隙：關(guān)系》展覽中，三十九位中外當(dāng)代藝術(shù)家的裝置和影像作品，即是“當(dāng)下”思維的禪定、感悟和闡釋。但愿作品能夠以更多鮮活的姿態(tài)，敲擊“空隙”為“關(guān)系”所做的思維預(yù)謀。
陳劼 2016.4.5
“LACUNA: Relationships 空隙： 關(guān)系”當(dāng)代藝術(shù)展
Curators: Denise Keele-bedford 德妮絲Liu Shuiyang 劉水洋 Jia Jingjing 賈晶晶
The air is thick and dense and I cannot see the distance as I walk through this seemingly misty fog. I feel as if in a void of mystery and intrigue for I know not what will happen. I may stumble or trip bruising myself against an unseen obstacle. As I endeavor to continue to move forward I am aware of a helping hand that voluntarily supports me along the way. The air starts to clear slightly and I see pockets of clarity yet I continue to be surrounded by this misty fog. The helping hand passes me onward from one support to another and soon I realize that many hands are connected to the first, they link arms to raise me up that I may see above the dense fog where a clear sky and emptiness of space awaits me.
I could be speaking of a Beijing severely polluted city with an Air Quality index reading well above 500. However I am metaphorically describing Guanxi or Relationships.
In one lifetime a person cultivates, develops, establishes, acquires, creates and maintains many forms of relationships. There are many terms to describe these relationships, whether “good” or “bad”. Good Guanxi is about trust. Trusting that I will be supported, that I will be lifted above the fog, that I will see clarity and that I am trustworthy in return.
If I meet a dog on the street, I must trust that it will not bite me and it must trust that I will not kick it. We see each other; we stumble about wondering if we have faith to trust, we approach each other cautiously, quietly, as we do not know the history of each other. I reach out a hand in submissiveness, the dog sniffs, it inquires who I am and we decide that the other is trustworthy. This is “guanxi”; it takes one to start the building process, it takes another for the relationship to occur.
The dog could turn and walk away not accepting the hand, but never kick the dog once it has started to sniff.
I walk to an empty building, it has not been completed and stands stark like a skeleton. I only see the bones as the organs; muscles, blood and skin have not been added to give life to the building. The building has immense character and I know that this skeleton has the potential for life, it can be a living, lively space, but who cares. As I reach out a hand to touch the cold concrete and walk the many cavities and hollows the building calls to be lifted above the fog and I begin my relationship to give life to the skeleton.
《Guanxi關(guān)系》An exhibition at the old empty skeletalbuilding is based in relationships; with the building, with the materials, with the participating artists and finally with the audience.
In the hot Summer of 2015 Liu Shui Yang劉水洋 and Denise Keele-bedford德妮絲reached out their hands to create a significant relationship with the building, we now call 空襲 Lacuna. The building responded, accepting our friendship to interact and bring life into the concrete skeleton.
《關(guān)系 Guanxi》 In 2016 develops a stronger relationship.
More than 30 artists will converge at the Lacuna site, they will create relationships with the building through their intriguing and unique styles of art making. The relationships will be challenging and at the same time fulfilling giving life in exchange for creation between artists and the empty spaces.
Time: 23 and 24 April at 10am -6pm