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绘画即讯息 |S1: E3 The Painting Is the Message

日期:2021. 12. 29 - 2022. 01. 15
地点:南京艺术学院美术馆 零展厅


《绘画即消息》第一季第三集      

S1: E3   The Painting Is The Message 

绘画即讯息

The Paintings Are the Messages


Duration

时间

2021. 12. 29 - 2022. 01. 15  

Venue

场馆

No. 0 Hall, Art Museum of Nanjing University of the Arts

南京艺术学院美术馆   零展厅




Artist 艺术家/

Liu Chuan 刘川    Luo Fan 罗凡     Shi Yiran 史怡然


Commissioned essay 委任写作/Xu Liwei 许力炜

Produced by Yamin Wang/策划制作

Yamin Wang 王亚敏   

 

Team 团队/

Tai Ziyue   邰梓悦   

Di Zhengjie   狄政杰



史怡然快照-RGB.jpg


史怡然的MIRAGE、罗凡的《动物园》,这二个项目似乎都是作者对个人遭遇的特殊外部客观对象的绘画反映:从一路畅跑的学术旅游的海外旖丽,到被隔离在二线城市中的孤寂动物乐园。刘川的系列绘画,至少从他的社交媒体上看起来,似乎是他乐得在画室中书写的各种文学叙事,对象和剧情似乎大都同在线影视有关,是那些我们通常只能宅在家里看的东西。从风光到生命,再到虚拟现实的屏幕。所有上述的绘画反映最后通常都落实在眼前的手账彩铅、纸上丙烯、版材或者布上油彩上。


至于绘画,刘老师的比较热吧,看上去坏坏的,史老师的看起来比较时尚,罗老师的似乎比较冷静严酷。史老师和罗老师都在自己的绘画中公开或者私下地融入了数字处理技术。史老师将回到室内的手绘工作“计算程式化”,但是史老师又坚持用手帐;罗老师又似乎特别在意绘画性,管他什么新媒体呢。其实看刘老师的绘画,照他的社交媒体上晒的日常工作来看,似乎一直在运用一套“建模-绘画”程序,这几乎是某种古典写实学派的了。


然而这些可能都是一些不同心思的揣测,这第三回的《绘画即讯息》(The Painting is the Message)尝试提示,在“绘画”,在这一扩散和揣摩不定的“媒介空间/宽容度”中所暗示的“讯息”(message)。除了作为媒介测试的《绘画即讯息》,在本项目所处的学院艺术教育语境之下,本回合展示也将尝试避开纯粹的,作为最终产品的“绘画”图像的展示,尽可能实质性地,以档案的形式呈现活的、具体的“绘画活动”,以尽可能带出各种当下的,作者和大众的额外讯息。


这既是一次传统的绘画群展,也夹带不少今天的,关于“关于绘画的绘画”(Meta-painting)的一些自我讯息,讯息即讯息。


刘川作品局部-RGB.jpg


In The Paintings is the Messages series, the first time we see the title of this edition, “The Paintings are the Messages,” it seems true. When we place the medium of painting into a real exhibition hall, it offers a preliminary exploration of the messages conveyed by painting in various scattered and shifting (conjectured) (sub-)media spaces.


From Shi Yiran’s recent “MIRAGE” and “Peacock Town” exhibitions, Luo Fan’s Zoo, and Liu Chuan’s latest series of paintings at INS, this edition begins with exhibitions in physical spaces. This dislocated presentation of a series of diverse (sub-)media spaces of paintings is both a traditional group show and a way to smuggle in some messages about the medium itself. The medium becomes the message.


In addition to “The Painting is the Message” serving as a medium, this program is situated within the context of academic art education. This exhibition attempts to avoid pure presentations of the painted image as a final product. Instead, the project tries, as much as possible, to substantively present the living, specific act of painting in the form of an archive and carry additional messages for the present moment, the artist, and the viewer.


罗凡作品-RGB.jpg


关于《绘画即讯息》系列About The Painting Is the Message



如果人人都是绘画快手呢?如果人人都是抖音画家呢?将一些需要在当下关切的一般媒介(media)研究思考,具体化到比较特殊的绘画上来,具体到这个看起来既不当下也不大众的特定媒介上,这是《绘画即讯息》系列的初衷之一。
在今日所谓的“加速”时代,像聚众闲聊、私下阅读或者书写等这样一些方法和手段,历史悠久,但是似乎因为其和时局格格不入而“成了问题”;而实际上,绘画在艺术工业中其实很早就开始成为“问题媒介”。
现在的绘画不仅仅是在实际上支撑了市场,绘画也一直是我国,甚至世界最为广大人民群众所喜闻乐见的艺术生产活动。而与此同时,大家还是不太愿意承认今天的“快手”和“抖音”等也是潜在甚至是现实的艺术生产活动。前者是具体媒介生产力,后者是一般媒介生产力,将一般媒介理论具体化到具体而大规模的传统生产力中来具体讨论的好处之一可能在于,这或许能够事半功倍地起到教育和转化广大生产力的作用,不管它是绘画还是社交媒体。当然,现在就设想人人都是绘画快手,或者人人都是抖音画家也许太过浪漫主义,我们还是回到这里具体的,关于绘画的,从绘画开始的,基础性的生产力研发上来。
《绘画即讯息》项目系列为显人耳目故,直接套用了马歇尔·麦克卢汉(Herbert Marshall McLuhan)媒介理论的经典名人名言“媒介即讯息”:具体的“绘画”在这里替代了抽象的“媒介”的位置,“绘画即讯息”变成了这一名人名言的一个具体版本。但我们并没因此就预设了这一命名的固定意义,它是是开放的,念头和心思也是见异思迁的。




The original intention behind “The Painting is the Message” is to concretize some of the theories and practices of medium/media studies in painting. Why?
Reasons include but are not limited to: Means and methods such as chatting with a group or reading and writing alone have long histories but have become problematic almost because they are incompatible with an accelerating era. In fact, painting has started to become a “problematic” medium in the art industry…
The advantage of concretizing medium theory in large-scale traditional productivity lies in the possibility of informing and transforming mass productivity, getting twice the result with half the energy. In today’s painting-supported market, painting has always been the mode of artistic production most beloved in China and all over the world, especially if you are not entirely willing to acknowledge that Kuaishou and TikTok are forms of artistic production.
“The Painting is the Message” attracts attention for its direct appropriation of Marshall McLuhan’s classic “the medium is the message.” Here, the concrete painting replaces the abstract medium, so “The Painting is the Message” becomes a specific version of this famous phrase. Despite this, the project is open, with no fixed meaning.