关闭
Email Address 电子邮箱
《新通识 》—— 素描五Beta 2021丨AMNUA展讯

展览日期:2021年3月16日至2021年4月30日

展览地点:南京艺术学院美术馆

 

新通识

—— 素描五Beta 2021

2021年3月16日至2021年4月30日

南京艺术学院美术馆,南京,中国


公共活动  Public Programme

素描1-4文献展览和发布

2021年4月16日至2021年4月30日



New General Intellect in Art

Drawing Project 5 - Beta

March 16, 2021 - April 30, 2021 

Art Museum of Nanjing University of the Arts, Nanjing, China


Artists 艺术家/

           Chen Tong 陈 侗          

     Gong Jian 龚 剑      

Jin Weihong 靳卫红

Li Qing 李 青

Li Ran 李 然 


Producer 出品人/ 

Li Xiaoshan 李小山


Curated by 策展人/

 Wang Yamin 王亚敏


Team 团 队/

Exhibition Coordination 展览

Qu Jun 曲 俊

Media Specialist 媒体

Liu Ting 刘婷


Curatorial Assitant 策展助理/

Morain An 安怡帆


Exhibition Assistants 展览助手/

Yuan Jierui 袁婕睿

Jiang Hanfei 蒋涵菲

Di Zhengjie 狄政杰 



支持  Supported by  

当代美术研究所-南京艺术学院

Institute for Contemporary Art Nanjing(ICAN)



拿最近一些语音聊天俱乐部的再次暴热事件来说,它是在新社交媒介中突出了古老的口口相传的声音交往问题。这再次表明:相对来说较为古老的交往媒介和手段,它们需要在当前,随着社会加速发展,被不断刷新和重新理解。尤其是它们如何在在当下变异、迁移和改头换面的?


几乎如同活化石一样的“素描”就是这样一个需要在今天被重新发现,甚至重新发明的媒介手段。“让手机先吃”,很多当代绘画和美食的行家里手每次饭局都要先掏出手机拍摄,然后发到各类社交媒体上;而谈到绘画的行家里手,又不禁让人想起那个大家耳熟能详的故事:某个伟大的画家行家里手一有空就掏出总是随身携带速写本来。


当然,作为个人移动终端的手机及其接入的社交媒体操作,它已经是各个行当的通用基础装备、智慧和生产力。这有点相当于某种意义上的,有点古老的艺术行当的“素描”媒介、设计和能力?在这一情况下,今天画家或者艺术家真正装备的“素描”,可能早已经不是我们所熟悉的那个“素描”了。今天的“素描”高手应该不可能再以我们所熟悉的角色和形象出现?一个当前时代的素描高手应该是怎样的,应该是怎样炼成的?而且,行家里收随身携带的手机只是众多通用装备之一种,看起来形色各异的素描高手们自己的秘密手机操作是什么呢?这些装备和生产力的普遍共通性呢?


这个项目算是一次被困在系统中的自我测试。最早是2019年下半年我们就开始策划了跨年的《素描五》,但是因为各种众所周知的原因,这个项目未能预期实现。一年有余,普遍的展览困境依旧延续着,这个项目现在准备以化整为零、改编和测试的方式更新重启。


“Beta/内测”可能意味着这一非正常状态的《素描五》有其系统、行业和面向等方面的困顿,需要自行测试自身的局限性,需要将问题从对普遍大系统的积极驾驭和上手,暂时转回到就在手边的,行业小系统的通用工具的考察,对我们行业的普遍“通识”的考察。


事后回想,迄今为止一共策划了四期,这一以通用素描为名义项目的第五期,其实是想将以往各期的思考,在与现实的贴身纠缠中,延续到提出这样一个新问题:如果说今天我们多多少少普遍感到,被“困”在各种各样的系统和机制中,在这一强烈的共同感情底色上,什么是共通而普遍的语言能力?如果说,抛开具体争论,我可以说“素描”是某种相对古老的艺术系统的普遍的语言能力,那么,今天的艺术系统的“素描”又是什么?在比拟意义上,什么是今天共通而普遍的“素描智力”?也就是一种新的,关于艺术的通识?


第五回的《素描》还将在展览中期推出《素描》第一到第五回合的文献展览和发布活动。


This project has gone through many twists and turns. During the later half of 2019, we had planned “Ready to Hand - Drawing 5,” an exhibition that would continue through early 2020 (see curator’s statement below.)But it was soon suspended due to an event triggered by preparations for another exhibition. Thinking back on it now, even if the exhibition had opened as planned, the onset of the Covid-19 pandemic would have forced it to close. A year later and with the continued difficulties brought on by the outbreak, we have restarted a highly condensed beta version of the project. Here, “beta” alludes to the systemic limitations placed on the exhibition — “stuck in the system” so to speak. Perhaps, only through the more common philosophical question presented by Heidegger’s “ready to hand,” can we focus on the issue of “new general intellect” in art. 
More recently, the irruption of Clubhouse onto the scene has reemphasized issues around verbal communication — which predates visual, textual, and imagistic communication. This instance illustrates once again that these relatively old media and means of communication need to be refreshed and re-understood in a present society marked by unmitigated acceleration. How do they mutate, migrate, and reinvent themselves?


Like a living fossil, the artist’s “drawing” is one such medium that needs to be rediscovered and reinvented today. Contemporary painting and food experts alike take out their phones to take pictures of every meal — “Let the phone eat first,” as some say — and then post to various social media. When it comes to expert painting, one can't help but recall the familiar story of a great painter who took out his sketchbook whenever he had time to draw or sketch.
Surely, almost everyone today has developed the productivity of phones and social media as a personal mobile terminal into the basic equipment, wisdom and capabilities of each profession, — akin to the "drawing" media, design and capabilities of a somewhat ancient art profession? In this case, the "drawing" that today's painters or artists are really equipped with may not be the "drawing" that we are familiar with. Should it be impossible for today's "drawing" masters to reappear in the characters and images we know? Similarly, for a traditional Chinese painting or ink painter? What about an experimental video artist? What about a young artist with new images, ideas, or a “bad” taste in painting? What about a young multimedia artist? What about an art institution experimenter? What about an art researcher or curator? ... What should a drawing master of the current era be? How should he be refined?


In hindsight, early on this project actually was meant to extend the thinking of the AMNUA Drawing Series and put forward a new problem: if today we are feeling trapped (especially because of the blockages due to the outbreak) in a variety of systems, based on the prevalence of this common emotion, what is the power of common, universal language? If, apart from the specific arguments, I can say that "drawing" is the universal linguistic ability of some relatively ancient art system, what is the "drawing" of today's art system? In a metaphorical sense, what is today's common and universal "drawing intelligence"? A new kind of general intellect in art?



_sssssss.jpg

  

新的一年迎来新的青年,《新通识》开放|AMNUA现场

_1.jpg

《新通识》现场  Exhibition view, New General Intellect in Art ©️ Drawing Project


_2.jpg

《新通识》现场  Exhibition view, New General Intellect in Art ©️ Drawing Project

_3.jpg

《新通识》现场  Exhibition view, New General Intellect in Art ©️ Drawing Project

_4.jpg

《新通识》现场  Exhibition view, New General Intellect in Art ©️ Drawing Project


_5.jpg

《新通识》现场  Exhibition view, New General Intellect in Art ©️ Drawing Project

_6.jpg


陈侗 Chen Tong /看图做戏——舞台剧《胡一川》剧本手稿   Performing with pictures being present at hands,  drawings for the scenario of Hu Yichuan    /49×35cmx23/纸上水墨 Ink on paper/ 2021/ ©️艺术家Courtesy of the Artist


_7.jpg

《新通识》现场  Exhibition view, New General Intellect in Art ©️ Drawing Project

_8.jpg

李青 Li Qing /玉面 AF0116  Green Faces - AF0116/ 200×150×5cm/ 木板、布料、印刷品、 吸油面纸、人体油脂 Wooden board, fabric,  printed matters,oil absorbing sheets, grease from human faces / 2020/ ©️艺术家 Courtesy of the Artist


_9.jpg

《新通识》现场  Exhibition view, New General Intellect in Art ©️ Drawing Project

_10.jpg


龚剑 Gong Jian /马丁和红骑兵 Martin and Red Army cavalry/ 76×56cm/ 纸本水彩Watercolor on paper/ 2020 /©️艺术家 Courtesy of the Artist


_10.jpg

《新通识》现场  Exhibition view, New General Intellect in Art ©️ Drawing Project, 李然文献,Documents view, Li Ran


_11.jpg

《新通识》现场  Exhibition view, New General Intellect in Art ©️ Drawing Project, 李然Li Ran/ 另一个他者的故事——另一个现代艺术家 The story of another the Other, another modern artist/ 7分05秒/ 单频道录像Single channel video/ 2013/©️艺术家 Courtesy of the Artist

_12.jpg

《新通识》现场  Exhibition view, New General Intellect in Art ©️ Drawing Project, 靳卫红作品, Artworks of Jin Weihong


_13.jpg

靳卫红Jin Weihong /手稿The manuscript /15×38cm /纸本水墨Ink on paper /2020©️艺术家 Courtesy of the Artist


_14.jpg

《新通识》现场  Exhibition view, New General Intellect in Art ©️ Drawing Project


_15.jpg

《素描1-4文献展》访谈预览 Preview edition of Interviews, Art Documents:Drawing Project 1 - 4  ©️ Drawing Project


_16.jpg

《素描1-4文献展》预览现场 A rehearsal for Art documents: Drawing Project 1-4 ©️ Drawing Project

_16.jpg

《素描1-4文献展》硬广  A rehearsal for Art documents: Drawing Project 1-4 ©️ Drawing Project


_17.jpg

新通识
—— 素描五Beta 2021

2021年3月16日至2021年4月30日

南京艺术学院美术馆,南京,中国


公共活动  Public Programme

素描1-4文献展览和发布

2021年4月16日至2021年4月30日


New General Intellect in Art

Drawing Project 5 - Beta

March 16, 2021 - April 30, 2021 

Art Museum of Nanjing University of the Arts, Nanjing, China


Artists

     Chen Tong          

     Gong Jian      

     Jin Weihong

     Li Qing

    Li Ran 


Producer

    Li Xiaoshan

Curated by

    Wang Yamin

Exhibition Coordination

   Qu Jun

   Media Specialist

   Liu Ting

Curatorial Assitant

  Morain An

Exhibition Assistants

  Yuan Jierui

  Jiang Hanfei 

  Di Zhengjie

Supported by

  Institute for Contemporary Art Nanjing(ICAN)