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动作Ⅰ 丨AMNUA展讯

展览日期:2022,01.08 - 2022,01.15 2022,02.22 - 2022,03.04

展览地点:南京艺术学院美术馆五号展厅

动作Ⅰ  

ACTION AS GESTURE Ⅰ

From Dream Studios to DreamWorks to…?

R&D for a New Aesthetic Education    Season 2, Episode 1
2022,01.08 - 2022,01.152022,02.22 - 2022,03.04

南京艺术学院美术馆,南京,中国

NO.5 Hall + International Conference Hall, Art Museum of Nanjing University of the Arts, Nanjing, China


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陈晓云 Chen Xiaoyun   崔广宇 Cui Guangyu   郝敬班 Hao Jingban    黄小鹏 Huang Xiaopeng   

李明 Li Ming   沈莘 Shen Xin   徐文恺 aaajiao   周滔 Zhou Tao   张鼎 Zhang Ding   郑源 Zheng Yuan


Produced and made by Wang Yamin

王亚敏



Team

Tang Xiao 汤笑   Tai Ziyue 邰梓悦   Di Zhengjie 狄政杰



Supported by  
当代美术研究所-南京艺术学院Institute for Contemporary Art Nanjing(ICAN)
敬请注意加映等活动Screening and Special events schedule TBD



搏击的动作如何成为一种“美学活动”?作为一段动作影像,《猛龙过江》(Way of the Dragon)中李振藩(Breuce Lee)和查克·罗礼士(Chuck Norris)在古罗马斗兽场(Amphitheatrum Flavium)的桥段为什么会成为经典之一,成为众多影像生产——不论是电影工业产品, 还是艺术家“创制”的“影像艺术”,还是今天大众社交媒体影像劳动的——不断参考和引用的源泉。一定有某些一般的,通用的,关于动作的,魅惑的,政治和伦理的DNA铭刻在这一动作(演绎)中?




动作片仅仅是一个突出的,关于人的某种述行性动作及姿势的案例。《动作Ⅰ》对于“动作”的,看起来似乎是一般表象层面上的检索展映,是想尝试关于某种核心影像形象的描述和思考:首轮展映尝试涵盖作为“艺术家创制的影像”的各种“动作”:劳动及其排练、身体规训或开发、作为意识形态的动作、表演、竞技、人生管理等等。比较纷乱,相对齐整的则是:作为艺术家创制的影像,其影像摄制本身就都是一种动作和姿势,因而也涉及了一个“关于动作的动作”的问题?


《动作》系列出发的语境在于这一判断:“一般”是当前时代美育的大众性要求。但是,当前时代的文化和艺术工业、电影工业等真正体现了这一“一般性”要求,或者至少担当起其创造性美育之职能,担当其引领和改造人之任务了吗?它们对当代人的一般潜能和通用语言进行挖掘和动员了吗?具体到我们当前的大众诉求,我们讲好了群众故事吗?未来已然现在,而过往的歌舞幽灵依旧徘徊。


作为公共性学院教育项目,《动作》系列将尝试不断涵盖:1. 作为档案、教材、知识等一般智力意义上的电影/影像作品;2.艺术家的电影/影像  3. 大众(电影)影像生,电影工业以及即时社交媒体等的影像生产和消费等。项目系列将尝试来提取归纳其中的“一般性”。


同时,上述的学术和知识工业、当代文化和艺术工业,以及大众文化工业,这三个工业之间的缝隙成为本项目的着眼点:是否有可能把在某一工业中的,受到该工业限制的从业者及其产品,试着转换到另外一个工业的语境中,来看看是否可以释放其创制能力和价值?


王亚敏



It's not simply a matter of who dies and lives, but rather, how the act of fighting for life and death becomes an "aesthetic activity." Why has the scene in Way of the Dragon featuring Bruce Lee and Chuck Norris in the Amphitheatrum Flavium become a classic among action films, a source of constant reference for much of moving image production – whether it is film industry products or "video art" created by artists, or today's mass social media. Can it be there is some general, universal, charismatic, essential, aesthetic and ethical DNA embedded in this performance?


Action movies are only a prominent case of a certain type of performative act and gesture. It seems that the project's retrieval of this "act" in artists' video works is at the level of general representation of the human's acts. However, it is an attempt at describing and contemplating a core moving image – "The Act as a Gesture" in the first exhibition and screening attempts to cover various "acts" as "moving images created by artists": labor and its rehearsal, physical discipline or development, motions as ideology, performance, competition, life management, etc. Among these "acts", the more orderly one is: as a moving image created by the artist, its shooting itself is also a kind of act, a general action as a gesture. A question of the action about an action?
The initial context of The Action as a Gesture stems from the judgment that "general" encompasses the demands on aesthetic education in the current era. However, the current era in the culture, art and film industries does not really reflect this "general" requirement, or at least does not take up the function of creative aesthetic education, does not take up the task of leading and transforming people. They excavate and mobilize the general potential and vernacular of contemporary people, either indifferent and passively backward, or deliberately concealed. When it comes to our current mass appeal, it fails to tell a story of the masses.
As an imaginary, public, educational program of the college and its extended exhibition activities, Action will attempt to continuously cover: 1) Films/video works and fragments in the general intellectual sense of archives, teaching materials, knowledge, etc.; 2) "Artists' films/videos"; 3) Mass (film)  moving image production as "non-art" production (such as social media moving image production and consumption, Douyin and Kuaishou, etc.), and so on, trying to extract and summarize their "generality".
At the same time, the gaps between the industries of knowledge production and academia, contemporary art and culture, and popular culture become the focus of this project: Is it possible to take the practitioners and products of a certain industry with its own limitations, and bring them into another industrial context, to attempt to release its creative potential and value?


Wang Yamin

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