He Jing | 贺婧





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多型演变:一次近距离观察

开幕时间:2014年10月17日(星期五)下午5:30
展期:2014年10月17日至11月20日
华侨城当代艺术中心(OCAT)深圳馆

策展人:贺婧、栾志超

参展艺术家:(按姓氏拼音顺序)
陈镒晗、代墨、贾云萌、黎孟华、连培伟、刘影、绿野、聂慧翔、乔茜、随玲慧、温菲菲、温晓彤、吴佳儒、向晨、叶无忌、游华明、张丹燕、张文超、张小迪、周子鉴、卓志鹏

“新视觉”是2004年开创的年度展览机制。2014年的“新视觉”艺术项目邀请了贺婧与栾志超两位独立策展人来共同策划此次展览,她们在6月至7月期间 走访了北京、重庆、广州、杭州、天津等地的十大美术院校,参观了这些院校举办的毕业展,并从中挑选出色的艺术家和作品组成该展览。本次展览以“多型演变” 为主题,在考察并呈现全国艺术院校艺术专业毕业创作的基础上,以展览、出版和系列演讲的多重形式呈现对当下中国高等艺术教育现状的阶段性观察与思考。对于 艺术教育的机制和历史背景的分析与批判性论述将是此次展览的一个重要课题。

藉自生态学概念的“多型演变”,意指在多个不同场所同时发生的裂变与演化现象。2000年之后的高等艺术院校,在中国当代艺术的新格局、新环境下面临着对 依旧根植于新中国建国初期“苏派”方法论的现行教学体制进行改革与“演变”的紧迫性;在这样一个相对趋同的整体格局之下,即使各个地区、院校的历史沿革与 发展背景各不相同,部分师生的思考与创作却为撬动这一僵化体系的“演变”方法提供了共同的参考样本,这些发生于全国不同地区和院校的实践都将针对现行教学 体制的反思牵引至共同的方向。

因此,2014年的“新视觉”虽然延续了往届就全国艺术院校毕业创作进行考察的策划机制,却不再是一个传统意义上“优选”模式的“毕业创作展”。“多型演 变”在这个层面上所指示的正是展览的面貌:此次展览既不存在各大艺术院校“平均分配”的参展名额,也不期于为本季毕业作品作全景展示。无论从何种角度来 看,这个展览都更接近于一个探索“演变”之可能性的集合,它来自于各个毕业展览现场中那些从教学理念、训练方法、意识维度和创作实践的多个层面对现行主流 艺术教育机制所发出的不同声音与态度,由此牵引出一系列基于近距离观察所引发的反思线索,比如:反思“国、油、版、雕”的系科设置规则;反思以“写实/抽 象、当代/乡土”的风格划分逻辑对创作和思考的禁锢与片面化理解;强调在高等艺术教学中重视从“艺术学生”到“职业艺术家”的过渡问题;反思教学中“习 作”与“创作”的课程比例及先后关系、加强对于作品“展示”意识的培养和方法的训练等等。这些线索一方面勾勒出展览结构的基本面貌,同时也反映出策展人对 于作品选择的基本态度和立场。

此外,“多型演变”也指向展览的多重面向。尽管以“观察”为题,此次展览却拒绝成为现象式的、昙花一现的,而将始终与中国艺术教育体制相关的问题与历史叙 事相贯穿。因此,展览的文献部分除了呈现中国艺术教育体系的建立以及其一以贯之的整改历程,也旨在呈现我们在当下所观察到的问题不仅是“现在”的,更是过 去和未来的;在试图指出问题的同时,也勾勒出问题的发生和缘起,从而提供反思和有效建设的杠杆和基石。本次展览的另外一个内容——“与学院相处:创作、体 制、历史的场域” ——将由讲座和研讨会构成。这些讲座和讨论将集中呈现有关中国艺术教育体系的话语生产,更意图引发展览的话语与知识生产。

“多型演变”因而是一次阶段性的观察与反思:呈现年轻艺术家的思考与创作、呈现有关中国艺术教育体制的话语和书写;同时,“多型演变”也是一次体验的开放 ——分享并邀请分享对于高等艺术教育体制的经验、知识与视角,从而勾勒出这一体系的具体形状并对其做出当下、有效且具建设性的批判性反思。
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华侨城当代艺术中心(OCAT)创立于2005年,2012年4月正式升格为布局全国的当代艺术馆群。馆群总部设在深圳,目前已建和在建的有 OCAT深圳馆、华•美术馆、OCAT上海馆、OCAT西安馆、OCAT北京馆和OCAT武汉馆。作为馆群中成立最早的机构,OCAT深圳馆长期致力于国 内和国际当代艺术和理论的实践和研究。从开创至今,一直围绕着艺术的创作和思考而展开其策展、研究和收藏工作。“新视觉”艺术展自2004年创立以来已连 续举办了十一届。

Polytypic Evolution: A Close-up Observation
Fresh Vision 2014

Opening: Friday October 17, 2014, 5:30pm
Dates: October 17—November 20, 2014
OCAT Shenzhen, OCT Harbour Exhibition Site, Shenzhen

Curators: He Jing, Luan Zhichao

Participating Artists:
Chen Yihan, Dai Mo, JiaYunmeng, Li Menghua, LianPeiwei, Liu Ying, Lv Ye, NieHuixiang, QiaoQian, Sui Linghui, Wen Feifei, Wen Xiaotong, Wu Jiaru, Xiang Chen, Ye Wuji, You Huaming, Zhang Danyan, Zhang Wenchao, Zhang Xiaodi, Zhou Zijian, ZhuoZhipeng

Fresh Vision is an annual exhibition program founded in 2004. The 2014 Fresh Vision art project has invited independent curators He Jing and Luan Zhichao to jointly curate the exhibition. Between June and July, they visited the top ten Chinese art academies in Beijing, Chongqing, Guangzhou, Hangzhou, Tianjin and other cities, attending their graduate exhibitions where they selected outstanding artists and artworks to form this exhibition. This exhibition follows the theme of “Polytyptic Evolution,” observing and presenting graduate thesis artworks from art academies across the country while using exhibition, publication and a series of lectures to present observations and thinking on the current state of Chinese art education. An important theme of this exhibition will be the analysis and critical discussion of the mechanisms and historical background of art education.

The exhibition takes its name from the ecological concept of “polytypic evolution,” which is the phenomenon of drastic change or evolution taking place simultaneously in multiple settings. After the year 2000, China’s art academies, faced with the changing shape and environment of Chinese contemporary art, felt the urgency of reforming and “evolving” the educational system that had been rooted in the “Soviet School” since the early days of modern China. Even in this relatively homogenous scene, the various schools and regions had differences in historical and developmental background, which some students and teachers have drawn from in providing shared specimens of possible ways to bring “evolution” to this ossified system. These practices were all aimed at reflecting on the current academic system and pulling it in a shared direction.

Thus, though the 2014 installment of Fresh Vision continues with the approach of observing graduate thesis artworks from art academies across the country, it no longer follows the traditional model of graduate exhibitions with its selection of works simply for being “outstanding.” On this level, “polytypic evolution” is a reference to the appearance of this exhibition: this exhibition does not give “equal representation” to all of the academies, and does not aim to provide a panoramic view into the graduate thesis works being created today. No matter how you approach it, this exhibition is more of a concentrated exploration into the possibilities of “evolution.” It is drawn from those educational approaches, training methods, dimensions of awareness and creative practices found at the various graduate exhibitions that express new voices and attitudes regarding the current mainstream education system, and thus lead us down reflexive lines of thinking resulting from up-close observation. They reconsider such conventions as the traditional departmental divisions between Chinese painting, oil painting, printmaking and sculpture; they examine the way in which the logic of dividing styles between realist and abstract, contemporary and pastoral, have come to restrict creative thinking and encourage bias; they emphasize the issues within the transition from a focus on “art students” to “professional art” in higher education; they reconsider the proportions and hierarchy of “imitation” and “creation” in teaching; and they cultivate awareness of “presentation” of artworks and training in methods. These threads outline the basic structure of the exhibition while also reflecting the basic attitudes and views of the curators in their selection of artworks.

In addition, “polytypic evolution” also refers to the multiple facets of the exhibition. Though the theme of the exhibition is one of observation, this exhibition also refuses to be merely descriptive in nature, and is infused with thinking about the issues and historical narrative of China’s art education system. Thus, the documentary portion of the exhibition, aside from presenting the construction and progression of China’s art education system, also shows that the issues we have observed are not only of the “present,” but also of the past and the future as well. While striving to point out problems, it will also outline the causes and sources of the problems in order to provide reflection and effective foundations for constructive change. Another segment of the exhibition, “In Academy: The Field of Creation, Education, Institution and History,” will consist of lectures and forums. These lectures and forums will present, in a concentrated manner, the discourse production of the Chinese art education system in hopes of producing new discourse and knowledge in the exhibition.
In this way, Polytypic Evolution is the examination and reflection on an era, presenting the thoughts and creations of young artists, and displaying discourse and writing on the Chinese art education system. Meanwhile, Polytypic Evolution is also an opening of experiences, sharing and inviting others to share their experiences, knowledge and perspectives on the art education system, and thereby outlining the concrete shape of this system and engaging in current, effective and constructive criticism and reflection.
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The OCT Contemporary Art Terminal (OCAT) was founded in 2005, and was officially elevated to the level of a nationwide contemporary art museum group in April 2012. The museum’s headquarters is located in Shenzhen, with museum venues across the country, including OCAT Shenzhen, the OCT Art and Design Gallery, OCAT Shanghai, OCAT Xi’an, OCAT Beijing and OCAT Wuhan. As the group’s first facility, OCAT Shenzhen has long been devoted to researching the theory and practice of Chinese and international contemporary art. Since its inception, the museum’s curatorial, research and collecting work has focused on creations and ideas in art. Fresh Vision is now in its eleventh installment since it began in 2004.