fragmented learning,fragmentedindustry是什么意思

2022-07-06 13:43:11 焦点

　　“Matter matters”——Art and environmental care 　　

　　主题巡展　　

　　第一站北京　　

　　第一站，北京　　

　　 《我们在乎什么？》 　　

　　 《WHAT DO WE CARE ABOUT?》 　　

　　开幕时间 Opening 　　

　　2019年5月25日/下午3点　　

　　15:00 2019年5月25日　　

　　展出地点 Exhibition Location 　　

　　北京中捷当代美术馆5月25日- 6月3日　　

　　捷克中国当代艺术博物馆，北京，5月25日至6月3日　　

　　策展人 Curator 　　

　　朱久洋朱九阳　　

　　学术主持 Academic Host 　　

　　艾蕾尓王力宏　　

　　学术顾问 Academic Consultants 　　

　　莎拉舒马赫（英国/英国),郝青松郝、徐旭徐旭，祝凤鸣朱凤鸣，查常平昌平扎，罗菲罗飞　　

　　展览统筹 Exhibition Planner 　　

　　吴月蓉吴月荣　　

　　展览支持 Representatives of Exhibition Supporters 　　

　　克里斯蒂安罗莫恰（英国/UK)、Jock L.Foo(新加坡/新加坡),覃琨瑛秦昆英　　

　　参展艺术家 Exhibition Artists 　　

　　曹原铭曹元明（中国/CN)，雷燕雷岩（中国/CN)，李心沫李新模（中国/CN)，任宏伟任宏伟（中国/CN)，萨子仨子（中国/CN)，何海和海（中国/CN)，姚运云瑶（中国/CN)，苍鑫苍鑫（中国/CN)，薛滔薛涛（中国/CN)，资佰白子（中国/CN)，熊云皓熊（中国/CN)，戴光郁戴光宇（中国/CN)，朱久洋朱九阳（中国/CN)，巴布罗雷恩托马森（挪威/挪威)、阿尔弗雷德瓦格斯沃尔德（挪威/挪威)、奥斯卡富尔巴赫恩（瑞典/瑞典)、凯瑟琳道森（英国/英国)、罗杰瓦格纳（英国/英国)、黛博拉汤普塞特（英国/英国)、阿拉斯泰尔戈登（英国/英国)、斯特拉卡吉里（捷克斯洛伐克/捷克斯洛伐克) 　　

　　阿尔弗雷德瓦格斯沃尔德（挪威/挪威) 　　

　　《走—停—走》走-停-走2010-2019 　　

　　无纺布上的装置电装置无纺织物上的电气装置　　

　　凯瑟琳道森（英国/英国) 　　

　　生命之河生命之河2019 　　

　　玻璃玻璃　　

　　Deborah Tompsett(英国/英国) 　　

　　《降临节的温室》降临节温室2017 　　

　　木材、有机玻璃、陶瓷、植物木材、醋酸纤维、陶瓷、植物　　

　　伊瑞斯特拉卡吉日（捷克/捷克) 　　

p>《被碾压的麻雀》Rolled Sparrow 2011

宣纸水墨 paper、Ink and wash

何海 Hehai（中国/CN）

《动物庄园》Animal Farm 局部 2015

观念摄影 conceptual photography

苍鑫 Cang xin（中国/CN）

《天人合一系列二'感应' 02》-Man and Sky as One Series 2-Blazing 2007

光颜料印刷 photoPigment print

戴光郁 Dai Guangyu（中国/CN）

《“风水-水墨-冰水”之一》Landscape, Ink, Ice Water 2004

地景装置 Ground Instillation

资佰 Zi Bai（中国/CN）

《山高人为峰》Human-made Peak 2009

图片、艺术微喷、油画布 Picture, print on canvas

熊云皓 Xiong Yunhao（中国/CN）

《街边的风景》Landscapes of the street 2018

手机照片 Photography by Cellphone

薛滔 Xue Tao（中国/CN）

《震》 The Earthquake

2008年汶川地震哀悼日三天的报纸。

Newspapers collected from three mourning days after the earthquake in Wen Chuan

（用2008年四川汶川地震时期的报纸，扭成绳子并打结若干。汶川处于山区，2008年地震，毁灭了该地。）

萨子 Sa Zi（中国/CN）

《一棵树》 One Tree 2012.5.4-9.16

喷绘（图片/日记）、手绘、地图、一棵树（样品）Print (picture, dairy), drawing, map, one tree (example)

任宏伟 Ren Hongwei（中国/CN）

《幻城》The City Of Illusion 2017

油桶、铁 Used Oil Drums, Iron

姚运 Yao Yun（中国/CN）

《一抹颜色》 A brush of color 2018

霓虹灯、铁网、钢架、废弃矿泉水瓶 Neon lamp, wire mesh, steel frame, wasted water bottle

李心沫 Li Xinmo（中国/CN）

《冷记忆》Cold Memory 2011

图片、录像、装置 Picture, video, instillation

曹原铭 Cao Yuanming（中国/CN）

《迫降》 Forced Landing 2015

二手玩具 Old toys

此次展出：《我的故事，你看不到》My Story, You Can’t See 2017

单频视频5分钟；布面油画（8）Video, painting on canvas

雷燕 Lei Yan

《纸塑圣物-6》 Paper Sacred objects-6 2016

此次展出：海殇 The Ocean Mourns 2019

塑料袋、铁丝 Plastic bags, steel wires

朱久洋 Zhu Jiuyang

《自然中的启示——消失的风景》 Disappearing Landscape 2011

铝塑板、相纸、综合材料 Aluminum-plastic, photographic paper, mix media

Oscar Furbachen （瑞典/Sweden）

此次展出：《饥渴的大地》Thirsty Ground

装置 Instillation

Barbro Raen Thomassen（挪威/Norway）

此次展出：《蝴蝶蛋-濒临物质》 Butterfly eggs. Endangered species 2019

此次展出装置草图 Pencil on paper

Roger Wagner（英国/UK）《水面行走-3》2005

此次展出：《金灯台》 Menorah 2019

黄麻微喷 Print on jute

前言

几年前，应策展人罗菲的邀请，参加了他和时任诺地卡总经理吴月蓉女士策划的为期三年的艺术项目的第一部分“当代艺术与圣礼”论坛，以此讨论当代艺术创作中有可能的神圣维度，以及仪式化圣礼和当代艺术创作之间的张力、二者的不融和彼此间的差异性。

确切地说，对于当代艺术能否与神圣的仪式化圣礼产生关系抱有极大的怀疑。因为当代艺术的主流核心精神就是去神圣化，强调在多元语境下的碎片化思维模式，而仪式化的圣礼是提醒人们回到秩序，强调艺术创作中的价值和意义，两者基本上是建构与解构之间的紧张关系，难度可想而知。

几天下来，在各种不同文化和不同身份背景跨界人士的分享讨论中却有很多收获，彼此提供了另一种有可能的思维模式: 看到在碎片化、多元文化背景下的反向思维，去探讨其内部规律与秩序。

这一话题打开，就顺势提出了艺术创作中的“先知”维度，大家不约而同的定下来年在北国丹麦的论坛主题:“先知性艺术”。在论坛中，有来自挪威的神学家Ole Jrgen问我：“是不是好的艺术作品都可以说是先知性的”？我的回答是肯定的。从一个角度来看，好的艺术都是在艺术语言上有突破性的作品，这样也具备了所谓的先知性；但我的观点是，最好的艺术是在思想和语言两方面的完整突围，同时又能指向终极价值，这样的作品才能称得上真正意义上的先知性艺术。就我所理解的先知性，是在一种神圣视觉下，有超自然上帝启示关照下的先知性，是一种从上往下的纵向思维模式。

这样，我们的讨论又转向了先知性艺术的属性、特点以及它的不同视角，其中先知性艺术的呼唤性是我在作品“迷途的羔羊”中首次提出，只有在这样纵向的呼唤中才有了超越的爱，也才会有横向之间的关怀。

2015年，我们在北京完成了项目的最后一个主题“当代艺术与社会关怀”。这样的论坛，使我们的讨论进一步扩展到艺术与社会的层面，强调横向关怀中的小我和大我的相互依存关系。当然，在各种横向的社会关系中，最重要的莫过于社会中人与人的关系，这种关系也是艺术创作中最重要和最多见的，只是用一种什么样的视角去理解这种关系，成为我们思考的重点，也为我们提供了一个更加深入细致的方向。

2017年，应挪威利勒桑美术馆的邀请，我们参加了由挪威著名艺术家Barbro Raen Thomassen策划的“恩典与和好”当代艺术展，也是更进一步梳理了这种关系，最终把这种讨论转化成展览的方式呈现了出来，形成了言语和艺术作品两种不同方式的互动模式。

时间过的真快! 一晃几年下来，我们的讨论虽然还在一个较小的范围内进行，也因经费等各种因素进展缓慢，但大家都有一个想持续下去的共同心愿。这次在吴月蓉女士的努力下，在延续几年来的思路上又发起“在乎万有”这样的讨论主题，希望能将问题转向人与生态的讨论中，借此思路挖掘出更多的有意思的话题来。

说起生态及生态关怀，这几年的艺术圈显有重视，也有越来越多的艺术家开始切入这样的主题，这与近现代以来各种环境灾难所引发人们的不安情绪有关。诸如全球变暖、雾霾、垃圾如山、地下水等等一系列的工业化、城市化后遗症将我们带入这一思考中。然而，生态关怀这一主题的范围，不仅只是看到自然生态这一表象，而是要更深入的切入社会生态及人的精神生态层面，这样才能找到根源所在，从而引发对现代性的反思。

从根本上讲，生态危机是一个观念问题。按照基督教圣经创世纪记载，当亚当和夏娃犯罪后天就起了凉风，预示着当初无法形容的和谐世界被就此打破，对这一观念的理解:是人的罪恶导致最初生态的失衡。而近现代以来人本主义的兴起，以人为中心的生态观念，以及背后的价值、道德和伦理导向，是导致现代生态危机的罪魁祸首。所以，当我们站在批评的角度反思这一现象时，难免会招来理性和消费主义者的发难。

当然，艺术也无法改变现实困境，只是提出一个观念性问题，而要改变这样的生态危机，就必须首先从这样一个观念问题做起，这也正是这次展览的意义所在。

然而，对于生态关怀的内在价值观念又有不同的思想路径，不同思想结构的人,在面对危机的态度与解决危机的方案时，也会各有不同。如何平衡人类与自然的利益冲突，协调人类中心主义与生态平等主义所带出的偏差，是需要绝对的精神原则，这就要通过对话交流达成共识。

那么，我们的问题是:艺术家如何通过艺术作品的方式表达这一观念呢？在面对复杂的社会问题时，借助视角语言的方式来传递观念？还是简单的呈现出危机现场？这当然是仁者见仁智者见智的事情，也考验每个艺术家对视觉语言图像的把握能力，因为艺术家的内在思想只能通过简单的视觉图像来表达，任何企图用言语的方式加以说明都是多余的。在面对严重的现实生态危机时，能否从不同的角度加以呈现，表现出一个问题的多个角度和不同维度，从人的精神、文化、社会以及自然的各个方面去挖掘，就一定能从现代理性、发展、消费主义以及资本市场这样的现实逻辑中找到破口与出路，带出一种积极管家路径的生态观念来。

最后，任何一种积极的负担都来自于自身对生命意义的渴望，而这种渴望所表现出的态度是:“你在乎什么？”。

朱久洋

2018年9月22日

Preface

Several years ago, I was invited to attend a forum entitled “Contemporary Art and Liturgy” organised by curator Luo Fei together with Mrs Wu Yuerong, the general manager of Kunming TCG Nordica International Culture Center. We discussed topics like the possibility of sacredness in contemporary art making, as well as the tension, the dissonance and dissimilarities between ritualised sacraments and contemporary art.

Initially, I was extremely doubtful of any correlation between contemporary art and ritualised sacraments because at the core of contemporary art is a rejection of the sacred and an emphasis on a fragmented thinking mode in the context of diversity. In contrast, ritualised sacraments reminds people to return to order and highlights the value and meaning of art making. Basically, one is about deconstruction and the other construction; the tension is obvious.

After several days of discussion with people from diverse cultures and backgrounds, we decided on a possible frame of reference: In a fragmented multicultural context, we need to highlight the intrinsic clash between law and order.

This breakthrough led us to the concept of “prophetic dimension” in art making. We coincidently decided on the theme “Contemporary Art and Prophetic art” as the focus of the following year's forum in Denmark. During the forum, the Norwegian theologian Ole Jrgen asked me: “Are all good art works prophetic in nature?” My answer was an emphatic yes. From a certain viewpoint, good art works are those that achieve breakthrough in the aesthetic language system, thereby making them prophetic. But in my view, the best art is that which achieves a complete breakthrough in both thought and language, and at the same time points to an ultimate value. This kind of work of art could then be meaningfully called prophetic art. From my understanding of the prophetic, it is about having a sacred vision that comes from God's supernatural revelation. It assumes a vertical thinking mode – from top to bottom.

Later, our discussion turned to the attributes, characteristics and the different perspectives of the prophetic art. The calling aspect of prophetic art was first featured in my art piece - The Stray Lamb. Only within this vertical mode of calling is there a transcendent love and care in our horizontal relationships.

In 2015, we had the third volume of forum entitled “Contemporary Art and Social Care” in Beijing, where our discussion was developed further into the realm of art and society. We emphasized the interdependence between the individual and the society in horizontal relationships. In the many horizontal relationships, the social interpersonal bond is of highest importance which is also important and common in contemporary art. The focus of our thinking was debating from which angle we view this kind of relationship, which directed us into a deeper and more detailed discussion.

In 2017, at the invitation of the Meta Hansens Culture House in Lillesand, Norway, we attended the “Grace and Reconciliation” Contemporary Art Exhibition curated by the Norwegian artist Barbro Raen Thomassen. We continued to trace and recapitulate this type of relationship that we have developed in past years. Finally, we turned the discussion into an exhibition, resulting in an interaction between two different modes of presentation– verbal and visual.

How time flies! Even though our discussion was kept within a small circle, and progress was slow because of financial constraints, etc., all of us had a common desire to persevere. At Wu Yuerong’s suggestion, and based on the experience gained over the past years, we came up with another theme – Matter Matters. Matter Matters focuses our attention on the theme of the relationship between human and ecology, and can help us explore some current and relevant topics.

In recent years, the art industry has begun paying attention to ecology and ecological care with an increasing number of artists choosing to focus on this subject matter. The trend is likely the result of people's great concern with the various environmental disasters in recent times – global warming, haze, waste, and groundwater pollution, all of which are the repercussions of industrialization and urbanization – all of which give us pause for thought. However, when we refer to ecological care, we are not only talking about the environment, but also about the need to go deeper to the level of the social and spiritual ecology of human beings. Only then will we be able to find the root of the matter, which may lead to deeper reflections on the effects of individualism.

At its root, the ecological crisis is a conceptual problem. According to the Book of Genesis in the Bible, the cool (wind) of the day referenced after Adam and Eve sinned against God seems to foreshadow a broken world that once enjoyed indescribable harmony. The concept here is that human sin had resulted in the initial ecological imbalance. The subsequent rise of individualism and the human-centred ecological mind-set with its accompanying values, morale and ethics, are the chief culprits behind the modern day ecological crisis. Therefore, when we reflect on this phenomenon from a critical standpoint, we inadvertently face opposition from the rationalists and consumerists.

Admittedly, art itself cannot change the reality of the predicament. What it can do is raise a conceptual question. If we want to change this ecological crisis, first of all we must start with such a conceptual question, which is the purpose of the exhibition Matter Matters.

However, people have different ideas about the intrinsic value of ecological care. People with a differing ideological structure will respond differently to crisis and use different strategies to solve them. To balance the conflict of interest between humans and nature and to manage the gap caused by anthropocentrism and ecological egalitarianism, we need some absolute spiritual principles built on consensus through dialogue.

So, the question is: How does an artist express this concept through his or her artwork? When the artist is facing a complex social issue, should she or he communicate this concept using visual art language or just simply by presenting the crisis scene? Certainly, different people have different approaches. Yet these very approaches will challenge each artist's ability to confidently communicate through visual art language, because the inner thoughts of an artist can only be expressed through ‘basic’ visual images with no need for explanation through words.

As we are faced with the reality of the ecological crisis, we want to present our work from different angles, showing the various viewpoints and dimensions, and exploring the issue from various aspects such as human spirit, culture, society and nature. Doing so will give us the means, and will cause a fissure in the realistic logic of modern rationality, development, consumerism and capital market, and what is more, it will enable us to highlight the ecological responsibility of the active steward.

Finally, our own desire for meaning in life will give rise to a positive burden; the attitude behind the desire is encapsulated in the question: “What do you care about?”

Jiuyang Zhu

22.9.2018

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