6月29日活动预告丨特邀导览、艺术评论写作圆桌

6月29日周六，我们将举行两场公共教育活动。

第一场是“快乐的人们……”展系列特邀导览第五期，媒体人杨扬作为本次嘉宾来为观众从他的专业角度来导览整个展览。第二场是由两位活跃的写作者、艺术家发起并主持，邀请三位艺术评论写作者、策展人来就艺术评论作研讨。欢迎大家！

特邀导览：杨扬（媒体人）

时间：13:30

在美术馆前台集合

Guided Tours by Special Guests: Yang Yang (Writer \ Editor)

Time: 13:30 Meet at the front desk of IOAM

简介 / Bios

杨扬，曾就读过不同美术院校，并先后在美术馆和文化机构任职，作为策展团队成员参与国内外多个艺术项目的筹备和规划，对中国当代艺术近二十余年的发展历程有自己的直观理解。近期从事艺术杂志编辑以及项目推广等相关工作。

Yang YANG is an art magazine editor, and currently he also focuses to promote various art projects.  Previously, he worked for art museum and cultural institutions. He has experience in preparation and planning for international art projects and has built up his own understanding about the development of contemporary art in China. He studied in several academies of fine arts. He is based in Beijing.

研讨会：

矮檐与高地——论艺术批评的误区

（“七夜评论”Sunday Review第一期）

活动发起人：郭锦泓、周婉京

受邀讨论人：卞卡、宋轶、苏伟

时间：14:30-17:00

地点：中间美术馆会议室

活动简介：艺术界的知识生产向来是内向的，倾向于将知识生产者的位置放置于文化的““高地”或“矮檐”，以或俯瞰或仰望的姿态来看待艺术作品与其相关的文化生态，如此得出的结论亦囿于个人的主观视角。我们希望通过发起这个青年艺术评论人的系列研讨会，从5位评论人的批评实践出发，针对具体的问题给出各自的解决方法。这些问题可能包括：今时今日，艺术批评最大的困难是否还处在“自说自话”的话语之中？艺术评论文章是否需要“说人话”，这意味着是否需要在现有的流行艺术批评文体上进行新一次的“白话文运动”？现有的“作者-编辑”系统是否有待改进？假设艺术界的生态对艺术批评者不友好，艺术批评的书写如何持续？在这5位评论人交换方法论的同时，他们会对各自批评所针对的对象或对抗的主体作出阐发，尝试对时下的中国当代艺术写作体制作出建设性批评，并与现场观众共同讨论应对之策。

七夜（Sunday Review）：创立于2019年的独立艺术评论平台。七夜关注正在发生却不可言说的事情，以严谨的理论梳理和文字态度来重新试图构筑中文写作的现实主义网络，通过艺术批评让想象重重坠地。

Panel discussion: The Low Ground and High Land--A Discussion about the Erronesous Zone in Art Critique (Issue 1 of the 7)

Event co-founders : Stefanie Yuen King Chow and Avita Jinhong Guo

Invited guests: Bian Ka, Song Yi, Su Wei

The productions of knowledge had always been remain ‘internal’ in the art world, we are inclined to locate the knowledge producers on either cultural ‘low ground’ or ‘high land’, to overlook or worship the art works and the following cultural environment and conclude from this sight of view could be constrained by one’s own subjective perspective. Therefore, we establish this serial discussion with selected young art critics to look for solutions of various issues, starts from the individual writing experience of five young critics at our first conference.

The issues we wish to discuss might be: does art critique still stuck in its own linguistic domain? Do we have to re-establish a new writing structure to make sure the audience understand art critiques? Is the relationship in between editors and authors positive at nowadays? Does it need to be improved? If the art world's ecology is unfavourable for art critics, how does the latter sustain a writing? While the five art critics exchange their methodology, they shall expound the subject of their own critique, present constructive suggestions to the current Chinese art critique writing authority and discuss the solutions with the audience.

Sunday Review is an independent art critique platform that founded in 2019 by Stefanie Yuen King Chow and Avita Jinhong Guo. Sunday Review focuses on those on-going but unspeakable matters，that re-establish a realistic Chinese writing net by using precise theories analysis and serious writing attitude. The ‘imagination’ of art scenes shall be landed on the ground through art critique.

简介 / Bios

郭锦泓，出生于西藏，长于青海和俄罗斯。2011年毕业于俄罗斯皇家列宾美术学院，获油画学士学位；2012年获伦敦艺术大学优秀奖学金，2015年毕业于伦敦艺术大学圣马丁艺术与设计学院，获纯艺术硕士学位；2017年肄业于伦敦大学人类学院。2017年及2018年于305Space进行一系列个人实验项目。她目前的艺术创作是结合写作，关注个人内化于现实环境中的崩塌、政治立场的变革和个人如何于消散的现代性中自持、文学性与诗性在内心与外界的裂缝中的变化，同时她将于2019年重拾绘画，并试图探索绘画与她影像实验之中的关系。

 

Avita Guo was born in Tibet, grew up in Qinghai and Shandong. She received her BA degree in Ilya Repin State Academia of Fine Arts, oil painting. In 2012 she was offered scholarship for MA Fine Art degree in University Arts of London, she graduated from Central Saint Martins college of arts and design in 2015. In 2017 she paused her Mphi/PhD of Material and Visual culture of anthropology in University College of London. In 2017 and 2018, she had experimental personal projects showed in 305 space.

Her current works pay attention on the collapse in between personal inner land and realistic political society, the changes of the political filed and personal position in the modernity at large, the changes of the poetic moments in between inner mind and outer cracks. In 2019 she planed to re-paint again and trying to explore the relationship between painting and her formal video installation experiments .

周婉京，研究者，写作者。“七夜”艺术评论平台联合发起人。目前是美国布朗大学哲学系访问学者，北京大学艺术哲学博士候选人。

Stefanie Chow, a researcher and Writer. The Co-founder of Independent Art Critique Platform Sunday Review. She is currently a visiting research fellow at Brown University and a PH.D. candidate at Peking University.

宋轶，策划人、写作者、影像作者，独立空间“激发研究所”运营者之一，新工人影像小组发起人之一，“Bloom 绽”艺术与建筑集体策展小组发起人之一。

Song Yi, curator, writer and film maker. He was a founder of the Migrant Workers Video Collective, artistic director of art space “Institute For Provocation”, founder of “Bloom绽” curating collective for contemporary and urban planning. He was senior editor of LEAP magazine(2013-2017), former Head of Exhibition at Long March Space (2008-2012), coordinated “Ho Chi Minh trail” project. 

苏伟是生活在北京的策展人、写作者，现为北京中间美术馆高级策展人。2012年，他曾参加ICI纽约的策展课程。2014年，他获得首届“国际艺术批评奖”第一名。他策划过第七届深圳雕塑双年展（深圳OCT当代艺术中心，2012年）、“没有先例：一次重塑香港录像和新媒体艺术叙述的尝试”（香港录映太奇，2016年）、“永远的抽象：消逝的整体与一种现代形式的显现”（北京红砖美术馆，2016年）以及“新月：赵文量、杨雨澍回顾展”（北京中间美术馆，2017年）等展览。2015年，他参与了泰特现代美术馆的研讨会“错位：重绘艺术史”。他最近几年的工作聚焦于对中国当代艺术历史的重绘和深描，探索其合法性和断裂性的根源。

Su Wei is a curator and art critic based in Beijing. He is the Senior Curator of Beijing Inside-Out Art Museum. He participated in the 2012 Curatorial Intensive at Independent Curators International (ICI) in New York. In 2014, he was awarded first place at the first International Awards for Art Criticism (IAAC). His curatorial projects include: 7th Shenzhen Sculpture Biennale (OCAT Shenzhen, 2012) No References. A Revisit of Hong Kong Media and Video Art from 1985 (Videotage HK, 2016, Permanent Abstraction: Epiphanies of a Modern Form in Escaped Totalities (Red Brick Museum Beijing, 2016), Crescent: Retrospectives of Zhao Wenliang and Yang Yushu, etc. In 2015, he participated in the symposium Dislocations: Remapping Art Histories at Tate Modern, London. His recent work focuses on thick-description of China’s contemporary art history, excavating its legitimate origins and rupturing nature.