SGA 沪申画廊 成都 | 10月展讯《微干预—非对象化的日常实践》

▃  参展艺术家：

白小墨 、陈伟才、俸正泉、何利平、蒋建军、李胤、李勇、刘影、马赛、舒昊、宋兮 、唐  影、王彦鑫、 谢天卓、杨俊峰、杨欣嘉、杨义飞、张佳颖 、张钊瀛 、赵杨、赵子韬

▃   开幕时间：2021年10月16日  14：00

     展览时间：2021年10月17日—2021年11月30日

▃   策展人：崔付利

“日常”是当代艺术界老生常谈的一个话题，甚至在中国当代艺术四十多年的进程中也从未缺席。上世纪80年代，“日常”成为艺术“从意识形态出走”的主要方向，同时也承载起人文主义的光环。90年代，随着中国经济的发展和全球化的开始，“日常”开始转向对消费主义、后殖民文化的反思。新世纪以降，关于“日常”的碎片化表达更是呈现出前所未有的流行趋势，似乎“日常”已经成为一种无公害、标准性、策略化的话语系统。需要警惕的是，“日常”并不仅仅是时代的代名词，尽管它在不同时期与时代语境存在共性因素。但对个体而言，“日常”更应该是具体的，清晰的，甚至是不可回避的。

“Dailiness”, an overarchingtheme hovering above the development of Chinese contemporary art during thepast four decades, has in some way become a cliché to talk about. Back in the1980s, “dailiness” emerged as a prominent direction for the artistic endeavors to“drift away from the ideology-led” practice. Hence it was bestowed with thehalo of humanism. And in the 1990s with the rapid development of Chineseeconomy and the emergence of globalization, “dailiness” started to become morepertinent to the reflection upon consumerism and post-colonial culture. Sincethe 21st century the hype of fragmented expressions around“dailiness” has reached an unprecedented level as if there’s a tacit consensusthat “dailiness” is officially the most harmless, standardized and strategic languagesystem of art to resort to. What we need to bear in mind is that “dailiness” isnot a concept with fixed meaning, even though its implications sharesimilarities during different time periods and in different cultural contexts. Toindividuals, “dailiness” is supposed to be specific, personal and even unescapable.

“日常”要么是“艺术形态出走”的出口，要么是社会批判的图像载体。总之，“日常”在过去的艺术中总是呈现出一种“对象化”的倾向。换言之，“日常”在艺术家的创作中处于被选择的被动状态，“日常”成为一种被截取的图像景观。但这并不是“日常”的全部，无论是面对艺术还是面对现实，我们不能回避那些无法逃离的种种困境，从而忽略了艺术家主体和日常遭遇之间的对话和博弈关系。艺术作为一种意识，它可能就发生在个体和日常现实的纠缠和遭遇中，以及个体在这种情境中将自己处于什么位置和身份，并给出怎样的态度和回应。如果不强调遭遇，日常和现实将和风景、景物一样成为再现和表现的话题和对象。这样艺术才能逃离出空间生产的境地，它转化为一种真实的感情表达，一种直觉的冲动，一种身体的本能，而不再是艺术史中的套路和经验。在这种个体的遭遇中，艺术可能会是一个情绪的出口，一道打通个体逻辑和现实的通道，当然也可能是一种妥协。

Inthe past, “dailiness” played the role either as an “exit” for furtherexploration for art forms, or a visual representation of social critique. Inother words, “dailiness” always demonstrated a tendency of “objectification” inprevious artistic practice. It tended to play a somewhat passive role, waitingto be chosen by artists; and hence it fell to become a kind of visual landscapethat was often intercepted at will. However, that could by no means present aholistic picture of “dailiness”. When tackling art or the reality, we shall notevade the predicaments that we cannot escape from. Otherwise it would mean weturn a blind eye to the dialogue and game relationship between the artists assubject and their daily confrontation and entanglement with the reality. Art asa form of awareness may well lie in the confrontation and entanglement betweenindividuals and their daily reality, and therefore probes into how individualssituate themselves in these scenarios as well as their attitudes and responsestoward them. Without an emphasis and highlight on the confrontation, dailinessand reality would become merely the object of presentation and representation,just like landscape. Art has to break away from spatial production and only inthis way can it truly transform into an authentic emotional expression,intuitive impulse and bodily instinct rather than the so-called patterns andexperience embedded in the history of art. Within individual’s confrontationand entanglement, art may emerge as a vent of emotions, a channel to bridge individuallogic and the reality, or a compromise.

“微干预”强调的是在个体与日常、艺术表达的交叉地带，艺术家在面对的差异化“日常”中，如何用个人的艺术语言对“日常”做出不同的回应。为了较为清晰地呈现出艺术家的差异性表达，展览将分为“逻辑与转喻”“凝视与反观”“拟真与变节”三个单元。其中，“逻辑与转喻”强调的是日常与图像两个维度的并行和生成关系，在艺术转换中艺术家的个体意志是如何体现的。无论是对日常的过滤还是添加，那一部分与“日常”何为？“凝视与反观”基于对日常仪式化的深层关注和审视，关乎日常背后的权利话语和支配的根基属性，它的根本是一种“第二日常”，其中不仅涉及艺术家对日常的态度，同时也是观者反观的镜像。互联网和科技延伸了日常的概念，虚拟与现实的纠结拓宽了日常的空间和构成方式，也为艺术家提供了广泛的素材和形式。“拟真与变节”既与日常有关，但也超越日常，如何将抽象的概念视觉化是对日常的挑战和突破。

“Tiny intervention” places an emphasis on the intersection area between individual, dailiness and artistic expression. In the face of a differentiated “dailiness”, how will artists respond through a language of art with their personal signature? To cast more light on the differentiated expressions by different artists, the exhibition is divided into three sections, namely “Logic and Metonymy”, “Gaze and Counter-Gaze” and “Simulation and Transcendence”. “Logic and Metonymy” tends to probe into the parallel and generative relationship between dailiness and image, to show how artist’s will is unveiled during the artistic transformation. How to define the “dailiness” that has been filtered or processed? “Gaze and Counter-Gaze” is rooted in a deep concern of the ritualization of dailiness. Fundamentally speaking, it’s a kind of “second dailiness”, which involves artists’ gaze into dailiness and a mirror image of the gazers. The Internet and other newly-emerging technologies have greatly extended the boundaries of the concept of “dailiness”. Constant encounters between the virtual and the real have further enriched the space of dailiness as well as how it is constituted of, which in turn provide an extensive source of subject matters and inspirations for artists to draw on. “Simulation and Transcendence” is closely related to dailiness and yet goes beyond it. For quite a long time it has remained as a tempting challenge for artists to visualize abstract concepts such as dailiness. 

▃   参展艺术家作品

白小墨 ，《RETURN》，声音装置、激光装置， 180cm * 35cm *118cm ，2020

陈伟才 ，《一到十》，有声，彩色，  版数：1/8 ，2019

俸正泉 ，《我的练习-红苹果》，布面油画，  100*100cm ，2015

何利平 ，《1+1=11》，行为录像，  可变尺寸 ，2015

蒋建军 ，《米米No.2》，布面丙烯，  100*83cm ，2020

李胤 ，《白球鞋》，布面油画，  30*40cm ，2013

李勇 ，《距离之歌》，纸上丙烯，  78*55cm ，2017

刘影 ，《高调克制》，积木拼装，  80*80cm ，2018

马赛 ，《门前大桥下》，摇摇车视频播放器、装置、影像作品， 可变尺寸 ，2021

舒昊 ，《一花》，铝板上油画，  100*100cm ，18.6.4 -18.8.24

宋兮 ，《友谊地久天长》，键帽 亚克力 铝塑板， 50*64cm ，2021

唐影 ，《海的眼睛》，天然漆、金箔，120*180cm ，2020

王彦鑫 ，《百年｜A century（5 mins》，行为录像+图片，尺寸可变 ，版数：1/5，2021

谢天卓 ，《洪荒林》，宣纸 国画颜料，80*120cm ，2021

杨俊峰 ，《限速40kmH》，行为, 高清录像 （彩色、有声），尺寸可变 ，版数：2/10，2021

杨欣嘉 ，《Tokyo Hotel- 昨夜烟花灿烂》，录像 ，尺寸可变 ，版数：4版+1AP，2021

杨义飞 ，《未来考古学》，摄影作品 ，尺寸可变 ，2014

张佳颖 ，《触摸1》，照片拼贴 ，80*120cm ，2015

张钊瀛 ，《世界乐园— 收藏屋》，布面油画 ，120*180cm ，2020-2021

赵杨 ，《无题》，布面丙烯综合 ，100*100cm ，2016

赵子韬 ，《规则之下NO.5》，布面丙烯 ，100*80cm ，2021