新展预告丨燃烧的尘埃：张小涛个展
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燃烧的尘埃：张小涛个展
展期：2024年11月2日—2025年2月16日
策展人：王春辰
艺术家：张小涛
主办单位：山西省当代美术馆
协办单位：晋商博物院
地点：太原市杏花岭区府东街95号
Ashes on Fire：Zhang Xiaotao's Solo ExhibitionDuration：2024.11.2—2025.2.16Organized by：Shanxi Contemporary Art MuseumCo-organized by：Jinshang MuseumLocation：Exhibition Hall 4 and 5, Shanxi Contemporary Art Museum, No.95 Fudong Street, Xinghualing District,Taiyuan City,Shanxi Province我们在今天谈艺术，并不是谈艺术本身，或者说，要谈艺术本体论，这是一个复杂的话题，讨论起来可以非常漫长和繁复。但是，有一点是非常肯定的，即艺术是生活的组成，而且非常重要。重要到什么程度则因人而异、因时而异，以今天的立场来看，时间的车轮转动愈发飞快，快到看艺术非常眼花缭乱、目不暇接。但是，如果我们站在历史的高点上去瞭望，依然可以透过迷雾，看到来路与去处，看到历史的线索如奔向远方的路途一样，清晰可辨。如是观张小涛，其艺术路径一目了然，每个落脚点都标记明确，而且前行的方位非常确定。这是艺术家矢志不渝、持之以恒的成果，是保持艺术决心、恒心和志向的结果。张小涛从绘画到新媒介到数字化到多媒介化，都是一路前行，绝不含糊，指向当下的现场、直达历史的痕迹，然后沉思时间的意义。这次展览名为“燃烧的尘埃”，有着多重的语义。首先，“燃烧”极具形象化意象，火是人类新生命的开始，是走出丛林的必要一步；在当代语言叙事中，“燃烧”又成为先锋与新生命的象征，具有当代性和未来性，是一个国际概念，如电影《燃烧的巴黎》、美国著名理论家朱迪·巴特勒的《燃烧的性别》、美国举办的中国新一代女艺术家展《内燃》等，都显示了这一概念的语义的丰富性。其次，“尘埃”与“灰烬”同义，“灰烬”是一个历史语义学含义丰富的概念，同西方语言都深有含义。中文具有“野火烧不尽，春风吹又生”的意味，同时也是坚强意志的体现，“蜡炬成灰泪始干”；在西方语言里，它也是生命再生的象征和精神象征，也是历史沧桑、历史痕迹的象征，体现着亘古一体、时序常在的定律。所以，当这个两个概念叠加在一起的时候，张小涛的本次个展就具有了不同的指向和表达。它们共同构成了张小涛的艺术理念追求，他用多媒介的架构形成了他关于当下与历史、今天与未来的询问。作品的内在厚重将我们带进沉思的状态，艺术家以艺术的独有方式来回应着今天的挑战，它们是以纵向的时间维度与横向的全球语境来展开对话。这是一个全球立论的时代，同样展示了艺术不会坠入无意义峡谷的斗志。“燃烧的尘埃”是强大的意志的意象，这样的艺术是谓当代的真实艺术，全球亦是如此。2024年10月12日
Ashes On Fire：Zhang Xiaotao’s Solo Exhibition
Today, our discussion on art is not about art for art’s sake, nor are we diving into the complexities of art ontology—a vast and intricate subject that could lead to long, nuanced debates. Instead, one thing is clear: art is an integral and vital part of life. Its significance, however, varies from person to person and evolves with time. In the fast-paced rhythm of modern life, art can seem overwhelming, almost too much to fully absorb. However, when we take a broader, historical perspective, we can still discern a clear path, as if through the fog, where history unfolds like a road leading into the distance, coherent and traceable.When considering Zhang Xiaotao’s artistic journey, his direction and milestones are clearly defined. Every step in his evolution is deliberate and purposeful, a testament to his unwavering dedication and persistent pursuit of artistic integrity. From painting to new media, digital, and multi-media approaches, his artistic trajectory has been consistent, never wavering, always focused on the present moment, connected to historical imprints, and pondering the meaning of time. The exhibition titled “Ashes On Fire” is layered with multiple meanings.First, the word “fire” carries a powerful visual image. Fire marks the beginning of new life for humanity, a crucial step in emerging from the wilderness. In contemporary discourse, “fire” symbolizes both avant-garde innovation and new beginnings, linking it to modernity and the future. This concept resonates globally, evident in films like Burning Paris or in the work of theorists like Judith Butler’s Gender Trouble, and even in exhibitions like Internal Combustion, showcasing a new generation of Chinese female artists. These references highlight the rich and diverse interpretations of “fire.”Secondly, “ashes” shares a semantic connection with “dust,” a concept deeply embedded in historical and cultural narratives. In Chinese, it reflects the resilience of life—“wildfires cannot destroy the grass, as the spring breeze brings it back to life.” It represents unwavering will, akin to “the candle burns out, yet its tears remain.” In Western languages, “ashes” similarly symbolize rebirth, spiritual renewal, and the enduring marks of history, a reminder of the eternal cycles of time and the resilience of the human spirit.When these two ideas—“fire” and “ashes”—are combined, Zhang Xiaotao’s exhibition takes on deeper layers of meaning. Together, they embody his artistic vision and pursuit, where the multi-media framework enables a dialogue between the present and history, the now and the future. His work invites profound reflection, as he uses the unique language of art to respond to the challenges of today, engaging in a global conversation that spans time and geography. This is a time when art asserts its relevance and resists sinking into a void of insignificance.“Ashes On Fire” symbolizes the imagery of strong willpower.This kind of art represents the true essence of contemporary art, and this holds true on a global scale.
王春辰，著名策展人、批评家，中央美术学院教授、博士生导师；中央美院美术馆当代艺术批评与策展研究中心主任；中国美术家协会策展委员会委员，从事现代美术史及当代艺术理论与批评研究。2012年美国密执根州立大学布罗德美术馆特约策展人；2013年第55届威尼斯国际艺术双年展中国馆策展人；英国学刊Journal of Contemporary Chinese Art《当代中国艺术杂志》副主编(2014-2019)及德国斯普林格出版社《中国当代艺术丛书》主编；2015年英国泰特美术馆访问研究员。澳大利亚新南威尔士大学客座教授；西安美院博士生导师；四川美院、天津美院、首师大特聘教授。出版《1940年以来的艺术》、《艺术的终结之后》、《美的滥用》、《1985年以来的当代艺术理论》、《艺术史的语言》、《艺术简史》、《艺术史》（玛丽莲，2023，中信出版社）、《1945年以来的当代艺术指南》（2023，湖北美术出版社）等译著；2009年获得“中国当代艺术批评奖（CCAA）”并出版《艺术介入社会》。2013年出版《艺术的民主》、《图像的政治》、《艺术是一个问题》批评文集。
Professor Wang Chunchen is a famous curator and critic. He is a doctoral supervisor at the Central Academy of Fine Arts in Beijing, China, also director of The Research Center of Contemporary Art Criticism & Curating of CAFAM; member of the Curatorial Committee of China Artists Association.In 2012, he was an adjunct curator at the Broad Museum of Art, Michigan State University, USA. In 2013, he was appointed as the Curator of the Chinese Pavilion at the 55th edition of the Venice Biennale. Wang is also a Deputy Principal Editor of the UK-based Journal of Contemporary Chinese Art and Editor-in-Chief of The Chinese Contemporary Art Series published by Springer-Verlag, Germany. Wang has been invited to travel all over the world to participate in symposia and forums and to give lectures. In 2015, he was invited by Tate Research Center: Asia to be a Visiting Fellow.Visiting Professor of University of New South Wales. Also specially-appointed professor by Sichuan Academy of Fine Arts, Tianjin Academy of Fine Arts, Xi’an Academy of Fine Arts, and Beijing Normal University.Wang Chunchen has also greatly influenced Chinese contemporary art criticism with his translations of over ten books of art history and theory, such as After the End of Art (Arthur C. Danto), The Abuse of Beauty (Arthur C. Danto), Art Since 1940 (Jonathan Fineberg), The Language of Art History, Theory in Contemporary Art Since 1985, etc. In 2009, he was honored with the coveted Chinese Contemporary Art Awards – Critic Award, one of many awards he has received for his input in art criticism. This particular award led to the writing and publication of Wang’s book Art Intervenes in Society—A New Artistic Relationship. In 2013, Wang published his two volumes of essays, The Democracy of Art and The Politics of Images.
1970年生于中国重庆，1996年毕业于四川美术学院油画系，2016年博士毕业于中央美术学院，香港城市大学客座教授，西南财大天府学院客座教授，现工作生活于北京。曾参加：第55届威尼斯双年展、第7届亚太当代艺术三年展、第6届莫斯科双年展、第2届布拉格双年展、广州三年展、成都双年展、深港建筑双年展、深圳独立动画双年展、荷兰动画电影节、渥太华国际动画节、东京动画节、亚洲动画大赛、伦敦萨奇美术馆、罗马21世纪当代艺术馆、奥胡斯美术馆 、纽约Albright Knox美术馆、卢塞恩美术馆、弗罗里达瑞林博物馆、瓦伦西亚现代艺术馆、博洛尼亚当代美术馆、维也纳艾塞尔ESSL美术馆、巴塞罗那圣·莫妮卡艺术中心、挪威3.14基金会、韩国国立现代美术馆、首尔市立美术馆等展览。2008年获得中国年度青年艺术家奖、2009年3月意大利《FLASH ART》杂志对其做了专访、2011年和2012年连续获得“亚洲最佳技术动画奖”的殊荣，2015 年他受邀作为法国巴黎CUBE 全球数字艺术大奖国际评委，2016 年1月他接受《纽约时报》国际版的专访——《怀旧与超现实，动画艺术家张小涛的现代中国》，2018 年《量量历险记》获中国荔波国际动画节金奖，2019年《三千世界·蜉蝣》入选奥地利林茨电子艺术节，其作品被国际、国内重要美术馆、基金会、艺术中心及收藏家收藏。Born in Chongqing, China in 1970, graduated from the Oil Painting Department of Sichuan Academy of Fine Arts in 1996, graduated from the Central Academy of Fine Arts with a doctorate in 2016, Visiting Professor, City University of Hong Kong.Currently living in Beijing .Participated in: the 55th Venice Biennale, the 7th Asia-Pacific Triennial of Contemporary Art, the 6th Moscow Biennale, the 2nd Prague Biennale, Guangzhou Triennial, Chengdu Biennale, Shenzhen-Hong Kong Architecture Biennale, Shenzhen Independent Animation Biennale, Netherlands Animation Painting Film Festival, Ottawa International Animation Festival, Tokyo Animation Festival, Asian Animation Competition, London Saatchi Gallery, Rome 21st Century Museum of Contemporary Art, Aarhus Art Museum, Albright Knox Art Museum, New York, Lucerne Art Museum, Florida Ringling Museum，Museum of Modern Art in Valencia, Museum of Contemporary Art in Bologna, ESSL Museum in Vienna, San MoNika Art Center, Norway 3.14 Foundation, Korea National Museum of Contemporary Art, Seoul Museum of Art and other exhibitions，In 2008, he won the Chinese Young Artist of the Year Award. In March 2009, he was interviewed by the Italian "FLASH ART" magazine. In 2011 and 2012, he won the "Asia's Best Technical Animation Award" consecutively. In 2015, he was invited as a International judge of the CUBE Global Digital Art Awards, in January 2016 he accepted an exclusive interview with the International Edition of The New York Times - "Nostalgic and surreal, animation artist Zhang Xiaotao's modern China", in 2018, "The Adventures of Volume" won the award of China Libo International Animation. In 2019, "Three Thousand Worlds·Ephemera" was selected into the Linz Electronic Art Festival in Austria, and its works were recognized by important international and domestic Art galleries, foundations, art centers and collectors.
行政支持：刘敏、李紫晶、梁汶芸、许有天、阎真、傅伟志愿者团队：张俊超、郭宇轩、尹瑜、刘也通、王亚宁、禹易非、刘进、唐安妮、李毅、吴丹丹、白迅恺、侯沛然、李昱瑶、赵一青、齐博琳、赵欣宇、田帆布展团队：赛服展览服务有限公司、山西大象文博科技有限公司
山西省当代美术馆系山西省文旅厅正式批准，经山西省民政厅注册成立的民办非营利性艺术机构。美术馆比邻督军府，地处市中心。其建筑是20世纪50年代初所建办公大楼,经改造，美术馆空间设在二层及三层，总面积2000余平米，五个展厅及书店、咖啡厅和艺术衍生品商店。Shanxi Contemporary Art Museum is a private, non-profit art institution officially approved by the Shanxi Provincial Department of Culture and Tourism and registered with Shanxi Provincial Civil Affairs Department. The museum is located next to the Dujunfu Museum the city center. The building, originally constructed as an office building in the early 1950s, has been renovated to house the museum on the second and third floors, covering a total area of over 2,000 square meters. The museum features five exhibition halls, a bookstore, a café, and a shop for art derivatives.周二～周日 10:00-18:00（17:00停止入场）
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