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YTHART 我·她意识的现代性转变 | 下楼梯的人 The One Descending a Staircase

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#ythart#美术馆

YTHART 我·她意识的现代性转变 | 下楼梯的人 The One Descending a Staircase 崇真艺客
YTHART 我·她意识的现代性转变 | 下楼梯的人 The One Descending a Staircase 崇真艺客
YTHART 我·她意识的现代性转变 | 下楼梯的人 The One Descending a Staircase 崇真艺客





“她是只飞翔的小鸟,在夜里抓住光芒。地狱就是天堂。那么疲倦的女人,展开她永不折断的翅膀,自由飞翔。”——电影《弗里达》(Frida,2002)


“She is a bird in flight. In the night that catches fire. Hell is this heaven. The fatigued woman unfurls her indomitable wings, ascending into boundless freedom.” —Frida (2002)


这是2002年美国上映的艺术家传记电影《弗里达》对开篇,影片通过一句旁述式的开篇,引出来西班牙传奇女画家弗里达·卡罗(Frida Kahlo,1907—1954)充斥着痛苦又绚烂的一生。以这部影片为引,回溯自20世纪六十年代以来的现代女性主义艺术的发展,“疼痛”“性别与身份”“女性态度”等命题几乎贯穿在这半个多世纪以来中西方女性主义创作者的个人实践与创作思考中。


如果说,早期的女性主义运动是一种社会与政治层面的制度解放诉求的话,那么八十年代之后的女性主义思想早已从最初诉求女性与男性平等在社会制度与权利上,发展为追求“人的解放”与对性别差异的消弭,何故“疼痛”“性别与身份”“女性态度”等关键词依然是当代女性创作者,以及女性主义主义者反复思辨的命题?


基于这一思考,我们试图将问题的参照系纵横延伸至现代主义发展至今的社会机制与经济结构,以及当下的现实环境,则自20世纪女性主义运动兴起至今,女性从家庭中解放,进入社会各个领域中工作,获得自由、身份与话语权的同时,亦仍然承受着“需要内外兼顾”的双重困境——纵然女性自传统的家庭空间中“解放”,但女性天生的母性本能以及其作为母亲的身份、延育后代的族群使命却令其始终无法从家庭关系中完全脱离,有的依然承担着传统的家庭职能,而有甚者在固有认知与道德制约之下不得不接受沟通与申诉的苍白,选择沉默接受,或如《纵身一跃》的主人公布理达一般,以终结婚姻的方式,平衡其作为母亲与独立个体的关系,从而获得真正的自我与自由。


因此在这个章节中,我们希望通过80后艺术家蔡雅玲的个人实践以及代表作《女神》《408柱香》和《玻璃花》串联起整个章节的叙事呈现,在艺术家的作品与个人经验中,通过那象征生育疼痛与女性坚强的“烧纸片”,似乎脆弱易碎又极富韧性与塑造张力的玻璃“子宫花”,以及极富象征意涵的面粉制的“女神”,感知独属于女性的疼痛与强大、坚韧也脆弱、母性即自性的特质,以及如艺术家一般的现代主义背景下的女性对自我身份、痛苦、追求的勇敢揭露、理性思辨与坚定的确认。


艺术家充满动态的思辨与创作语言,令人联想到20世纪初,由现代主义之父马塞尔·杜尚 (Marcel Duchamp,1887--1968)所作的那幅代表现代主义思想的经典油画《下楼的裸女》(Nude Descending a Staircase,1912)以及其背后极其戏剧性与象征性的隐喻——“下楼梯的裸女”在一定程度上被视为对固守的认知与陈规提出质疑和挑战。至此,以”下楼梯的人“作为本章节的主题,将艺术家的个人实践引征为对自我与身处环境的自主思考与选择,以之构建一种互文式暗喻的同时,亦对展览的叙事关系形成呼应。


This evocative opening from the 2002 American biographical film Frida sets the stage for the tumultuous yet dazzling life of the legendary Mexican artist Frida Kahlo (1907–1954). Using this cinematic prologue as a point of departure, we delve into the evolution of feminist art since the 1960s. Over the past six decades, themes such as “pain,” “gender and identity,” and “female agency” have become central to the creative practices and intellectual investigations of feminist artists across Eastern and Western contexts.


While early feminist movements were primarily focused on socio-political liberation—advocating for institutional equality between genders—the discourse of feminism after the 1980s expanded into broader explorations of “human emancipation” and the deconstruction of gender binaries. Yet, the persistent recurrence of “pain,” “gender and identity,” and “female agency” as critical motifs raises a compelling question: Why do these themes remain pivotal to contemporary feminist creators and thinkers?


This inquiry invites us to examine the intersecting dynamics of modernist development, evolving social systems, and present-day realities. Since the rise of 20th-century feminist movements, women have gained access to public and professional spheres, achieving freedom, identity, and agency. However, these advancements often come with the dual burden of managing societal roles alongside traditional domestic responsibilities. Despite their liberation from conventional familial confines, women remain bound by maternal instincts, the societal identity of motherhood, and the generational imperative to nurture. Many continue to shoulder traditional domestic roles, while others, constrained by entrenched values and moral expectations, endure voiceless compromises. Some, inspired by narratives like The Leap into the Void, make the radical choice to dissolve marital ties, seeking to reconcile the tension between their roles as mothers and independent individuals, thus reclaiming authentic selfhood and freedom.


This chapter explores these dynamics through the works of post-80s artist Cai Yaling’s personal practice and seminal works, including Goddess, 408 Incense Sticks, and Glass Flower. In her art, symbols emerge with profound resonance: the “burnt paper,” embodying the anguish of childbirth and the indomitable strength of women; the “glass womb flowers,” fragile in appearance yet imbued with resilience and transformative potential; and the flour-sculpted Goddess, an emblem rich in metaphorical depth. These works reveal the paradoxical nature of femininity—simultaneously fragile and robust, nurturing and self-defining. Through Cai’s modernist perspective, we witness a fearless confrontation with identity, suffering, aspiration, and the enduring complexities of womanhood, affirming the ongoing relevance of feminist inquiry in contemporary art and life.


The artist's dynamic and contemplative creative language calls to mind Marcel Duchamp's seminal early 20th-century painting, Nude Descending a Staircase (1912), a cornerstone of modernist ideology. This iconic work, rich with dramatic and symbolic resonance, has often been regarded as a profound critique of entrenched perceptions and conventional frameworks. Drawing from this metaphor, the theme of "The One Descending a Staircase" serves as the conceptual anchor for this chapter, positioning the artist’s practice as a reflection on autonomy in self-perception and agency within one’s context. This intertextual dialogue not only deepens the exhibition’s thematic complexity but also establishes a cohesive interplay with its overarching curatorial narrative.




YTHART 我·她意识的现代性转变 | 下楼梯的人 The One Descending a Staircase 崇真艺客

蔡雅玲


蔡雅玲,1984年出生于山西。本科、硕士、博士毕业于中央美术学院。2023取得中央美术学院美术学博士学位。


坚持呈现自己生活中的真实情感,并创造恰当的艺术形式。提取日常生活中有深切体会的词汇和话语,探寻日常综合材料与文字情绪相对应的雕塑形式。把女性成长过程中身体和心理被压制的体验和感知,自然的渗透在材料的处理方式中,勾勒出当代女性面对现实困境的耐力和抵抗,搭建起与大众的生活经验共情的基座。  


近几年主要个展有:2024年“皮格马利翁与嘉拉迪雅:蔡雅玲个展”(雷诺基金会,法国里昂) “Hidden body”蔡雅玲个展(巴黎国际艺术城,法国巴黎)、“我的秘密花园”(中法大学原址,中国北京)、2023年“红色,黄色,红色—蔡雅玲个展”(浙江美术馆,中国杭州)


作品曾在德国柏林Kommunale美术馆、中国美术馆、今日美术馆、民生现代美术馆、广东美术馆、中央美院美术馆、金鸡湖美术馆、合美术馆等机构展出。被德国柏林Kommunale美术馆、中央美术学院、广东美术馆、浙江美术馆、银川美术馆、合美术馆等公共机构收藏。



YTHART 我·她意识的现代性转变 | 下楼梯的人 The One Descending a Staircase 崇真艺客
YTHART 我·她意识的现代性转变 | 下楼梯的人 The One Descending a Staircase 崇真艺客


我·“她意识”的现代性转变

The One Descending a Staircase

—— The modernity transformation of female?s consciousness


2024.12.08 — 2025.03.08



 艺术家 Artists 


蔡雅玲、郭盈光、黎雨诗、庞茂琨、谢立俭


 策展人 Curator 


张目蕾


 展期 Duration 


2024.12.08 - 2025.03.08


 展览地点 Address 


越婷惠美术馆 YTHART Museum

(上海市浦东新区北蔡镇陈春路109号一层




YTHART 我·她意识的现代性转变 | 下楼梯的人 The One Descending a Staircase 崇真艺客
YTHART 我·她意识的现代性转变 | 下楼梯的人 The One Descending a Staircase 崇真艺客


「越婷惠美术馆·YTHART MUSEUM」由张目蕾女士于2023年创立,是国内第一家明确以“女性关注”作为立馆核心的公共艺术机构。共鸣于海德格尔“将艺术与存在关联,即艺术与生命之关联”的观点,秉持“Be Art,Even Life”为理念,YTHART MUSEUM将始终以“泛文化”的姿态,开展研究性、实验性和对话性的当代艺术实践,在生产与发生中创造历史,面对时代。


"YTHART MUSEUM" was founded by Ms. Zhang Mulei in 2023. It is the first public art institution in China that explicitly takes "women's concerns" as the core of its establishment.


Resonating with Heidegger's view of "associating art with existence, that is, the connection between art and life", adhering to the concept of "Be Art, Even Life", YTHART MUSEUM will always carry out research, experimental and dialogical contemporary art practices with a "pan-cultural" attitude, creating history in production and occurrence, and facing the times.



地址:上海市浦东新区陈春路109号

Address: 109 Chenchun Road, Pudong New Area, Shanghai


开放时间: 10:00-18:00 周二至周日(周一闭馆;周末及节假日延长至20:00)

Opening Hours: 10:00 AM - 6:00 PM, Tuesday to Sunday


联系方式:ythartmuseum@ythart.com

Contact:ythartmuseum@ythart.com

YTHART 我·她意识的现代性转变 | 下楼梯的人 The One Descending a Staircase 崇真艺客

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