“北京·威尼斯”当代艺术展
发布人：798艺术
2012-01-30 20:46
《北京·威尼斯》展出了王明贤和朱锫的当代艺术作品和建筑作品。王明贤是第51届威尼斯双年展中国馆执行小组成员，第10届威尼斯建筑双年展中国馆策展人；朱锫是第12届威尼斯建筑双年展中国馆参展建筑师。王明贤的作品系多年来研究建筑史和艺术史的工作成果。在当代艺术的语境中，对北京消失的城墙的描绘，拆哪纪念（COMMEMORATION OF BULLDOZER IN CHINA）邮戳的运用,使“城市与记忆”、“城市与欲望”、“城市与符号”有了新的解读，形成历史和现实的对话；表面上看城市风景令人思怀古之幽情，“无论哪一个巍峨的古城楼，或一角倾颓的殿基的灵魂里，无形中都在诉说，乃至于歌唱，时间上漫不可信的变迁。”隐藏在背后的则是社会发展史和艺术史错综复杂的结构线索，同时反映出中国的都市化进程与当代艺术之间的关系。朱锫的作品《意园》参加了12届威尼斯建筑双年展.作品试图用一种当代、未来的表现方式去寻求中国园林空间的意境表达，整个装置构思的起点是塑造“聚会空间”的诗意化表达，为了塑造这种境界，整个装置被构思为虚幻的“光的矩阵”——由1300多根透明、半透明的玻璃杆构成。上部的半透明感和底部的透明感，使得整个装置似白云漂浮于地面之上，虚幻而超现实。从空中俯瞰，整个矩阵取中国书法用笔之神韵，开合自然、张弛有度；取中国造园叠石之手法，横看成岭、侧看成峰。夜间，灯光微明，渐变柔和，犹如人的呼吸节奏，赋予装置以生命感。装置力图捕捉“轻、柔、飘、动”之感，探索中国传统园林之精髓，使人们相遇于未来与自然之间，感受一种无形诗意的艺术境界。他们对北京·威尼斯不断变化的城市景观和全球化带来的影响持有独特的观点，并运用新的艺术观念进行创作，作品时间、空间错置，却又显得如此奇妙而又真实。
The contemporary art and architecture works of Wang Mingxian and Zhu Pei are displayed in Beijing · Venice. Wang Mingxian is both an excutive group member of the 51st International Art Exhibition of the Venice Biennale and the curator for the China Pavilion at the 10th International Architecture Exhibition of the Venice Biennale. Zhu Pei is a participating architect in the China Pavilion for the 12th International Architecture Exhibition of the Venice Biennale. Wang Mingxian’s works are the result of many years’ research on architectural and art history. In the context of contemporary art, the deS C R I P Tion of Beijing’s lost walls and the use of the Commemoration of Bulldozer postmark give a new reading – to the city and memory, the city and desire, the city and symbol – and a dialogue between reality and history. Seeing the apparent landscape of the contemporary city allows us to meditate on the past. “Any majestic ancient city gate-tower; any soul of the corner of a crumbling palace foundation; all invisibly speak, or even sing, overflowing at the betraying changes of time”. However, intricate structural clues to social and artistic history are hidden behind the apparent city. Simultaneously, the relationship between China’s urbanization process and contemporary art are reflected to the observer. Zhu Pei’s Yi Garden work is exhibited in the 12th International Architecture Exhibition of the Venice Biennale. The work explores the poetical expression of traditional Chinese gardens through a contemporary and futuristic idiom. Chinese landscape, like Chinese painting and calligraphy, contains a softness that is both tangible and conceptual. Visually, it avoids straight lines in paths and obscures the horizon, using a language exclusively of organic and geological forms instead. And in gestalt, where Western garden traditions point the viewer to a cognitive map of the landscape—either through symmetry and hierarchy (the French tradition) or through narrative cues that direct the viewer (the picturesque tradition), the Chinese garden resists formulation and mapping even once it has been experienced. Its organizing principles, though felt, remain invisible. Our aim with the Chinese pavilion was to use the language of modern materials and abstraction to maintain and refine this spirit. From above, the tension between its indistinct character and blurred edges on the one hand, and its calligraphic associations and grid on the other, make it a kind of formless form. Viewed from a distance, the sanded, luminous area of the acrylic bars float above the groud as a cloud of artificial insubstantiality. And once entered, the pavilion creates loose zones that promote movement — virtual corridors — and moments of expansion that invite pause — positive traps — but with a directionlessness that draws on the traditional Chinese montage effects of multiplicity and surprise rather than symmetry or narrative progression. Without linearity, the viewer becomes a navigator in an artificial, abstract wilderness. The body cannot rely on narrative cues and is thrown back on, and made aware of, its sense of location and self. Thus, dislocation becomes a vector for the reinforcement of location. These artists have unique points of view on the constantly changing landscape of Beijing and Venice and the impact of globalization. Using new aesthetic concepts, time and space are distorted, but achieve the appearance of a strange truth.