展讯Notice

 

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无独有偶:影像及其扩展场域
Polyphonic Strategies: 
The Moving Image and its Expanded Fields


策展人  Curator
杨北辰  Yang Beichen
艺术家  Artists
陈丹笛子、李然、王旭、杨福东、尉洪磊
Chen Dandizi, Li Ran, Wang Xu, Yang Fudong, Wei Honglei
展期  Duration
2021.4.23-7.3
时间  Open Hours
周二 TUE - 周六 SAT 11:00-17:00
地址  Location
北京市朝阳区798艺术区797东街A05号 
新世纪当代艺术基金会
New Century Art Foundation, No. A05, 797 East Road, 798 Art District, Beijing




“无独有偶”基于这样一个“假设”:影像艺术是参展艺术家工作的起点。在罗莎琳·克劳斯对于“扩展场域”的论述中,后现代语境下的雕塑在所谓的场域“边缘”地带实现了“逆袭”,进而走出了现代主义的阴影,成为了可以“合成”其他一切元素、不再具有边界感的媒介。这个结论经由其之后提出的“后媒介”理论的推动,进一步奠定了艺术家跨媒介实践的合法性。然而在此进程中,影像作为当时的“新媒体”始终处于被波及的位置,那么在当下,是否存在一种基于影像艺术来探讨其扩展场域的可能性?在本次展览中,我们将透过五位艺术家的创作去审视这个假设。在他们的工作中,影像与非影像之间一直保持着异常细微与亲密的关联,这既涉及到媒介外在的形式、材料与加工手法的不同,亦指向了媒介内部复杂的本体层面的纠葛。当然,“无独有偶”并不试图完成这个论证,而是以一种新的视角去描述艺术家的具体工作及其背后的媒介逻辑的尝试。



杨北辰



"Polyphonic Strategies" is grounds on the "hypothesis" that the art of moving image is a point of departure for the artists in this exhibition. In Rosalind Krauss's iteration of the "expanded field," sculpture in the postmodern context has achieved a "reversal" on the "periphery" of the field. Thus, it emerged from the shadow of modernism to become a medium that can "integrate" all other elements, which transcends media boundaries. This conclusion, enforced by the "post-medium" theory Krauss later proposed, further established the legitimacy of the artist's cross-media practice. While in that process, the moving-image, a "new media" of the time, was receptive to such impact. Hence, is there a possibility of exploring the expanded field based on video art in the present? In this exhibition, we will examine this hypothesis through the works of five artists. In their practices, the relationship between the moving-image and other media has always been a subtle and intimate one, involving various external forms, materials, and processing methods, pointing to complex ontological entanglements within the medium. Of course, "Polyphonic Strategies" does not attempt to verify this argument but rather provide a new perspective on the artist's specific work and the efforts behind inter-media logic.


 Yang Beichen



关于艺术家  About Artist


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陈丹笛子  Chen Dandizi

情感的转化 Conversion of Feelings (图片致谢户尔空间与艺术家 )

马蹄铁、蹄钉、金属清漆、数码微喷

100个直径10-14cm的马蹄铁、摄影作品微喷于铝板100×72cm

horseshoes, nails, metallic paint, giclee

100 horseshoes in 10-14cm diameter, photo printed on aluminum panel in size of 100cm×72cm

2020


陈丹笛子1990年生,2015年毕业于广州美术学院油画系。陈丹笛子的作品具有媒介共生的特点。她对录像、装置、摄影和文学的运用构成了所需的组成部分,以照亮亲密的、短暂的瞬间和人类的情感。她的作品探索了与自然和人工世界中反复出现的现象相遇的感知和体验。她探索的主题包括人类情感的异化,被异化的个体的希望和绝望,以及对自然和想象中的景观的观察。陈丹笛子的艺术探索的核心主题是自我认识和对生活环境的观察。揭示独特的时刻和情感之间隐藏的短暂本质是她创作过程的核心。

她的近年个展:热带房间(户尔空间,北京,2020)、深深的宿醉(广州画廊,广州,2018)。部分群展:漫长的问候——华宇青年奖入围展(尤伦斯当代艺术中心,北京,2020)、土星照命(香格纳M50,上海、2020)、南方不是一座孤岛(OCAT当代艺术中心,深圳,2020)、Touching Feeling(户尔空间,北京,2020)、塑性记忆:来自中国的当代录像艺术(匹兹堡大学美术馆,美国,2019)、85后的八五——中国当代艺术新世代(北京当代艺术展,北京、2019)、“我”的风景(常青画廊,北京,2018)、黯恋(Para Site,香港,2018)、中国女性艺术家录像艺术节(墨西哥国家数字文化中心和克雷塔罗市博物馆,墨西哥,2017)、浮生手记(胶囊上海,上海,2016)、仅仅在场(广州画廊,广州,2016)等。2020年入围了第八届华宇青年奖。


Chen Dandizi (b.1990). She graduated from the oil painting department of Guangzhou Academy of Fine Arts in 2015. Dandizi's works are characterized by a symbiosis of media: Her use of video, installation, photography, and literature form integral parts required to illuminate intimate, short-lived moments in time, and human emotion. Her works explore the perception and experience of encounters with reoccurring phenomena of the natural and artificial world. Dandizi's art explores central themes such as self-knowledge and observation of her lived environment. Revealing the fleeting nature of hidden connections between a unique moment and emotion is at the heart of her creative process.
Her recently solo exhibition includes: Tropical Room (Hua International, Beijing, China, 2020); A Severe Hangover (Canton Gallery, Guangzhou, China, 2018). Selected Group Exhibitions: A Long Hello——The Eighth Huayu Youth Award Finalist Exhibition 2020 (UCCA Center for Contemporary Art, Beijing, China, 2020); Under the Sign of Saturn (ShanghART M50, Shanghai, China, 2020); The South is Not an Island (OCAT Shenzhen, Shenzhen, China, 2020); Touching Feeling (Hua International, Beijing, China, 2020); Materializing Memory: Contemporary Video Art From China (University Art Gallery Frick Fine Arts Building University of Pittsburgh, America, 2019);  Story:Born After The ’85 New Wave Generation Y of Contemporary Chinese Art, (Beijing Contemporary Art Expo, Beijing,China,  2019); Inner Scapes (Galleria continua, Beijing, China, 2018); Crush (Para Site, Hong Kong, China, 2018); Chinese Video Artists Festival (Mexico national culture Digital Center and Museum of Arts of Querétaro, Mexico, 2017);  Fleeting Memories & Written Notes,(Capsule Shanghai, Shanghai, China, 2016); Mere Existence (Canton Gallery, Guangzhou, China, 2016). Finalist of The Eighth Huayu Youth Award.




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关于新世纪当代艺术基金会


新世纪当代艺术基金会(NCAF)是由收藏家王兵先生发起的非营利基金会。作为国内最早在民政局登记注册的当代艺术基金会之一,新世纪致力于通过与艺术家,收藏家及学者进行长期而深度的合作,以研究型展览、学术讲座、讨论会等形式,希望对中国当代艺术中鲜活而重要的现象及课题展开及时的呈现、梳理和讨论,支持中国艺术家创作,推动本土当代艺术收藏。



New Century Art Foundation


New Century Art Foundation (NCAF) is a non-profit art organization founded by collector Mr. Wang Bing . As one of the first contemporary art foundations registered with the Civil Affairs Bureau in China, NCAF is dedicated to supporting Chinese artists and promoting local contemporary art practices through its collection. Its ongoing and in-depth collaboration with artists, collectors, and scholars through research-based exhibitions, academic lectures, and symposiums aims to present, study, and discuss the current and critical phenomena and subjects in the ecology of contemporary Chinese art practices.