an
成立于1991年,伦敦
2008年12月出版第一期杂志,由Julieta
成立于2007年1月,北京
artist
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conceptual
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Curator
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标签:文化 |
On the morning after the 60th anniversary celebration of the founding of the People’s Republic of China of October 1, I overheard a conversation among three volunteers on the street, who belonged to the community of 800,000 uniformed citizens mobilized prior and during the National Holiday to safeguard the city at every street corner. One of them had witnessed the fireworks on the official gala performance of the previous night on Tian’anmen Square and was describing in detail and excitement to the other two the changing of colors and patterns of the fireworks. I witnessed briefly the animated exchanges and was deeply moved by such a simple human gesture of appreciating and sharing the splendor of fireworks out of a situation where human i
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标签:文化 |
在中央美院就读雕塑系研究生的期间,卢征远曾经接受过一项不寻常的训练。担任他导师的、活跃在北京的艺术家隋建国要求他在100天的时间里每天创作一件作品。每天创作的作品没有形态上的规定,它不一定是雕塑作品,也没有其他具体的限制。唯一的设定就是每天一件,持续100天的时间。这项看似简单的任务对于卢征远作为一位独立艺术家的创作和思考是有益的,而且是影响深远的。对于艺术,人们往往存在着一些不切实际的幻想和误解,而艺术是一项需要韧性和长时间的艰苦的脑力和心智的苦力劳动这一事实似乎令人难以接受。艺术是一项理性的、有计划性的、艺术家自发强制给自己、往往得不到即时的甚至是长远回报的、入不敷出的工作。只有艺术家自己才能说得清楚为什么要从事这样一项吃力不讨好、失望多于喜悦、无法
An email conversation with Kristiina Koskentola about her works and her experience of working in China
LU: Please tell me a bit about yourself.
KOSKENTOLA: I am a Finnish
artist based in Amsterdam.
LU: Has working in China changed your way of making art? The reason I ask this is that I have experienced the dramatic or even fundamental change that has occurred to a young Chinese artist who spent two years in Holland through a residency program. It completely changed his way of thinking about and working with art. He developed a much more inward way of thinking about issues in relation to art rather than focusing purely on socially inspired, narrative aspects of artworks rooted in socialist-realist education at art academies in China. I wonder whether there is a reverse effect or something on a more metaphorical level that was transferred to your actual way of making art?
KOSKENTOLA: What happened is that I became more “outward”. I think
Three Shadows Photography Art Centre, Beijing, China
It seems somewhat beside the point whether all of Ai Weiwei’s public activities can be considered part of his art-making or not, since it’s almost impossible to draw a line between his role as a visual artist and that
1998年11月21日,由冷林策划的“是我!——90年代艺术发展的一个侧面”展计划在北京劳动人民文化宫开幕。但11月20日晚被有关部门以“展览申报手续不全”为由所封杀。虽然展览未能开幕,但是该展和《是我——90年代中国艺术新趋向》这篇文章对中国当代艺术在进入90年代以后的创作和思考状态作出了及时、全面而准确地思考和梳理,是90年代中国当代艺术的一个重要节点。在这篇文章中,冷林针对中国
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Recently, I received a call from a young artist based in Guangzhou, the capital city of Guangdong Province. He talked excitedly about a space he is launching soon with another two artist friends from the same region. At a time when more art spaces are closing business than ever, such a move seems to be really going against the tide. Further discussion reveals their simple artistic vision, which is to establish a platform where they can independently put their thinking to practice, without being bounded by any specific obligation other than their own creative urge or having to be measured by any pragmatic outcome. Aptly named the Observers Association, such an initiative sets itself apart from the considerable number of lofty galleries and art spaces mushrooming all over China in the past five years. Their rent is low. Their budget is minimal and purely contributed by each of the three founders.
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标签:文化 |
The state of Chinese contemporary art is in danger. This is not a wistful speculation but an inescapable fact. The downfall seemed to have taken place overnight but actually it has come a long way. The recent collapse of the financial market has contributed to a feeling of its abrupt fall yet there have been many problems with the inner logic of its development, where the evolutionary theory failed to apply. The market boom in recent years prior to this unexpected drop seemed to be an upward spiral, yet little was taken to secure that artistic practice and discussions were enjoying the same attention, resources and appreciation. As many artists and dealers thrived in a feeling of a seemingly endless good time, some critics of the art system that was overdriven by money have long foreseen the onset of a harsh winter. Now that the party is over, can we bear to look at the darkness of the night with