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想象·主流价值展覽中英介紹

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想象·主流价值

策展人:戴锦华、苏伟

助理策展人:杨天歌

开幕式:2018年11月18日周日  下午两点

展览日期:2018年11月18日至2019年3月24日

地址:中间美术馆,北京海淀区杏石口路50号

时间:周三至周五11:00-18:00,周六、日10:00-18:00

电话:+86 10 62730230 

邮箱:info@ioam.org.cn 

www.ioam.org.cn 

参展艺术家:傅善超、刘张铂泷/广军/郝敬班/胡葳/蒋樾/江琼珠/梁明、穆德远/李大方/李少红/李晏/刘鼎/卢望平/牟森/莫昭如/北门工人剧社+草台班/鲍蔼伦/王兵/吴文光/夏钢/阎洲/叶轩/于坚/于瀛/荣念曾/张建亚/张元/赵大钧/庄辉    



自2017年起,中间美术馆开启了一系列重访中国现当代艺术史的工作。我们从当代的立场出发,以连续而非断裂的视角回看艺术的历程,希望通过这种方式建立回到今天现场时的知识视野和方法。在这个过程中,我们反复地把当代艺术放在文化、思想和政治的多重坐标下考察,这一方法也体现在我们的数个展览和由此引发的学术讨论之中。在上一个展览“新月:赵文量、杨雨澍回顾展”的闭幕仪式上,我们邀请北京大学中文系比较文学研究所的戴锦华教授进行了一场演讲,这场演讲也成为此次展览的契机。受到戴锦华教授在电影和文化领域纵深的思考与写作的启发,我们邀请她作为此次展览的联合策展人,并把焦点放在包括视觉艺术在内的各种文化实践形式上。

面对世纪之交的中国社会与文化现实而言,对主流、主流价值的辨识、指认,尽管仍是理解此间中国文化、艺术再现、趣味流转、观念系统的重要坐标,但人们对何谓主流、何种主流,甚至主流何为却始终难于达成共识。对此,我们似乎不得不使用某种怪诞的中国表述:所谓主流价值经常显现为多重复数形态。而此处的“复数”的“主流价值”们,不仅常常呈现为超时空、跨历史的杂陈并置,而且不时地显影为彼此否决、相互遮蔽,甚至水火不容。

或许更为有趣的是,在这激变的数十年间,主流价值之于社会文化的角色形态,与其说是“正常”状态的喁喁腹语、隐身潜行,不如说是一个不断遭指认、获曝光的所在。而召唤主流价值在场,与其说是为了确认某种指称和依据,不如说是为了立起某种标靶,以成就一个抗衡性的姿态和抗衡性的表述。20世纪最后30年的中国文化艺术,尤其如此。人们相信,“拆毁的殿堂还是庙,扯下来的神像还是神”,然而,七八十年代一次次地“告别诸神”、实则迎来诸神的文化尝试,留下的只是种种万神殿的蓝图,甚或只是瞬时狂想。直到90年代,论争的频现与知识界分化显影了主流价值之为在场的缺席背后的意味,即分裂的立场关系着我们对中国社会的认知,关系着我们参照着何种世界途径,哪些世界脉络以反观中国并定义中国。越来越丰富的参数、越来越由本土而国际的多重视域,继续造就着对主流价值的显影同时是遮蔽。

我们在主流价值一词背后加上“想象”二字,并非为了蛇足式地标识主流价值的想象性特征——即使对于最为有效运行的主流价值系统说来,它也确乎是想象性的。然而,我们将想象一词并列于主流价值,是为了凸显世纪之交的数十年间与主流价值相关的另一层面上的想象性,即当人们尝试面对(某一个视域内)的主流价值之时,人们通常持有某种悲情对决的基调。这份悲情令这段历史的参与者忽略了一些可称重要的文化事实:四十余年来中国社会的激变确乎不是在充分计划性的权力机制掌控下完成的,但却大多是在经典权力提供的“共享空间”与“容忍空间”中实现的。

在艺术的语境中,也是在默认主流价值存在的前提下,存在着面向或者反向于主流价值的实践,这种实践经常被二元地划分为激进的或保守的,当代的或传统的,先进的或落后的,体制内或体制外的。这一次,我们把“当代艺术”与其他的文艺创作和生产形式并置在一起观看,这其中涉及剧场、纪录片、电影、网络文化和亚文化、文学以及思想争论等形式。我们的观察限定在上世纪90年代和新世纪最近几年的状况,通过七个章节即:“引子:黑楼孤魂”“彼岸:小剧场、新纪录片与第六代电影”“沉船之畔:都市电影”“性·政治:文学”“分裂浮出水面:思想史论争”“反光镜:遗产与翻译”“聚光镜:立场、阵营与问题的细化”和“平行宇宙”,我们试图为观察文艺在中国新时期历程中所处的位置、所被赋予的价值以及无数个体所作出的努力提供一个切片,看看所有这些创作和生产形式所共享的文化和政治角色如何变动,内在的驱动力和问题感如何充盈,与那个权威对象之间维持着何种对话。在文艺领域提出“主流价值”这个议题,并不是因为它是令人尴尬的、难于证明的,也不是因为它具备绝对的权力属性。实际上,我们在当代艺术以及其他文艺生产领域都不难见到借助所谓主流的资源和机制进行创作和反思,也不难看到引领新的主流价值出现的野心与欲望,更不难看到重新退回到曾经舞动大旗、力以抗之的主流阵地之中的动作。提出这个问题,既是自曝“家丑”,也希望描述出特殊历史时期下文艺与权威话语之间互相容忍的地带,以及在这种容忍之中文艺迸发的内在动力和批评的力量。

主流价值时常辐射出令人愤怒的波长,也会在某种时刻引发新的秩序和欲望。去年冬天的北京寒冷肃杀,成千上万的人被迫收拾家当离开这个城市,今年在潮热的深圳,新的种子正在长出。我们看到阵营更加多元,人群更加明确,焦虑更为显性,问题也更为尖锐和细化。艺术与其他文艺创作形式一样,屡屡在历史的交叉路口上与主流价值碰撞,激起创造和反思的力量。







策展人简介

戴锦华,北京人。毕业于北京大学中文系。曾任教北京电影学院电影文学系11年。自1993年任教于北京大学比较文学与比较文化研究所。北京大学人文特聘教授。北京大学北京大学电影与文化研究中心主任。从事电影、大众传媒与性别研究。开设《影片精读》、《中国电影文化史》、《文化研究的理论与实践》、《性别与书写》等数十门课程。曾在亚洲、欧洲、北美洲十余个国家和地区讲学和访问。专著10余部。专著与论文,被译为英文、法文、德文、意大利文、西班牙文、日文和韩文出版。代表作:《雾中风景》(2000)、《电影批评》(2004)、《隐形书写》(1999)、《昨日之岛》(2015)、《性别中国》(2006)等。

苏伟是生活在北京的策展人、写作者,现为北京中间美术馆高级策展人。2012年,他曾参加ICI纽约的策展课程。2014年,他获得首届“国际艺术批评奖”第一名。他策划过第七届深圳雕塑双年展(深圳OCT当代艺术中心,2012年)、“没有先例:一次重塑香港录像和新媒体艺术叙述的尝试”(香港录映太奇,2016年)、“永远的抽象:消逝的整体与一种现代形式的显现”(北京红砖美术馆,2016年)以及“新月:赵文量、杨雨澍回顾展”(北京中间美术馆,2017年)等展览。2015年,他参与了泰特现代美术馆的研讨会“错位:重绘艺术史”。他最近几年的工作聚焦于对中国当代艺术历史的重绘和深描,探索其合法性和断裂性的根源。

助理策展人简介

杨天歌,1993年生于中国河南,本科毕业于复旦大学英文系,硕士毕业于墨尔本大学艺术策展专业,现为北京中间美术馆助理策展人、中间艺术驻留项目负责人。




The Lonely Spirit

Curators: Dai Jinhua, Su Wei

Assistant Curator: Yang Tiange

Opening: 2:00pm, November 18, Sunday

Exhibition Dates: November 18, 2018 – March 24, 2019

Address: Beijing Inside-Out Art Museum, No.50, Xingshikou Road, Haidian District, Beijing, China

Hours: 11 am-6 pm Wednesday - Friday; 10 am-6 pm Saturday to Sunday 

T: +86 10 62730230 

Email: info@ioam.org.cn 

www.ioam.org.cn 

Participating Artists (in alphabetic order of surname): Fu Shanchao, Liu Zhangbolong / Guang Jun / Hao Jingban / Hu Wei / Jiang Yue / Kong King-chu / Liang Ming, Mu Deyuan / Li Dafang / Li Shaohong / Li Yan / Liu Ding / Lu Wangping / Mou Sen / Mok Chiu-yu / North Gate Workers’ Theatre + Grass Stage / Ellen Pau / Wang Bing / Wu Wenguang / Xia Gang / Yan Zhou / Ye Xuan / Yu Jian / Yu Ying / Danny Yung / Zhang Jianya / Zhang Yuan / Zhao Dajun / Zhuang Hui


Inside-Out Art Museum has initiated a series of work to revisit the modern and contemporary Chinese art history since the beginning of 2017. Departing from a contemporary standpoint, we look back at art history from a perspective of continuity rather than periods of ruptures, in the hope to obtain knowledge and establish a methodology to study the present. In the process, we repeatedly place contemporary art in the coordinates of culture, thought and politics—a method also used in our exhibitions and academic discussions. In our previous exhibition Crescent: Retrospectives of Zhao Wenliang and Yang Yushu, we invited Professor Dai Jinhua from the Institute of Comparative Literature and Culture, Peking University, to give a speech as part of the closing program for the exhibition, which also paved the way for the current exhibition. Inspired by the profundity of her research in films and culture, we invited Professor Dai to be our co-curator and collectively present an exhibition that focuses on various forms of cultural practice that includes visual arts.


For the Chinese society and its cultural reality at the turn of the twenty-first century, to be able to identify the mainstream value serves as the key to the understanding of Chinese culture, including its artistic representations, its shifting taste as well as its conceptual coordinates. However, there is still very little agreement concerning what mainstream value is, how many variations there exist, and what they can do. Therefore, we might have to adopt—odd may it seem—the plural form of the term, “mainstream values” in the Chinese in the Chinese context; in other words, mainstream value has to stay plural when it comes to contemporary China. These “mainstream values” are often embodied in the juxtaposition of trans-historical, cross-territorial existences of multifarious temporalities, and can appear as the amalgamation of creeds diametrically different and constantly cancel one another out.


The past three decades have seen drastic changes taking place in China. Interestingly, the role of mainstream value in this particular socio-cultural context has been one of constant exposure in the limelight, contrary to what is to be expected in a more “normative” society where the mainstream often ventriloquizes or masquerades under an invisible cloak. To evoke the mainstream value is less to establish a category or a reference point than to set up a military target—a rallying call—for resistant positions and statements. It was especially true to Chinese art and culture in the last three decades of the twentieth century. During the time, it was believed that “a demolished temple is still a temple, and a smashed idol is an idol nonetheless”. Various cultural endeavours that paradoxically ended up in embracing new gods in hoping to bidding “farewell” to the old ones have left us with blueprints—or sheer fantasies—of pantheons of many kinds. Into the 1990s, the frequent debates and the schism within the intelligentsia laid bare the significance of mainstream value being present and absent at the same time: the compartmentalization of positions corresponded to our fragmented perception of Chinese society. In other words, these divergent positions and values pointed to which global perspective and set of logic were to be adopted in the contemplation and definition of China. More significant parameters, along with multiple perspectives rooted in the local context and reaching to the world, had at once foregrounded and eclipsed the mainstream value in China.


Adding “Imagining” to “Mainstream Value” is for a reason. It does not merely reiterate the imaginary nature of mainstream value: admittedly, even the most effective system of mainstream value is still imaginary by nature. Rather, to foreground the action of “imagining” is to emphasize the imagination that has been functioning on a different plane since the turn of the new century. Confrontations with the mainstream value—perceptible within a certain range—are generally represented as tragic to a degree, yet such representations are responsible for the negligence of a few important cultural facts. Indeed, the sea change of Chinese society over the past four decades takes place not because a completely planned power structure had commanded so, yet it could not have happened had not the authority conceded to it the “elbow room”.


Similarly in the context of China’s art practice, the acquiesced existence of a mainstream value precedes practice that either agrees with it or goes against it. It follows that artistic practice is often divided into binary oppositions of the radical and the conservative, the contemporary and the traditional, the progressive or the unenlightened, the institutional and the non-institutional. This time, we juxtapose the so-called contemporary art with other artistic creation and productive forms in our exhibition. The latter include but not limited to theater, documentaries, films, internet culture, subcultures, literature, and debates in thought. In seven chapters of the exhibition, “Prelude: The Lonely Spirit in An Old Building”, “The Other Shore: Experimental Theatre, New Documentary and the Sixth Generation Film”, “Off the Shore: Urban Film”, “Sex/Politics: Literature”, “Divide: Intellectual History in the 1990s”, “Rear-view Mirror: Legacy and Translation”, “Condensing Lens: Reification in New Realities” and “Parallel Universes”, we look at the 1990s and the last couple of years in the new millennium. We try to provide a slice of arts through which we can observe it in terms of its position in the new period of China, its attributed values, and the efforts made by innumerable individuals. We wish to explore how the cultural and political roles shared by these creative and productive forms change, if they have abundant inner impetus and questioning, and what kind of dialogue they maintain with the authority. We raise the issue of mainstream value in arts neither because it is embarrassing or hard to prove, nor because it possesses absolute power. In fact, in contemporary art and other fields of artistic production, it is not unusual to see works and reflections that take advantage of the so-called mainstream resource and mechanism. There is also no lack of ambition or desire to create new mainstream value, nor is returning to the mainstream camp from its opposite side a rare thing. Raising the issue is not a mere exposure of our “inner shame”. We hope to outline the area where arts and authority can achieve mutual toleration in a special historical period, and within this area of mutual toleration, describe the inner impetus and critical power of arts.


Mainstream value often leads to feelings of anger, or triggers the emergence of a new order or desires. Last year, in the middle of Beijing’s cold, somber winter, tens of thousands of people were forced out of their homes in a mass eviction. This year, in Shenzhen’s hot, humid summer, new seeds are germinating—demonstration camps are becoming diversified, crowds clarified, anxiety is surfacing, and problems are growing acute and refined. Art, along with other forms of artistic production, repeatedly collides into mainstream value at the crossroads in history, provoking power of creation and reflection.



Curators' Bio

Dai Jinhua, lives and works in Beijing. Graduated from the Department of Chinese Language and Literature at Peking University, she taught in the Department of Film and Literature at the Beijing Film Academy for 11 years. She started to teach at the institute of Comparative Literature and Comparative Culture in Peking University since 1993. She is Distinguished Professor of Humanities, Peking University, Director of the Film and Culture Research Centre of Peking University. Her research area includes film, mass media and gender studies. She offers dozens of courses including Intensive Film Studies, Chinese Film Cultural History, Theory and Practice of Cultural Research, Gender and Writing etc. She has lectured over ten countries and regions in Asia, Europe and North America. She has published more than 10 monographs. Her monographs and papers have been translated into English, French, German, Italian, Spanish, Japanese and Korean. Representative works include: Scenes in Fog (2000)Film Criticism (2004)Invisible Writing (1999)Yesterday's Island (2015)Gendering China (2006), and etc.

Su Wei is a curator and art critic based in Beijing. He is the Senior Curator of Beijing Inside-Out Art Museum. He participated in the 2012 Curatorial Intensive at Independent Curators International (ICI) in New York. In 2014, he was awarded first place at the first International Awards for Art Criticism (IAAC). His curatorial projects include: 7th Shenzhen Sculpture Biennale (OCAT Shenzhen, 2012) No References. A Revisit of Hong Kong Media and Video Art from 1985 (Videotage HK), 2016, Permanent Abstraction: Epiphanies of a Modern Form in Escaped Totalities (Red Brick Museum Beijing, 2016), Crescent: Retrospectives of Zhao Wenliang and Yang Yushu, etc. In 2015, he participated in the symposium Dislocations: Remapping Art Histories at Tate Modern, London. His recent work focuses on thick-description of China’s contemporary art history, excavating its legitimate origins and rupturing nature.

Assistant Curator's Bio

Yang Tiange, born in 1993 in Henan, China, graduated from the Fudan University with a bachelor of arts in English literature, and the University of Melbourne with a master of art curatorship. He is Associate Curator and Director of Art Residency Program at the Inside-Out Art Museum, Beijing.