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吴味的博客

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改造书法基因——吴味艺术展  

2017-07-01 11:06:49|  分类: 艺术活动 |  标签: |举报 |字号 订阅

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改造书法基因——吴味艺术展 - 吴味 - 吴味的博客
 

改造书法基因——吴味艺术展

Remodeling Calligraphy Gene - An Exhibition of Wu Wei's Art

 

策展人:吴味。

Curator: Wu Wei.

学术主持:徐旭。

Academic Host: Xu Xu.

展览总监:陈山叶。

Director of exhibition: Chen Shanye.

展务:吴兮乔。

Exhibition coordinator: Wu Xiqiao.

研讨会嘉宾:于长江、卯丁、沈丕基、邹卫、陈求之、张志东、徐洪波(按姓氏笔画为序)。

Guests of Seminar: Yu Changjiang, Mao Ding, Shen Piji, Zou Wei,Chen Qiuzhi, Zhang Zhidong, Xu Hongbo (in order of strokes of Chinesecharacters).

主办单位:太阳山艺术中心。

Organizer: Sunrise Art Center.

研讨会时间:2017年7月15日下午2:00-4:30。

Seminar time: 2:00-4:30 p.m., July 15th, 2017.

开幕时间:2017年7月15日下午5:00。

Opening time:  4:30 p.m., July 15th, 2017.

展览时间:2017年7月15日~8月4日。

Exhibition time:  July 15th, 2017 to August 4th, 2017

研讨会地点:深圳市布吉大芬油画村老围47号/太阳山艺术中心多功能厅。

Seminar Address: 47 Laowei, Buji Dafen Oil Painting Village,Shenzhen City / Multifunctional Hall, Sunrise Art Center.

展览及开幕地点:深圳市布吉大芬油画村老围47号/太阳山艺术中心B1展厅。

Exhibition and Opening Address: 47 Laowei, Buji Dafen Oil Painting Village, Shenzhen City / B1 Hall, Sunrise Art Center.


前言

书法的现代、当代转型的过程是艺术主体不断“否定”而张扬自由精神的过程,这种否定针对的是书法自身的形式及其文化,每一次否定都使书法走向新的艺术空间,诞生新的艺术形式:“汉字夸张变形”,到“伪汉字创造”,再到“纯点线抽象组合”,是书法的形式主义否定,它逐渐否定了书法的点画—结体—章法的汉字书写本体论及其体现的压抑性的传统文化,使书法走向表现主义(抽象是表现主义的极致),成为点线——结构——空间的形式主义本体论的现代书法——以书法为资源的现代艺术,张扬了艺术主体的自由精神;以特定符号及其关系形成对书法文化问题的反思是书法的观念主义否定,它使书法走向观念主义(特定观念是观念主义的极致),成为意义主义本体论的当代书法——书法问题针对性的当代艺术(即我所倡导的“问题主义”当代艺术),进一步张扬了艺术主体的自由精神。可以说,书法的现代、当代转型是艺术主体以书法否定主义张扬自由精神的形式迹象与精神象征。这种书法否定主义本质上是以文化现代性(当代性)对书法基因的系统性改造(包括艺术转基因),具体说是以诞生于西方的人类现代艺术和当代艺术(包括日本)为形式与精神的参照系而对书法的改造,它不仅针对了千年书法的病、残、弱、衰等问题,更重要的是它诞生了艺术新生物——书法性的现代和当代艺术,而这艺术新生物保留了书法的某些基因生命性状(与书法文化有上下文关系),却更以新的基因生命性状进一步张扬了人的自由精神。

吴味从1990年代就开始了书法基因的改造工作,此次展览是其架上作品。他的少字数作品(如《禅非禅》系列)多选择笔画少的汉字,多用宿墨,以汉字笔画为媒材形成画面的点线、结构、空间,已无所谓汉字识别,作品富于偏理性的线条笔墨韵味、节奏和结构空间的张力,是汉字表现主义作品;他的《元电图》系列是以草书为媒材,但不书写汉字,而是以草书式运笔直接形成线条的空间运动,作品富于偏感性的线条激情和力度,是书法式抽象表现主义作品,两类作品是其书法的现代转型的成果。而《元变体》系列在讲求现代点线——结构——空间的同时,通过将汉字的某些笔画线条转化为某种奇特文化符号(由自然与社会物品的抽象符号重叠交织而成),并与其它的一般性书法笔画线条形成对比,形成一种独特的图式,提示书法在现代社会的审美冲突,可引发人们对书法审美局限性的思考,具有一定的观念性;《水墨〇阵》系列通过“〇”符号的虚虚实实的“布阵”,反思了中国文化在当下的虚无性问题,是特定问题针对性的观念作品,两类作品是其书法的当代转型的成果(另有《毛笔抚摩》、《毛笔交遇》等非架上当代转型系列,此处不论)。

吴味深入书法形式与文化内部的改造书法基因的现代和当代艺术探索,既为书法的现代和当代转型,也为现代与当代艺术如何处理与民族传统文化的关系,提供了可能性个案。

吴味//2017年6月1日于深圳


Preface

The modern and contemporary transformation of calligraphy is the process of publicizing the free spirit after repeated "negation" of art subject. Such negationis focusing on the form of calligraphy itself and its culture, with each negation entering into the new space and giving birth to the new forms of the calligraphy art: from "Chinese character deformation after exaggeration", to " the creation of pseudo-Chinese characters", and even to "the complete Point-line abstract combination". Such negation is also focusing onthe formalism of calligraphy, which gradually negates the Chinese character writing ontology of stipple-structure-organization of composition and the repressive traditional culture that such ontology indicated, which also drives calligraphy into expressionism to which the abstract is the acme, and which eventually turnsthe calligraphy into the modern calligraphy with point-line--tructure--space as its formalism ontology. Taking calligraphy as its resource, the modern artdemonstrates the free spirit of the art subject. The reflective thinking on the problem of calligraphy culture based on specific symbols and their connections is the conceptism negation of calligraphy, which makes calligraphy approach toward sconceptism ( particular concept is the acme of conceptism) and turn into the contemporary calligraphy of significationism ontology. The contemporary art with calligraphy problem specificity, namely the contemporary art with “Questionism” that I advocate, further displays the free spirit of the art subject. It could be claimed that the modern and contemporary transformation of calligraphy is a form of sign and a spiritual symbol of displaying the free spiritof the art subject with calligraphy Negativism. Such calligraphy Negativism, in essence, is the modification of calligraphy genes ( including artistic transgenic) systemically by cultural modernity (contemporaneity). To be specific, it is the remodeling of calligraphy, basedon the reference system in the model and spirit of human modern art and Contemporary Art born in the Western countries (including Japan). It aims at resolvingthe problems of calligraphy in its “illness, disability, weakness and decay” which has been there for thousands of the years. The more important thing is the birth of new creature of the art, Calligraphic modern and contemporary art, which retains some life traits of calligraphy gene (in the context of calligraphy culture) and further more develops the human freedom spirit with new genetic lifetraits.

Wu Wei has started the gene transformation of the calligraphy since 1990s. What presented for the exhibition is only his easel works. His work with Fewer Words of Chinese Character (such as "Zen non Zen" Series) features in more likely selecting Chinese characters with fewer strokes, more likely using old inkforming point and line,  structure, and space with strokes of Chinese characters as media. In this case, the recognizing of the Chinese character ornot has not mattered anymore. His work, with the tendency of the reasoning andthe logics, is full of the charm of lines, ink, rhythm, and the space tension.Those are the work of expressionism in Chinese characters.  His work with "Primitive Electrogram" series uses cursive handwriting as media, without writing Chinese charactersrather directly forming lines space movement. Such work, with the tendency of the sensibility, is full of the passion and intensity of the lines. Those are the work of the abstract-expressionism in calligraphy.  The modern transformation of his calligraphy lies in those two types of work. The another type, the "Primitive Variant" series, in the same time of pursuing the modern expression of point and lines, structure, and space, changes some lines of calligraphy strokes into some kind of particular cultural symbols (overlapping and interweaving the abstract symbols representing natural objects and social objects), makes contrast with other general lines of calligraphy strokes,  forms an unique schema,  indicates the aesthetic conflict of calligraphy in modern society, reminds people of thinking about the aesthetic limitations of calligraphy. It has a sense of Concept to certain degree. In "InkArray" series, it reflects the emptiness problem of the current Chinese culture by arraying the dotted and solid "" symbols. It is the concept work with the focus on the specific problem. The contemporary transformation of his calligraphy lies in those two types of work (other contemporary transformation series such as "brush stroke", "brush enncounter", etc., are not discussed here).

The modern-Contemporary art exploration by Wu Wei of remodeling calligraphy gene through  deeply involving calligraphy form and the coreculture provides a case with the possibility of not only the modern and contemporary transformation of calligraphy, but also on how to deal with the relationship by modern-Contemporary Art with traditional culture.

Wu  Wei // June 1st, 2017, Shenzhen


研讨会:书法转型与现代、当代艺术

本展览同时举办与书法转型有关的研讨会:“书法转型与现代、当代艺术”,旨在探讨书法的现代、当代转型的可能性与意义。参考议题:

1、书法转型的意义。

2、书法转型与西方现当代艺术(包括日本现代书法)的关系。

3、1980年代以来书法的现代、当代转型的成与败。

4、书法的现代转型与当代转型的区别。

5、传统审美与书法的转型。

6、当代生活与书法的转型。

7、书法资源与现代当代艺术的创作。

本研讨会既邀请有书法转型学术背景的批评家和艺术家,更邀请非书法背景或跨界的学者和艺术家,也欢迎所有参观展览的人士,共同参与研讨;同时热诚欢迎各地自愿自费前来参加研讨会的学者和艺术家(须提前报名,以便安排发言!联系电话:13556868231)。活动旨在凸显书法转型涉及的传统与现代、东方与西方、继承与发展、理论与创作、学科与跨界、接受与教育、艺术与生活……等等方面的问题。

研讨会由著名的独立艺术批评家、策展人徐旭先生主持。

吴味//2017年6月8日于深圳


Seminar: the Transformation of Calligraphy and Modern-Contemporary Art

The exhibition also organizes Seminars related to thetransformation of Calligraphy: "the transformation of calligraphy and modern-Contemporary Art", which aims to explore the possibility and significance of modern and contemporary transformation of  calligraphy. Reference topics:

1. The significance of calligraphy transformation.

2. The relationship between the transformation of calligraphy and Western modern and Contemporary Art (including modern Japanese calligraphy).

3. The success and the failure of modern and contemporary transformation of calligraphy since 1980s.

4. The difference between the modern transformation of calligraphy and the contemporary transformation of calligraphy.

5. The traditional aesthetics and transformation of calligraphy.

6. The contemporary life and the transformation of calligraphy.

7. The calligraphy resources and the creation of the modern-Contemporary Art.

This Seminar has invited both critics and artists with the academic background of the transformation of calligraphy, also artists and scholars with non-calligraphy background or with trans-specialty. Seminar also welcomes all people who come to visit the exhibition to participate in the discussion together. In the sametime, we warmly welcome scholars and artists willing to come to Seminar at their own expenseyou must sign up in advance so that you can be arranged to have your speech! Contact mobilephone: 13556868231. The activity is designed tohighlight the problems of the transformation of calligraphy to be involved in tradition and modern, Eastern and Western, inheritance and development, theoryand creation, discipline and trans-boundary, acceptance and education, art and life...... and so on.

Seminar will be presided over by Mr. Xu Xu, a famous independent art critic and curator.

Wu Wei//June 8th,2017, Shenzhen


关于学术主持

徐旭——著名独立文艺批评家、策展人。文艺学硕士,大众文化研究学者。曾在《画刊》、《美术馆》、《中国油画》、《文化研究》、《阳光时务》、《库艺术》、《当代艺术》、《南都周刊》、《凤凰周刊》、《神学美学》等中外期刊发表若干学术文章,亦为《凤凰周刊》和《中国美术报》撰写专栏;此外,还受聘为《当代艺术》杂志的学术顾问;2002年至今,为国内多个大型艺术展览主持学术研讨活动,为中国前沿艺术提供学术理论与支持。

 

About Academic Host

Xu Xu -- a famous independent art critic and curator. Master of arts and literature, popular culture researcher. Several scholarly articles published once in the "Pictorial", "Art Museum", "Chinese Painting", "Cultural Studies", "The Times", "Ku art", "Contemporary Art", "Nandu Weekly", "Phoenix Weekly", "Theology and aesthetics" etc, of which being Chinese and foreign periodicals. Also writing for the "Phoenix Weekly" and "China Art Newspaper" column; in addition, employed as a academic advisor of "contemporary art" magazine. Since 2002, presided over the academic seminar for many domestic large-scale art exhibitions, providing academic theories and supports for Chinese cutting-edge art.


关于艺术家

吴味——1963年生于湖北,艺术家,批评家,现居深圳。20世纪90年代开始探索现代和当代艺术,参加了许多重要的现代、当代艺术展览和学术活动,并深度介入艺术批评,曾获首届“523·中国当代艺术思想论坛”的艺术批评奖。

展览

改造书法基因——吴味艺术展(深圳·太阳山艺术中心)

断层扫描·吴味艺术个展(广州·朱子画廊)

文化匿象·吴味艺术个展(深圳·格丰当代艺术馆)

应变·吴味艺术个展(深圳·古一艺术空间)

首尔国际现代书艺双年展(韩国首尔·物波艺术中心)

汉字世纪·汉字艺术大展(北京·中华世纪坛)

20年来汉字与书写的新经验·中国现代书法国际巡回展(香港、台湾、法国)

行为与书写·吴味/张强艺术展(香港艺术公社)

巴蜀点兵·99'成都20世纪末中国现代书法回顾展(成都·国际会展中心)

中国现代书法学术观摩展(江苏·金农纪念馆)

旋转3600·中国艺术方案展(上海·海上山艺术中心)

造谣·当代艺术展(上海非艺术中心)、FCA·当代艺术展(上海·非艺术中心)

各行其道·当代艺术展(广州大学)

近墨者黑·行为艺术展(深圳雕塑院当代艺术展厅)

非常碰撞·格丰艺术创库联展(深圳·格丰当代艺术馆)

在关外·当代艺术展(深圳当代艺术创库)

造影·当代艺术展(深圳·F518时尚创意园)

外线艺术七人展(深圳·金色家园)

等等与现代、当代书法(水墨)有关的展览

以及其它许多当代艺术展览。

学术活动

首尔国际现代书艺双年展研讨会(物波艺术中心)、现代书法新展望——两岸学术交流研讨会(国立台湾美术馆)、巴蜀点兵·99'成都20世纪末中国现代书法学术研讨会(成都国际会展中心)、中国现代书法发展战略研讨会(江苏金农纪念馆)、刘永顺现代书法展研讨会(上海苏河艺术中心)等现代、当代书法(水墨)学术活动,以及其它许多当代艺术学术活动。

文章和著作

发表艺术批评文章150多万字,出版艺术批评文集《问题主义(四卷)——当代艺术本体论、当代艺术实践论、当代艺术批评方法论、当代艺术网上辩论)》,出版画集《艺术个案——吴味》和《水墨心电图》。

作品收藏

韩国物波艺术中心、格丰当代艺术馆、朱子画廊、F518时尚创意园等机构及许多私人收藏。

 

About Artist

Wu Wei -- born in Hubei in 1963, an artist and critic, currently residing in Shenzhen. Since 1990, having started exploring the modern-contemporary Art, participated in many  important modern-contemporary art exhibitions andacademic activities, and deeply involved in art criticism. Has won art criticism award of “The first 523-Forum on Chinese contemporary art thought ".

Exhibition

Remodeling Calligraphy Gene - An Exhibition of Wu Wei's ArtSunrise Art Center, Shenzhen

CT - An Exhibition of Wu Wei's Art (ZhuziGallery, Guangzhou)

HiddenImage of Culture - An Exhibition of Wu Wei's Art (Gefeng Museum of Contemporary Art , Shenzhen)

Strain- An Exhibition of Wu Wei's Art (Guyi Art Space, Shenzhen)

Seoul International Modern Calligraphy Biennale (Mulpa Art Center, Seoul)

Century of Chinese Characters - Chinese Characters Art Exhibition (China Century Altar , Beijing)

Twenty Years’ New Experience of Chinese Characters and Writing - Chinese International Modern Calligraphy Exhibition Tour (Hong Kong, Taiwan, France)

Behaviorand Writing - Wu Wei / Zhang Qiang Art Exhibition (Hong Kong Art Commune)

BashuSoldier Selection - 99' Chengdu China Modern Calligraphy Exhibition Review at the End of the Twentieth Century (International Exhibition Center, Chengdu)

Chinese Modern Calligraphy Academic Exhibition (Jinnong Memorial, Jiangsu)

Spinning 3600 - China Art Exhibition (Haishangshan Arts Center, Shanghai)

Disinformation- Contemporary Art Exhibition (Non Art Center, Shanghai)

FCA - Contemporary Art Exhibition (Non Art Center, Shanghai)

Each Goes His Own Way - Contemporary Art Exhibition (Guangzhou University)

Who Keeps Company with the Wolf Will Learn to Howl - Behavior Art Exhibition (Shenzhen Sculpture Institute of Contemporary Art Exhibition Hall)

Very Collision- Gefeng Artistic Creation Base Exhibition (Gefeng Museum of Art, Shenzhen)

Outside Pass - Contemporary Art Exhibition (Shenzhen Contemporary Art Creative base)

Radiography - Contemporary Art Exhibition (F518 Fashion Creative Park, Shenzhen)

OutsideLines Art Axhibition of Seven Persons (Shenzhen Golden Homes)

etc. they are the exhibition about the modern and contemporary calligraphy (ink), inaddition, there are many other contemporary art exhibition.

Academic activities

Seoul International Modern Calligraphy Biennale Seminar (Wubo Art Center)

The Newprospect of Modern Calligraphy -- Cross-Strait Academic Symposium (Taiwan Art Museum)

Bashu Soldier Selection - 99' Chengdu China Modern Calligraphy Symposium (ChengduInternational Exhibition Center)

The Symposium on the Development Strategy of China Modern Calligraphy (Jiangsu Jinnong Memorial Museum)

Liu Yongshun Modern Calligraphy Exhibition Seminar (Shanghai Suhe Art Center)

etc. They are modern and contemporary calligraphy (ink) academic activities, as well as, there are many other contemporary art academic activities.

Books and articles

Published articles of art criticism totaling about 1.5 million words, Published works of art criticism of "Questionism (four volumes) - contemporary art ontology, Theory of practice of contemporary art, contemporary art criticism methodology, contemporary art online debate)", Published the album of  "Art case -Wu Wei" and "Ink ECG".

Collection of works

Korean Art Center, Gefeng Museum of contemporary art, Zhuzi Gallery, F518 fashion creativegarden, and many private collections.


展览部分作品

Some Works of Exhibition

改造书法基因——吴味艺术展 - 吴味 - 吴味的博客

吴味//《元变体·问号》/ 宣纸、水墨 / 138×1725px / 2017

Wu Wei//"Primitive Variant - Question Mark " / Xuan paper, Ink / 138×1725px / 2017


改造书法基因——吴味艺术展 - 吴味 - 吴味的博客

吴味//《元变体·问号》(局部)

Wu Wei//"Primitive Variant - Question Mark " (part) 


改造书法基因——吴味艺术展 - 吴味 - 吴味的博客

吴味//《元变体·Ο》/ 宣纸、水墨 / 138×1725px / 2017

Wu Wei//"Primitive Variant - Ο" / Xuan paper, Ink / 68×1725px / 2017


改造书法基因——吴味艺术展 - 吴味 - 吴味的博客

吴味//《元变体·Ο》(局部)

Wu Wei//"Primitive Variant - Ο" (part)


改造书法基因——吴味艺术展 - 吴味 - 吴味的博客

吴味//《元变体·人之一》/ 宣纸、水墨 / 138×1725px  /2017

Wu Wei//"Primitive Variant - Human  No.1" / Xuanpaper, Ink / 138×1725px / 2017


改造书法基因——吴味艺术展 - 吴味 - 吴味的博客

吴味//《元变体·上下》/ 宣纸、水墨 / 69×1700px / 2017

Wu Wei//"Primitive Variant - Shang Xia" / Xuanpaper, Ink / 69×1700px / 2017



改造书法基因——吴味艺术展 - 吴味 - 吴味的博客

吴味《水墨〇阵·2007年8号》/ 宣纸、水墨 / 97×2250px / 2007

Wu Wei//"Ink Array - 2007 No.8" / Xuanpaper, Ink / 97×90cm / 2007


改造书法基因——吴味艺术展 - 吴味 - 吴味的博客

吴味《水墨〇阵·2007年23号》/ 宣纸、水墨 / 124×124cm / 2007

Wu Wei//"Ink Array - 2007 No.23" / Xuanpaper, Ink / 124×3100px / 2007


改造书法基因——吴味艺术展 - 吴味 - 吴味的博客

吴味《水墨〇阵·2007年21号》/ 宣纸、水墨 / 124×124cm / 2007

Wu Wei//"Ink Array - 2007 No.21" / Xuanpaper, Ink / 124×3100px / 2007


改造书法基因——吴味艺术展 - 吴味 - 吴味的博客

吴味《禅非禅·亦》/ 宣纸、水墨 / 69×68cm / 2017

Wu Wei//"Zen non Zen - Yi" / Xuanpaper, Ink / 69×68cm / 2017


改造书法基因——吴味艺术展 - 吴味 - 吴味的博客

吴味《禅非禅·以》/ 宣纸、水墨 / 69×68cm / 2015

Wu Wei//"Zen non Zen - Yi" / Xuanpaper,Ink / 69×68cm / 2015


改造书法基因——吴味艺术展 - 吴味 - 吴味的博客

吴味《禅非禅·年》/ 宣纸、水墨/ 69×68cm / 2015

Wu Wei//"Zen-non-Zen - Nian" / Xuanpaper, Ink/ 69×68cm / 2015


改造书法基因——吴味艺术展 - 吴味 - 吴味的博客

吴味《元电图·1999年第10号(与马瑟韦尔对话)》/ 宣纸、水墨 / 360×97cm / 1999

Wu Wei//"Primitive Electrogram - 1999 No.10 (Dialoguing with Mather Weir)" / Xuanpaper, Ink / 360×97cm / 1999


改造书法基因——吴味艺术展 - 吴味 - 吴味的博客

吴味《元电图·2000年第3号》/ 宣纸、水墨 / 180×97cm / 2000

Wu Wei//"Primitive Electrogram - 2000 No.3"/ Xuanpaper, Ink / 180×97cm / 2000


改造书法基因——吴味艺术展 - 吴味 - 吴味的博客

吴味《元电图·2000年第1号》/ 宣纸、水墨 / 180×97cm / 2000

Wu Wei//"Primitive Electrogram - 2000 No.1" / Xuanpaper, Ink / 97×90cm / 2000

 

特别致谢

展览总监陈山叶小姐(美国苏富比大学艺术管理硕士)为展览设计了精美的海报;策展人和艺术家吴味先生的同学唐海旺先生(美国)对吴味翻译的展览文本英文做了全面细致的修改,在此深表谢意!


Special thanks

   Exhibition Director Miss Chen Shanye (Master of Arts Management of American Sotheby Art university ) design an exquisite Exhibition Poster; curator and artist Mr. Wu Wei's classmate Mr. Tang Haiwang (United States) carefully revised the English text of the exhibition which was translated by Wu Wei.thanks!


深圳/太阳山艺术中心

Sunrise Art Center, Shenzhen

2017629

June 29th, 2017

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