学术主持：刘鼎 卢迎华 苏伟
主题：《全球艺术与美术馆》 《他们》杂志 《概念商店》 博尔赫斯艺术中心 家作坊和《穿》 公司 哥本哈根自由大学 联合国广场 张培力的新媒体教学实践
新作：曾梵志 谢墨凛 陈勇劲 马浩然
Issue No. 70(2011)
Theme: What “Little Movements” Is Not
Academic Host: Liu Ding, Lu Yinghua, Su Wei
A.T: Global Art and the Museum, They, Concept Store, Borges Libreria Institute For Art, Homeshop and “Wear”, Company, Copenhagen Free University, Unitednationsplaza, Zhang Peili’s Educational Practice in New Media ART
A.N: Zeng Fanzhi, Xie Molin, Chen Yongjing, Ma Haoran
What “Little Movements” Is Not
Academic Hosts: LIU Ding Carol LU Yinghua SU Wei
“Little Movements” is the title of a research project we initiated 2010. It has nothing to do with any social movement. The title is a summary of our overall impression of the subject of our research. Based on the responses we’ve received towards “Little Movements” so far, we understand that having the possibility to explain and discuss what “Little Movements” is not is just as important as describing what “Little Movements” could be. “Little Movements” has nothing to do with scale. The word “little” in the title is not meant as the opposite of “large”, but rather as an adjective for an introspective and contemplative way of working. The scope of the “Little Movements” research project covers artistic practices we’ve come in contact with and read about in our travels and practice. These artistic practices base themselves on specific experiences and responses to specific situations through their groundwork. In their practice, they try to feel and understand the boundaries of the system and extend them through their thinking, speech, research and practice. In their work, these practitioners tend to affect our understanding of the state of reality through self-construction and self-practice. “Little Movements” is not about big or small but about the most fundamental level of work. Without engaging in the most specific work, experience and thought, there wouldn’t be any of the efforts made on the most essential level by the practitioners of the projects featured in “Little Movements”.
“Little Movements” is not a social movement, and it has no guiding principles, but “Little Movements” does seek change. Driven by this pursuit, it engages in self-recognition and self-construction within the production of art and ideas. The practitioners in “Little Movements” have persistently sought internal momentum for their own movements. It describes a state of work in progress, a continued vitality drawn from constant self-examination and self-reshaping.
The research and exhibition plan of “Little Movements” is not a historical retrospective, though it does touch on literary and artistic practices from the 80s, 90s and 2000s. Nor is it a global assessment, though it does contain numerous practical cases from the United States and Europe. In these practices that cross time, regions and art scenes, we see parallelism, and that parallelism rests in the fact that these practices are not stressing limitless expansion but constantly deepening internal work. Some of these practices have already ceased, some haven’t been spread very far, and some have been mentioned before as links in history, but overall, their importance to art in itself has yet to be adequately recognized or discussed. Some of the practices in “Little Movements” are based on perceptions of certain moments in history and deeply held ideals about the shaping of the art system; some are based on dissatisfaction with the context they are in and hope for a breakthrough. Regardless of their conditions and contexts of origin, their emergence and existence, they have or soon will provide fresh insight into our existing experience and open up new possibilities.
The “Little Movements” research plan entails the organization of in-depth group discussions with initiators, practitioners, participants, observers and critics about the backgrounds, origins, developments, influences and artistic ideals behind these practices. Through the accounts of the practitioners and participants, we will gain a detailed understanding of the contents and experiences of each project, while also gaining a detailed understanding of the context of each project, the problems it hoped to solve and the problems that have yet to be solved. These problems are not unique to these particular practitioners. They are challenges that we all face, and they provide a channel for recognizing the context we face. These practitioners are scattered across the world, and we will do our best to visit the scenes and bases for these practices, and hold small discussions at each site.
Before the opening of the exhibition, we will also release the publication Little Movements – Self Practice in Contemporary Art. This publication lies somewhere between an exhibition catalogue and a collection of critical essays. Each chapter will include texts, pictures and biographical details related to each practice, and we have also selected critical essays on related themes. These essays touch on the very issues that the practices in “Little Movements” focus on, touch on and hope to resolve. The use of these critical essays is not to define or explain the practices themselves; their parallel thinking will provide theoretical context for the practices in “Little Movements” and a foundation for better understanding of these practices. These essays are not written especially for these practices. Instead, they are writings that we have come across in the process of our research. Their emergence is not coincidental, but, one could even venture to say, inevitable, because their perceptions and the questions they ponder are in keeping with those of the practitioners. The writers of these essays are practitioners of artistic thought, except that their practices are carried out in words and writing, rather than creations and actions. In this sense, these writings and artistic practices are trailblazing creations in the same manner. Throughout this process, many artists, critics, curators and academics connected or unconnected to “Little Movements” have joined in the discussion, and we have invited many artists to pen essays for Little Movements – Possibilities of Self Practice in Art, either to describe their own practices, to describe the practices of others, or to approach the issues raised by the research of “Little Movements” from a theoretical perspective and join into the movement and production of ideas that is “Little Movements.”
The special report on “Little Movements” in this edition of Fine Art Literature Magazine presents nine cases from this research project. This is only a part of “Little Movements.” A more complete presentation of the research results will be shared in the form of an exhibition. This exhibition will be hosted by OCT Contemporary Art Terminal in Shenzhen as an OCAT Youth Project, to be held from September 10 to November 10, 2011. This exhibition will be a combination of documents and artworks, presenting writings, images and materials related to each case as well as the creative results of their practices.
Translated from Chinese to English by Jeff Crosby.