{"id":170,"date":"2014-04-26T22:10:47","date_gmt":"2014-04-26T14:10:47","guid":{"rendered":"http:\/\/www.meishuwenxian.com\/?p=170"},"modified":"2015-11-23T12:41:11","modified_gmt":"2015-11-23T04:41:11","slug":"%e7%ac%ac71%e6%9c%9f-%e9%9d%9e%e9%9b%95%e5%a1%91%ef%bc%882011%ef%bc%89","status":"publish","type":"post","link":"https:\/\/www.meishuwenxian.com\/en\/%e7%ac%ac71%e6%9c%9f-%e9%9d%9e%e9%9b%95%e5%a1%91%ef%bc%882011%ef%bc%89\/","title":{"rendered":"\u7b2c71\u671f \u975e\u96d5\u5851\uff082011\uff09"},"content":{"rendered":"

\u7b2c71\u671f \u975e\u96d5\u5851\uff082011\u5e74\uff09<\/strong><\/p>\n

\u5b66\u672f\u4e3b\u6301\uff1a\u5218\u793c\u5bbe<\/p>\n

\u4e3b\u9898\uff1a\u5353\u51e1 \u7434\u560e \u5362\u5f81\u8fdc \u6768\u7a79 \u6881\u7855 \u80e1\u5e86\u96c1 \u5201\u4f1f \u5eb7\u9756<\/p>\n

\u65b0\u4f5c\uff1a\u674e\u78ca \u8c22\u58a8\u51db \u5357\u65b9 \u738b\u957f\u660e \u8d3a\u7956\u658c<\/p>\n

Issue No. 71(2011)<\/span><\/p>\n

Theme: Non-Sculpture<\/span><\/p>\n

Academic Host: Liu Libin<\/span><\/p>\n

A.T: Zhuo Fan, Qin Ga, Lu Zhengyuan, Yang Qiong, Liang Shuo, Hu Qingyan, Diao Wei, Kang Jin<\/span><\/p>\n

A.N: Li Lei, Xie Moling, Nan Fang, Wang Changming, He Zubin<\/span><\/p>\n

\"71\"<\/a><\/p>\n

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\u5b66\u672f\u4e3b\u6301\uff1a\u5218\u793c\u5bbe<\/p>\n

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\u7531\u7269\u5230\u5fc3\uff0c\u8fd9\u53ef\u4ee5\u4f5c\u4e3a\u827a\u672f\u5bb6\u968b\u5efa\u56fd\u53ca\u5176\u5b66\u751f\u521b\u4f5c\u5386\u7a0b\u7684\u4e00\u4e2a\u6982\u8ff0\u3002\u6b64\u6b21\u4e13\u9898\u4e2d\u7684\u827a\u672f\u5bb6\u57fa\u4e8e\u6240\u5b66\u7684\u96d5\u5851\u6280\u80fd\uff0c\u5bf9\u6240\u4f7f\u7528\u6750\u8d28\u7269\u6027\u8fdb\u884c\u8ffd\u95ee\uff0c\u5176\u5b9e\u662f\u5bf9\u81ea\u6211\u5fc3\u6027\u7684\u6316\u6398\u3002<\/p>\n

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\u901a\u8fc7\u4e13\u4e1a\u9524\u70bc\uff0c\u627e\u5230\u8fdb\u5165\u81ea\u5df1\u3001\u89e6\u6478\u5185\u5fc3\u3001\u53d1\u73b0\u95ee\u9898\u7684\u9014\u5f84\uff0c\u8fd9\u6b63\u662f\u201c\u4e0d\u7acb\u4e0d\u7834\u201d\u7684\u9898\u4e2d\u4e4b\u4e49\u3002<\/p>\n

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Without construction there can be no destruction<\/p>\n

\u2014\u2014finding the \u201caccess\u201d into oneself<\/p>\n

Academic Hosts: Liu Libin<\/p>\n

In terms of the inheritance and the innovation of art, it seems that the majority believes that \u201cwithout destruction there can be no construction\u201d, whereas I have more faith in \u201cwithout construction there can be no destruction\u201d. The former is based upon the narrative mode established by the \u201cEvolutionism\u201d, largely relying on bringing forth the new through the old; while the latter puts more faith in the gradual change upon the traditional foundation, or the \u201csudden change\u201d brought about around some key factor when the accumulation has reached some certain degree. The \u201cchange\u201d is almost impossible without the inheritance or the long-term saturation in tradition.<\/p>\n

Therefore, when it comes to the experimental art, I believe the transformation from \u201cthe non-experimental\u201d to \u201cthe experimental\u201d should come as a natural process, instead of some juggling toying with \u201cquiz shows\u201d or some game of \u201cmaterial replacement\u201d or an experiment filed to turn the experimental art into a \u201cconcept\u201d. \u201cExperiment\u201d and \u201ctrial\u201d may seem related, but the avant-garde pursuit for fame of the former reveals a striking gap from the progressive stand of exploration of the latter.<\/p>\n

As a matter of fact, most beginners of art start from the techniques of fine arts \u2013 Chinese practice their calligraphy and painting after the classical models while the westerners are diligent in the sketch training. Those techniques offer you a \u201ccrutch\u201d to learn painting, whoever succeeds in transforming that into an \u201caccess\u201d into oneself will turn out to be valuable, in other words, to establish a \u201cpassageway\u201d between oneself and one\u2019s heart through hardship. The saturation of techniques of fine arts can be regarded as a \u201cpassageway\u201d. XU Bing once said the practice of sketching David helped transform him from a crude person into a refined one. During the process of painting David, XU Bing tried to exhibit all his painting capabilities until there\u2019s nothing more to show, i.e. he pushed himself into a circumstance where the activity of painting could no longer be carried out. It was just in this \u201cdead land\u201d that he discovered his strengths as well as his weaknesses while learning the methods of handling and controlling problems during the process.<\/p>\n

The departments of Print and Sculpture are considered to be creatively active in the Central Academy of Fine Arts. The focus on \u201cthe singularity and the plurality\u201d and \u201cthe contingency and necessity of transfer print\u201d in the process of producing print works has offered them an easier access into the so-called contemporary artistic creation. Through different approaches, the Sculpture Department also manifested a similar activeness as the Print Department. While ensuring the foundation of cultivating the traditional sculpture techniques, the Sculpture Department has presented a great many rising young artists with independent thinking in the relatively open education of elicitation-mode, which put its core on the study of problems.<\/p>\n

The 8 artists of this special were selected from the participants of \u201cCarving + Modeling \u2013 SUI Jianguo and His Students\u201d Exhibition in 2010. The exclusion of SUI Jianguo, YANG Xinguang and WANG Sishun was due to the fact that Fine Arts Literature had already done specials for them. As for the 8 artists who made the list, we included some of their more recent works in addition to the old ones, completing the selected topic of this special.<\/p>\n

With the rise in numbers of \u201cinstallation\u201d works, people came to feel the embarrassing situation of \u201csculpture\u201d in Chinese contemporary art, on the other hand, people were also given an opportunity to reflect upon the current value of \u201csculpture\u201d and rediscover its possibilities. The works displayed in the \u201cCarving + Modeling\u201d Exhibition seemed \u201cnon-sculpture\u201d, yet they were interrelated with academic sculpture in innumerable ways. Instead of the more-often-focused original artistic form, I attach more significance to the inheritance relationship between those works and academic sculpture. This exhibition of SUI Jianguo and his students on one hand embodied the creative layer bred by the academic sculpture of Central Academy of Fine Arts, on the other hand, it offered a case for the Chinese sculpture for reflection.<\/p>\n

Besides, the title of the exhibition \u2013 Carving + Modeling, drove at the emphasis on the action of those words. It aimed to highlight the purity of artists\u2019 creative procedure in this transformation process, underlining its transcendence over and boost towards the academic \u201csculpture\u201d system. \u201cCarve\u201d and \u201cmodel\u201d can be regarded as mathematical terminologies like \u201cadd\u201d and \u201cminus\u201d, as well as the most basic operation of artistic techniques. Is it possible to reactivate an art form when it\u2019s compressed to the most original layer? When the most basic manual approach of an art form is re-manifested, will the cover and shield received during its evolution process be powerfully and completely stripped off? Whether it will evoke the \u201cmaterial nature\u201d of the material used by artists? This \u201cmaterial nature\u201d possesses the silence and strength to break the existing confines of the academic sculpture as well as the composure and calmness to look in the eye of the uproar and fickleness of the art world.<\/p>\n

From the material to the heart, that can be regarded as a summary of the creative journey of SUI Jianguo and his students as artists. The pursuit of the artists in this special to question the \u201cmaterial nature\u201d of the material based on the sculpture techniques learned by them, is in fact an excavation of their own temperament.<\/p>\n

In correspondence with the course of the \u201clong march\u201d, QIN Ga performs \u201csculpture\u201d on his own body. His Territory, which was built through the pile of animal bones, demonstrates the valiancy and wild nature once possessed by a nation. QIN looks at this world through the eye of \u201csculpture\u201d. ZHUO Fan shifted from the obsession with sculpture techniques into the grasp of details of technological methods and means, exhibiting his unique way of concern for the real world through the ridicule and continual questioning of animal bodies and human bodies. LU Zhengyuan randomly scrapes and spreads the paint, after which he uses large-sized painting to describe the status of paint, \u201cto paint the paint with paint\u201d, the light \u201crandomness\u201d of the former and the heavy \u201cdeliberateness\u201d of the latter, mix the ridicule and grandeur together. What is that? By LIANG Shuo produces the negative space lengthened by sculpture through the pouring of bronze, turning coincidence into eternity based on the materialization of the void. His installation work Temporary Structure humorizes \u201cfit\u201d \u2013 the only reason for two items to come together is because one can fittingly thrust into the other. So what\u2019s LIANG teasing about? It could be the relationship between two sexes, or the chaotic reality of China\u2026 KANG Jing scrapes off the bark and his own hair, then carving the tree trunk to be \u201cbark\u201d and making a toupee with real hair. So what\u2019s the reason for distinguishing the real from the fake? What\u2019s the standard? What\u2019s the possibility of the transformation of different material natures? Rather than viewed as a sculpting process, The Modeling of One Foot could be regarded as an obscure and intense relationship between the modeled \u201cfoot\u201d and the real \u201cfoot\u201d to highlight the issue of \u201crepresentation\u201d through the sculpture techniques borrowed by the artist. HU Qingyan inexhaustibly \u201cscoops out\u201d something from the marble, which was used to simulate daily necessities, endowing the majestic creation with everyday traces in the transformation of material natures. Recently, HU radicalized the aforementioned creative process in The Story of a Pile of Mud. By linking end to end a series of imitations, HU created a \u201cSerial\u201d of imitation in The Story of Imitation. Whereas in The Story of a Pile of Mud, every process of imitation is a complete \u201cdenial\u201d of the result of last imitation, just like a bunch of \u201cone-act plays\u201d of imitation.<\/p>\n

From the material to the heart, is an endless road of self-exploration of these artists, whereas to view the heart through heart, can be regarded as something commonplace in their creative process. The clear tendency of their artistic creation can be viewed as a rather valuable new phenomenon manifested by the Chinese sculpture, the emergence of which has provided a new probability for the \u201csculpture\u201d, showing the possibility of \u201csculpture\u201d as the support for sculptors\u2019 (as human beings) thinking.<\/p>\n

Finding the access to enter oneself, touch one\u2019s heart and find problems through professional hammering and tempering, is exactly the keynote of the title \u201cwithout construction there can be no destruction\u201d.<\/p>\n

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 <\/p>\n

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