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【上苑评述】我看北京上苑艺术馆“超结构主义群展”

[2023-8-4 16:13:40]


【上苑评述】我看北京上苑艺术馆“超结构主义群展”

My View on the "Superstructuralism Group Exhibition" of Shangyuan Art Museum in Beijing




由北京上苑艺术馆主办,汤军、詹明昭策展的“超结构主义群展”有超过四十位来自国内外的艺术家参与。艺术家以各自专业的绘画、动画、文字、雕塑、行动艺术……等作品,以集体的力量创造了一次特殊的“超结构主义”盛宴。在这些作品中,各个观览、分而治之,我们很难不说这些艺术手法和某些前辈大师,有相近甚至师法之处(如:立体主义、超现实主义、后印象派…),在整个展厅的动线规划上,亦无大异以往或刻意搞怪之点。那么,这次的群展究竟何以特殊?又“超”在哪里?

The "Superstructuralism Group Exhibition" sponsored by Shangyuan Art Museum in Beijing and curated by Tang Jun and Zhan Mingzhao has more than 40 artists from home and abroad. The artists created a special "super Structuralism" feast with their own professional paintings, animations, characters, sculptures, action arts, etc. In these works, it is hard not to mention that these artistic techniques are similar to or even imitated by some older masters (such as Cubism, Surrealism, Post-Impressionism, etc.), and there is no significant difference or deliberate weirdness in the dynamic planning of the entire exhibition hall. So, why is this group exhibition so special? Where is the ’super’ again?


上苑艺术馆法国驻留艺术家Tristan Tréhin(雕塑作品)


熟悉欧美艺术、语言和社会(发展)的人肯定对结构主义、解构主义、后结构主义等重要的术语相当熟悉,对几个知名的代表性学者及其论点自然也如数家珍。但什么是“超”结构主义?Michel Foucault混用系谱学和诠释学而创造出的“诠释解析法”,以不同的结构主义和诠释学角度来理解人类和社会,被Hubert L. Dreyfus和Paul Rabin写下Michel Foucault: Beyond Structuralism and Hermeneutics(1982)。此书向他提出赞誉和挑战,然而”beyond”也并非本次“超”结构主义之意。

Those who are familiar with European and American art, language and society (development) must be quite familiar with important terms such as Structuralism, Deconstruction and post Structuralism, as well as several well-known representative scholars and their arguments. But what is "super" Structuralism? Michel Foucault mixed Genealogy and hermeneutics to create an "interpretive analytic method", which understood human beings and society from different Structuralism and hermeneutics perspectives. Michel Foucault: Beyond Structuralism and Hermeneutics (1982) was written by Hubert L. Dreyfus and Paul Rabin. This book puts forward praise and challenge to him, but "beyond" is not the meaning of "beyond" Structuralism this time.


辰穹《我的进化史》,艺术微喷,2023


众所周知,语言、符号、权力结构和文化意义是构建我们对世界的理解和认知的主要要素,透过Michael Bakhtin的“对话”论,以及后结构主义等对传统提出的挑战,Jacques Lacan、John Berger也从观视权力的角度,重新思索其中的位置/地位(position)的含混、暧昧与复杂性。

As we all know, language, symbol, power structure and cultural meaning are the main elements to build our understanding and cognition of the world. Through Michael Bakhtin’s "dialogue" theory, as well as post Structuralism and other challenges to tradition, Jacques Lacan and John Berger also rethink the ambiguity, ambiguity and complexity of position/position from the perspective of visual power.


罗应龙《梦幻舞厅No.1,2》,布面油彩,2023


2019年,汤军首度在《超结构主义的艺术、科学与实践》一文中提出了“超结构主义”的概念,该文将“超时空结构”定义为超结构主义的源头,并认为:

In 2019, Tang Jun put forward the concept of "super Structuralism" for the first time in his article "Art, Science and Practice of Super Structuralism", which defined "super space-time structure" as the source of super Structuralism, and believed that:

超时空结构蕴藏在中国艺术的方方面面,也为科学中的相对论和量子力学所揭示。

The structure of super time and space is hidden in all aspects of Chinese art, as well as revealed by relativity and quantum mechanics in science.

中国艺术中的水墨画、江南园林、戏剧等都蕴藏着超时空结构。超结构,即“超时空结构”的简称。

Chinese ink painting, Jiangnan gardens, dramas, and other forms of art contain a super temporal and spatial structure. Superstructure, also known as the abbreviation of "hyper spatiotemporal structure".

而超结构主义,是对基于艺术与科学的超时空结构观念的充分再表现及二次元创造。

And super Structuralism is the full re expression and anime creation of the concept of super space-time structure based on art and science.


汤军《金色维纳斯》(左),《飞翔的维纳斯》(右),《时间之轴》(中),2023


在Michel de Certeau的重要论著The Practice of Everyday Life(1980)中,他提出一个特殊的论点:日常生活的运作方式是在他人的领地上偷猎,使用文化中已有的规则和产品,其方式受到这些规则和产品的影响,但又不完全由其决定。从汤军所说的中国山水画的“散点透视”,到不同区域的人的“现象回归指数”;从帕特农神庙到中国的江南园林,都是从古至今,人类日常生活中在一片看似规则的策略运作下,所呈现的透视、逆反、个人主体与大化衍成之间的反制或交合结果。

In Michel de Certeau’s important work, The Practice of Everyday Life (1980), he proposed a special argument: the way daily life operates is by poaching on the territory of others, using existing rules and products from culture. The way of use is influenced by these rules and products, but not entirely determined by them. From Tang Jun’s "scattered perspective" of Chinese landscape painting to the "phenomenon regression index" of people in different regions; From the Parthenon to the Jiangnan Gardens in China, all of them are the results of perspective, rebellion, reaction or combination between individual subject and Dahua development under a seemingly regular strategy operation in human daily life from ancient times to the present.


李鹏波《美丽新世界》,装置,材料:避孕套+灯珠,90x104x8cm,2022



于是,在展厅里我们看到“一生只做一件事”的水墨画,看到水在天花板上横流却不滴落的《水之态》,看到深具讽刺意味的动画《8分钟清仓甩卖》,哀叹原来我们日常谈论的宏大叙事(和平、国家、权利、爱…)竟是如此不堪一击。在这些“超时空结构”的艺术作品中,我们看见艺术的日常,更看见了艺术的力量,它们任意穿梭,并且随意结合,就像这次的超结构主义展一样。

So, in the exhibition hall, we saw the ink and wash painting of "doing one thing in one’s life", the "State of Water" with water flowing across the ceiling but not dripping, and the ironic animation "8 minutes clearance sale". We lamented that the grand narrative (peace, country, rights, love...) we talked about everyday was so vulnerable. In these "super space-time structure" works of art, we see the daily life of art, but also see the power of art. They freely shuttle and combine, just like this superstructuralism exhibition.


谢静国 2023/8/3

Xie Jingguo, August 3, 2023

台湾东吴大学中文系专任助理教授

Assistant Professor, Department of Chinese Language, Soochow University, Taiwan

台湾艺术大学跨域表演艺术研究所兼任助理教授

Assistant Professor, Interregional Performing Arts Research Institute, Taiwanese art University



上苑艺术馆驻留艺术家詹明昭作品 《布吉岛》,软陶+石头,10x11x18cm,2022


上苑艺术馆驻留艺术家詹明昭作品 《布吉岛》,软陶+石头,10x11x18cm,2022



李玲《玄之一,之二》,综合材料,90x60cm,2023



李博《尤利西斯》, 布面油彩,80x160cm,2018


上苑2023驻留艺术家 Michael Downs(澳)《能量2》,混合媒介,152x168cm,2023






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