BAD NEW DAYS AHEAD

日落将至

BAD NEW DAYS AHEAD

2017.12.30 - 2018.2.10

Opening 2017.12.30 16:00

策展人：韩馨逸、李贝壳、李泊岩

艺术家：范西、高宇、胡庆泰、蒋竹韵、劳家辉、李亭葳、毛韬、孙存明、耶苏

艺术总监：唐昕

CURATORS: HAN Liya、LI Beike、LI Boyan

ARTISTS: FAN Xi, GAO Yu, HU Qingtai, JIANG Zhuyun, LAO Jiahui, LI Tingwei, MAO Tao, SUN Cunming, YE Su

ARTISTIC DIRECTOR: TANG Xin

北京市朝阳区崔各庄乡草场地艺术区红一号院B2-泰康空间

星期二至星期六 10:30 - 17:30

Red No.1-B2, Caochangdi, Cuigezhuang, Chaoyang District, Beijing, CHINA

www.taikangspace.com

Opening hours: 10:30 - 17:30, Tuesday to Saturday

作为泰康新生代策展人项目的年度报告，展览“日落将至”由泰康空间特邀策展人韩馨逸、李贝壳、李泊岩共同策划。三位年轻的策展人精诚合作，他们协商、整合彼此的艺术观念，并分享各自的经验与期待。

展览在某种程度上继续了2016年末“抵抗的涌现”所开启的合作模式和工作方向，并进一步打开了更多自主性、对话性和灵活性的空间。通过一年一度甚至更频繁的展览、研讨、出版等活动，泰康新生代策展人项目也在不断地更新着自己的状态和愿景。在“日落将至”中，我们尝试在策展人之间、策展人与艺术家之间、展览参与者和空间、机构乃至艺术生产的当下状态之间激发多重且双向的链接，以实验性和自反性的姿态重新发明我们对于整个艺术机制与生态的理解。

As the annual report of Taikang New Generation Curator Program, this exhibition, “Bad New Days Ahead” is co-curated by HAN Liya, LI Beike and LI Boyan. The three young curators have worked and collaborated with one another to integrate and share their different ideas, experience and expectations of art altogether.

To some extent, this exhibition goes forward along the cooperative mode and direction initiated during the exhibition “Towards the Emergence of Resistance” one year ago. Moreover, it opens up more flexibility for subjectivity, conversation and exploration of space. By organizing exhibitions, seminars, publication activities once a year and even more frequently, Taikang New Generation Curator Program is continuously breaking new ground in its status and vision. As for “Bad New Days Ahead”, we attempt to stimulate multiple and mutual connections among curators, between curators and artists, and among the audience, the space, the institution or even the state of art creation. With an experimental and reflective mind, we hope to reinvent our understanding of the whole art system and art ecology.

关于展览

冬至刚过，对生活于北半球的人们来说，一年中最漫长的黑夜已告终。而这一年来连续不断的地区冲突乃至战争、不可预期的自然或人为灾难、令人不安的各类公共危机和事件让人很难以纯然的轻松迎向未来。昼夜的交替、季节的轮转、岁时的循环……这些看似最稳固和基本的节律，似乎已经被一种无休止的加速和无规则的变动所带来的噪声淹没。我们同一个不确定的未来迎面遭遇，后者不再能够提供进步主义的许诺，也耗尽了乐观主义的遗产。在这充满风险的时刻，既有的想象和经验似乎陷入了无力的困顿和不安。这一方面意味着我们的身体和心灵正在经历更彻底、更剧烈的剥削与耗损，另一方面，强度与加速的领域也打开了通向新的感知模式、历史意识、感性和美学的大门，在它背后，一种新的主体性呼之欲出。而“日落将至”作为本展的主题，用明暗交替一刻既模糊又强烈的视像，预示了某种临界状态的到来。

如果将今天以展览为代表的艺术生产-呈现机制，比作在特定场域下进行的由特定规则和内部动力所决定与制约的游戏，那么展览“日落将至”则试图通过个体的联合与协商，在重重现实干预和各种外部条件的限制下展开一次边界测试。既然过去的一切已不再能生产未来的允诺，朝向明天的愿景已无法作为共同行动的基础，而一种新的美学-政治方案还在到来的过程之中。那么，不妨将三位共同工作的策展人，每一位参展的艺术家，他们在现实条件乃至具体情境中完成的作品生产，这其中所形成的各种临时性合作关系，以及作为这些关系发生场域的展览空间……都作为这次展览的重要实验对象。通过建立一个临时性、想像性和实验性的合作“机构”，策展人和艺术家得以重新定义各自的位置和潜能。他们力图摆脱往常的创作模式，对当下与未来进行一次即兴的回应与想象，一次朝向逃逸线的轻快飞行，一次悬置结论的联合发明。在这个意义上，“日落将至”显然不是末日预言，相反，它通过呈现各种反身性的创作实践，揭示出我们共同而日常的耗损、重复和疲惫，也提示出生而为人的孤独、焦虑及短暂的欢乐。

“日落将至”，在我们共同生活的大地上。

About Exhibition

The winter solstice has just passed. For people living in the northern hemisphere, the longest night of the year has come to an end. However, the regional conflicts and even wars, unpredictable natural disasters, disquieting public crisis and affairs are still continuing, making it quite hard to simply welcome the future with peace and ease. The turns of day and night, the cycle of four seasons, the changes of time...all these seemingly stable and basic rules have been overwhelmed by the noise of a kind of endless acceleration and irregular variation. We are faced with a future filled with uncertainty. This future could no longer offer a promise of progressivism nor inherit the legacy of optimism. At this risky moment, all the imagination and experience we have seem to fall into a state of anxiety. On one hand, it is a sign to show that our body and mind are going through more thorough and intense exploitation and depletion. On the other hand, the expanding field and the intensity itself are also opening up the gate of new perception manners, historical consciousness, sensitivity and aesthetics – behind which a new kind of subjectivity is becoming alive. Therefore, as the theme of this exhibition, the title “Bad New Days Ahead” actually indicates the arrival of a certain critical state by presenting a blurred yet strong vision through the alternating between darkness and light of our era.

If considering the system of art production– presentation (taking the form of exhibitions as an example) as a game that goes on in a specific space under specific rules and restricted by its inner motivation, then the exhibition “Bad New Days Ahead” is a case trying to experiment with the border, even though under realistic interventions and the limitation of the external conditions, via the collaboration and negotiation among individuals. The future could no longer take granted from the past. The expectation for tomorrow could no longer be the basis for taking actions together. A new aesthetic-political plan is still on its way. Why, then, not including everything – the three curators, the artists, the artworks of each artist created under their own condition, the temporary connections formed during the working process, and the institutional space holding all these relations – as the important experimental subjects of this exhibition? By constructing a temporary, imaginary, experimental “institution”, both the curators and the artists can have the chance to redefine their own position and potential. They attempt to get rid of their ordinary way of creation, turning towards the present and the future to make an impromptu response or imagination, to take a flight to run away, to declare the suspension of a conclusion. On this point, “Bad New Days Ahead” is never a doomsday prophecy. Quite the opposite, by presenting all kinds of introspective artworks and art practice, it is a revealing of our common depletion, repetition and tiredness, yet a hint to the loneliness, anxiety as well as the momentary happiness of being a human.

“Bad New Days Ahead”, right where we all live together.

关于策展人

韩馨逸是一名艺术写作者、策展人，2015年毕业于中国美术学院当代艺术与社会思想研究所，获硕士学位，于2016年联合创立研究性空间Salt Projects，现生活工作于北京。

李贝壳是一名艺术写作者、策展人，先后获得伦敦金斯顿大学设计策展硕士学位及伦敦艺术大学圣马丁艺术学院文化批评与策展硕士学位，现为中央美术学院博士研究生。独立策划的展览包括“置景俱乐部”“无法兑现”等。

李泊岩是一名独立策展人，2006年毕业于天津美术学院中国画系。2012年创办非营利艺术机构“再生空间计划”。主要策划的展览有“贫穷剧场-抗拒消费时代的重造”“断层再造”“铁托的肖像”“新旧站”“ISBN:9787214056061”“三高”“基层劳动”“到灯塔去”“从何而来”等。

About Curators

HAN Liya, art critic and curator. In 2015 she graduated from the Institute of Contemporary Art and Social Thought at the China Academy of Art and was awarded a master's degree. She is also the co-founder of the research space called Salt Projects.

LI Beike, art critic and curator. She received a master's degree in Curating Contemporary Design at Kingston University London and another master's degree in Culture, Criticism and Curation at Central Saint Martins, University of the Arts London. She is currently a PhD student at the Central Academy of Fine Arts. The exhibitions independently curated by her include “The Staged Club” and “Accessing the Memory”, etc.

LI Boyan, independent curator. In 2006 he graduated from the Chinese Painting Department at Tianjin Academy of Fine Arts. In 2012 he established the non-profit art institution called Space Regeneration Projects. Exhibitions curated by him include: “DeconstructingBuyology - Remaking to Resist in an Age of Consumption”, “Duàncéng Zàizào”, “Moshang Experiment - <Portrait of Tito>”, “Old New Stand”, “ISBN: 9787214056061”, “Trio”, “To the Lighthouse”, etc.

展览场刊[pdf]

日落简史：工作意谓着完成某件事（李泊岩）

黑白空间中的“弱普遍主义”（李贝壳）