承受屋

TAKE IT, EMBRACE IT 

 

策  展  人：李泊岩

艺  术  家：陈伟才、高岩、胡燕子、李明孝、邵忆丹、王俊、文豪、杨洪、张翔

艺术总监：闫彦

助       理：葛子菲，刘静娴

开       幕：2018年10月20日（周六）19:30

展览时间：2018年10月20日－11月10日

地      址：重庆市九龙坡区黄桷坪正街 501艺术基地2楼1008号

 

CURATOR: LI Boyan

ARTIST:  CHEN Weicai, GAO Yan, HU Yanzi, LI Mingxiao, SHAO Yidan, WANG Jun, WEN Hao, YANG Hong, ZANG Xiang

ART DIRECTOR: YAN Yan

ASSISTANTS:  GE Zifei, LIU Jingxian

OPENING: 19:30 (Sat.)  20  October 2018

TIME: 20/10/2018 - 10 /11/2018

LOCATION：No.1008, 501 Art Centre, Huangjueping Street of Jiulongpo Region, Chongqing, China

 

将展厅比作容器，真是上世纪展览发展历史上的一个奇谈。因这一比喻，艺术品不仅仅是艺术品，成了容器可以包含的任何东西。范围宽了。空间所承受的艺术，也就变得无法预料的宽了。当艺术被无限可能模糊了边界，也就更不易找到观念精准表达的落脚点了，失败的艺术，越来越多。在此，我们将通过一个有限的游戏规则，来进行一场对于“反向齿轮”的探索。策展人试图通过反规则去推翻正常逻辑的展览程序，却开启了一种新的承受，即剧情无限的可能。

这可能是一个承上启下的空间，策展人的命题由艺术家完成，每一个艺术家的作品由别的艺术家决定。于是，莫名达成了由别人决定的艺术都差不多的共识。艺术家体现出了怀疑和抵制，但这种怀疑和抵制又非常积极。当策展人试图放弃决定权的时候，艺术家也有可能放弃了创作权，或者将创作权彻底交由他人。最后，产出的将是若干被圈定范围的，经过权利干预的现场。

承受屋，也恰巧成了“承受之轻”的隐喻，空间、策展人、艺术家在看似合作的游戏中，反都成了“独自等待，默默承受”的无地自容的人。至于展览的终极意义，也许就像邵忆丹说的那样：想了想，没什么要说的。

 

Comparing the exhibition hall to a container is really a brilliant conception in the history of exhibition in the last century. Due to this analogy, art is not just an artwork, it is anything that a container can contain. When the range is widened, it is unpredictable to see what kind of art could be endured by exhibition space. When the boundary of art is blurred by infinite possibilities, it is even more difficult to find the accurate expression of ideas, more and more art would be failed. Here, we will conduct a exploration of "reverse gear" through a limited game rule. The curator tried to overthrow the rules of regular logic through anti-rules, but in the end opened up a new type of tolerance, that is, the possibility of unlimited plots.

This might be a space connecting the up and down. The curator's proposition is completed by the artist while each artist's work is determined by other artists, which brings on an inexplicable consensus that the art decided by others is almost the same. The artists have shown their suspicion and resistance, but the suspicion and resistance is very positive. When the curator attempts to give up the power to make decisions, the artists may also give up their right to create, or completely hand over the creation right to others. Finally, the output would be a number of demarcated circles, and the sites intervened by powers.

The house of tolerance(take it, embrace it), also happens to be a metaphor of "lightness of tolerance". Art space, curator, and artists have become those who "wait alone, take it all" in the seemingly cooperative game. As for the ultimate meaning of the exhibition, perhaps just like what Shao Yidan said: if you think about it, there is nothing to say.

 

 

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