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2016第三届国际美术展策展理念及主要特点

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2016第三届国际美术展策展理念及主要特点

(Summary description)第三届南京国际美术展在总结前两届经验的基础上,将更专注于专业性、学术性与国际化的提升,从展览的主体框架到主题制定、学术定位进行了详细规划,旨在与国际艺术界展开对话交流,以此激发艺术家的创造精神和创造热情。  The3rdNanjingInternationalArtFestivalwillbebasedontheoverallexperienceoftheprevioustwofestivals,

2016第三届国际美术展策展理念及主要特点

(Summary description)第三届南京国际美术展在总结前两届经验的基础上,将更专注于专业性、学术性与国际化的提升,从展览的主体框架到主题制定、学术定位进行了详细规划,旨在与国际艺术界展开对话交流,以此激发艺术家的创造精神和创造热情。  The3rdNanjingInternationalArtFestivalwillbebasedontheoverallexperienceoftheprevioustwofestivals,

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  第三届南京国际美术展在总结前两届经验的基础上,将更专注于专业性、学术性与国际化的提升,从展览的主体框架到主题制定、学术定位进行了详细规划,旨在与国际艺术界展开对话交流,以此激发艺术家的创造精神和创造热情。

  The 3rd Nanjing International Art Festival will be based on the overall experience of the previous two festivals, while being even more committed to professionalism, academic value, and international promotion. From the main framework of the exhibitions to the specific topics, and academic orientation, all areas will be subject to detailed planning, with the aim being to conduct dialogue with the international art community, as to stimulate the creative spirit and enthusiasm of artists.

  本届南京国际美展以“HISTORICODE:萧条与供给”为学术主题,通过多种艺术形式展开不同国家、地区在全球化背景下面临的问题的提出和表现,并力图让本届展览对当代艺术领域面临的学术问题产生影响。总策展人吕澎先生对本届国际美展的学术主题阐释如下:

  For this year's Nanjing International Art Festival "HISTORICODE: Scarcity and Supply" will be the main theme. Through different art forms from different countries and regions, it will contain suggestions and performances that respond to the challenges of globalization, while at the same time working to have the exhibition make an impact on academic issues currently facing the field of contemporary art. General Curator Mr. Lu Peng's interpretation of the exhibition's academic theme is as follows:

  本展览的主题阐释并不试图提倡一个单一的艺术方向,而是对20世纪90年代以来与艺术有关的历史与现实问题的提示。总策展人仅仅是通过“审视今天的历史背景”和“HISTORICODE”两个部分的探讨和个人意见,为展览评委和希望参展艺术家提供思考的路径:什么是我们今天最关心的艺术问题?我们将如何来看待之前的“当代艺术”和涉及当代艺术的历史要素?艺术在今天的任务究竟是什么?总策展人不掩饰自己的一种观点:有相当长的一个时期,当代艺术处在“温开水”——难以让人产生积极的反应和思考以致显得缺乏意义——的境况之中,人们几乎失去了像20世纪80年代之前那样对艺术的激情和好奇心。也许,人类再一次像19世纪末20世纪初那样改变了对艺术的看法,但是,形形色色的看法是否构成了今天的当代艺术表面繁荣而实质萧条的正当性?在看上去经济力量决定一切的全球化时代,艺术的“丰富性”是否也掩盖了“精神性”的缺失?或者我们今天在讨论艺术的时候不必使用“精神性”这样的词汇?更不用说去讨论从文艺复兴时期以来就支撑着人类文明的人文主义以及知识传统的命运?HISTORICODE关涉价值取向与目标,是人类继续存在与发展的理由,使用经济学术语“萧条”和“供给”不过是希望将存在的问题和如何去面对这些问题提示出来。总之,如下的文字是有关本次展览主题的开放性阐释,可以概括为:如果历史的创造仍然是我们的任务,甄别与分析人类面临的当代问题并挖掘富于建设性的可能性是本次展览希望提示的艺术动机和主题。

  The theme of this exhibition is not an attempt to promote a single direction in art, but rather to bring up questions regarding history and reality that relate to art, while focusing on the period from the 1990s to the present. The General Curator merely goes through the process of exploring and providing his personal opinion on the meaning of "examining the historical background of today" and "HISTORICODE" to provide exhibition judges and artists who hope to participate with a possible way of thinking. What question about art today do we care most about? How do we look at previous "contemporary art" and the historical factors involved in contemporary art? In today's world, what exactly is the mission of art? The General Curator does not conceal his own views: for a fairly long period, contemporary art has been in the situation of resembling lukewarm water that does little to produce a positive reaction and has featured thinking that is manifestly devoid of meaning, losing the passion and curiosity about art that it featured prior to the 1980s. Perhaps, just like at the end of the 19th century and beginning of the 20th, humanity has changed its view of art. However, could it be that the diversity of views making up contemporary art constitute flourishing on the surface, but also a lack of underlying legitimacy?In the era of globalization where economic might determines all, does the "wealth" of art simply cover up the lack of "spirituality"? Or, when we are discussing art today should we not use the word "spirituality"?What about discussing the fate of the humanistic and intellectual tradition that has sustained human civilization from the renaissance on? HISTORICODE is concerned with the orientation and goals of values, with the continued existence of humans and reasons for development; it uses the economic terms "depression" and "supply" in the hope of discussing problems that will continue to exist and bring out solutions to these problems. In short, regarding the theme of the exhibition we can summarize it as follows: if the creation of history is still our mission, filtering and analyzing problems that humanity faces today and unearthing a wealth of possible solutions are the artistic motivations and themes that this exhibition desires to bring out.

  从展览的主旨来看,HISTORICODE可以翻译为“历史代码”、

  “文明代码”或者“人文主义代码”,这些看上去不同的词语的核心是:我们将选择塑造一个什么样的历史?以便对人类曾经的成就给予保护,为人类的今天承担责任,为人类的未来提供条件。这是本次展览希望讨论的问题。

  From the perspective of the exhibition, HISTORICODE could be seen as "historical code", "civilizational code" or "humanistic code". At the heart of these different phrases is a core notion: what kind of history do we choose to shape? Protecting the achievements of mankind is the responsibility of humanity today and a precondition for the future of humanity. This is the question that this exhibition hopes to discuss.

  总策展人吕澎先生认为:“我们不能总是用“东方”与“西方”,或者“国家”与“世界”这类词来讨论差异与问题,而应该将不同的地区或者“在地”经验并置,在一个当代的全球背景下观察与判断。”

  According to General Curator Lu Peng, "We do not want to always use words like "Eastern" and "Western" or "Nation" and "World" to discuss differences and problems, but rather we should seek the juxtaposition of experiences from both the local and from different regions, while observing and making judgments under the contemporary backdrop of globalization.

  本届国际美展在吸收前两届美展的经验成果的基础上,更增添了新的特色。第一,本届美展继续采用总策展人负责制。即由总策展展人负责该次展览的总体策划和全程执行,联合策展人、学术委员会配合进行;第二,本届美展设立了专门的学术委员会,在学术委员会提名的基础上,保留了前两届全球海选的组织方法,目的在于让更多的艺术家有机会出现在人们关注的视野里。

  Based on the experience and results of the previous two festivals, this year's edition will add several new distinctions. First, the exhibition will continue to use the General Curator responsibility system. The General Curator is responsible for the general planning and overall implementation while cooperating with the Joint Curator and academic committee. Second, this exhibition will set up a specialized Academic Committee and on the foundation of Academic Committee nominations retain organizational methods of the previous two global selection processes. The goal is to give more artists the opportunity to receive widespread attention.

  正如吕澎老师所言:展览试图通过不同艺术家用他们的作品对今天的世界表达的不同立场、态度和看法,拆解人们面对世界与知识的一切惯习,将由现实问题导致的感受与理解呈现出来,暴露当今人文衰落的种种问题与原因,甚至提出解决这些问题的可能性,重新思考和定义人类“文明”与“历史”的特征。这就是”HISTORICODE:萧条与供给”的策划主导思想与逻辑。

  As Mr. Lu Peng puts it: The exhibition allows artists to use their works to express different positions, attitudes, and perceptions towards today's world. Dismantling the established habits people have towards the world and knowledge, showing the feelings and thoughts that emerge from concrete problems, exposing the many problems regarding and causes of the decline of humanity and even bringing up possible resolutions to these problems, rethinking and redefining the characteristics of humanity's "civilization" and "history." This is the thinking and logic behind the plan for "HISTORICODE: Scarcity and Supply."

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