CONJUNCTIVELY EVOLVING

道•同/契•合

——Chinese Contemporary Art @ Royal College of Art，UK

——英国皇家艺术学院/对话/中国当代艺术

CURATOR： Li Liu、Jian Zhou、Yicheng Zhang

策展人：柳力、周健、张一琤

PUBLISHER：Yiqing Xuan

出品人：宣一氢

主办：半张图艺术馆/HALF IMAGE

承办：云艺术中心/YUN•CONTEMPORARY ARTS CENTER

海外支持：英国CARPE DIEM工作室、英国皇家艺术学院

开幕时间：2016/7/2（周六），14:00-18:00

展览时间：2016/7/2-2016/8/8，每天9:30-17:30

展览地址：上海市徐汇区宜山路407号喜盈门国际建材品牌中心3楼云艺术中心

艺术家|ARTISTS

魏光庆、申凡、倪卫华、计文于、朱卫兵、顾汀汀、毛唯辛、宣琛昊、周槟榔、彭博、刘颖聪、万鸣、谷仁明、金笙、吴晓宁、邓悦君、焦洋、Ann-Marie Lequesne、Bob Matthews、Brian D Hodgson、Charlie Masson、Emma Stibbon RA、谢蓉、Hadas Auerbach、Finlay Taylor、Nicky Coutts、Hal Stennett、Heather Meyerratken、Ian Brown、萧剑魂、Jo Stockham、Joby Williamson、Julia Farrer、Meg Rahaim、Oona Grimes、Victoria Ahrens、Paul Coldwell、Trevor Banthorpe、周健、Stephen Chambers RA、Hans fonk

ALL RISE Nicky Coutts 时长: 7.30分钟，HD Video 电影 2015年

由半张图艺术馆与云艺术中心联合举办的“道·同/契·合”中英当代艺术大展将于7月2日正式开幕，汇聚英国皇家艺术学院教授与中国当代艺术名家作品百余件，这些艺术精品将于26号进入位于宜山路407号的云之当代艺术中心。这次展览将在云艺术中心3000平的空间中呈现20多位英国艺术家的70余件与17位中国艺术家的80余件绘画、影像与装置作品，策展人在三个展厅中分别按照不同的美学角度穿插性整理了中英双方的作品，让不同类的作品之间得以产生对话与交集。

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展览介绍

缘起于策展人周健对史蒂芬·霍斯金斯和李察·安德顿等教授于上世纪九十年代初期倡议发起“IMPACT国际版画会议”的响应，我们得以邀请到英国皇家艺术学院的院士、导师与著名艺术家携他们的版画作品来到上海；我们又获得上海各界艺术家、学者及云艺术中心、半张图艺术馆的支持协作，我们得以在“IMPACT国际版画会议”原初的理念上拓展而收获此刻“道同契合——中英当代艺术邀请展”包含绘画、影像与装置等多种艺术形式的现场。承袭“IMPACT”一词在英语中由“国际的”（International）、“跨学科的”（Multi-disciplinary）、“版画”（Printmaking）、“艺术家”（Artists）、“观念”（Concepts）和“技术”（Techniques）等词首个字母的缩写组成，它提示着一种双向的姿态，包括由艺术作品中蕴藉的最传统的手艺通向对艺术本体的追问，以及用多层次的国际视野与开放的跨学科姿态来实验并考辨今日艺术的方方面面。“IMPACT”同时也代表着一种比邻相济的胸襟，包含撞击与撼动陈规范式的勇气，以及容纳与反观艺术进行式的各种混沌与纷呈的现象。

In response to Prof. Stephen Hoskins and Richard Anderton proposing "IMPACT International Printmaking Conference" in the early 1990s, curator Zhou Jian and us have such an honor to have the professors and academicians of Royal College of Art bring their artworks to Shanghai. Also, thanks to all sectors of Shanghai artists, scholars, as well as Cloud Art Center and Half Image Gallery, we are proud to present the group exhibition, “Conjunctively Evolving --- Masters of Contemporary Art in China and Britain”, which including various art forms such as printing,video and installation. As the English word “IMPACT” is composed by six words, “International”, “Multi-disciplinary”, “Printmaking”, “Artists”, “Concepts”, and “Technology”, the exhibition prompts a kind of bilateral attitude: not only questioning the art ontology by traditional hand-making, but also differentiating the aspects of arts today through international perspective and interdisciplinary attitudes. Moreover, “IMPACT” represents a relatively complemented breadth of mind,which not only have the courage to impact and shake the stereotype, but also reflect the chaotic phenomenon of today’s arts.

Just not exactly when Ann-Marie Lequesne 4（15x62cm） 凸版印刷 2013年

Sun Bob Matthews 488x344cm 油毡雕刻 2012年

导师尼基•库次用“印刷已立于思想表达的最前沿”来描述今日版画所经历的创新和传统之间的冲突，甚至拓展向更广泛的艺术领域。他的观点基于柏拉图在理想国中，将事物视为对理念与恒常真理的模仿，而艺术则是对有限事物模仿而来的现象，它一味捕捉变动不居的幻影——这样的模仿绝非一种赞誉。他敏锐指出的是由形式诉诸感官的艺术与恒常真理、本源、存在之间的联系，以及当今普遍的媒介传播给艺术本体与受众关系带来的涵义叠加或消除，和更深层社会政治宗教问题。

Nicky Coutts once described the clash that the contemporary printing art meets between the option of innovation and tradition with a wider perspective as “The printing art has been standing at the forefront of the thought”. His viewpoint is based on the idea of Plato which considers the things as the imitation of constant truth, the arts as the phenomenon of limited things and the unsettled Phantom ---- which is definitely not a praise. Nicki Kurts is keen to point out the original connection between sensible art forms and the truth, the origin, the existence, as well as that widely used media today brings to art itself and its audiences the superimposing or the eliminating of meaning, together with the deeper social and political religion problems.

Out of the Blue Finlay Taylor 42x28cm 平版印刷，彩色铅笔手绘 2014年

Framing Nature-Trees Paul Coldwell 54x80cm 数码印刷+丝网版画 2008年

Axel Munthe and the and the otter eaters Oona Grimes 74x111cm 纸板涂鸦 2014年

这样的一种“前沿”，首先，它追溯亚里士多德把艺术作为一种“以知识为基础的活动”归在“知性德行”的行列,圣•奥古斯丁认为：“通过艺术，美可以被显现出来，这种美并非只是从自然物中衍生并经由简单的模仿行为而转化为艺术作品，它就栖身于艺术家本人的心灵，并被它直接化入质料之中”、基督教中的绝对之美超越了众多的作品而并不存在于个别的作品之中，以及文艺复兴把艺术自身的价值最终落实在了“对现实的再现”之上，因为“技术不再仅仅是手艺，而是对能够独立发展的自然进行复制的科学。虽然这种科学并不仅限于透视的问题，但它却在这里找到了自己的第一个范型，而且这个新的范型从根本上转变了艺术的制作。其意义在于，艺术被认为不再只是某些内部专用的消费，而同时也是为一般公众服务的一门科学”。

It is such a"forefront" . At first, it retraces to Aristotle who considered theliberal arts as a "knowledge-based activities" in the ranks of"intellectual virtues", as St. Augustine said: "Through thearts, the beauty can appear. This kind of beauty is not derived from thenatural world, which through simple imitation becomes the works of art, butlive in the artist's mind and directly transform into the material.” And in thelater Christian culture, the absolute beauty was beyond all the works even notexist in any single individual works. While in the Renaissance, the artisticvalue finally fixed on the “reproduction of reality", because "thetechnology is no longer just a craftsmanship, but able to independently developthe science of replicating the nature. Although this science is not justlimited to the perspective, it found his first paradigm in the perspective, andthe new paradigm change the production of art at all. Its significance liesthat art is no longer considered just as a private consumption, but also as ascience for the public service.

灌溉，白房子系列 周槟榔 带框尺寸30x40cm 纸上油彩 2014年

UNTITLED 刘颖聪 可变尺寸 镜面及亚克力材料 2016年

其次，它沟通中西两大文明的际会。文献记载和实物留存表明中国的雕版印刷术发轫于隋初唐末，欧洲印刷术的出现则较晚700余年，而近代印刷工业却发明兴盛于欧洲。迄今发现最为古老的带有图像并具明确纪元的木刻雕版印刷作品是一件由七个印张粘接折叠而成的木板雕印长卷，刻本的卷首，印有《释迦说法图》，图后为《金刚经》全文，卷末刻有“咸通九年四月十五日王玠为二亲敬造普施”字样的敦煌本《金刚般若波罗密经》，它由1907年被受雇于英国与印度政府的英籍匈牙利人奥里尔•斯坦因作为中亚探险队的队长掠至英国。同时欧洲公认最早且有确切年代可考的木板画，是发现于德国南部，现藏于英国曼彻斯特图书馆的《圣•克利斯多夫》——一幅由棕色油墨印制并辅以手工上彩的木刻作品，内容来自《圣经》中有关基督化身为小孩向每天在河边背负病弱贫苦者渡河的圣者克里斯多夫显圣的故事，下方，亦刻有明确的1423的纪年。诚然文字和图像作为印刷的对象，工于雕刻——也就是“版”的制作作为印刷的技术支持，坚韧而价廉的纸张作为承印的物质，以及对于文字和图像的大量需求作为印刷的社会基础，这些均是产生和发展印刷技术的必备因素。然而尽管造纸术确凿是由中国经阿拉伯传入欧洲，但仅时隔二十年的十五世纪中期，古腾堡对印刷术的再发明使之变成一种大规模的生产系统，促进了欧洲的飞速发展乃至工业革命，而中国在很长一段时期内继续使用刻版印刷术，其进步则相对缓慢，直到晚清才由欧洲将现代印刷术再传入中国而出现近代印刷业。

Secondly, itcommunicates the two civilizations between Chinese and Western. The documentsand retained objects indicate that the earliest Chinese woodblock printingbegan in the late Tang dynasty and early Sui. Although European printingtechnology was 700 years later than the Chinese, the modern printing industrywas invented and flourished first in Europe. The oldest woodcut printing workever found with a picture and a clear era is a seven folded sheets bonded woodembossed scroll. This Dunhuang "Vajra Prajna Paramita Sutra" at thefrontispiece was printed with "Buddha Preaching" and the"Diamond Sutra" text at behind, at the ending was engraved with thewords "April 15th, Xiantong 9th year, Wang Jie for the twopro-King" . It was robbed to the Britain in 1907,by British HungarianAurel Stein, who was employed by the United Kingdom and the Indian governmentas the captain of Central Asia expedition. At the same time, the oldest woodcutpainting recognized by European was found in south of German, and now collectedin the Library of Manchester, England, named "Saint Christopher"----awoodcut work with brown ink and hand-painted colour. Its content came from the “Bible”,about the story that a kid as the incarnation of Christ carried the sick poorpersons across the river. At the bottom of the work engraved a clear date,1423. In the objective point of view, the printed text and images depends onprinting production as the technical support, tough and inexpensive paper asthe substrate material, and social demand as the foundation. However, despitethat the papermaking came from China to Europe via Arabia, just after a lapseof two decades,in the mid-fifteenth century, the invention of the Gutenbergthen made the printing into a large-scale production systems, promoting therapid development of the industrial revolution in Europe.While China for a longperiod of time continued to use engraving and lithography, and its progress isrelatively slow. Until the late Qing Dynasty the modern European printingsystem began to develop in China.

封存 魏光庆 金属、纸本、木制品 1200X1200X420cm 2014年

日课·七彩 魏光庆 综合材料 6（90X90X90cm） 2015年

然后，概览中西近代艺术的发端不仅有传统技艺的内涵，更有一种观照人类处境的奋发自觉精神。英语中“art”本来自拉丁文“ars”，指广义的技术与技能，追溯至希腊人以τεχυη一词表示与自然相对的“艺术”，泛指着那些今天被我们称作为“工艺”或者“科学”的人类一般活动，而古代汉语中“艺术”泛指“六艺”以及术数、方技这样的技术与技能，在中国传统中“艺术”或者“乐”是一种人生自觉的实现手段和状态体现，不只是有关着人格修养的“人伦”，它同时也成就着社会意义上的“教化”；而近代艺术的自觉精神，诚如鲁迅倡导的“新兴版画”：“所谓创作底木刻者，不模仿，不复制，作者捏刀向木，直刻下去。记得宋人，大约是苏东坡罢，有请人画梅诗，有句云‘我有一匹好彩绢，请君放笔为直干！’这放刀直干，便是创作底板画首先所必须，和绘画的不同，就在以刀代笔，以木代纸或布。中国的刻图，虽是所谓“绣梓”，也早已望尘莫及，那精神，惟以铁笔刻石章者，仿佛近之。”这一艺术立足点，堪比海德格尔认为人通过艺术向存在发问、得以感知作为人类命运的历史性此在，更可及英国历史学家赫伊津哈提出离开艺术便无法形成一般的历史观念与阿比•瓦尔堡创立“可视的历史记忆库”强调图像的重要性而不能无意识地将之降格为文字的补充或者插图。因为艺术作为历史，更本源于图史陈列与后人的置设，它以物我合一的直观提示着上下文及历史文本中缺席的情节，成为无声的言说。

Thirdly, through theoverview of the originator of modern Eastern and Western art, we can sense boththe connotation of traditional skills and the spirit of struggling in thecontemplation of the human condition. The English word "art" comesfrom the Latin "ars", referring to the broad technology and skills.This term can date back to the Greeks once used τεχυη to represent"art" including "technology," and "science" ofhuman activity in general, which is opposed to nature. The ancient Chinese word"art" refers to the "Six Arts". The technology and skill inthe Chinese tradition means a conscious realization of life means, which is notjust about the personal cultivation,but also the achievements of the socialenlightenment. And for the modern art consciousness, as Lu Xun advocated"new prints": "The so-called woodcut artists are those who donot imitate, neither copy, but use knife to carve straight down into thewood.As Su Dongpo’s poem for apainting of plum blossom,he said: ‘I have a piece of nice colored silk, pleasepaint on it without hesitate.’ This kind of spirit is necessary for the artistto create the successful artworks, especially in the seal cutting." Andthis kind of artistic standpoint is comparable to Heidegger questioning theexistence through art, to apperceive the Dasein of mankind in his history. Italso refers to British historian Johan Huizinga, as he said: “Without arts, human can not form the general concepts of history.” And Aby Warburg suggested the "visual historicalmemory" stressed the importance ofthe image can not be reduced to the unconscious supplements or illustrations ofthe texts, because art as history could make the visual reminder of the absencehistorical context into the silent speech.

鸢尾科1号（局部） 邓悦君 130x350cm 机械动力装置 2016年

鸢尾科1号 邓悦君 130x350cm 机械动力装置 2016年

最后，尼基•库次的观点指涉一道不可回避的目光，那道目光几乎在当今所有的艺术形式上显影。那道目光由着比任何艺术传统更广泛的传播现状而聚敛，或称作由媒体介导的现实，或称作由技术延伸的义肢，带来艺术语言中眼与手的合作、镜头的机制、银屏与投影等广泛的嵌合。同时这促使我们重新探索与自然的关系，顾盼文化中遗失的基因与异化的现状，认知作为艺术受众的不曾料想的他者。在这样一条道路上，当代语境中的中西艺术语言往往跨越学科与形式的界限，而时时追思由形式诉诸感官的艺术与恒常真理、本源、存在之间的联系，希求把握当今社会关系中艺术本质的位移。所谓“冲突”正是借由创新与传统的探索意志，向着更深的人性突围。

Finally, Nicky Coutts reminds us a pair of inescapable eyes, which is visible on almost all of today's art form. It is composed by the fact that the mechanical aspects of art is widely spread than any other artistic tradition, or called digital-mediated reality, or by known as technique as the prosthetic extension, which brings to us the hand-eye cooperating with lens, projection screen fitting with the reality in the language of art. At the same time, this prompted us to re-explore the relationship between nature and culture, the missing gene and alienation from our history, as well as the other unexpected audience. On such a road, the contemporary context of Chinese and Western art forms often across the disciplinary boundaries, reflect the connection between the art form and the truth, origin,existence of art, try to grasp the changing role of art in today’s social relationship. The so-called "conflict" is aiming at a break through towards a deeper humanity with the exploration will of both innovation and tradition.