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标题: 虚拟建筑——秦玉芬个展 [打印本页]

作者: haoyue 时间: 2009-3-8 15:55 标题: 虚拟建筑——秦玉芬个展

虚拟建筑——秦玉芬个展

展览时间：2009年3月8日——4月15日
展览地点：卓越艺术，北京市朝阳区酒仙桥路4号798艺术D区
开放时间：周二至周日上午10点至下午6点
联系电话：010-5978 9788
电子邮箱：info@joyart–beijing.com
网
址：www.joyart–beijing.com

秦玉芬

在一个时间非常紧凑的全球网络化的世界里，需要各式各样的媒介体。但是，网络、英语，或者更确切地说是美语，还有网络上的信息搜索系统，它们自身都无法具有这种功能。我们必须去寻找自身的文化之源与存在的根基。

因此我们需要文化，文化是人们唯一能定位自我、和自我相连的方式。而与此同时，每个城镇的街道都有相同的面容，每个地方都出售设计相同的物品。我们有充分的理由可以指责全球的麦当劳文化，但是范思哲和卡尔文·克莱恩等时装品牌的霸权和好莱坞趣味一样迅速地扩张，甚至到达全球最偏远的角落。

地域文化以其深远的根基成为人们认同自身历史、认同当下存在，换言之，也就是认同自我的几种可能方式之一。地域文化是与狭隘的地域观念相对立的，它意味着人对自身曾走过的道路的认可。

这就是艺术家成为最佳媒介体的原因所在：他们自身接受、养育、延续了自己的文化传统。意大利的超先锋运动、德国的80年代画家的成功都是因为他们没有否定和掩饰他们的创作之源，恰恰相反，他们愿意将之明白地表现出来，他们有意为来人抛下靠岸的船锚。
这一点在某些艺术家身上表现得更加明晰：他们有意识地跨越国界、洲界，进入全然不同的文化领地，以便更好地了解自己的文化之根，与此同时，努力接受一些新的、初看起来显得奇奇怪怪的文化。不同文明的相遇总是会产生更为敏锐、更为精细的感知方式——就像以前，当我们以外国游客的眼光来看自身拥有的许多东西时，就变得更有洞察力了。

如此说来，对我们而言，某些艺术家具有如此大的震撼力，比如：糅合了远东、欧洲、美国等地风格的艺术家白南准（Nam June Paik），敢于表现俄罗斯和美国之间差异的伊利亚·卡巴科夫（Ilya Kabakov），因为他们的感知让我们的感知更加敏锐起来。

秦玉芬就属于这些在不同文化之间徘徊的游牧一族。他们并非放弃了自己的文化身份，而是使其在远离家乡后更为鲜明；他们不是要将本国传统从民间移植到异国，而是将它们在不同文化中的体验交织在一起予以美感。秦玉芬的敏锐感知深得东方哲学的精髓：白色的编织物、发自她隐蔽的思想之源的柔和色调，都暗示着艺术几个世纪以来一直享有的在人类精神上的地位。但是与此同时，她的艺术又是完全真实地存在，需用整个身体来感知的。它们拓展了我们的感知领域：视觉、听觉、触觉——但是却并不压倒我们，并不宣称拥有任何权威：它们仅仅像一首轻轻吟诵的俳句，带领我们接近生命的真谛。
德国不来梅美术馆馆长沃尔夫·海尔措根哈特

Fictitious Architectu：An Exhibition by Qin Yufen

Exhibition Dates: March 8 –April 152009
Venue: JoyArt, Zone D, 798 Art District, 4 Jiuxian Qiao Road, Chaoyang District, Beijing, China
Opening Hours: 10am – 6pm, Tuesday – Sunday
Tel: ＋86 10 5978 9788
Email: info@joyart–beijing.com
Website: www.joyart–beijing.com

Qin Yufen

In a globalised internetted world whose time units are aligned one with another, there have to be intermediaries. The nets, the English, or more exactly the American, guidance systems for access to information on the net, cannot themselves perform this function; we have to discover our own cultural and existential roots.

For this we need culture. Culture is the only means of orientation and connexion for the self. Meanwhile the main streets of all towns look alike and the designer goods are sold everywhere. We may well scorn the McDonaldisation of the world, but the hegemonies of Versace and Calvin Klein are advancing just as rapidly, as is the taste for Hollywood, even in apparently remote parts of the world.
Regional culture, with its roots, is one of the possibilities for people to identify with their past and with their real existence today, in other words, with themselves. This is the antithesis of provincialness; it means reassertion of one's own travelled path.

This is where artists are the best intermediaries; they themselves accept, nurture and develop the lines of their own tradition. The success of the Italian Transavangardia or of the German painters of the 80's is attributable to the fact that they did not deny their roots, on the contrary put them in evidence, like an anchor for other observers.

This is particularly true of those artists who consciously leapt over not only national boundaries but even continents, settling into totally new cultural domains, so as to understand better their own roots and to adopt new, at first strange ones. These confrontations always make possible sharper, more precise ways of perceiving－just as in the past through the observations of foreign travellers we ourselves learned to view many things with more insight.

In this way artists like Nam June Paik, who has fused the Far East, Europe and the USA, or Ilya Kabakov, who braves the contrast between Russia and the USA, are for us so stimulating, since with their perception they sharpen ours.

Qin Yufen belongs to the following generation of these nomads between cultures, not relinquishing their own identity but making it evident far from home. Not as a folksy transplantation of local traditions in foreign parts but as a sensuous networking of experiences in different cultures. Qin Yufen's sensitivity comes from the distillation of Oriental philosophy; the waving white materials, the soft tones from hidden sources give us an inkling of the spiritual status which art has enjoyed there for centuries. And yet her art is completely actual, it is perceivable with the whole body, it broadens the range of our feelings: seeing, hearing, touching－without overwhelming us and without claiming exclusive dominance, but as a lightly whispered haiku poem, able to bring us nearer to the essence of life.
Director of Heidenheim – Wulf Herzogenrath

作者: 株醇喜儿 时间: 2009-4-7 03:53 标题: 顶一下

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