影响世界 - 文艺的力量
展览公告 市场信息 北京文艺网画廊 现场传真 经典导读 创意设计 美术先锋 理论家专栏 美术星空 微热点@ 美术学院 展场记事 美术评论 美术访谈 美术家
北京文艺网
自媒体注册
北京文艺网自媒体发稿指南:
1、登录北京文艺网,点击北京文艺网会员注册,根据要求完成注册。
2、注册完成后用户名和密码登录北京文艺网。
3、登录后,请点击页面中功能菜单里的我要投稿,写下你要投稿的内容,后点击确定,完成投稿。
4、你的投稿完成后需要经过编辑审核才能显示在北京文艺网,审核时间需要一到两天,请耐心等待。

英国的自嘲群体

2016-11-28 08:47:49来源:北京文艺网    作者:

   
鲍勃·迪伦用这样的几个字赢得了诺贝尔文学奖。他通知斯德哥尔摩说他不能去参加颁奖礼。伦敦也很快就要写信给布鲁塞尔说有更妙的事要做。

海报 .jpg

  THE BRITISH SOCIETY OF SELF-DEPRECATION


  英国的自嘲群体


  PART 1


  第一部分


  Works on Paper byContemporary British Artists


  英国当代艺术家纸上作品展


  参展艺术家:Alison Gill;Andrew Seto;Anne Lydiat;Antonia Manoochehri;Celyn Bricker;Charlie Dutton;Clare Price;Covadonga Valdes;David Dipré;David Webster;Emma Talbot;Geraldine Swayne;Hamish McLain;Harry Pye;Hedley Roberts;Howard Dyke;Iona Jackson;Jake Clark;Kirsten Glass;Laurence Noga;Marianne Basualdo;Martyn Simpson;Mick Finch;Paul Housley;Phillip Allen;Richard Elliott;Roshni Bhagotra;Selma Parlour;Virginia Verran;Wendy Anderson


  策展人:查理杜腾


  开幕派对:2016年12月10日 下午四点


  展览时间:2016年11月26日-12月17日


  电话:010—57626279


  地址:北京市朝阳区酒仙桥路798艺术创意广场B01成当代艺术中心


  Artists: Alison Gill;Andrew Seto;Anne Lydiat;Antonia Manoochehri;Celyn Bricker;Charlie Dutton;Clare Price;Covadonga Valdes;David Dipré;David Webster;Emma Talbot;Geraldine Swayne;Hamish McLain;Harry Pye;Hedley Roberts;Howard Dyke;Iona Jackson;Jake Clark;Kirsten Glass;Laurence Noga;Marianne Basualdo;Martyn Simpson;Mick Finch;Paul Housley;Phillip Allen;Richard Elliott;Roshni Bhagotra;Selma Parlour;Virginia Verran;Wendy Anderson


  Curatorial :Charlie Dutton


  Opening party:2016.12.10


  Dates: Nov. 26th , 2016 - Oct.17th , 2016


  ADD: B01, 798 ArtZone,No.2 JiuxianqiaoRoad,ChaoyangDistrict, Beijing


  “变革的时代”


  鲍勃·迪伦用这样的几个字赢得了诺贝尔文学奖。他通知斯德哥尔摩说他不能去参加颁奖礼。伦敦也很快就要写信给布鲁塞尔说有更妙的事要做。川普的圣诞卡将从川普大楼降落到人们的手中,发现那张塞在里边的牛排券时人们会去尝试然后取笑他,可现在一切都不好笑了。满世界翻飞的纸传递着自我正义、自我欺骗、自我怀疑、自我憎恨的信息,席卷而来。


  那该怎么办?自嘲一直是一种非常英国的应对方式,但他们并不是刻意要这样做。他们拥有帝国、马麦酱、莎士比亚、丘吉尔、马莎购物、披头士和一杯恰到好处的茶,可一切都在破碎。他们必须学会不以开玩笑的方式自我批评。理念和结构都是脆弱的。他们看起来坚固是因为人们在宏大的建筑里用昂贵的笔在华美的纸上书写英国。但地面会震动,建筑会倒塌;镀金的笔和有着慌张味道的纸等着被认真对待。规则成了被抛在风中的五彩纸屑,要把他们重新收回盒子已经变得困难了。自信成了自我伤害。这样的英式幽默在展览中也可能是有用的。


  反语、讽刺、智力和表达同等呈现。但是正如我们在世界各国所发现的一般,所说的和感觉到的可以是不同的事。明年此时英国的品质可能会发生改变。


  在纸上表达自己需要一定的自信,将你的作品诉诸一片空白,再藉由一定量的自我批评让它恰到好处。大量的词语、图像和照片,图片、音符和歌谣,永不落幕的上演着,永不着陆的旅行着。像素胜过了纸。媒材所覆盖的表面是能够被触碰的,可知它就在那里,带有天然的安全感。这次展览使用了纸,真实的存在,但又是短暂的,易损而轻薄,应被回收的。暂时安全。


  艺术家可以是感知的守护者,而这感知正是我们渴望藉由他们的创作获得的。一些艺术家在纸上完成他们最终的创作,一些则将纸用作初级载体。油彩、墨水、铅笔素描和拼贴异彩纷呈。在“英国的自嘲群体”展览中,哈里·派伊的作品是充满趣味的,并且有技巧地将趣味与孩童感糅合在一起。他经常与人合作,像两人合演的喜剧,这次是与他的小侄子。克里斯汀·格拉斯提醒我们在纸上可以生成那般无辜又令人毛骨悚然的图式,而安托妮娅·曼诺克瑞则以单一的媒材实现作品的复杂性。霍华德·戴克的创作通常在宏大的规模下进行,凝聚着严峻的力量和破坏性的政治观。吉拉尔丁·斯温以一种缩微视角,在铜片上用珐琅彩描绘性题材作品,宛如维多利亚时代的秘密遗产。这些参展艺术家中唯一的雕塑家艾莉森·吉尔创作涉险探索神秘之境,创造着虚构世界和浪漫臆想。


  “向下滚动”是一个独立的宏伟项目,也将在“英国的自嘲群体”展览中呈现。一大幅画纸将在展厅中层叠悬挂,像古老的挂毯或是地震仪一样翻滚而下。两个星期的时间里博凯和查理·杜腾将现场作画,每天以修士般的忠诚投入其中,创作一件全新的艺术作品。史诗性的画作将展出并依据观众的要求切割进而零散出售。自由市场经济学将决定整体如何被雕刻,被打破。它将被有依据的衡量和定价。没有什么是神圣的,而任何东西都可以被切除。


  变化是一个常数,我们对材料以及彼此之间的使用和互动永远不会是静态的。展览所在的画廊及798艺术区不久以前是一个兵工厂。但是这些时刻的有形表达将继续存在在一个长眠的地方,而我们则努力在新世界中定义我们的新身份,并创建一个我们可以接受的自画像。


  凯特·萨芬撰文


  “Times they are a changin'”


  Bob Dylan won the Nobel Prize for Literature with words like that. He sent notice to Stockholm to say he can't make the ceremony. London will soon write to Brussels to say it has better things to do too. Trump Christmas cards from Trump Tower will land in people's hands, and they will try and laugh when they find a voucher for one of those steaks tucked inside, but they'll know it's not funny anymore. Paper flying around the world carrying messages of self-righteousness, self-delusion, self-doubt, self-hate and round again.


  So what to do Self-deprecation has always been a very British way of coping, but they never really meant it. They had Empire, Marmite, Shakespeare, Churchill, Marks & Spencer's, the Beatles and a proper cup of tea. But things are fragmenting. They'll have to learn to criticize themselves without the jokes. Ideas and structures are fragile. They seemed fixed because they were written down in big strong buildings with expensive pens on nice paper. But the ground can shake and the buildings can fall down. There are gold-plated pens and bits of panic-scented paper waiting to be taken seriously. The rules are pieces of confetti tossed up in to the wind. It's going to be difficult to get them all back in the box. Self-confidence becomes self-harm. British humour like that in the show might also prove useful.


  Irony, sarcasm, intelligence and expressiveness are equally on display. But as we are finding in countries all over the world, what is said and what is felt can be different things. British qualities might have changed this time next year.


  To express yourself on paper requires a certain self-belief to commit your work to the blank page, and a certain amount of self-criticism to get it right. Plenty of words and images and photos, pictures and notes and songs, never leave the screen, traveling without landing. Pixels trump paper. A material surface is something to touch, and to know is really there, a sense of security. This show uses paper, which we are sure exists, but it is a little ephemeral, easilyripped, light, should be recycled. Transient safety.


  Artists can be guardians of the tactility that we crave through their making. Some produce their final works on paper, some use it for preliminary pieces. Paint, inks, pencil and felt tips sketch and collage. In the British Society of Self-Deprecation, Harry Pye's work is fun and funny in corporating a childlike use of felt tips. He usually collaborates, like a comedy double act, this time with his young nephew.Kirsten Glass reminds us of the innocent and macabre patterns that can be formed on paper, while the complexity of Antonia Manoochehri's work juxtaposes against the simplicity of the material. Howard Dyke usually works on a large grandiose scale with rigorous energy layers of macho power and an iconoclastic look at politics. Geraldine Swayne uses a miniature scale, producing sexually charged images by painting with enamel on copper, like secret little Victorian possessions. Alone amongst the painters is sculptor Alison Gill works which venture into uncanny spaces, creating imaginary worlds and romantic fictions.


  Scroll Down is a grandiose project that will run alongside and within the British Society of Self-Deprecation exhibition. A large drawing on paper will cascade through the exhibition, rolled down like an ancient tapestry or a seismograph measuring the movementsof the Earth. For two weeks Celyn Bricker and Charlie Dutton will draw on this Scroll creating a new work of art, attending to it with a daily religious devotion. The epic drawing will be exhibited and they sold off piecemeal at the behest of the consumer. Free-market economics will determine how the whole is carved up, breaking it down. It will be measured and price daccordingly. Nothing will be sacred and anything can be cut away.


  Change is a constant and the way we use and interact with materials and each other will never be static. The 798 gallery was a weapons factory not so long ago. But tangible expressions of moments such as these will live on, and are resting places as we all strive to define our new identity in our new world, and create a self-portrait we can live with.


  Text by Kate Saffin


  (编辑:杨晶)


注:本网发表的所有内容,均为原作者的观点。凡本网转载的文章、图片、音频、视频等文件资料,版权归版权所有人所有。

扫描浏览
北京文艺网手机版

扫描关注
北京文艺网官方微信

关于北京新独立电影 | 著作权声明 | 合作招商 | 广告服务 | 客服中心 | 招聘信息 | 联系我们 | 协作单位