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[北京]第二现场

2019-09-22 10:44:46 来源: artda 作者:本站


 

第二现场

The second scene

策展人 Curator

石玩玩 Shi Wanan

艺术家Artists

蔡国杰 姜玥皓 金远冶 刘冠南 石玩玩 马玉江 杨欣嘉 赵晨

Cai Guojie, Jiang Yuehao,Jin Yuanye, Liu Guannan,Shi Wanan, Ma Yujiang, Yang Xinjia, Zhao Chen

展览时间:2019.9.15 - 2019.10.15     


“第二现场”——作为事件艺术的基本立场

文/石玩玩

2004年,蔡国杰在台北市的街角商店开始了他具有想象力的的“土地界线贩卖计划”,在之后的十多年里,蔡国杰不断的在全世界贩卖他的土地:两块土地的交界线,一块隐藏在各种权力空间之间的“无主之地”。只要你愿意,你可以向艺术家购买全世界的边界线。这个后来被正式命名为《半田计划》提出的是一种艺术家式的土改:权力缝隙里的土地改革。这是一件典型的事件艺术,也称之为在地创作艺术。

事件艺术并不以创造图像、造型和形式为目的,大多发生在公共环境或者公共议题中,为一次性创作,作品无法离开实际语境,无法复制。作品只能靠图像、文件、声音、物证等综合媒介呈现“事件过程”。所以形式主义艺术家不喜欢事件艺术,首先是因为事件艺术无法提供“形式审美”,而这恰恰是艺术里很重要的一种审美体验。在现代主义艺术家看来,作品的生动性是靠形式来完成,形式就是艺术。19世纪末英国艺术评论家克莱夫·贝尔(Clive Bell)曾提出:“艺术是有意味的形式”。形式不是意义的再现,形式本身就是全部。所以我们可以看到很多现代主义作品以形式创新为最重要目标,展厅成为形式的空间现场,也就是迈克尔·弗雷德(Michael Fried)指出的“剧场”。

实际上在现在我们可以看到,这个“剧场”——展览空间正面着越来越临标准化和同质化的趋势,原因是空间的同一性,展厅正在沦为列斐伏尔(Henri Lefebvre)指出的“空间生产”:在工具理性、消费主义裹挟下空间不断的复制和再生产。例如超级画廊,纽约展厅和香港展厅时空体验上是同质的。在这个意义上,空间消灭了时间,空间失去了现场。艺术需要逃离展厅,寻找新的“事件”发生地——一个抵抗同一性和空间生产的现场,即在地创作。

其次,当事件成为艺术时,争议更大的是:事件是否成为艺术生产的简单素材?艺术家是否在消费事件?潜在之意是:在事件面前,还需要艺术吗?法国哲学家阿兰·巴迪欧(Alain Badiou)认为:“事件是通往真理的途径”,而事件只在某些特定领域、根据某些条件而发生。有四个这样的领域:艺术、科学、爱和政治。“事件”不可能在恒定的场所中,只会发生在不稳定的“情境”中,并且“事件本身不可能被(直接)表现”。

2016年至2017年的一年时间,艺术家马玉江通过收集香港夜宿麦当劳的无家可归者的消费凭据,完成了他的《夜晚有多重》。在作品展示的这些极短的票据中,透露出这些香港底层劳动者生存空间的拮据。这件作品展示处于高度发达资本主义香港及其特殊的一面:一方面国际化城市空间对底层劳动者生存空间的挤压;另外一方面消费、生意成为人与人交往的最基础伦理逻辑。无家可归者通过最低消费得到夜宿麦当劳的基本理由,而不只是同情和慈善受助。

阿兰·巴迪欧认为在“在历史情境中才能出现事件场所”。在马玉江的作品里,无家可归者生存需求与夜间麦当劳空间博弈,构成了事件发生的第一现场(事实)。而艺术家创作的作品构成了“事实”的“显现”——事件。在地性的现场与展厅构成了一个重要结构关系:历史场景(情境)中的事实与被显现出来的事件,也就是第一现场和第二现场。

确立了作品的基本属性,也就是事情的第二现场,第一现场才能完整,事件才具备“历史性”。反过来讲,没有第二现场,第一现场只是一般性自然情境、中立情境。阿兰·巴迪欧认为,事件的发生不是历史规律的必然结果,历史规律(所谓客观真理)恰恰是事件回溯性建构的产物。不是夜宿麦当劳可以解释马玉江的《夜晚有多重》,而是《夜晚有多重》这件作品让“夜宿麦当劳”变得可以解释。作品的“艺术性”在于最大程度揭示第一现场,建立通往“真理”的途径。这就是“事件艺术”、“在地性艺术”作为第二现场的基本立场,也是艺术“真理性”的全部意义。

2019年8月18日

于苏州

 

“The second scene”——Basic position on event art

By Shi WanWan 

In 2004, Cai Guojie started his imaginative “Land boundary selling plan”at the corner stores in Taipei. In the following ten years, Cai Guojie continued to sell his land all over the world: The boundary line between the two pieces of land, a " Land without owner" hidden between various power spaces. As long as you like, you can buy the world's borders from the artist. This later officially named "Half-Field plan", which proposed an artist-style land reform: land reform in the power gap. This is a typical event art, also known as the art of   creation in the ground.

Event art is not aimed at creating images, shapes and forms. Most of them occur in public environments or public issues. They are one-time creations, and works cannot leave the actual context and cannot be copied. The works can only present the “event process” through a comprehensive medium such as images, documents, sounds and physical evidence. Therefore, formalist artists do not like event art, first because event art cannot provide "formal aesthetics", and this is precisely an aesthetic experience that is very important in art. In the eyes of modernist artists, the vividness of a work is done by form, and form is art. At the end of the 19th century, British art critic Clive Bell once said: "Art is a meaningful form." Form is not a reproduction of meaning, the form itself is all. So we can see that many modernist works take form innovation as the most important goal, and the exhibition hall becomes the form of space scene, which is the "theatre" pointed out by Michael Fried.

In fact, we can now see that this “theatre” – the exhibition space is facing a trend of standardization and homogenization, due to the identity of the space, the exhibition hall is becoming the "space production", which is pointed out by Henri Lefebvre: the space is constantly copied and reproduced under the circumstance of instrumental rationality and consumerism. For example, the Super Gallery, the New York showroom and the Hong Kong showroom are homogeneous in time and space. In this sense, space has wiped out time and space has lost its scene. Art needs to escape from the exhibition hall and find a new place where the "event" takes place - a scene that resists identity and space production, that is, grounded creation.

Second, when the event becomes art, the controversy is even more: Is the event a simple material for art production? Is the artist consuming the event? The potential implication is: Do you still need art in front of the event? The French philosopher Alain Badiou said: "Events are the way to the truth," and events occur only in certain areas and under certain conditions. There are four such areas: art, science, love, and politics. "Events" cannot be in a constant place, only in unstable "situations", and "the event itself cannot be (directly) represented"

In the year from 2016 to 2017, artist Ma Yujiang completed his 《How Heavy is the Night》by collecting the consumer credentials of the homeless in Hong Kong. These extremely short bills displayed in the works reveal the constraints on the living space of these bottom-level workers in Hong Kong. This work has displayed the highly developed capitalist in Hong Kong and its special side: on the one hand, the international urban space squeezes the living space of the bottom laborers; on the other hand, consumption and business become the most basic ethical logic of human-to-human interaction. Homeless people get the basic reason to stay overnight at McDonald's through minimum spending, not just sympathy and charity help.

Alan Badiou believes that "there can be event field in the historical context." In Ma Yujiang's works, the survival needs of the homeless and the nighttime McDonald's space game constitute the first scene (fact) of the event. The works created by the artist constitute the "appearance" of the "facts" - events. The ground-based scene and the exhibition hall constitute an important structural relationship: the facts in the historical scene (situation) and the events that are revealed, that is, the first scene and the second scene.

The basic attributes of the work are established, that is, the second scene of the event, the first scene can be complete, and the event is "historic." On the other hand, there is no second scene, the first scene is only a general natural situation, a neutral situation. Alan Badiou believes that the occurrence of events is not the inevitable result of historical laws. The historical law (the so-called objective truth) is precisely the product of the retrospective construction of events. It is not overnight that McDonald's can explain Ma Yujiang'《How Heavy is the Night》, but the work 《How Heavy is the Night》makes " Overnight at McDonald's " become understandable. The “artistic” of the work is to reveal the first scene to the greatest extent and to establish a path to “truth”. This is the basic standpoint of "event art" and "art in the ground" as the second scene, and the full meaning of the "truth" of art.

August 18, 2019.

In Suzhou



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PPPP创办于2018年,坐落在北京市朝阳区草场地国际艺术区256号灰色办公大楼306。PPPP 致力于发展替代性展览形式。同时,提供一个关于数字、网络、基于时间和新媒体艺术形式领域的敏锐角度。开放时间:每周六14:00-18:00 ,其他时间段需至少提前一天邮件预约。地址:北京市朝阳区草场地国际艺术区256号灰色办公大楼306室。

Founded in 2018, PPPP is situated in 306 Grey Building NO. 256, Caochangdi, Chaoyang District, Beijing. PPPP is dedicated to developing alternative exhibition format, providing  incisive perspectives on the fields of digital, internet, time-based, and new media art forms.Opening time:Every Saturday 14:00-18:00. For other period please reserve by E-mail  at least one day in advance.Room 306, Grey Office Building, No.256 Caochangdi, Chaoyang district, Beijing

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