【沈陽(yáng)】紅梅藝術(shù)與設(shè)計(jì)展覽季 - 跨界

【沈陽(yáng)】紅梅藝術(shù)與設(shè)計(jì)展覽季 - 跨界演出信息

由魯迅美術(shù)學(xué)院人文學(xué)院、紅梅文創(chuàng)園主辦，璣木畫(huà)院承辦的，以藝術(shù)跨界為主要目的的展覽活動(dòng) —— “紅梅藝術(shù)與設(shè)計(jì)展覽季 - 跨界”即將開(kāi)幕。

展覽季活動(dòng)包括：I 解勇個(gè)展《創(chuàng)作有溫度的藝術(shù)——藝術(shù)行為的社會(huì)關(guān)懷》（1、3、5展廳）；II 遼寧省大學(xué)生文化創(chuàng)意設(shè)計(jì)大賽獲獎(jiǎng)作品展（6展廳）；III  流浪者劇團(tuán)《飗浪吟?四章》（7展廳）；IV  張武運(yùn)個(gè)展 《久別》（2展廳）。展覽將在2020年11月13日于沈陽(yáng)市鐵西區(qū)衛(wèi)工北街44號(hào)紅梅文創(chuàng)園 發(fā)酵藝術(shù)中心開(kāi)幕。

解勇個(gè)展

創(chuàng)作有溫度的藝術(shù)——藝術(shù)行為的社會(huì)關(guān)懷

Art & social action

Public arts in contemporary China - raising civic awareness

主辦單位：遼寧省美術(shù)家協(xié)會(huì)

展覽時(shí)間：

Exhibition Time:

2020年11月13日 - 2020年12月13日

策展人：亞歷山大·格里莫

Curator：Alexandra Grimmer

執(zhí)行策展人：譚珊

Exhibition Executive：Tan Shan

展覽統(tǒng)籌：王寶陽(yáng)

Exhibition co ordination：Wang Baoyang

展覽助理：馬勤清 張帥

Exhibition assistant：Ma Qinqing  Zhang Shuai

地址：沈陽(yáng)市鐵西區(qū)衛(wèi)工北街44號(hào)紅梅文創(chuàng)園 發(fā)酵藝術(shù)中心

別讓我被誤解 —— 關(guān)于解勇最近一系列作品及其背景

解勇的藝術(shù)作品深刻地探索了當(dāng)前社會(huì)尚未討論的問(wèn)題和錯(cuò)位。這位出生于1974年的藝術(shù)家、沈陽(yáng)大學(xué)美術(shù)學(xué)院教授，以一種靈敏高效的方式成功打開(kāi)了我們的眼界。他的媒介是象征人物及其處境的審美對(duì)象。《語(yǔ)言暴力可以成為武器》系列作品向大眾展示漢字的偏旁部首按順序排列，轉(zhuǎn)變成為了重武器。這些作品以動(dòng)畫(huà)形式置于重現(xiàn)相關(guān)人物形象的物體旁，觀者可以自由將其組合在一起。這些簡(jiǎn)單的對(duì)象中，蘊(yùn)含著一系列難以啟齒的問(wèn)題，例如缺乏溝通、誤解和社會(huì)邊緣化。解勇選擇了一條充滿波折的路：通過(guò)尋找飽受語(yǔ)言暴力的青少年，直面這些個(gè)人悲劇，并將他們的遭遇帶入我們的意識(shí)領(lǐng)域。

童年和青春期是孩子們?cè)趶闹車h(huán)境獲得的經(jīng)驗(yàn)和信念基礎(chǔ)上奠定個(gè)性的時(shí)期，在這一發(fā)展階段，為了避免他們陷入自我懷疑，父母和家庭的支持和認(rèn)可至關(guān)重要。在謝勇研究缺乏家庭溫暖的個(gè)案中，青少年們?cè)馐芰四暫团懦狻?/p>

在解勇采訪獄中青少年的案例中，他們意識(shí)到所發(fā)生的事情是被孤立的后果。日常壓力和負(fù)面情緒使他們無(wú)法洞悉自己日常的生活狀況，因?yàn)楸焕г跉埲毯兔胺腑h(huán)境中的人，很難對(duì)發(fā)生的事情有一個(gè)客觀的看法，直到他們絕望的條件反射導(dǎo)致犯罪。

解勇在教育獄中青少年時(shí)重現(xiàn)了這種從小被忽視的過(guò)程，他通過(guò)將自己的作品奉獻(xiàn)給他們，在我們的社會(huì)中提出了這個(gè)主題。

解勇觸及了一個(gè)具有普適性的話題，不囿于中國(guó)，不溝通和憤怒的后果無(wú)處不在，沒(méi)人愿意討論這些問(wèn)題，也沒(méi)有人愿意讓它們成為公眾話題，藝術(shù)家以一種勇敢的方式，將個(gè)人的自我實(shí)現(xiàn)設(shè)定為一種高尚的、自我導(dǎo)向的藝術(shù)作品，包括之前描述的一系列圖像、動(dòng)畫(huà)作品及裝置，其背后是一種嚴(yán)格的概念性表述。

經(jīng)驗(yàn)和歷史告訴我們，藝術(shù)家或電影導(dǎo)演極大激發(fā)我們的想象力，他們能在他們的工作中拋出話題，讓我們從另一個(gè)視角理解世界。

亞歷山大·格里莫博士，2020年10月

Don’t Let Me Be Misunderstood

About Xie Yong’s recent series of works and their background

The artistic work of Xie Yong digs deep into the undiscussed problems and misalignments of our society. In a sensitive yet highly effective way, the 1974-born artist and professor at the Shenyang University of Fine Arts succeeds in opening our eyes. His media are aesthetic objects of symbolised personages and situations. Another series, titled ‘Words can be like weapons’, shows Chinese characters which, by jiggering and aligning in the right order, transform into heavy arms and weapons. These works exist in animated images next to objects where those relevant characters have been recreated, and visitors of Xie Yong’s exhibition may assemble them together on their own. In the simplicity of those objects lies a whole chapter of unspoken problems, such as lack of communication, misunderstanding and social marginalisation.

Xie Yong decided to take an uncomfortable path and directly address those personal tragedies by finding adolescents who have suffered from words that were used as weapons against them and bringing their stories into our consciousness.

During childhood and adolescence, children are building the foundations for their personality, which being built up on experience and conviction around their personal environment. Support and recognition from parents and family are essential during this developmental stage in order not to remain in doubt and uncertainty. Xie Yong researched cases of human fate, where these components were missing and where the adolescents consequently experienced disregard and rejection.

In the case of the adolescents whom Xie Yong interviewed in their prison cells, the realisation of what had happened came as a consequence of their isolation.

Due to daily pressure and negative feelings, it was impossible for them to gain insight into the situation of their everyday life. This is because being trapped in a cruel and offending situation, it was difficult for them to obtain an objective view on what was taking place until the terrible incident when their desperate conditioning led to physical action.

Xie Yong resumes this process of neglect during the education which lead to the offence, which often began at a young age. He raises the subject in our society by dedicating his artworks to them.

Xie Yong has touched a subject that is universal. Not at all limited to China, the consequences of problems from non-communication and rage exist everywhere, and nobody likes to discuss them or make them a public subject. In a brave way, the artist sets his personal self-fulfilment into a virtuous, self-directed artwork behind a strict conceptual formulation that involves the previously described series of graphic and animated works and installations.

Experience and history have taught us that artists – or film directors are great stimuli to our imagination; they are able to bring up topics in their work that make us understand situations from another point of view.

Alexandra Grimmer PhD, October 2020

語(yǔ)言暴力

關(guān)注兒童心理，拒絕語(yǔ)言暴力?！罢Z(yǔ)言傷害”會(huì)給孩子幼小的心靈種下陰影，這種在童年埋下的傷口會(huì)持續(xù)惡化、放大，最終可能導(dǎo)致孩子從自卑的極端走向另一個(gè)極端的爆發(fā)——犯罪。

藝術(shù)家以社會(huì)現(xiàn)實(shí)問(wèn)題為創(chuàng)作素材，從那些因?yàn)閮簳r(shí)遭受父母語(yǔ)言暴力傷害而造成犯罪的真實(shí)故事中煉出的“語(yǔ)言暴力”的創(chuàng)作元素，如：“豬腦子、丟人、就知道吃、廢物”等，把這些語(yǔ)言以藝術(shù)裝置的形式拼裝成兇器，如：刀、槍、斧子、弩等，直觀地將暴力語(yǔ)言對(duì)孩子內(nèi)心的傷害展現(xiàn)出來(lái)。藝術(shù)裝置作品以兒童互動(dòng)游戲的形式在公共空間展出，邀請(qǐng)家長(zhǎng)和孩子共同完成由“語(yǔ)言”到“兇器”的轉(zhuǎn)換體驗(yàn)。

暴力語(yǔ)言對(duì)孩子心里的深遠(yuǎn)影響——暴力語(yǔ)言傷害的是孩子的心靈，其影響是持久的！

此次展覽是藝術(shù)家解勇在國(guó)內(nèi)的首次個(gè)展，共展出4個(gè)系列的23件裝置作品，分別展出于1、3、5號(hào)廳,敬請(qǐng)期待！

遼寧省大學(xué)生文化創(chuàng)意設(shè)計(jì)大賽獲獎(jiǎng)作品展 —— 6展廳

展覽時(shí)間：2020.11.13 – 2020.11.28

地址：沈陽(yáng)市鐵西區(qū)衛(wèi)工北街44號(hào)紅梅文創(chuàng)園 發(fā)酵藝術(shù)中心

流浪者劇團(tuán)《飗浪吟?四章》

編導(dǎo)：閻三元  林映池

演員：閻三元  林映池  呂紹朋

現(xiàn)場(chǎng)音樂(lè)：呂紹朋

美術(shù)：鄒濤

策展執(zhí)行：何雨潔 趙逸安

演出時(shí)間：2020年11月13日17：00-17：30（首演）

展覽時(shí)間：2020年11月13日 - 2020年12月13日

地址：沈陽(yáng)市鐵西區(qū)衛(wèi)工北街44號(hào)紅梅文創(chuàng)園 發(fā)酵藝術(shù)中心

《流浪者劇團(tuán)》于2020年由閻三元和林映池成立。他們有著多年的國(guó)內(nèi)外演出經(jīng)歷及創(chuàng)作經(jīng)歷。表演形式多元化擅長(zhǎng)肢體及跨界藝術(shù)創(chuàng)作，從傳統(tǒng)劇場(chǎng)到美術(shù)館再到街頭巷尾都可以看到他們的創(chuàng)作身影。劇團(tuán)成立的起因在于兩顆長(zhǎng)期漂泊在外的藝術(shù)靈魂在疫情下受困于他們熟悉的家鄉(xiāng)。于是兩個(gè)人開(kāi)始計(jì)劃在這特殊的一年怎樣用自己的方式跟家鄉(xiāng)和朋友訴說(shuō)自己這么多年漂泊在外的“流浪碎片”。所以在這次參演《飗浪吟?四章》中他們共分為四個(gè)不同的階段和四場(chǎng)不同的演出。講述他們的從出走到回歸的歷程。

這次展覽與作品對(duì)他們而言不單單是一次演出而更多的是一次自我的回憶與沉淀。他們期待用他們多年在外的經(jīng)驗(yàn)找到那些與他們靈魂產(chǎn)生共鳴的人。任何一種形式不管是音樂(lè)、肢體、繪畫(huà)、戲劇，所呈現(xiàn)出來(lái)的最后的藝術(shù)效果不只是一種所謂的高深形式，而更多的是一種不同形式上的精神交流。在這里我們期待與您的交流不單單是語(yǔ)言上的更多的是肢體與精神的交換。

期待與大家相遇！

張武運(yùn)個(gè)展 《久別》

After a long separation

張武運(yùn)

Zhang Wuyun

策展人：袁小力

Curator：Yuan Xiaoli

策展執(zhí)行：藺圣冰

Exhibition Executive： Lin Shengbing

音樂(lè)團(tuán)隊(duì)：SOTI峙聽(tīng)（陳錦康 王聃宇）

展覽時(shí)間：

Exhibition Time:

2020.11.13 – 2020.11.28

地址：沈陽(yáng)市鐵西區(qū)衛(wèi)工北街44號(hào)紅梅文創(chuàng)園 發(fā)酵藝術(shù)中心

張武運(yùn) - 久別

藝術(shù)家張武運(yùn)的藝術(shù)探索與日常所見(jiàn)有著緊密的相關(guān)性，近年創(chuàng)作題材大多為生活之中提煉的身邊場(chǎng)景，作品始終展現(xiàn)出敏銳的觀察力與藝術(shù)直覺(jué)。細(xì)雨、落葉、烏云、橋梁，這些本是常態(tài)的景物映射著藝術(shù)家的情感與想象，安靜而又充滿真實(shí)，透過(guò)景物的畫(huà)面呈現(xiàn)了藝術(shù)家對(duì)于時(shí)間與空間的多維度思考，是對(duì)于時(shí)空變化背后的感受與想象，同時(shí)展現(xiàn)了看待現(xiàn)實(shí)、事物的獨(dú)特角度，是藝術(shù)家自我意識(shí)的釋放。畫(huà)面中普通的景物是藝術(shù)家長(zhǎng)期感受下形成的時(shí)空幻想，作品在將表達(dá)的特定時(shí)空?qǐng)鼍氨Ａ艉?，將時(shí)空變化所帶來(lái)的事物變遷進(jìn)行抽離并賦予想象空間，使觀者對(duì)畫(huà)面中短暫所見(jiàn)的真實(shí)判斷發(fā)生著猶豫，透過(guò)對(duì)于每個(gè)作品場(chǎng)景設(shè)想時(shí)空的定格，展開(kāi)過(guò)去的場(chǎng)景重現(xiàn)與未來(lái)的精神穿梭的往復(fù)循環(huán)。觀者置身展廳，透過(guò)藝術(shù)家的繪畫(huà)作品與展覽跨界音樂(lè)的融合，行走在營(yíng)造的空間與環(huán)境中，仿佛時(shí)空剎時(shí)靜止，即是對(duì)于過(guò)往、當(dāng)下、未來(lái)的一次穿梭，亦是自己與不同時(shí)空中另一個(gè)自己的久別重逢。

Zhang Wuyun - After a long separation

Zhang Wuyun's artistic exploration is closely related to what he sees everyday, In recent years, most of his works are scenes refined from life , his works always show keen observation and artistic intuition. Drizzle, fallen leaves, dark clouds and bridges, these normal scenery reflecting the artist's emotion and imagination, quiet and full of reality. The scenes present his multi-dimensional thinking on time and space, their feelings and imagination behind the change of time and space. At the same time, they show the unique perspective of looking at reality, which is the release of artist's self-consciousness. The common scenery in the picture is the space-time fantasy formed by the artist's long-term experience. After retaining the specific space-time scene, the works separate the changes of things brought about by the changes of time and space and endow them with imagination space, which makes the viewer hesitant to judge the truth of the short-term in the picture, and unfolds the past scene reproduction by imagining the space-time frame of each work scene and the spirit of the future shuttle cycle. In the exhibition hall, visitors walk in the created space and environment through the integration of artists' paintings and Exhibition cross-border music. It seems that time and space are still for a moment. That is, it is a shuttle between the past, the present and the future, and it is also a long-time reunion between ourselves and another person in different time and space.

作品預(yù)覽：

2020年9月5日回家路上的記憶  180cmX230cm  布面油畫(huà)2020