《过去的未来主义》·穿越时空的艺术探索丨中国北京丨鲍栋

“过去的未来主义”——中国当代艺术中的过去与未来

Futurism of the Past - Contemplating the Past and Future in Chinese Contemporary Art

北展文化艺术中心首展｜北京当代艺博会·艺述

Inaugural Exhibition of the Culture and Art Hub of Beijing Exhibition Center | Beijing Contemporary Art Expo 2021，STORY

北京展览馆，北京，中国

Beijing Exhibition Center, Beijing, China

策展人：鲍栋

艺术家：aaajiao、奥吉卡(AUJIK)、蔡磊、曹斐、陈熹、崔洁、范文南、冯梦波、高磊、简策、蒋志、李汉威、李舜、李新建、李尤松、刘芳、刘嘉颖、刘展、陆明龙、马良、欧劲、蒲英玮、邱岸雄、施政、宋琨、宋陵、唐晖、童昆鸟、王鲁炎、邬建安、吴羽篪、伍伟、徐震、许宏翔、杨光南、杨茂源、张光宇、张晖、张英楠、庄辉

2021.6.15 - 8.31

展览现场，图片由北京当代艺博会提供。

北展文化艺术中心与北京当代艺博会联合呈现的展览“过去的未来主义—中国当代艺术中的过去与未来”于6月15日在北京展览馆拉开帷幕。作为北展文化艺术中心的开幕首展和北京当代艺博会策展单元“艺述”的主题展，“过去的未来主义”集中了四十位艺术家的代表性作品，关注纵跨百年间，不同代际的艺术家对于中国历史的再次思考与对于中国未来的丰富畅想。

高磊 GAO Lei，神圣人-遗迹 Homo Sacer-Relic，2019，铝板，透明树脂，纱网 aluminum plate, transparent resin, screen mesh，152×114×5 cm

《神圣人----遗迹》是《神圣人》系列的最后终结部分，它将之前作品中呈现的主体---人类文明（阿甘本所提及的赤裸生命及捕获赤裸生命的国家机器）彻底剔除剥离，只留下之前曾存在过的伤痕与遗迹，而透明树脂混合工业纱网所模拟的广袤无限的自然地貌在此成为了永恒的主体。

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“Homo-Sacer – Relic” is the final piece of the “Homo Sacer” series, which completely removes any trace of the human civilization (what Agamben refers to as the naked life, and the state machine that captures it) the main subject of the previous works, leaving only the scars and relics of the previous existence, while the vast and infinite natural landscape simulated by the transparent resin mixed with industrial gauze becomes the eternal subject here.

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高磊 GAO Lei，登月 万物的签名 Lunar Landing The Signature of All Things，2020，高强度混凝土 high-strength concrete，30cm(d), 6-10(h) cm each

此项目是另一个将日常物进行圣物化的呈现方式：即以一种虚拟的登月计划将各类日常物送上“月球”表面，试图以一种纪念碑的形态占领“月球”而成为圣物。

作品将月球地貌的数据以3D打印的方式制成模具后再与不同日常物结合制造出一种乔治.梅里埃式的登月画面，最终以混凝土浇筑为一体。在此，宏大与微小、圣神与日常、灵与肉彼此互为一体，日常物似乎也由此摆脱了地心引力与世俗意义的捆绑，化为另一个时空中还未被签名的沉默之神圣物。

正如吉奥乔.阿甘本在《万物的签名》一书中所述：“签名理论的绝境重复了三位一体的绝境：正如上帝只能通过言词来构想万物并给它们赋形，签名作为创造的模型和实效的工具，让它所居留的创造的沉默符号，变得有效且富表达力。”

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This project presents a way of eternalizing everyday objects; it fictionalizes a virtual moon landing that sends various everyday objects to the surface of the "moon" as an attempt to occupy the planet. In other words, the monumental framework of settling on the "moon" attributes these objects a sense of sacredness.

The work transforms the data of the lunar landscape to make a mold using 3D printing, then integrates different everyday objects to the pieces that engender Georges Méliès-style moon landing, and eventually cast the work in concrete. Here, the magnificent and the insignificant, the sacred and the quotidian, the soul and flesh become one. The everyday objects seem to untether from the gravity and worldly meaning and transform into silent sacred objects, unsigned in another temporal and spatial dimension.

As Giorgio Agamben stated in The Signature of All Things, "The extinction of signature theory repeats the extinction of the Trinity: just as God can only conceive and give form to all things through words, the signature, as a model of creation and an instrument of effectiveness, makes the silent symbol of creation in which it resides, effective and expressive."

简策 Ce JIAN，Sentinel (1)，2017，布面丙烯，喷漆，马克笔，粉笔，蜡笔 acrylic, spray paint, marker, crayon, oil crayon on canvas，230×200 cm

这些有关古怪、超自然战斗机器的变形绘画，似乎竭力地进入观者的空间中，并同时消解进抽象并融入背景当中。始自文艺复兴的传统技术与 VR 游戏技术的动态视觉体验相融合。它们令人困惑的视角挑战了观众由前方观看静态图像的习惯，其方法是让观众在展览空间中搜寻合适的“视点”的方式。大部分的情况下，这些遮蔽的位置是在柱体的后面或者在拐角处——由此，以一种讽刺的方式在模拟空间中重演了当下炙手可热的虚拟交互游戏体验。

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These anamorphous paintings of bizarre, hyperphysical combat robots seem to reach aggressively into the viewer space, while simultaneously dissolving into abstract pieces and blending with the background. The traditional technique from the Renaissance is combined with the dynamic visual experience of VR game technology. Their confusing perspectives challenge the audience's habitual ways of looking frontally at a static painting by letting people search for a fitting 'point of view' in the exhibition space, which is mostly a covered position behind a column or around a corner – an ironic reenactment of the hyped virtual interactive gaming experience in analogue space. 

简策 Ce JIAN，Sentinel (2)，2017，布面丙烯，油漆，马克笔，粉笔，蜡笔 acrylic, enamel, marker, crayon, oil crayon on canvas，230×200 cm

到目前为止，我的艺术实践主要以绘画、素描和装置为媒介，围绕着视觉传统及其在跨学科背景下所代表的文化知识而展开。这其中最令我着迷的，即是产生自艺术与非艺术之间的界限变得模糊、视觉实践之功能与其美学形成鲜明对比之时的图像形式、概念和技术。

我的作品从艺术史中获得借

鉴

并衍生出来，它们试图强调绘画作为媒介所令我思考的问题：我们如果使用“技术-视觉”的方法来处理和解释世界？图像传统如何在数字化的当下得以延续？而绘画——既作为一种承载了知识和论述的工具，又作为一种个人的、主观的（在一定程度上）和难以掌控的声音——又是如何介入到这些新现象之中的？绘画又如何与涵盖电脑视觉，图像分析和优化的新科技展开对话？

身为一个出生在中国、同时在欧洲和亚洲两地工作的艺术家，我对于文化差异有着非常敏锐的觉察。但同时，我也感受到数字文化已经将东、西方文化之间的差异缩减到了整个艺术史上的最小值。就我个人的艺术实践之发展而言，我认为对所有的事物都保持开放的态度、并探索其他的可能性——例如影像、绘画&虚拟性——这比讨论文化身份要重要得多。技术所反映的文化问题，超越了个人的叙事，而当下的技术全球化则影响着我们每一个人。

简策 2020

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My art practice, which until now has mainly focused on painting, drawing, and installation, revolves around visual traditions and the cultural knowledge they represent in an interdisciplinary context. Image forms, concepts, and techniques where the lines between art and non-art are blurred and where the functions of a visual practice stand in contrast to its aesthetics are what fascinate me the most.

Learning and deriving from art history, my works want to address those questions with the means that painting offers me: How do we process and explain the world with techno-visual methods? How do image traditions carry over to the digitalized present and how can painting engage with these new phenomena, acting as an instrument of knowledge and discourse, but also a personal, subjective and (to a certain extent) uncontrollable voice? How can painting enter a dialogue with new technologies involving computer vision, image analysis and optimization?

As a Chinese-born German artist who works between Europe and Asia I am keenly aware of cultural differences. And yet, I feel that the digital culture has minimized the distance that prevailed between East and West throughout art history. For my own artistic progress, being open to all sides and exploring other possibilities, such as video or painting & virtuality, is much more important than discussing cultural identities. Technology reflects cultural issues beyond a personal story, and current globalized technologies affect us all.

Ce JIAN  2020

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