珠三角艺术家齐聚“有空间”——谈“空间的变迁”
Artists from the Pearl River Delta gather at “You Space”: A discussion of “Transformation of Space”
6月4日，由杨锋艺术与教育基金会主办，两个时刻”的展览重要组成部分，“空间的变迁”为主题的讨论会在深圳“有空间”举行。本次讨论会特邀陈桐老师作为座谈主持，与六位参展艺术家徐坦、梁铨、李景湖、段建宇、李燎、Mapoffice共同探讨空间与艺术的系列议题。
作为主办方，杨锋先生首先发言。
杨锋：
中国艺术市场在过去几十年蓬勃的发展，在北京、在东方，呈现出百花齐放的情况，珠三角，包括香港、深圳、广州、东莞、珠海等区域，一直活跃着当代艺术发展很早期的先锋的艺术家。广州最近刷屏的一个话题就是五行会筹款的一个艺术作品的募捐和拍卖，这些都体现了珠三角发展的一个多元化，也是蓬勃向上发展的特征。跟陈侗老师商量，能不能在我们这次展览的基础上，为珠三角艺术的教育或者是公共活动做一些事情，这是我想做的事情的一些初衷。
我们自己这个基金会不仅仅让大家看到的我自己的收藏，我要把它变成一个平台，我们接下来将会做很多的"微征集"，为年轻的策展人或者艺术家做一个展览、展示作品的平台。能够跟珠三角的艺术家们、圈内更多的朋友们，更多的可能只是一个爱好者，知之也不甚多的人交流，把它变成一个公共教育的平台。用一点点我们自己的用心，用一点点“软”的内容，变成一个活跃的有生气的场所。
介绍一下在座的各位艺术家，“空间的变迁”。
徐坦——我们在珠三角的先锋，参加了两次威尼斯双年展的艺术家
梁铨——早年也是去美国旧金山学习艺术，来到深圳之后成为深圳最重要的艺术家之一
段建宇——中青年艺术家
李景湖——生活在东莞，一个加工的聚集地，他的作品反映一个生命的变迁是特别有独到的地方，他关注东莞加工式的工业生产环境下的，工人的生活、工人的状态
陈侗——创建了博尔赫斯书店，录像局等非盈利的机构，是艺术精神的教父
Map office——是香港非常重要的艺术家。Map office 是他的组合，本身他的国籍是法国，但是其实在香港非常多年，也是香港永久居民。所以他来参加我们这次对谈也是有特别的代表性的意义。作品参加了去年MOMA美国现代美术馆建筑展览群展之一，参加了第52届的威尼斯双年展
李燎——他平时也在深圳，做的作品非常观念
徐坦：
珠三角在过去20多年里，实验艺术一直是走在最前的，走在最前是指的实验性的这一部分，市场性这一部分需要大家的努力。
实验性的艺术他是真正发生在我们社会里非常重要的，他跟当代思维和当代精神连接是最紧密的。
我的工作分两个阶段，第一个阶段是画偶像时期的阶段，大概是1992年到2000年以前结束。第二个阶段是从2005年到现在，我的工作总的来讲是一个关键词的项目。
我1992年的作品叫做《匀速和变速》。真正的中国当代艺术去政治化，是“后八九”的艺术出现，就是从我们那个时候开始的。这个影响力我想到今天一直还在持续。但是就我的角度来讲，我不认为叫“去政治化”，而是讲“政治的转型”，就是把政治议题如何转型到我们的日常生活里去，我们日常生活里面很多的枝节都是很政治化的。
概念艺术对我来讲是一种方式，我做了一个项目叫“关键词实验室”，我不断地到各种地方去做采访，然后分析，选择关键词，我们把研究变成艺术的话，研究这件事里面必须包含很强有力的美学经验在里面，这个是和社会学和人类学不一样的。
我觉得今天最大的关键词就是“科学技术”、“机器人”，包括“引力波”诸如此类了，这是一个后资本主义的话语。
我采访了很多深圳的城市建设者，建筑师、设计师，从他们的角度来讲，深圳在观念上整个跟中国是不一样的，他整个是在另外一个台阶上。
梁铨：
我在想生活里面什么样的反应什么样的表达，所以我从我比较简单的生活、比较贫乏的生活中寻找自己表达的方式。在若干年前的时候，突然在喝茶的过程中，在茶杯上看到一些茶的痕迹，我在想这些茶的痕迹有没有一些变化，或者把他组织起来，所以我就开始有目的地搜集了各种各样的茶的点在圈子上，然后给他组合起来，感觉到让他成为一种画面或者是一种恒久的记忆，我联想着古代人在山洞里的日历，就是每过一天他会在石头上画一个点或者画一个圈，感觉到一种时间的流逝。
我最近去了上海看贾科梅蒂参加展览，我发现艺术是没有真理，艺术只是一种现象，表达真理是科学的事情。所以我觉得我这种画只是一个胡思乱想的一个瞬间，没有任何深思熟虑，有点灵感、有点灵光一现，有点不寒而栗创作了这张画。
段建宇：
我的作品当中有很强烈的叙事的特点。我绘画的线索有十几条，有时候是同时进行的，有时候从这一条牵涉到其他的线索，有另外一条。当我觉得可能用绘画的方式不能表达的时候，我可能用文字表达，或者是文字和绘画的方式一起。
谈谈“杀、杀、杀马特”这个作品。“杀马特”大家都知道三四线城市的年轻人模仿欧美或者是视觉系的一种特别夸张的打扮，我觉得也是一种本土的对国外文化的一种消化，我用这个名字也有点暗喻中国对外来文化的一种消化。这组里面大概有20多幅画，跟以往绘画不太一样的是他人物比较多，他交错的关系比较多，我就想通过这一些复杂的人物关系，复杂的空间关系，来描述一下此时此刻包括这两年对绘画的一种理解。
我也是特别注重绘画之间的抽象关系，空间的抽象关系，人物之间的抽象关系，包括美术史里的人物跟当下人之间的抽象关系，我也特别刻意地去研究这些问题。
李景湖：
2002年我回到东莞，到村里面去，然后开始在那边寻找认为可能有价值的东西，然后可以转化成艺术，或者通过艺术来观看这个地方的一些历史。一个作品是搜集的手机，有水龙头的声音手机的声音，它反映的是周围人社会生活的规律，周围的人生命的痕迹。
另外一个是“广场”，搜集东莞那些广场坏掉或者是没有坏的广场的石板，然后切割成不同的尺寸，最后堆成一个金字塔进行展览，实际就是对工人付出的一个纪念碑的东西。
还有一个作品叫“现在考古”。“现在考古”的作品是一些模具，就是我在东莞的一些废品收购站里面找材料的时候收集的，这个就是东莞的一个历史，有点时空对话的感觉，所以叫“现在考古”。
作品《白云》，平时在马路上通过窗户可以看到一排排的工厂的日光灯，这种白云下面的工人一直在工作，就像他们的祖辈以前在白云下面工作，现在只是变成了日光灯。
Map office：
我的艺术主题想法是来自于我在香港生活，或者在中国生活的一些体验。来到香港，都是钻研一些关于现代城市环境的研究。我们开始画，拍很多的照片关于香港的城市面貌。
在2005年的时候在广州拍了这张照片，想要研究的是关于多一点环境跟政治关系，那个时候我想研究的是珠三角地区的东西，从社会、经济、环境，各个层面去切入去看珠三角。
作为一个媒介媒体的艺术家，其实我们都通过不同的方式，比如照片或者是展示的艺术，等等每一件去表达我们自己的想法。
李燎：
我在2010年来到深圳，深圳对整个中国来说，实际上是一个很现实的一个地方，然后所有的你能观察到的这些东西，在我看来都具备一个很优秀的作为艺术创作的一个原材料的地方，包括所有的东西，包括城市的布局，人际的关系。
作品《消费》，是我去富士康打工，用打工的钱，买一个这个厂里面生产出来的东西----苹果手机，就当成一件作品。
《艺术与真空》这个项目是从2013年开始的，一直到2015年才结束，整个是由事件演变到比较具体的艺术创作。当时因为结婚的事，和我岳父争执，我岳父当时就说，你们搞艺术的都是虚无缥渺的，你是生活在真空里的人，我就直接把这句话拿来用了，作为这个作品的名字。
我其实想说的是，我的创作没有更多的依据所谓的学术理论或者是书籍，或者是所谓的地缘性的这些东西。我只是说我生活在哪里，然后哪里对我的刺激。
陈侗：
我的作品总跟一个文化记忆有关系，某种程度上可能也跟现实有关。“博尔赫斯书店学习白求恩，送书下乡……”这个作品诞生于我办书店的经验，以及当时国家提出来“汽车下乡”。我们作为一个书店经营者，可能最困惑的是我们很少有农村的读者，我们想把思想传到农村去。这是来自于我现实的考虑和文化的记忆，也可以说对政治有一种利用吧。
我的作品里面是经常含有政治性，让我的艺术处于相对模糊暧昧不清的一个最好的表现。
文章转载于雅昌艺术
Organized by Frank F. Yang Art and Education Foundation, an important link of the exhibition “Two Moments”, the symposium with the theme of “Transformation of Space” was held in “You Space” on 4th June. Mr. Chen Tong had been invited to be the moderator to discuss a series of issues concerning art and space with six participating artists: Xu Tan, Liang Quan, Li Jinghu, Duan Jianyu, Li Liao and Map office.
Representing the organizing unit, Mr. Frank Yang gave the opening speech.
Frank Yang:
The art market in China has flourished over the past few decades, with the blossoms of art in Beijing and the Eastern regions blooming one after another. Pioneering artists belonging to the early phase of development of contemporary art have been active all over the Pearl River Delta, including cities such as Hong Kong, Shenzhen, Guangzhou, Dongguang and Zhuhai. A recent hot topic in Guangzhou brought focus to the call for donation and auction of artworks arranged by Wu Xing Association. This demonstrates a diverse development of the Pearl River Delta, signifying a robust growth in the area. I discussed with Mr. Chen Tong, based on the current exhibition, how we may contribute to the art education or social activities in the Delta area. This is the starting point of what I wanted to do.
Our foundation is not merely for exhibiting my collection. I am making it a platform. Our next step is to organize more “Micro Curatorial Projects” so that young curators and artists have the platform to exhibit their works. I aspire to exchange ideas with artists from the Pearl River Delta, friends from the art scene and even amateurs in art or common art lovers. This is what makes the foundation a platform for public education. With passion and devotion, with the “software” input of information, we will turn it into a lively platform of art and exchange.
Let me introduce the artists with us today at the symposium of “Transformation of Space”.
Xu Tan - Avant-garde artist of the Pearl River Delta; participated in the Venice Biennale twice. Liang Quan - also studied art in San Francisco earlier; upon arrival in Shenzhen he became one of the most prominent artists in the city.
Duan Jianyu – Young artist
Li Jinghu – currently living in Dongguang, a station of industrial processing. His works reflecting the transformation of life are highly original. He concerns the life and living condition of factory workers in the industrial environment of manufacturing and processing in Dongguang.
Chen Tong – founded non-profit organizations such as the Borges Bookstore and Video Bureau; a godfather of the spirt of art.
Map Office – a very important artist in Hong Kong. Map Office is the name of his group. Born in France, he is a permanent Hong Kong resident since he has lived there for many years. For this reason, his participation in this conversation has a special meaning to him. His works were shown in the group exhibition of architecture held at MOMA, and the 52th Venice Biennale.
Li Liao – stays in Shenzhen most of the time. His works are very conceptual.
Xu Tan:
Over the past 20 years in the Pearl River Delta, experimental art has always been at the frontline. Deemed innovative is the spirit of experimenting; for marketing, a lot more effort is still required.
It is essential for experimental art to actually happen in our society. Its link to contemporary thinking and contemporary spirt is inseparable.
My art production is divided into two phases. The first phase is idol portrayal, which lasted from about 1992 to before 2000. The second phase started in 2005 through the present day. Overall, my work is a project about keywords.
My work in 1992 was titled Constant Speed and Change of Speed. The actual de-politicization of Chinese contemporary art happened when post-89 art emerged, and it began at our time. Its influence, I believe, is still effective today. Personally I don’t call it “de-politicization”, but rather a “revolution of politics”, that is to integrate political issues into our daily life. In fact, a lot of aspects in our daily life are very political.
Conceptual art to me is a channel of expression. I initiated a project called “keyword laboratory”. Ceaselessly I travelled to different places to do interviews, carry out analysis and pick keywords. If one is to turn research into art, the research must embody a strong experience of aesthetics. This contrasts with sociology and anthropology.
I think the most crucial keywords today are “science and technology” and “robots”. Words such as “gravitational wave” are also included. This is a language of post-capitalism.
I interviewed a lot of urban development workers, architects and designers. To them, Shenzhen is conceptually totally different from China: the two are on different planes.
Liang Quan：
I want to express how I respond to life, so I seek my own way of expression in my comparatively simple and meager livelihood. Several years ago, I noticed some traces of tea on the tea cup by accident. I wondered if the traces change over time. Perhaps I should organize them. Therefore I began to collect different kinds of tea and make circles of tea drops, then put them all together to produce a kind of image or persistent memory. This reminded me of the calendars on the rocks of the caves ancient people dwelled in: every day they drew a dot or a circle; there is a sense of passage of time.
Recently I went to Shanghai and paid a visit to Giacometti’s exhibition. I figured out that there is no universal truth in art. Art is just a phenomenon, to show the truth is the business of science. So I felt that my painting here is simply moments of random thoughts where careful planning is excluded. With a spark of inspiration, I created this painting with a hand not without trembling.
Duan Jianyu：
My works are characterized by a very strong narrative. There are over ten themes in my paintings. Sometimes they are in effect simultaneously, sometimes one is evoked by another. When I feel that painting is not adequate for the expression I intended, I may use written words, or two together.
Let me talk about the work Kill, Kill, Smart. “Smart” is well known as a fashion trend prevailing among the younger generation in the less prominent urban areas in imitation of European and American style or that advocates striking visual effects. I believe this is an assimilation of foreign culture, so I used a title that subtly alludes to China’s assimilation of other cultures. There are around 20 paintings in this series. They differ from my past paintings in the presence of numerous human figures and intertwined relationships. Through complicated relations among people and among spaces, I attempted to convey my conclusion about painting in the past two years and understanding at this moment.
I also pay a lot of attention to the abstract relations among paintings, among space and among people, including those in the history of art and in the present day. I chose to investigate these particular problems.
Li Jinghu:
When I returned to Dongguag in 2002, I went to the village and began searching for objects with potential values to me. They may be turned into art, or serve as a looking glass for understanding the history of the place through art. One work comprises mobile phones I collected. Apart from the sounds of mobile phones, there are also sounds of water from the faucet. The work shows the pattern of the society they represent and the happenings in it, as well as the traces of people’s life in that place.
Another work is Plaza. I gathered stone slabs at the plaza, intact or broken, then cut them into different dimensions before stacking them into a pyramid for exhibition. In effect, this is a memorial of the contributions of the workers.
Yet another work is Archeology of the Present. The molding tools that composed the work were collected when I was looking for materials at salvage stations in Dongguang. This is a piece of history of Guangdong, evoked by it is a sense of conversation across time and space, so I called it Archeology of the Present.
I have a work titled White Clouds. We often see rows and rows of fluorescent lamps inside factories when we look through the factory windows. Under this white light the workers worked diligent to earn their living, just like their ancestors working under white clouds, only that the clouds have now become fluorescent lamps.
I have a work titled White Clouds. We often see rows and rows of fluorescent lamps inside factories when we look through the factory windows. Under this white light the workers worked diligent to earn their living, just like their ancestors working under white clouds, only that the clouds have now become fluorescent lamps.
Map Office:
The inspiration of my artistic creation comes from my daily life in Hong Kong, or some personal experiences when I was living in China. I started doing research about modern urban environment when I came to Hong Kong. We began painting, and took a lot of photos related to the city landscape of Hong Kong.
I took this photo in Guangzhou in 2005. At that time I wanted to investigate the relationship between the environment and politics, and my area of interest was the Pearl River Delta. I analyzed the society, economy, the environment along with other aspects of the area.
As artists, we express our own thoughts through different means and media such as photography or exhibiting works of art.
Li Liao：
I came to Shenzhen in 2010. To China as a whole, Shenzhen is in fact very pragmatic. Everything that comes into view, however, is excellent raw material for artistic creation in my eyes. By that I mean everything, including the city layout and interpersonal relationship.
For the work Consumption, the background story was that I went to work in Foxconn and then bought a product manufactured by the factory with the pay I received. The Apple phone itself is the artwork.
Beginning in 2013 and carried on till 2015, the project Art and Vacuity was but an incident before it evolved to a more concrete artistic creation. At that time I had a quarrel with my father-in-law when it came to my wedding. He said, “Artists chase after vanity. You live in vacuity.” I quoted this line as the title of my work.
Actually, I would like to clarify that my art does not draw reference from so-called academic theories or books, or what we label “regional features” and so on. My art tells where I live, and where my stimuli come from.
Chen Tong:
My works are always associated with cultural memories and, probably to a certain degree, reality. The work Borges Bookstore followed Bethune’s example and send books to rural regions… was conceived out of my experience of running a bookstore, in addition to the policy of “Automobiles in Rural Areas” put forward by the government. Being the owner of a bookstore, perhaps what disturbs us the most is the scarcity of readers from the village, while we hope to spread important ideas to rural areas. The artwork was derived from my reflection upon reality and cultural memories, or one can say it made use of politics.
Very often my works contain political elements. This allows my art to represent a comparatively ambiguous standpoint effectively.