[lang_zh]渣渣说 行为现场+装置[/lang_zh][lang_en]Sounds of Dust Live Performance + Site specific installation[/lang_en]


[lang_zh]
策展人:刘丽芬

艺术家:Jedsada Tangtrakulwong(泰国),Nguyen Huy An(越南), Hoang Minh Duc(越南), Vu Duc Toan(越南)

海报设计:石头

展览助理:张雪梅,李健波

开幕酒会:2011年7月2日17:00—21:00
行为时间:2011年7月2日19:30开始
展期:2011年7月2日—9日

地点:昆明市金鼎山北路15号,Loft•金鼎1919,A区,943空间
电话:0871-5385159
www.943studio.cn

赞助组织:943小组,挪威东西画廊,河内Nha San Studio,Loft•金鼎1919

前言:

渣渣说
刘丽芬,石志洁

这是第四次邀请越南艺术家参与我们小组的艺术家驻地项目。对于越南当代艺术,我们“交往”不长,但已经是老友了。2008年我们小组一行第一次到河内做交流时,最早接触的越南当代艺术空间就是“Nha San Studio”。 这个空间是越南最早的当代艺术试验场,艺术家自营空间,由越南当代艺术领军人物陈龙和艺术家/古董修复师Nguyen Manh Duc主持,这为越南当代艺术家们提供了一个稳定持续的当代艺术实践场所。而这个空间其实就是Nguyen Manh Duc的家,他同时也是一位从事越南传统佛像雕刻的艺术家,所以,对于越南当代艺术的探访就是从这个堆满各种佛像金刚的堂屋开始的奇妙旅程。我们小组对于越南当代艺术的观察可以从我和943另一成员:石头的一段对话窥见一斑。

刘:2003年清迈“湄公实验室-东南亚当代艺术合作会议”之后,我一直觉得云南在地域和文化上和东南亚有很多共通之处,所以我想在小组的艺术家驻地项目这一块有持续合作。其中,尤其是越南当代艺术有很多吸引我的地方,也许是第一次接触就有些亲近感吧!这个计划从越南开始,以后会有更多的东南亚艺术家会被小组纳入这个项目,今年Jedsada Tangtrakulwong就是第一个受邀的泰国艺术家。

石:我觉得08年“一来二去”这个展览很好,包括后续在越南的交流都很有价值。首先是越南当代女性艺术家群体第一次在中国做展览。越南当代艺术在国际上被关注是90年代初的事情,但事实上,它还是处在边缘状态,女性艺术家群体合作的交流更是有限,从这个意义上讲,“一来二去”打开了一种持续往来的大门。无论对他们“走出来看”,还是我们“走近看”都是很好的契机。

刘:越南当代艺术现象本身其实也是很吸引我的。它有种很“生猛”的特质,因为长时间积压的爆发,让它在尝试和探索上都表现得很真实而强烈。

石:对,这种气质很难得,我很喜欢越南艺术家在创作上的材料语言,因为艺术家在一种比较艰困的现实条件下进行创作,身体或者廉价的,废弃的创作材料恰恰成为他们表达的利器。另外,越南民族性中那种“残酷的诗性”很多时候都能在他们特殊的表达中呈现出来。

刘:这三年来我们接触更多的是从事装置和行为为主要创作方式的艺术家,或者说他们更多地选择这种“廉价”的方式让自己不断地处在创作的探索中。

石:年轻的当代艺术家几乎都在日常从事大量的非架上的创作尝试,这点上表现得非常“勤奋”。我所接触的越南年轻一代艺术家,几乎是无一例外的。

刘:和他们一起工作的过程中我发现他们对材料的态度几乎是执拗的,他们常常对收集的细碎材料投以高度的专注。有时候甚至对着些苔藓一类的渣渣反复琢磨和实验。

石:对于创作,他们的材料几乎是任何可以到手的东西,在他们眼里,苔藓也是森林。

刘:灰尘也可以歌唱。

石:如果对于艺术可以投以如此的热情,那么所有“渣渣”都可以“有话可说”,没有“渣渣”是浪费的。
2011年6月28日

 

行为现场和展览现场文献:[/lang_zh]

[lang_en]Curator: Liu Lifen
Artists: Jedsada Tangtrakulwong(Thailand), Nguyen Huy An(Vietnam), Hoang Minh Duc(Vietnam), Vu Duc Toan(Vietnam)
Poster design: Stone
Assistant: Zhang Xuemei, Li Jianbo

Reception: 17 – 21pm, July 2, 2011
Performance start at 19:30pm
Duration: July 2 – 9, 2011

Location: 943 Space, A Zone, Loft•JinDing 1919, North Jinding Shan Road No.15, Kunming, China
Tel:0871-5385159
www.943studio.cn

With support from: 943 Studio(Kunming), Gallery Dongxi(Norway), Nha San Studio(Vietnam), Loft•Jinding 1919(Kunming)

【Preface】
Sounds of dust
By Liu Lifen and Shi Zhijie

It is the fourth time for 943 Studio to invite Vietnamese artists to involve in the Artist-in-residency program. In fact, we have been old friends with Vietnamese contemporary art even though our contact with them is not that much long. The first Vietnamese contemporary art we contacted with when we went to Vietnam in 2008 for the art exchanging program is Nha San Studio. It was founded in 1998 by Artist/Antique restorer Nguyen Manh Duc and Tran Luong, a leading artist in Vietnam. It is an independent art space run by artists and the earliest experimental contemporary art space in Vietnam, providing a stable and sustaining place for Vietnamese contemporary art. The Studio is actually Duc’s home. Nguyen Manh Duc is an artist who is engaging in traditional Vietnamese wood carving of Buddha. Therefore, the exploration of Vietnamese contemporary art was such a fantastic journey started from this room which is full of wood carving of Buddha and vajra. Our observation of Vietnamese contemporary art can be seen from a conversation between me and Stone, another member of 943 Studio.
Liu Lifen: After the Mekong Lab-Conference of Southeast Asia’s Contemporary art Collaboration, Chiangmai, in 2003, I have been feeling that Yunnan has a lot in common with south-eastern countries both in geographical and cultural aspects. Therefore I wanted to have continuous collaboration in 943 Studio’s Artist-in-residency program with south-eastern art communities, especially for Vietnam, which is always attractive for me in many ways. Perhaps it is because I sensed somewhat friendliness and gentleness from the first time of contacting it. Starting from Vietnamese, I believe there will be many more south-eastern artists accepted in our Artist-in-residency program in the future. And Jedsada Tangtrakulwong is the first Thai artist involved in the program in 2011.

Shi Zhijie: I can tell the exhibition of “Yunnan-Vietnam Female Artists exchange” in 2008 was very good and the later exchange in Vietnam was very valuable for it was the first time that Vietnamese Female Artists had their exhibition in China. It was the early 1990s that Vietnamese contemporary art started to be paid attention to. Nevertheless, it was still in a marginalized situation, let alone the exchange of group female artists. For some extent, “Yunnan-Vietnam Female Artists Exchange” project opened a door of long-term collaboration and exchange. Either they come out to view us or we go to observe them closely is a great opportunity.

Liu Lifen: The Vietnamese contemporary art itself is actually attractive to me all the time. It has a vigorous nature. For the reason of breaking out after accumulating for years, it always presents in a frank and strong way either in its attempt or in its exploration.

Shi Zhijie: Yes, it is a very precious nature. I appreciate very much their material context in their art creation. You know, when the artists create their work in a difficult circumstance, their body or those wasted cheap materials are powerful tools for them to express themselves. On the other hand, the “cruel poetry” hidden in Vietnamese nationality can be presented through their special expression.

Liu Lifen: During the past 3 years, majority artists we contact with are all focusing on installation and performance art, I would rather say that they like this kind of cheap way to keep themselves all the time in the course of seeking and creation.

Shi Zhijie: In my eyes, these young contemporary artists are all very diligent in different kind of attempt of non-frame artworks every day. There is no exception among those Vietnamese young artists I contact with.

Liu Lifen: In the processing of co-working with them, I found that their attitude towards the materials is so earnest, nearly stubborn. They usually put extreme attention in those trivial materials they have collected; sometimes they even pay a great deal of attention to those tiny dusts, such as moss and lichen, studying and testing them again and again.

Shi Zhijie: Yes. They can use whatever they got in their art creation. In their eyes, these moss and lichen are same as the forest.

Liu Lifen: Exactly, these dusts also have the ability of singing.

Shi Zhijie: If the art can be paid so much passion like this, all the dust will be able to have its own sounds and to say something. None of them is wasted.

June 28, 2011

Pictures from the performance and exhibition:[/lang_en]

Nguyen Huy An(越南), Hoang Minh Duc(越南), Vu Duc Toan(越南)
梦话   Somniloquy
集体行为  Performance Art
概念Concept: 无限-不安全-永恒infinite-unsafe-everlasting
2011年6月15 – 7月1日

                                                                                                                                                                          

[lang_zh]Jedsada Tangtrakulwong(泰国)    成长  47 x 9 x  814cm(整件作品尺寸)47 x 8.6 x 10 cm ( 单件尺寸)
特定场域装置     1mm冷轧薄钢板,油漆   2011年5-6月     [/lang_zh]

[lang_en]Jedsada Tangtrakulwong(Thailand)  “Growth”  47 x 9 x  814cm(overall dimensions) 47 x 8.6 x 10 cm (Each)
Site Specific Installation     1mm. cold rolled steel plate, oil paint   2011 [/lang_en]