[lang_zh]十月活动日程(2011)[/lang_zh][lang_en]October Program 2011[/lang_en]

           

[lang_zh]

7日 星期五
18-20:00:自助户外烧烤(需提前一天预订),60元/位(含软饮),仅限20人。
20:00 录像作品赏析-《万物必经之途》 30分钟
瑞士艺术家Peter Fischli和David Weiss,当代艺术世界中的传奇艺术家组合,2003年第50届威尼斯双年展金狮奖获得者。《万物必经之途》于1987年制作的一部录像作品,简单、粗糙而幽默,充满智慧,极为震撼,作品其中具备难以置信的思考力与可不断引发新的感受。

14日 星期五
18-20:00:自助户外烧烤(需提前一天预订),60元/位(含软饮),仅限20人。
20:00 纪录片《Urs Fischer》 98分钟
瑞士艺术家乌尔斯•费舍尔一向以他的大胆创作,富于想象,和将现成品通过即兴发挥的方式创作的雕塑和装置作品而闻名。他是“炼金术士”,擅长在艺术史和地下文化中穿梭,调动废物美学的手法去推翻传统的雕塑语言。在他的雕塑作品中,他总是想尽一切办法将看似普通,与艺术无关的普通物品转换成非同一般的元素,来体现他对于材料的实验性的改革。创造与毁灭之间充满矛盾的相互作用是他的创作源泉之一。

21日 星期五
19:00 《我祖父是共济会成员,我盖了房子》展览开幕酒会,艺术家:Chantal Hoefs(苏黎世)
20:00 艺术家作品导览
简介:展出作品可以从三个层面上来解读:简单的生存模式唤起我们对古代戏剧反映现实的回忆;思维总是通过时间和空间来过滤现实,然后只留下有用的东西;演员的角色只是一个潜在的伙伴

28日 星期五
18-20:00:自助户外烧烤(需提前一天预订),60元/位(含软饮),仅限20人。
20:00 纪录片《给土地的15件礼物》(台湾CAMPOBAG)
这是台湾新时代设计师对土地的热情与关注的一个主题展览旅程。透过每位设计师进入土地的角度,经由旅行的过程,去真正地接触土地,不是凭空想象,不是天马行空,而是实实在在地接触到、感受到、体会到,然后将土地的美好价值呈现和传递出去,因为这些美好价值,我们才能如此无畏的生活着。15段对话,15件关于土地与你我之间的故事。

 

地址:昆明市金鼎山北路15号,Loft金鼎1919,A区,943空间
预定咨询电话:5385159[/lang_zh]

 

[lang_en]7th Friday
18:00-20:00  Outdoor BBQ buffet (one day in advance booking required), 60 yuan/ person (including soft drinks), only 20 people.
20:00  “The Way Things Go”  a 1987 art film by Peter Fischli and David Weiss (Free Entry)
Inside a warehouse, a precarious structure 70-100 feet long was constructed from various items. If this is set in motion, a chain reaction ensues. Fire, water, gravity and chemistry determine the life-cycle of objects and things. So begins a story about cause and effect, mechanism and art, improbability and precision.

14th Friday
18:00-20:00  Outdoor barbecue buffet (one day in advance booking required), 60 yuan/ person (including soft drinks), only 20 people.
20:00  “Urs Fischer” by Iwan Schumacher  (Free Entry)
The Swiss born artist Urs Fischer has achieved great international success in recent years. The film is structured around the currant pinnacle of Fischer’s career – his first one-man show in an American Art Museum. It records the preparation of this event, interweaving this with intriguing images of previous works and exhibitions in locations such as Venice, London, Sydney, Zurich and Shanghai. The viewer can experience the pressure under which an international artist works.

21st  Friday (Free Entry)
19:00  “My grandfather was a Freemason and I build the house”, Solo show by Chantal Hoefs(Zurich)
20:00 Artist Art Presentation
The project has three elements of understanding:
simple archetypes of survival that recalls ancient theatre models to express reality, thinking intended as action that filters reality through time and space in order to produce something useful, the figure of the actor that exists only as potential partner

28th  Friday
18:00-20:00  Outdoor barbecue buffet (one day in advance booking required), 60 yuan/ person (including soft drinks), only 20 people.
20:00  “15 Gifts to the Land”(Taiwan CAMPOBAG)(Free Entry)
When the tide and anxiety of China’s hot and globalization swept through Taiwan, there are still beautiful things happening and existing quietly in this land. They may be not fashionable, but really good stuff. To re-design those goods in the land with enthusiastic creativity, to ignite the andience’s passion, that is, our CARE!

Address: 943 Space, A Zone, North Jinding Shan Road No.15, Kunming(650032) Yunnan, China
Tel: 5385159[/lang_en]

[lang_zh]讲座-“关于时间和身体”+“关于时间和空间”[/lang_zh][lang_en]Lecture “On time and body”+”On time and space” [/lang_en]

[lang_zh]

“关于时间和身体:行为表演” 二十世纪西方艺术进程…

时间:2011年9月13日晚上6:30—8:30

 

“关于时间和空间:装置艺术” 二十世纪西方艺术进程…

时间:2011年9月14日晚上6:30—8:30

 

主讲:Chiara Mu(意大利)

主持:和丽斌

地点:云南艺术学院呈贡新校区公共教学楼一楼视听教室
主办:云南艺术学院美术学院  云南艺术学院外事办
协办943小组

1)行为表演
基于时间的艺术简介
当剧院成为表演:未来派及其观众的强烈反应,当Gutai在日本同样运作时,达达主义和情景主义如何推动欧洲打破自然的边界,意外事件的定义如何改变美国的六十年代以及最终的突破。当概念艺术遇到人的身体:人体艺术和现场艺术。此外,以精神分析法对女性身体的概览:日常身份,新世纪身体如何重获集体空间初探:快闪族现象。

2)装置艺术
基于时间的艺术简介
从雕塑到装置:布朗库斯工作室和库尔特•史威斯•梅泽勃。空间中的人体:Gutai课程和整体感觉方式的发现:卡普罗的环境。角色的颠覆:观者的体验作为新的(离散的)艺术对象:浸入、增强的感知和模仿。艺术家的外迁:从工作室到场景:具体场景的艺术。从外迁到开放:大地艺术,其历史和现象论,相关的实践及美学,“游牧”艺术,被激活的观众,公共艺术。[/lang_zh]

[lang_en]

“On time and body: Performance Art”

a journey in the contemporary art of the twentieth century and more…

Time:18:30-20:30, Sep 13, 2011

 

“On time and space: Installation Art”

a journey in the contemporary art of the twentieth century and more…

Time:18:30-20:30, Sep 14, 2011

 

Guest Speaker: Chiara Mu(Italy)
Host: He Libin
Location: audio-visual classroom, the first floor ofthe new teaching building, Yunnan Arts Institute, Chenggong,Kunming, China
Organizer: Fine Art College of Yunnan Arts Institute and Foreigner Affair office of Yunnan arts Institute
Co-organizer: 943 Studio

1) Performance Art
A brief personal introduction related to Time-based Art.
When Theatre became Performance: a view on Futurism and its audience’s provocations, how Dada Movement and Situationism move Europe to wards breaking physical boundaries while Gutai was operating similarly in Japan. How thedefinition of happening changed the Sixties in U.S. and the final break-through: when Conceptual Art meets the body:Body Art, Fluxus and Live Art. Furthermore an overlook on the female body considering a psychoanalytic approach:Genre Identities and a glimpse in the newest century on how the body regains collective space: the phenomenon of Flash Mobs.

2) Installation Art
A brief personal introduction related to Time-based Art
From Sculpture to Installation: Brancusi’s Studio and Kurt Schwitters Merzebau. The body in the space: the Gutai’s lesson and the discovery of the whole sensory approach: Kaprow’s Environments. Subverting the roles: the viewers experience as the new (decentred) subject of the art: Immersion, enhanced perception and mimesis. The artist moves out: from studio to situation: Site-Specific Art. Out in the open: Land Art, its history and phenomenology then Relational practices and aesthetics, Nomadic art, Activated Spectatorship and Public Art. [/lang_en]

     

[lang_zh]当代艺术的经济要素—拍卖[/lang_zh][lang_en]Art Discussions:The Economics of Contemporary Art — Branded Auctions [/lang_en]

[lang_zh]主讲嘉宾郑青青(美国/台湾),美国洛杉矶艺术家
时间:2011.9.16. 20:00-21:00
语言:中英双语
地址:昆明市金鼎山北路15号,Loft•金鼎1919,A区,943空间
电话:5385159

概述
当代艺术是在上世纪70年代之后兴起的一种非传统艺术形式,或者说是一些主要的拍卖行进行拍卖的艺术品,或者是由同一位艺术家创作的、带有“当代”烙印的类似作品。当代艺术涵盖了日常生活中的各种物品,特别是在绘画或雕塑技能被新兴的概念艺术所取代之后。当代艺术最大的增值部分来自那些最著名的拍卖公司,比如:佳士得拍卖行和索斯比拍卖行,它们始终吸引着那些地位显赫、富甲一方的社会名流、名人和精英来竞拍。纽约和伦敦一直是世界高端现代艺术品的拍卖中心,其中的品牌效应非常明显。在今天的当代艺术领域,品牌扮演着一个极其重要的一个角色,对当代艺术作品的价值产生举足轻重的影响。在本期活动中,我们将对拍卖会的进行做一个基本的了解,并对艺术家、交易商、拍卖行和收藏家之间的关系做一些探讨。

1.什么是当代艺术?
2.关于品牌
3.拍卖背后的密秘
4.商人–收藏家–艺术家–拍卖行[/lang_zh]

[lang_en]Guest Speaker: Ching Ching Cheng (USA/Taiwan) contemporary artist from LA, United States)

Time:2011.9.16. 20:00-21:00

language:Chinese & English

Location943 Space, A Zone, Loft·JinDing 1919,North Jinding Shan RoadNo.15,Kunming

Tel:0871- 5385159

Outline:
Contemporary art is non-traditional and was created after 1970, or that a major auction house has offered it or a similar work by the same artist as “contemporary.” Contemporary art overlaps with everyday objects, particularly when the ability to draw or to sculpt is replaced by conceptual art. In contemporary art, the greatest value-adding component comes from the most famous branded auction houses: Christie’s and Sotheby’s. They attract status, quality, and celebrity bidders with impressive wealth. New York and London are the two nerve centers of the world market for high-end contemporary art, and they are where branding is most evident. Branding plays a very important role in the contemporary art society nowadays, and has dramatic impact on the economics of contemporary art. We will take a look on what happens on the auction evening, and discuss the relationships between artists, dealers, auction houses, and collectors.

1.What is contemporary art?
2.Branding
3.The secret world of auctions
4.Dealers v.s. collectors v.s. artists v.s. auction houses[/lang_en]

           

[lang_zh] “故土”特定场域装置展[/lang_zh] [lang_en]“Your Land”site-specific installation[/lang_en]

[lang_zh]

Chiara Mu(意大利)

 

开幕酒会:2011.9.24, 12:00-17:00

展期:2011.9.25-9.27 (每天12-19点)

地址:昆明市金鼎山北路15号,LOFT·金鼎1919,A区,943空间

电话:5385159

作品释义

本次基于工作室空间创作的特定场域装置作品,将为本地观众,艺术家提供一个对时间和空间重新感知、审视的尝试。这样的时空,是为了有意避免当下极其强大的生产和消费的经济因素的影响。
展览期间,我将把这个空间转换为一个“自由进出的避难所”,人们可以随意进出,也不会有任何的义务。有的只是一片自然的、让你赤脚行走的红土,从工作室屋顶的透光玻璃瓦透进来的光线,会让这片红土显得愈发漂亮。
云南红土—一个在过去二十多年里始终让云南艺术家魂牵梦绕的地方,那里曾经激发过太多的艺术灵感,也成了回归自然、对抗经济飞速发展的城市为代表的一个文化本源的符号。
这个作品的另一个目的,是让土地(具体说是土)回归到它的一种本来的“生产”的意义上,而不是在这个城市里随处可见的建筑工地上堆在一角的无用之物。还给红土作为代表云南地域文化身份特点的那种激发灵感的独特价值,以这样一种方式来对抗今天在中国、在昆明司空见惯的“山寨”现象。
[/lang_zh]

[lang_en]

Chiara Mu(Italy)

 

Opening Reception: 2011.9.24, 12:00-17:00

Duration: 2011.9.25-9.27

Open Hours: 12:00-19:00pm

Location: 943 Space,  A Zone, Loft·JinDing 1919, North JinDing Shan RoadNo.15, Kunming

Tel: 5385159

 

Concept:

This site-specific installation in the space of the studio will give people, inhabitants and artists, the chance to reconnect with a perception of time and space that is not related to the capitalistic pressure of producing and consuming things.
I would like in this way to transform the space for few days in a ‘free-time sanctuary’, where people can come and just stay. There is no ticket to pay, no obligation to follow. There will be only red soil to walk barefoot into, in the beautiful light that comes from the transparent strips of the studio’s ceiling.
The soil comes from Yunnan, a specific area that has been taken by local artists in the past twenty years as a powerful inspiration and symbol of the return to cultural roots and to nature, against the fast growing economy system represented by the new city skyline.
The aim of the project is to “free” the land for being just another mean of production, left dying in the corners of constructions sites all over the city, and give it back its value of an inspirational reminder of Yunnan’s cultural identity and truth, against the ordinary phenomenon of faking places, things and objects common nowadays in China and especially here in Kunming.
[/lang_en]

                             

 

[lang_zh]无根[/lang_zh][lang_en]Rootless[/lang_en]

[lang_zh]策展人:罗菲

艺术家郑青青(美国/台湾)
展览开幕酒会:2011.9.10, 20:00
展期:2011.9.10 – 9.26
地点:昆明市西坝路101号,TCG诺地卡(云南白药厂旁昆明市机模厂内)
电话:4114691

艺术漫谈:当代艺术的经济要素—拍卖
时间:2011.9.16. 20:00-21:00
地址:昆明市金鼎山北路15号,Loft•金鼎1919,A区,943空间
电话:5385159

合作:TCG诺地卡   943空间   Loft· 金鼎1919

 

前言

文/罗菲

郑青青的外公是北京人,65年前因为战争的缘故移居台湾。青青出生于台湾,2003年到美国学习艺术与设计。2009年,青青移居美国。因为历史或个人的际遇,她的外公从大陆到台湾,她从台湾到美国,如今作为艺术家,从美国来昆明943小组进驻工作。家族的迁徙经历,以及她在文化上的断层、碰撞与交织,使她对自己的文化产生追根溯源的念头。

青青在美国接受艺术教育,她的作品呈现出非常多元的面貌,她对数字艺术、传统艺术以及立体作品都感兴趣,她敢于挑战自己,尝试不断解决问题实现新的想法。青青善于尝试不同媒材,大多数作品使用墨汁、水彩、水粉和丙烯,色彩微妙而安静。尤其那组雕刻旧书来制作老式相机和音乐盒的系列作品我非常喜欢,通过她对泛黄旧书一页一页地雕刻和裁剪,能把那些精密仪器再现出来,使其不再是那个物体本身,而是被青青赋予特殊手工感与观念的情感物。这也正是青青的艺术所具有的一种特殊气质,浪漫、精微、幽静而大方。她把那些日常物品和器具变成了她个人经历的某种象征,又让这些信手拈来之物,提出这个时代背景下的文化命题。

青青的作品在形式上也有较强的整体感,大多数形象有明朗简洁饱满的轮廓,同时那些载满个人情愫、观念和故事的形象,又以线与面的样式在作品中舒缓流动、飞翔。还有水彩作品中仿佛大自然里的根茎或羽毛的绚丽色彩,这一切形成了某种让情感和物品复苏的诗意。

这次展出的四件作品是青青在昆明进驻三个月期间就地取材完成的,一件是叫做“无根餐厅”的屋子,与福饼文化有关,里面藏着命运瞬间的因缘,或功成或名就,或平庸或祝福,它们都是生活中真实的瞬间。

第二件作品也是与吃有关,青青把不同食物做成液态涂抹在纸质的碗上,成组的碗形成一个阵容,而隐藏其中的互动声音装置将为观众打开可供想象的厨房记忆。

第三件作品是用水彩画的手法绘制书法字帖,那些带有明确家国情怀的字,如“国”、“乡”、“爱”等,这组作品探讨繁体字与简体字的差异,汉字在化繁为简之后,其意义是否明晰可见。

第四件作品是仿印章的指纹装置。中国文化以个人印章为署名的权力象征,而西方文化以书写签名为其权力象征,青青在这两种文化里生活,切换频道。那么这个以艺术家本人拇指指纹为印的戳记,是否可以超越文化差异呢?

青青的作品让人们进入到一个迁徙者、移民文化的探讨中,并且因为作品的开放与互动因素,观众可以参与到其个人情感与经验中,对文化、命运和根源的进行反思。我们的归属在哪儿?民族主义又能否为我们解开终极的答案呢?

2011年9月2日  [/lang_zh]

[lang_en]Curator:Luo Fei

Artist: Ching Ching Cheng(USA/Tai Wan)
Opening Reception:2011.9.10, 20:00
Duration:2011.9.10 – 9.26
Location:TCG Nordica, Loft, Xiba Road No.101, Kunming
Tel:4114691

Artist Talk: The Economics of Contemporary Art — Branded Auctions
Time:2011.9.16. 20:00-21:00
Location:943 Space, A Zone, Loft•JinDing 1919, North Jinding Shan Road No.15, Kunming
Tel:5385159
In cooperating with: TCG Nordica, 943 Space, Loft· 金鼎1919

 

Forward by Luo Fei

Cheng Ching Ching’s grandfather was born in Beijing. He moved to Taiwan during World War II 65 years ago. Ching Ching was born in Taiwan, and moved to the United States to study art and design in 2003. Now Ching Ching is living and working in the United States. Because of historical and personal encounters, her grandfather moved from Mainland China to Taiwan; she moved from Taiwan to the United States; and now as an artist, from the United States to Kunming for the artist-in-residency program at 943 Studio. The experience of migration in her family, and the cultural gap, confliction and intervention makes her interested in finding out more about her own culture.

Ching Ching studied art in the United States, and she practices art in many different ways. She works digitally, traditionally and also three-dimensionally. She always challenges herself through drawing, solving problems and difficult ideas. Ching Ching likes to experiment with different techniques and mediums. Most of her work is mixed media using ink, watercolor, gouache and acrylic. The color of her work is very subtle and quiet. In particular, I like the vintage camera and gramophone series, which are made from old books. Through cutting and gluing old books together page by page to reform objects, Ching Ching is able to explore a subject through meditation on personal and emotion level. This makes Ching Ching’s art special. It is romantic, subtle, quiet and generous. She makes everyday objects into a symbol of her personal experiences and her cultural background.

Ching Ching’s work is cohesive. Most of the images have a clear and full silhouette, and those silhouettes are loaded with personal feelings, ideas and stories are flowing and flying in the form of lines and shapes. As well as her watercolor, it looks like brilliant colors of roots and feathers in nature. All of them become emotions and poetry.

There are four artworks for this exhibition, and they were made with local materials found by Ching Ching’s during her three-month residency in Kunming. The house is called “Rootless Restaurant.”  It is related to fortune cookies, which is modified Chinese culture in America. There are fate, success and blessings hidden inside real moments of life.

The second piece is about food. Ching Ching uses many different types of food as pigment to paint on different shaped and sized paper bowls. The paper bowls line up on a big table, and a hidden interactive sound installation will give the audience a chance to remember or discover memories of cooking in the kitchen.

The third piece is calligraphy in watercolor. Those characters with a clear sense of national identity, such as “country”, “home”, and “love.” This series explores the change from Traditional and Simplified Chinese and its meaning.

The last work is an installation of fingerprint stamp. In Chinese culture, personal stamps represent the written signatures in Western culture. Ching Ching is living in both cultures and using both forms of a signature. The thumbprint of the artist can act as the signature stamp transcending cultural differences?

Ching Ching’s work lets us explore the immigrant culture. Viewers can add in their personal feelings and experiences to think about their cultures, their fates and their roots through these interactive installations. Where do we belong? Is Nationalism the ultimate answer?

Sep 2, 2011[/lang_en]