展覽海報

「零」

Zero

2019 大浦當代藝術館開幕展

2019 Pening exhibition

開幕酒會  Opening Reception：

2019年4月29日下午4點

展覽時間  Exhibition time：

2019年4月30日~7月30日

展覽地址  Exhibition Address：

成都天府新區華陽街道向陽街79號  大浦當代藝術館  A空間 

策展人 Curator： 

毛唯辛 / 何雨

項目執行館長  Executive director ： 

馬利 

參展藝術家 Exhibition artist（按照拼音排序）:

董金玲  何利平  計文于 x 朱衛兵  金鋒  賈煜  申凡  史金淞  劉廣云 （中國/德國） 蒂姆.烏爾里希斯（德國）  烏蘇拉.紐格鮑爾（德國）

Dong Jinling    He Liping    Ji Wenyu&Zhu  Weibing    Ja Yu    Jin Feng   Shen Fan   Shi Jinsong  Liu Guangyun  Timm Ulrichs   Ursula Neugebauer

主辦單位：

大浦當代藝術館

零

——成都大浦當代藝術館開幕展

 “零”作為一個數詞也是暗合一個起始，不存在的無，正是無之所在。“零”也是事物的平衡點，它是空無與萬有的交匯處，它位于正數和負數的中心，它因而更是坐標系統的樞紐，讓我們得以安全地在坐標系統上定位，來回穿梭。就藝術而言，旨在強調參展藝術家一以貫之的工作方法和線索，從形式到內容，就個人經驗在心理和精神上的表現，都有相同的傾向即不玩弄泛濫的符號，華麗的技巧。他們不再記錄或再現某一表象，而是從個人經驗出發觀照內心精神世界回歸藝術本體，自覺不自覺地向“零”回眺。 

本次展覽邀請了來自中國和德國共10位當代藝術家。他們根據各自的創作方式與狀況，結合中國、德國兩個國家呈現出的東西方文化的不同所具有的特殊性，將這種共性與差異性、特殊性進行視覺上的轉換。為此，我們借助“零”的概念來強調兩國藝術家相互之間的認知與表達。策劃具有實驗性、深入性、純粹性的小規模的藝術展覽更具有現實性。而此次參展作品涵蓋當代繪畫、雕塑、裝置及影像多媒體等方面。以全方位多媒介的角度解析藝術與藝術家之間的相互依存的互文性，還原藝術家于純粹，并思考藝術在跨越自身中的轉折與拓展。引發對社會生活的思考，用圖像性，觀念性成為當代藝術潛在的價值取向。

正在抵制著全球化傾向的形態各異的文化和知識力量，不僅存在于國家層面，也存在地區性和個體層面。一方面，它們阻止了全球化混合不同文化并抹殺差異性導致的那種嚴重的無趣感；另一方面，它們也實現著一種互相鏈接、鮮有沖突的全球化社群。這在任何情況下都需要被重新審視——首先，這是否是一個現實的夢想？其次，是否值得懷有這樣的夢想？

在這里，“零”還關聯了作為當地文化地標的藝術館本身的建筑風格樣貌。是蘇男初建筑師和香港朱競翔建筑師團隊的有效策劃與合作，也是成都大浦當代藝術館一切從零開始的觀念起始與未來行動自信。

策展人:毛唯辛

Zero

——Tuff Contemporary Art Museum OpeningExhibition

As a number, zero is an agreed-upon beginning, but it is also nothingnessand non-existence; it is the precise site of nothing. Zerois the balancingpoint for all things; it is the place where everything and nothing meet. It islocated at the center of the positive and negative numbers, and as such, it isthe center of the coordinate system, helping us to safely situate ourselves sothat we may move around within that system. In art, this idea aims to emphasizethat the participating artists have consistent working methods and themes. Fromform to content, they exhibit similar tendencies in their psychological andspiritual expressions of personal experience—they do not resort to a flood ofsymbols or dazzling technique. They do not record or represent objects;instead, they begin from personal experience and reference their internalspiritual worlds as they return to art itself, consciously or unconsciouslylooking back to zero.

Based on the artists’ past creative methods and circumstances, thisexhibition presents ten Chinese and German contemporary artists, bringingtogether the unique traits that arise from cultural differences between theEastern and Western countries of China and Germany. The artists work in theirown ways, but they all visually transform these similarities, differences, andunique characteristics. To this end, we used the concept of “zero” to emphasizethe ideas and expressions of artists from these two countries, and it was morerealistic to plan a small-scale art exhibition that would be experimental,deep, and pure. Works in this exhibition cover contemporary painting,sculpture, installation, video, and multi-media. From this comprehensive arrayof media, we can analyze the intertextuality of the interdependence of art andartists, recovering artistic purity and considering the transitions andexpansions that art has undergone in transcending itself. They inspire thoughtabout life and society, and they use pictures and concepts as potential guidingvalues for contemporary art.

Cultural and intellectual forces resistingglobalization exist on the national level, but they also exist on the regionaland individual levels. On one hand, these forces obstruct the grave monotonythat arises from the blending of different cultures and the obliteration oftheir differences. On the other hand, they achieve a globalized society that isinterconnected and seldom clashes. Regardless, all of this needs to bere-examined: First, is this a real dream? Second, is this dream worth having?

“Zero” is also connected to the architectural style of thismuseum, a local cultural landmark. The museum is the result of effectiveplanning and collaboration by architect Su Nanchu and Zhu Jingxiang’s Hong Kongarchitecture team. Tuff Contemporary Art Museum began from zero, and we haveconfidence in its conceptual beginnings and future directions.

Curator

Mao Wei Xin