展览 Exhibition – 元美术馆筹建档案展 YUAN Museum Preparatory Committee Archive Exhibition

 2015年5月16日元美术馆筹建档案展在元空间正式对外开放

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梵高

此次展览不仅对2014全年档案进行重新梳理,并且在开放之后,接待了来自世界各地的藏家、艺术家、合作机构、媒体等社会组织。

这是一次向社会公开筹建策略和美术馆专业工作流程,同时督促各合作方严格按照施工进度工作的展览。

展览前言

“我喜欢古典园林,我还喜欢自己去设计园林,喜欢亲手跟工匠一起去做,因为园林是设计不出来的,每个角度千变万化,中国古典园林也是跟这画一样,一块石头摆在那儿之后,你才知道应该配一块什么样的石头,有一棵什么样的树摆在那儿,景又从哪个角度去看,你从另外一个角度去看又是另一个景,早晨看光线是从东边过来的,树的阴影在哪里,整个一天下来都在变化,还有四季的变化,没有树叶的时候,树枝和石头的搭配是什么样的,真的是变化特别多,所以我喜欢古典园林,喜欢在有庭院的工作室里观察四季。”

“有时候我看到一条黑的树枝上积着雪,黑白分明的感觉特别动人和有美感,不是说我一定要当时去画,可能两年、三年、五年以后这些东西不知不觉就在手中体现出来了,但是我不会记录下来,说接下来我一定怎么计划,我没有计划,我就是融入到身体里、血液里,让它自由地释放出来。”

——曾梵志

元美术馆是一个艺术家对于中国艺术精神的持续探求,展现其内心的澎湃之情与殷切希望。今天,美术馆已经成为当代城市精神的至高点。其对于当代社会文化的纪录、研究和展示;人与人之间精神的交流与创造力的启发;新科技的体验与各学科跨界实践,都提供着多维平台和无限机会。于是,了解一个特定社会当中所应呈现的“美术馆”形式和特色,成为一个令人兴奋且严肃的研究课题。元美术馆筹建委员会在这样一种心态下成立了。她面临着从基础设施、管理流程、运营模式、内容制作、公共管理、社会调查、理论研究等等多重责任;她承载着综合建造技术的复杂性和所处年代、社会的独特性;她要重建的理论体系和美学价值观,需要几代人的努力去实践、去探索。

曾梵志先生作为正在这实践过程中的一员,通过他对生活中一个细节的描述,向我们呈现出东方美学细腻、浪漫与浑然天成的情感表达。我们也许还无法用准确的语言解释我们是谁,在做着什么,或者为什么要做?但是,如果有一天这些事“是融入到身体里、血液里,让它自由地释放出来。”的话,那就是真的实现了。

——李诗

I like Chinese classical gardens, and I also enjoy designing them and working along with the artisans to make them. One cannot actually “design” a garden so to speak; there are changes at every angle, and the making of a classical Chinese Garden is very similar to the making of a painting. You place a rock at one place, and then you will know the other kinds of rock and tree that can go along with it. It is about choosing the angle to view the scene, and if you look at it from another perspective you will get a different impression of the scene. Morning light rises from the east, the place where the shadow casts changes throughout the day and throughout the four seasons. When the leaves have fallen from the branches, one must also consider the arrangement of the branches and the rocks; the changes are infinite, and that is why I like classical gardens and enjoy having a courtyard with a studio where I can observe the changes that take place over the four seasons.

Sometimes when I see snow accumulated on a black branch, the aesthetic quality of the black and white contrast moves me tremendously. But that does not mean that I need to paint it at the time. May be in two or three or five years will it eventually and unconsciously surface from my hands. I do not record it down, or formulate some kind of plan for it. I do not plan. I just let it enter my body and into my blood and allow it to surface naturally.

——Zeng Fanzhi

 

YUAN Museum is the embodiment of an artist’s persistent exploration of China’s art spirit, a presentation of his inner passion as well as ardent wishes. Today, museums have attained a commanding height of contemporary urban spirits. A museum’s documenting, investigating and exhibiting contemporary social culture; soulful communications amongst human beings and inspirations on creativity; experiences of new technologies and interdisciplinary practices… all are offering a multidimensional stage where opportunities are countless. As a result, to comprehend the museological forms and features that ought to exist in a given society is an exciting yet serious subject of discourse. The YUAN Museum Preparatory Committee was established with such an attitude, and it carries multiple responsibilities in the infrastructure, managerial procedure, operational pattern, content production, public administration, social researches, theoretical studies and so forth. It bears the complexity of constructional technology as well as the specificity of our temporal and social context; the theoretical system and aesthetic values it intends to rebuild require efforts of several generations to practise and explore.

As a member of the on-going process of practice, Mr. Zeng Fanzhi presents to us fine, romantic and natural expressing of emotions in the Oriental aesthetics, through his depiction on details in life. Perhaps we cannot accurately verbalise who we are, what we do or why we do; nonetheless, if one day all those issues “integrate into our bodies and blood to be liberated”, they get realised.

——Shi Li-Sanderson

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