第三单元

“无尽的交谈”

“Endless Conversations”

策展人丨Curator：朱朱（Zhu Zhu）

助理策展人丨Assistant Curator：李荣蔚（Li RongWei）

展览时间丨Dates：2022年12月30日—2023年3月12日

展览地点丨国家对外文化贸易基地（北京）

Exhibition Venue丨NATIONAL BASE FOR INTERNATIONAL CULTURAL TRADE（BEIJING） 

艺术的本质可以被理解为无数种形态的交谈：艺术家与自我、与他人的交谈，与艺术史、人文领域以及众多学科的交谈，与自然、历史、现实和未来的交谈，同时也是一场有限与无限的交谈，而伟大、赤诚的艺术作品能够穿越不同的年代、背景和局限，与后世的心灵形成直接的、精神性的交谈，能够为人类社会开启更好的、甚至全新的相处模式带来启示。展览的主题与结构由以下三个章节构成：

The essence of art can be understood as conversations in innumerable forms: conversations of the artist with him/herself and with others, conversations with art history, humanities and many other disciplines, conversations with nature, history, reality and future, as well as conversations between the finite and the infinite. Great and genuine artworks can go beyond different eras, backgrounds and limitations, engage direct and spiritual dialogues with the mind of future generations and inspire human society on a better or even brand-new mode of living together. The exhibition consists of three chapters:

▲瑞贝卡·霍恩作品  《Die drei Grazien im Tanz》

（1）灵光之思

参展艺术家丨Artists

蔡东东（Cai DongDong）/陈可（Chen Ke）/郝量（Hao Liang）/吕松（Lv Song）/刘思麟（Liu SiLin）/林科（Lin Ke）/梁铨（Liang Quan）/刘野（Liu Ye）/毛焰（Mao Yan）/Matthias Weischer/Magnus Plessen/Michal Martychowiec/倪有鱼（Ni YouYu）/仇晓飞（Qiu XiaoFei）/Rebecca Horn/孙一钿（Sun YiDian）/史国威（Shi GuoWei）/Thomas Ruff/王长存（Wang ChangCun）/谢南星（Xie NanXing）/张文怡（Zhang WenYi）/张月薇（Zhang YueWei）/朱加（Zhu Jia）

该章节侧重于数字图像对于个人经验的介入：数字技术带来了跨地域、跨年代和跨领域的全球图像资源共享的可能，同时也导致了图像的泛滥和过度生产。对于饱含着瓦尔特·本雅明所言的“灵光”（Aura）的艺术史遗产，和如今不断衍生的数字图像的思考、再利用和重构，构成了艺术家解读和叙述个人经验的重要维度和方法论。

（1）Presence of Aura

This chapter focuses on the intervention of digital images on personal experiences: digital technology has brought about the possibility of sharing global image resource across places, times, and fields, but also led to their flooding and overproduction. The reflection, reuse and reconstruction of the heritage of art history saturated with what Walter Benjamin describes as  “Aura”, and  digital images continuously derived today constitute an important dimension and methodology for artists to interpret and narrate their personal experience.

▲刘野作品  《傍晩的李特菲尔德别墅》致谢赛森艺术空间

（2）栖于息壤

参展艺术家丨Artists

蔡磊（Cai Lei）/陈丹笛子（Chen DanDiZi）/程新皓（Cheng XinHao）/Daniel Steegmann Mangrané/Fanny Gicquel/高磊（Gao Lei）/何翔宇（He XiangYu）/何迟（He Chi）/Haroon Mirza/厉槟源（Li BinYuan）/李怒（Li Nu）/刘雨佳（Liu YuJia）/李青（Li Qing）/劳丽丽（Lao LiLi）/梁绍基（Liang ShaoJi）/罗荃木（Luo QuanMu）/刘商英（Liu ShangYing）/林彥瑋（Lum YenWei）/马思博（Ma SiBo）/Matti Braun/Mona Hatoum/Pascale Marthine Tayou/Paola Pivi/Ragna Bley/Robert Zhao Renhui/Rachel Rose/尚一心（Shang YiXin）/童义欣（Tong YiXin）/塔可（Ta Ke）/Tarak/Wilhelm Sasnal/伍伟（Wu Wei）/向京（Xiang Jing）/杨福东（Yang FuDong）/Yuko Murata/张震宇（Zhang ZhenYu）/臧坤坤（Zang KunKun）/周滔（Zhou Tao）

该章节侧重于生态环境对于艺术生成过程的介入：正如人类和自然始终保持着牢不可破的联系，个人和群体在成长、栖居或迁徙所面对的环境变迁一直都是重要的艺术主题，其中也关涉着现代性和景观社会的反思。艺术家们的工作方式往往更为综合，结合和延展到田野调查、历史考古等维度，在创作形态方面，不仅体现于在地性材料的择取和运用，不少作品的生成过程结合了自然的作用力，如气候，风力、水流、培植过程等因素，以致作品本身就构成了混合的生态系统。

（2）Inhabiting the Ever Living Soil

This chapter focuses on the intervention of the ecological environment on the process of artistic generation: just as human beings and nature have always maintained an unbreakable bond, the environmental changes individuals and communities face with in their growth, habitats, or migrations have always been an important theme in art, which also involves the reflection on modernity and the society of the spectacle. Artists tend to work in a more comprehensive way, combining and extending to the dimensions of field survey, historical archaeology, and more. Creative form, on the other hand, is not only reflected in the selection and application of local materials but also in creation that combines natural forces, such as climate, wind power, water flow, cultivation process, and other elements, so that the works themselves constitute a mixed ecosystem.

▲雷格纳·贝利作品  《ANNO》系列

（3）多维透视

参展艺术家丨Artists

Alice Anderson/Alicja Kwade/陈界仁（Chen Chieh-Jen）/Channa Horwitz/Carsten Höller/Doug Aitken/费亦宁（Fei YiNing）/黄宇兴（Huang YuXing）/胡晓媛（Hu XiaoYuan）/Ian Cheng/刘昕（Liu Xin）/Lawrence Lek/宋琨（Song Kun）/谭卓（Tan Zhuo）/Tony Oursler/Ugo Rondinone/徐累（Xu Lei）/謝佑承（Hsieh Yucheng）/叶凌翰（Ye LingHan）/Yoshio Sekine/郑先喻（HsienYu Cheng）/莊普（Tsong Pu）

该章节侧重于自然学科对艺术观念的介入：来源于数学、物理、天文学、生命科学等领域的历史成果和最新发现，经由艺术家的转译和想象，伴随着表达媒介与技术的演进，以各种可视性的表现方式，对应和揭示着世界表相之下的不同图层，其中蕴含着关于未来和形而上秩序的猜想。 

（3）Multi-dimensional Perspective

This chapter focuses on the intervention of natural disciplines on artistic concepts: historical achievements and latest discoveries from mathematics, physics, astronomy, life sciences, and other fields, via the translation and imagination of artists, with the evolution of medium and technology of expression, echo and unveil different layers of the world in various visual manifestations that contains conjectures about the future and metaphysical order.

▲道格·艾特肯（Doug Aitken）  作品《Future》

在我们的展览现场，一楼用于展示第一章节“灵光之思”，二楼与三楼用于展示第二章节“栖于息壤”，四楼用于展示第三章节“多维透视”。

In our exhibition hall, 1F is for the first chapter “Presence of Aura”, 2F and 3F are for the second chapter “Inhabiting the Ever Living Soil”, and 4F is for the third chapter “Multidimensional Perspective”.