【沈陽(yang)】紅梅藝術與設計(ji)展覽季(ji) - 跨界演出信(xin)息

由魯迅美術學院人文學院、紅梅文創園主辦，璣木畫院承辦的，以藝術跨界為主要目的的展覽活動 —— “紅梅藝術與設計展覽季 - 跨界”即將開幕。

展(zhan)(zhan)(zhan)(zhan)覽季活動(dong)包(bao)括(kuo)：I 解勇個展(zhan)(zhan)(zhan)(zhan)《創作(zuo)有溫度的藝(yi)(yi)術——藝(yi)(yi)術行為(wei)的社(she)會關懷》（1、3、5展(zhan)(zhan)(zhan)(zhan)廳）；II 遼寧省大(da)學生文(wen)(wen)化創意設(she)計(ji)大(da)賽獲獎作(zuo)品展(zhan)(zhan)(zhan)(zhan)（6展(zhan)(zhan)(zhan)(zhan)廳）；III  流(liu)浪(lang)者劇團《飗浪(lang)吟?四章》（7展(zhan)(zhan)(zhan)(zhan)廳）；IV  張武運個展(zhan)(zhan)(zhan)(zhan) 《久別》（2展(zhan)(zhan)(zhan)(zhan)廳）。展(zhan)(zhan)(zhan)(zhan)覽將在2020年11月13日(ri)于沈陽(yang)市鐵西(xi)區衛工北街(jie)44號紅梅文(wen)(wen)創園 發酵(jiao)藝(yi)(yi)術中心(xin)開幕。

解勇個展

創(chuang)作有(you)溫度的藝(yi)術——藝(yi)術行為的社會關懷

Art & social action

Public arts in contemporary China - raising civic awareness

主(zhu)辦單位：遼寧省美術(shu)家協會

展覽時間：

Exhibition Time:

2020年11月13日 - 2020年12月13日

策展人：亞歷山大·格里莫

Curator：Alexandra Grimmer

執行策展人：譚珊

Exhibition Executive：Tan Shan

展覽統籌：王寶陽

Exhibition co ordination：Wang Baoyang

展(zhan)覽(lan)助(zhu)理：馬勤清 張帥

Exhibition assistant：Ma Qinqing  Zhang Shuai

地址：沈陽市鐵西區(qu)衛工北街(jie)44號紅梅文創(chuang)園 發酵藝術中心

別讓我被誤解(jie)(jie) —— 關于(yu)解(jie)(jie)勇(yong)最近一系(xi)列作(zuo)品及其(qi)背景(jing)

解勇的(de)(de)(de)(de)藝術作(zuo)品(pin)深刻(ke)地探索了當前社(she)會尚未討論的(de)(de)(de)(de)問題(ti)(ti)和錯位。這位出生于(yu)1974年(nian)的(de)(de)(de)(de)藝術家(jia)、沈陽大學(xue)美(mei)(mei)術學(xue)院教授，以(yi)一種靈敏(min)高效的(de)(de)(de)(de)方式成(cheng)(cheng)功打開(kai)了我(wo)們(men)的(de)(de)(de)(de)眼(yan)界。他的(de)(de)(de)(de)媒介是(shi)象征人(ren)物及其(qi)處(chu)境的(de)(de)(de)(de)審美(mei)(mei)對象。《語(yu)言暴力可以(yi)成(cheng)(cheng)為(wei)(wei)武(wu)器》系列作(zuo)品(pin)向大眾展(zhan)示漢字的(de)(de)(de)(de)偏(pian)旁(pang)部首按順(shun)序排列，轉變(bian)成(cheng)(cheng)為(wei)(wei)了重武(wu)器。這些(xie)作(zuo)品(pin)以(yi)動畫形式置(zhi)于(yu)重現相關人(ren)物形象的(de)(de)(de)(de)物體旁(pang)，觀者可以(yi)自(zi)由將其(qi)組合在一起。這些(xie)簡單(dan)的(de)(de)(de)(de)對象中(zhong)，蘊含(han)著一系列難以(yi)啟齒的(de)(de)(de)(de)問題(ti)(ti)，例如缺乏溝通、誤(wu)解和社(she)會邊緣化。解勇選擇了一條充滿波折的(de)(de)(de)(de)路：通過(guo)尋找飽受語(yu)言暴力的(de)(de)(de)(de)青少年(nian)，直面(mian)這些(xie)個人(ren)悲(bei)劇，并將他們(men)的(de)(de)(de)(de)遭(zao)遇帶(dai)入我(wo)們(men)的(de)(de)(de)(de)意識領域。

童年和(he)青春期(qi)是孩子們在從周圍環境獲得的(de)經驗和(he)信(xin)念基礎(chu)上奠定個(ge)(ge)性(xing)的(de)時期(qi)，在這一發展階段，為了避免他們陷入自我懷疑，父(fu)母和(he)家(jia)庭的(de)支持和(he)認可至關重要(yao)。在謝(xie)勇研究缺乏家(jia)庭溫暖的(de)個(ge)(ge)案(an)中，青少年們遭受了漠(mo)視和(he)排斥(chi)。

在(zai)解(jie)勇采訪(fang)獄中(zhong)青少年(nian)的(de)案例中(zhong)，他們意識到(dao)(dao)所發(fa)生(sheng)的(de)事情是被(bei)孤立的(de)后果。日常(chang)壓力和負面(mian)情緒使他們無法洞悉自己日常(chang)的(de)生(sheng)活狀(zhuang)況，因(yin)為被(bei)困在(zai)殘忍和冒犯(fan)環境中(zhong)的(de)人，很(hen)難對發(fa)生(sheng)的(de)事情有一個客觀的(de)看法，直到(dao)(dao)他們絕望的(de)條件反射導致(zhi)犯(fan)罪。

解勇(yong)在(zai)教育獄中青少年(nian)時重現了這種從(cong)小被(bei)忽視(shi)的(de)(de)過程，他通(tong)過將自己的(de)(de)作品奉獻給(gei)他們(men)，在(zai)我們(men)的(de)(de)社會中提出了這個主題。

解(jie)勇觸及了一個(ge)具有(you)普(pu)適性的(de)(de)話題，不(bu)囿于中國(guo)，不(bu)溝(gou)通和憤(fen)怒的(de)(de)后果(guo)無(wu)處不(bu)在，沒(mei)人愿(yuan)意(yi)討論這些(xie)問題，也沒(mei)有(you)人愿(yuan)意(yi)讓它(ta)們(men)成為公(gong)眾(zhong)話題，藝(yi)術(shu)家以一種勇敢的(de)(de)方式(shi)，將個(ge)人的(de)(de)自我實(shi)現(xian)設定為一種高尚(shang)的(de)(de)、自我導向的(de)(de)藝(yi)術(shu)作品，包(bao)括之前描述的(de)(de)一系(xi)列圖像、動畫作品及裝置，其背后是(shi)一種嚴格的(de)(de)概(gai)念性表述。

經驗和歷史告訴我(wo)們(men)，藝術(shu)家或電影(ying)導(dao)演極大激發我(wo)們(men)的想象(xiang)力(li)，他們(men)能在(zai)他們(men)的工作中(zhong)拋(pao)出話題(ti)，讓我(wo)們(men)從另(ling)一個視角理解世界。

亞(ya)歷山(shan)大·格里莫(mo)博士，2020年10月

Don’t Let Me Be Misunderstood

About Xie Yong’s recent series of works and their background

The artistic work of Xie Yong digs deep into the undiscussed problems and misalignments of our society. In a sensitive yet highly effective way, the 1974-born artist and professor at the Shenyang University of Fine Arts succeeds in opening our eyes. His media are aesthetic objects of symbolised personages and situations. Another series, titled ‘Words can be like weapons’, shows Chinese characters which, by jiggering and aligning in the right order, transform into heavy arms and weapons. These works exist in animated images next to objects where those relevant characters have been recreated, and visitors of Xie Yong’s exhibition may assemble them together on their own. In the simplicity of those objects lies a whole chapter of unspoken problems, such as lack of communication, misunderstanding and social marginalisation.

Xie Yong decided to take an uncomfortable path and directly address those personal tragedies by finding adolescents who have suffered from words that were used as weapons against them and bringing their stories into our consciousness.

During childhood and adolescence, children are building the foundations for their personality, which being built up on experience and conviction around their personal environment. Support and recognition from parents and family are essential during this developmental stage in order not to remain in doubt and uncertainty. Xie Yong researched cases of human fate, where these components were missing and where the adolescents consequently experienced disregard and rejection.

In the case of the adolescents whom Xie Yong interviewed in their prison cells, the realisation of what had happened came as a consequence of their isolation.

Due to daily pressure and negative feelings, it was impossible for them to gain insight into the situation of their everyday life. This is because being trapped in a cruel and offending situation, it was difficult for them to obtain an objective view on what was taking place until the terrible incident when their desperate conditioning led to physical action.

Xie Yong resumes this process of neglect during the education which lead to the offence, which often began at a young age. He raises the subject in our society by dedicating his artworks to them.

Xie Yong has touched a subject that is universal. Not at all limited to China, the consequences of problems from non-communication and rage exist everywhere, and nobody likes to discuss them or make them a public subject. In a brave way, the artist sets his personal self-fulfilment into a virtuous, self-directed artwork behind a strict conceptual formulation that involves the previously described series of graphic and animated works and installations.

Experience and history have taught us that artists – or film directors are great stimuli to our imagination; they are able to bring up topics in their work that make us understand situations from another point of view.

Alexandra Grimmer PhD, October 2020

語言暴力

關注兒童(tong)心(xin)(xin)理(li)，拒絕語(yu)言(yan)暴力(li)。“語(yu)言(yan)傷(shang)(shang)害”會給孩子幼小的心(xin)(xin)靈(ling)種下陰影，這種在童(tong)年(nian)埋下的傷(shang)(shang)口會持續惡化、放大，最終可能導(dao)致孩子從自卑的極端走向另一個(ge)極端的爆發——犯罪(zui)。

藝術家(jia)以社(she)會現實問題為創(chuang)作素(su)材，從那些(xie)因為兒時(shi)遭(zao)受父(fu)母語(yu)(yu)言(yan)(yan)(yan)暴力(li)傷(shang)害(hai)而(er)造成犯罪的(de)真實故事中煉出(chu)的(de)“語(yu)(yu)言(yan)(yan)(yan)暴力(li)”的(de)創(chuang)作元素(su)，如(ru)：“豬腦子(zi)、丟(diu)人、就知道(dao)吃、廢物”等，把這些(xie)語(yu)(yu)言(yan)(yan)(yan)以藝術裝(zhuang)(zhuang)置的(de)形式拼裝(zhuang)(zhuang)成兇器(qi)，如(ru)：刀、槍、斧子(zi)、弩等，直(zhi)觀地將(jiang)暴力(li)語(yu)(yu)言(yan)(yan)(yan)對孩(hai)子(zi)內心的(de)傷(shang)害(hai)展現出(chu)來。藝術裝(zhuang)(zhuang)置作品(pin)以兒童互動(dong)游戲的(de)形式在公共空間展出(chu)，邀請家(jia)長和孩(hai)子(zi)共同完(wan)成由“語(yu)(yu)言(yan)(yan)(yan)”到“兇器(qi)”的(de)轉換(huan)體驗。

暴(bao)力語言對(dui)孩(hai)子心(xin)(xin)里的(de)深遠影響——暴(bao)力語言傷害的(de)是孩(hai)子的(de)心(xin)(xin)靈，其(qi)影響是持(chi)久(jiu)的(de)！

此(ci)次展(zhan)覽是(shi)藝術家(jia)解勇在國內的(de)首次個展(zhan)，共展(zhan)出4個系列的(de)23件裝置作品，分別展(zhan)出于1、3、5號(hao)廳,敬請期待！

遼寧省大學生文化創意設(she)計(ji)大賽獲獎作品展 —— 6展廳

展覽時間：2020.11.13 – 2020.11.28

地址：沈陽(yang)市鐵西區衛工(gong)北街(jie)44號紅梅文創(chuang)園 發酵(jiao)藝術(shu)中心(xin)

流浪者(zhe)劇團《飗浪吟?四章》

編導：閻三(san)元(yuan)  林映池

演員(yuan)：閻(yan)三元  林映池  呂紹朋

現場音樂：呂紹朋

美術：鄒濤

策展執(zhi)行：何雨潔 趙逸安(an)

演出時間：2020年11月13日17：00-17：30（首演）

展覽時間：2020年11月13日 - 2020年12月13日

地(di)址：沈陽市鐵西區衛(wei)工北街44號(hao)紅梅文創(chuang)園 發酵(jiao)藝術中(zhong)心

《流(liu)浪者劇團》于(yu)2020年(nian)(nian)由閻三元和林映池成立。他(ta)(ta)們(men)有著多年(nian)(nian)的(de)(de)國內外(wai)演(yan)出(chu)經歷(li)(li)(li)及創(chuang)作經歷(li)(li)(li)。表演(yan)形式多元化擅(shan)長(chang)肢體及跨界(jie)藝(yi)(yi)術創(chuang)作，從傳統劇場到(dao)(dao)美(mei)術館再到(dao)(dao)街(jie)頭巷尾(wei)都(dou)可以看到(dao)(dao)他(ta)(ta)們(men)的(de)(de)創(chuang)作身(shen)影。劇團成立的(de)(de)起因(yin)在于(yu)兩(liang)顆(ke)長(chang)期(qi)漂(piao)泊在外(wai)的(de)(de)藝(yi)(yi)術靈(ling)魂在疫情下(xia)受困(kun)于(yu)他(ta)(ta)們(men)熟(shu)悉的(de)(de)家鄉。于(yu)是(shi)兩(liang)個人開始計劃在這(zhe)特殊(shu)的(de)(de)一年(nian)(nian)怎樣用自(zi)己(ji)(ji)的(de)(de)方式跟(gen)家鄉和朋(peng)友訴(su)說(shuo)自(zi)己(ji)(ji)這(zhe)么多年(nian)(nian)漂(piao)泊在外(wai)的(de)(de)“流(liu)浪碎(sui)片”。所(suo)以在這(zhe)次參(can)演(yan)《飗(liu)浪吟?四(si)章》中他(ta)(ta)們(men)共(gong)分為四(si)個不(bu)同(tong)的(de)(de)階段和四(si)場不(bu)同(tong)的(de)(de)演(yan)出(chu)。講(jiang)述(shu)他(ta)(ta)們(men)的(de)(de)從出(chu)走到(dao)(dao)回歸(gui)的(de)(de)歷(li)(li)(li)程。

這次展(zhan)覽與(yu)作品對他們而言(yan)不單單是(shi)(shi)一(yi)次演出而更(geng)多的(de)(de)(de)(de)(de)是(shi)(shi)一(yi)次自我的(de)(de)(de)(de)(de)回憶與(yu)沉淀。他們期待(dai)用(yong)他們多年(nian)在外的(de)(de)(de)(de)(de)經驗(yan)找到(dao)那(nei)些與(yu)他們靈魂產生共鳴(ming)的(de)(de)(de)(de)(de)人。任何一(yi)種形式不管是(shi)(shi)音樂、肢體(ti)、繪畫、戲(xi)劇，所呈現出來的(de)(de)(de)(de)(de)最后的(de)(de)(de)(de)(de)藝術效果不只是(shi)(shi)一(yi)種所謂的(de)(de)(de)(de)(de)高深形式，而更(geng)多的(de)(de)(de)(de)(de)是(shi)(shi)一(yi)種不同形式上的(de)(de)(de)(de)(de)精神交流。在這里我們期待(dai)與(yu)您的(de)(de)(de)(de)(de)交流不單單是(shi)(shi)語言(yan)上的(de)(de)(de)(de)(de)更(geng)多的(de)(de)(de)(de)(de)是(shi)(shi)肢體(ti)與(yu)精神的(de)(de)(de)(de)(de)交換。

期待與大家相遇！

張武運個展 《久(jiu)別》

After a long separation

張武運

Zhang Wuyun

策展人：袁小力

Curator：Yuan Xiaoli

策展執行：藺圣冰

Exhibition Executive： Lin Shengbing

音(yin)樂團隊：SOTI峙聽（陳錦康 王(wang)聃宇）

展覽時間：

Exhibition Time:

2020.11.13 – 2020.11.28

地(di)址：沈陽市鐵西區衛工北街44號紅梅(mei)文創園 發(fa)酵藝術中(zhong)心

張武運 - 久別

藝術家(jia)張武運的(de)(de)(de)(de)(de)藝術探索(suo)與(yu)(yu)(yu)日(ri)常所(suo)見有著緊密的(de)(de)(de)(de)(de)相關性，近年創作題材大多(duo)(duo)為生(sheng)活(huo)之中提煉的(de)(de)(de)(de)(de)身邊場景(jing)(jing)(jing)，作品始(shi)終展(zhan)(zhan)現(xian)(xian)出敏銳的(de)(de)(de)(de)(de)觀察力與(yu)(yu)(yu)藝術直覺。細雨、落葉(xie)、烏云(yun)、橋梁(liang)，這些本是(shi)(shi)常態的(de)(de)(de)(de)(de)景(jing)(jing)(jing)物(wu)映射著藝術家(jia)的(de)(de)(de)(de)(de)情感(gan)與(yu)(yu)(yu)想(xiang)象，安靜而又充滿(man)真實(shi)(shi)，透(tou)過景(jing)(jing)(jing)物(wu)的(de)(de)(de)(de)(de)畫(hua)(hua)面(mian)呈(cheng)現(xian)(xian)了(le)藝術家(jia)對(dui)(dui)(dui)(dui)于(yu)(yu)時(shi)間(jian)(jian)與(yu)(yu)(yu)空(kong)(kong)(kong)間(jian)(jian)的(de)(de)(de)(de)(de)多(duo)(duo)維度思考，是(shi)(shi)對(dui)(dui)(dui)(dui)于(yu)(yu)時(shi)空(kong)(kong)(kong)變(bian)(bian)化背后的(de)(de)(de)(de)(de)感(gan)受(shou)與(yu)(yu)(yu)想(xiang)象，同時(shi)展(zhan)(zhan)現(xian)(xian)了(le)看(kan)待(dai)現(xian)(xian)實(shi)(shi)、事物(wu)的(de)(de)(de)(de)(de)獨特(te)角度，是(shi)(shi)藝術家(jia)自我意識的(de)(de)(de)(de)(de)釋放(fang)。畫(hua)(hua)面(mian)中普通的(de)(de)(de)(de)(de)景(jing)(jing)(jing)物(wu)是(shi)(shi)藝術家(jia)長期(qi)感(gan)受(shou)下形成的(de)(de)(de)(de)(de)時(shi)空(kong)(kong)(kong)幻想(xiang)，作品在將表達的(de)(de)(de)(de)(de)特(te)定時(shi)空(kong)(kong)(kong)場景(jing)(jing)(jing)保留后，將時(shi)空(kong)(kong)(kong)變(bian)(bian)化所(suo)帶來的(de)(de)(de)(de)(de)事物(wu)變(bian)(bian)遷(qian)進行抽離(li)并賦予(yu)想(xiang)象空(kong)(kong)(kong)間(jian)(jian)，使觀者(zhe)對(dui)(dui)(dui)(dui)畫(hua)(hua)面(mian)中短暫所(suo)見的(de)(de)(de)(de)(de)真實(shi)(shi)判斷發生(sheng)著猶豫，透(tou)過對(dui)(dui)(dui)(dui)于(yu)(yu)每個作品場景(jing)(jing)(jing)設想(xiang)時(shi)空(kong)(kong)(kong)的(de)(de)(de)(de)(de)定格(ge)，展(zhan)(zhan)開(kai)過去(qu)的(de)(de)(de)(de)(de)場景(jing)(jing)(jing)重現(xian)(xian)與(yu)(yu)(yu)未(wei)來的(de)(de)(de)(de)(de)精神穿梭的(de)(de)(de)(de)(de)往復循環(huan)。觀者(zhe)置身展(zhan)(zhan)廳，透(tou)過藝術家(jia)的(de)(de)(de)(de)(de)繪(hui)畫(hua)(hua)作品與(yu)(yu)(yu)展(zhan)(zhan)覽(lan)跨界音樂的(de)(de)(de)(de)(de)融合，行走在營造的(de)(de)(de)(de)(de)空(kong)(kong)(kong)間(jian)(jian)與(yu)(yu)(yu)環(huan)境中，仿佛時(shi)空(kong)(kong)(kong)剎時(shi)靜止，即是(shi)(shi)對(dui)(dui)(dui)(dui)于(yu)(yu)過往、當下、未(wei)來的(de)(de)(de)(de)(de)一(yi)(yi)次穿梭，亦(yi)是(shi)(shi)自己與(yu)(yu)(yu)不同時(shi)空(kong)(kong)(kong)中另一(yi)(yi)個自己的(de)(de)(de)(de)(de)久別重逢。

Zhang Wuyun - After a long separation

Zhang Wuyun's artistic exploration is closely related to what he sees everyday, In recent years, most of his works are scenes refined from life , his works always show keen observation and artistic intuition. Drizzle, fallen leaves, dark clouds and bridges, these normal scenery reflecting the artist's emotion and imagination, quiet and full of reality. The scenes present his multi-dimensional thinking on time and space, their feelings and imagination behind the change of time and space. At the same time, they show the unique perspective of looking at reality, which is the release of artist's self-consciousness. The common scenery in the picture is the space-time fantasy formed by the artist's long-term experience. After retaining the specific space-time scene, the works separate the changes of things brought about by the changes of time and space and endow them with imagination space, which makes the viewer hesitant to judge the truth of the short-term in the picture, and unfolds the past scene reproduction by imagining the space-time frame of each work scene and the spirit of the future shuttle cycle. In the exhibition hall, visitors walk in the created space and environment through the integration of artists' paintings and Exhibition cross-border music. It seems that time and space are still for a moment. That is, it is a shuttle between the past, the present and the future, and it is also a long-time reunion between ourselves and another person in different time and space.

作品預覽：

2020年9月(yue)5日回家路上的記憶  180cmX230cm  布面(mian)油畫(hua)2020