激烈空间将在2014年5月10号推出第一个展览《紧张的经验》,可以看作是我们对 "情境实践" 的一次初步排练,艺术家作品和正在进行的项目混杂在一起,显然我们并不满足仅仅去做一个展览或开放工作室性质的东西,而是想把展示和组织后台并置,互相推进,至于效果如何,我们心里也没底。
广州艺术组合 "双色球" 的参展作品《无限循环》,讲述了两个年轻艺术家为了生存和创作所需的 "硬件" 去接行画的活儿,并以 "小时" 这种劳动异化的单位来结算,他们用手机纪录了过程中的种种情节:如间隙的舞蹈,讨论拉康,见到老板的紧张局促,最后这些在节日的花市中以一场想象的游行结束。和这个作品对应的是黄凇浩等人的 "接活" 项目,为了能够长久保证这个空间生存,我们注册了公司去接社会的商业项目来维持,过程中,艺术家的身份和自我意识与社会分配的角色会时时发生冲突,展览期间,黄和小伙伴们已经接到了另一个展览的布展工作,于是黄的布展设计和远程指挥就成了在这个展厅的现场,同时他还会穿插讲述之前接活的失败经历,以及带来的种种压力和紧张,这样的同时兼顾以前有,今后也会有,小伙伴们意识到必须要适应这种生活。格罗伊斯在《项目的孤独性》中也谈到艺术品不是艺术本身,而是艺术化生活的纪录,艺术成为了生活/生产方式,成为了生命政治。王卫的作品《不会给你们添麻烦的》是一个LED滚动字幕装置,标题名称就来自他和朋友创办箭厂空间时和当地片警说的最多一句话,我们觉得放在这里非常 "应景" 。来自重庆的年轻艺术家刘伟伟则是另一种情况,他的作品看上去有十分明显的政治对抗痕迹,事实上日常中却有着更多的微妙和暧昧:他的监控者在他的指导下,在一个雨天去动物园写生的视频,似乎提示着这样的一种可能:今天艺术如何在日常政治中去发明新的协商方式和想象力?这些问题也涉及了日常生活艺术的政治起源——即西方68年 "五月风暴" 后的政治转向——当政治和阶级冲突从工厂或街头转移到了日常消费的生活领域时,后者就成为了新的意识形态对抗的战场,今天日常生活艺术的危险也正于此:忽略了其革命性的文脉指向,徒具形式恰恰是一种蜕变为中产阶级消费美学的危险。还在杭州上学的唐潮, "暴力摄影" 成为艺术家所制造出的 "日常冲突" :他总是拿着相机冲到被拍摄者面前,放肆地用闪光灯近距离拍摄,简单粗暴地践踏由社会秩序和道德所包裹的私人空间尺度;在展览中这些摄影作品同样面临着 "简单粗暴" 的处理:它们被改造成一张张海报,成为两者的复调对话,这些也算是我们制造的作品间的紧张关系罢。石青的项目要在现场排练布莱希特的《决定》,实际上他根本没看过这个剧本,只是从别的书上读到了若干梗概,激发他想排一个关于这个空间未来的戏剧,剧场背景就是展览现场以及前来的观众,将写作,排练,演出在空间中同时进行。 艺术作为一种异构的生活方式,如何处理挤入另一稳定特质的日常生活中所带来的冲突?激烈空间所处的地段,是位于上海市中区福州路中的一个幽静之所,楼上的邻居已经在这里生活了70多年,我们的到来也引起了这些老人们的好奇,另外福州路又是一个 "强历史" 语境的街道空间,这里曾经是上海新闻出版的文化重镇,不远处的汉口路正是当年 "解放日报事件" 的发生地,构建异质化的日常以及如何激活当地的历史经验也将是空间未来的发展方向之一:石青的《福州路图书馆》就是这种思路的项目;他的另一个项目《日常长征》将福州路作为节点,将生活、工作、调研和展示进行游牧式的串联,由空间/时间所切割的碎片化,项目的不断堆积/撤销促使 "紧张" 成为了他的工作方式。另外他还要负责这次展览的总体设计工作,每次展览的人选不一样,会根据情况具体指定,总体工作要负责展示的视觉设计,文字写作,组织沟通等工作。这次他将空间改造为一个工作室,当然这也是他的工作方式:一个展示/工作/对话同时发生的事件并随时推进,一直持续到展览结束。 激烈空间试图作品,项目和事件放置在一个平等的关系之中,艺术家的工作需要从单纯的作品创作,转向对艺术生活的想象和设计;而艺术不再是一个物的生产过程,而是生活化的纪录,艺术也不再是艺术家创造出的全新事物,而是一种异构的时间表,一种对未来的描述,我们所强调项目,就在于它能够提供这样的东西。也许展览中 "紧张" 无处不在:展示与周边环境的紧张;作品之间的紧张,组织和动员的紧张,最终是设想把它促成为一种工作方法:即生活和政治经验的紧张。在秩序和标准断裂之后,所有的事件和行动都面临重估,紧张不只是作用于展示之中,也是艺术工作的自我反思和重新开始,并成为一种每日实践,去带动新的发生和发展,展览最好就是平时这些观察、调研和实践的阶段性结果,其中暴露出的新问题,也正好成为下次实践的起点和问题方向。 Experience of Nervousness ‘Radical Space’ presented the first exhibition: ‘Experience of Nervousness’ on 10th of May, 2014, which could be regarded as our first attempt of rehearsing ‘situational practice.’ Works of artists mingle with on-going projects. Apparently we are not satisfied by working on something merely like an exhibition or an open studio, we want to juxtapose the back stages of presenting and organizing, push each other forward. As for the result, that is the one thing we could not foresee. The artwork <the infinite loop> by art group ‘Double Colourballs’ from Guangzhou, tells the tale of two young artists forced by the rigid demand of living and producing artworks, they agree to work for galleries to duplicate famous paintings and adjust them to fit for the market, payment is settled by hours. They used mobile phones to document different plots during the process, for example: the dance between gaps, discussing Lacan, the nervousness and constraint before meeting with boss. All of these ends with an imaginary parade in a flower market during a festival. The counterpart of this project is the project ‘Jie Huo’ by Huang Songhao. To guarantee the sustainability of this space, we registered a company to take commercial orders. During the process, identity and self-awareness of artist starts to constantly conflict with role assigned by society. In the middle of the exhibition, Huang and his friends have already accepted another exhibition planning. Thus, Huang’s planning for this other exhibition with his remote guidance happened right in this one. He also added several fail cases about ‘Jie Huo’ (take orders) as well as the following stress and nervousness. Two missions at a time has happened before, it will happen again for sure, our friends realized that they must adapt a life like this. Boris Groys mentioned in his article <isolation of a project> that artwork is not art itself; instead it’s the record of an artistic form of life. Art has become life/ mode of production. <We won’t trouble you> from Wang Wei is an installation of LED scrolling marquee, name of the title comes from the most frequent word they said to local police when he and his friend established Jian Chang Space. We find it quite fit for this occasion. A young artist from Chongqing, Liu Weiwei, faced another situation. His work has an obvious trace of political antagonism, in fact, with more subtlety in daily life. The video is about his supervisor gone to sketch in zoo on a rainy day under his guidance. It seems to suggest another possibility: How do today’s art invent new ways of negotiation and imagination in daily politics? These questions also involve the political origin of daily art - which is the political swing after Western movement in 1968 the ‘month storms’- when the conflict between politics and class moved from factories and streets to daily consumption, which become the new battlefield of the ideological confrontation. The dangerous of daily art today lies here: the ignorance of its revolutionary intention, formalism is exactly a risk of degenerating to the consumption aesthetic of middle class. Tang Chao, who is still studying in Hangzhou,“Violent Photography”becomes artist’s creation of ‘Daily Conflict’: He always just grabs his camera and rushes towards subject’s face, extravagantly taking close-up pictures with flash light, and crudely trample on the distance of private space which is protected by the social order and ethic. In the exhibition, those photographs were crudely dealt with too: they were made into posters, become the polyphonic conversation with each other. This can be considered as the nerves relation made by us. Shi Qing’s program is making onsite rehearsal of <DECISION>written by Bertolt Brecht. In fact, he never read the script. Stimulated by the synopsis read from other books, he wants to arrange a play about this space’s future. The background of the play is the exhibition site and audience. Writing, rehearsing and performing will conduct at the same time in the space. How could art, as a heterogeneous way of life, deal with the conflict of squeezing into our stable daily life? ‘Radical Space’ situates on Fuzhou Road, in the centre of Shanghai. Neighbors upstairs have been here for more than 70 years, our appearance triggers the curiosity of these elders. Fuzhou Road is a neighborhood filled with history, it was the cultural base of Shanghai publications. Hankou Road, which is not far away, is the exact spot of ‘ the Liberation Daily’ event in 1966. Creating a heterogeneous daily life and activate local history will be one of our future directions as well. <Library of Fuzhou Road> is a project based on this thinking; His another project <the usual Long March> uses Fuzhou Road as a nodal point,which makes a nomadic connection of life, work, investigation and presentation. The fragmentation of space/ time, the accumulation of projects/cancel impels ‘nervousness ’to become his way of working. He also took charges of the general design of this exhibition, who must consider visual design, writing, organizing and communicating of an exhibition. Every exhibition selects different artists, so the duty might vary. This time, he turned the space into a studio. Of course, this is part of his ways of working: a presentation/ work/ discussion happen and develop at the same time, until the end of the exhibition. ‘Radical Space’ has tried to put artworks, projects and incidents into an equal relationship. Artists’ job should turn from merely producing artwork to imagine and design for an artistic life; Art should no longer be a productive process of an object, but a record of a life form; Art should no longer a whole new thing created by artists, but a heterogeneous timeline, a depiction of future. The projects we focus on will provide all these things. Perhaps ‘nervousness’ is everywhere in the exhibition: nervousness between presentation and its surroundings, nervousness between works, nervousness between of organizing and mobilizing. Eventually, it is envisaged as a working method: nervousness between life and political experiences. After the rapture of order and standard, every event and action is facing re-evaluation. Nervousness not only acts on presentation, but also it is the self-reflection and restarting point of an artist, and become a daily practice which could lead to a new development. Exhibition is the best way to summarize periodical result from daily observation, investigation and practice. Then problems which are exposed from this can become the starting point and direction for the next practice. 返回 Back |