没顶美术馆于2024年10月24日推出艺术家涳涳的个人项目“小游塬”,展出艺术家最新的影像作品,展览由杨紫策划。
关于艺术家
涳涳生于西安。作品涉及装置、影像 、绘画、图像与文字。在三维动画影像创作中,关注三维模拟与真实景象之间的诗性距离,逐渐形成象征性的叙事影像,并注重在媒介与技术的限制中,作者与工具之间相互的拉扯,预设与偶发同时发生。
关于策展人
杨紫,独立策展人,毕业于南京大学哲学系、宗教学系。他于2020年获选为首届“希克中国艺术研究资助计划”研究学人;2019、2021年担任年度华宇青年奖初选评委;2017年入围Hyundai Blue Prize年度艺术大奖;2022年任上海科技大学创意与艺术学院首位访问学者,2020及2023年担任画廊周北京评委。
杨紫具有近十年的艺术评论写作及策展经验,2011年任《艺术界LEAP》杂志编辑,并长期为多家媒体撰写文章。杨紫还曾任UCCA尤伦斯当代艺术中心策展人及公共项目总监,策划多场展览及公共项目活动。他策划或者参与策划了“例外状态:中国境况与艺术考察2017”“Pity Party”“敢当:当代神石注疏”“韶华”“装饰”“恐怖谷:肉身”“白洞:甲骨文的奥秘与当代表意”“是一是二:镜像与幻化”等群展,以及诸多艺术家个展。
关于没顶美术馆
没顶美术馆位于上海市崇明岛西部的绿华镇。美术馆占地约40亩,毗邻西沙湿地公园,南与西紧邻长江南北支,是长江分水岭所在地。没顶美术馆前身为绿华养鸡场鸡舍,始建于上世纪70年代, 建筑面积约为3000平方米。没顶美术馆是⼀个推动和展示当代艺术为主的多功能艺术机构,是一个与自然生态紧密结合的当代美术馆。
没顶美术馆致力于创造和实现新时代的艺术想象。除了提供丰富的与⾃然环境接触的机会,没顶美术馆将支持当代艺术的实践和探索,并期待形成⼀个更具有活⼒的当代⽂化前沿基地。我们将与您分享当代艺术的能量,一起庆祝创造力的出现。
在近期创作中,我运用数字黏土也就是3D技术,制造出多个从无到有的非历史的、边界不明的“角色”,有别于某个特定的“形象”,这些在不同作品中被承袭、优化与阐释的数字模型,提供给我不断赋予它们新的所指的可能,形成具有阐发性的作品元素。
《小游塬》的“小”借用了传统曲牌名谱式的取名方法,区别于 “大调”,散曲、杂剧等类似于单独成章的“小令”以非主流的杂音呈现鲜明的地方性,与此次作品剧场般的情景相契合,映照出“主角”在关中地带的前现代废墟中逡巡的状态。折射了在外来文化几乎彻底覆盖中国前的一种本土生活风貌,却将随着最后一代留守者的谢世而逐渐消失。我近期的作品聚焦于周遭,重拾记忆边缘的乡土文化。这些生发于我生命体验的文化残像,与我们无法置身其外的现代化印记相互渗透。随着草木湮没了人类文明的深浅刻痕,农耕时代天地与人合流同体的敞开状态已然不可追唤,它在自然的横生蔓长中消散和复蔽。——涳涳
涳涳常常想起一只生物。春夏之交,生物穿行过老家的废墟,穿过几乎被她自己遗忘的生活旧址。只有蜜蜂和蛇还愿意生活在那里。它就成了蜜蜂和蛇。蛇的视力不出色,但对物体的运动敏感。它也能感知到热,能知道,一个散发着温度的物体在穿行过废墟,地面却没产生走路的那类震动——那具躯体应该是飘游在空中,或爬行与地面。蜜蜂有一对复眼和三只单眼。复眼有6000只小眼,能瞄定太阳的位置,看清广阔的天地。单眼能辨认时间:春季还是冬天;白天抑或黑夜。蜜蜂感觉,徐徐前行的庞大物体并不危险,它只是在找回失落的东西。
那身躯生发于未来。在未来,五脏六腑是空洞,皮肤被数字和概念取代,只薄薄一层。那里的身体发不出美妙的哨声。可这不是说,它养育不了有灵魂的子嗣。它拖着托付之物,寻找安营扎寨的床。也许不是这样。它在施行告别仪式,抑或在寻找生命形态发生转变的着落之处——在未来抵达之前的某个地方。——杨紫
MadeIn Art Museum will launch the artist Kōng Kōng’s solo project “Stroll Around The Plateau” on October 24, 2024, featuring the artist’s latest video works. The exhibition is curated by Yang Zi.
About Artist Kōng Kōng
Kōng Kōng was born in Xian, Shaanxi. The works involve installation, video, painting, image and text. In the creation of three-dimensional animated images, we pay attention to the poetic dis- tance between three-dimensional simulations and real scenes, gradually forming symbolic narrative images, and pay attention to the mutual pull between the author and the tool, the presupposition and the Occasionally occur simultaneously.
About Curator Yang Zi
Yang Zi is a Beijing-based researcher and independent curator. From 2012 to 2014, he was an editor of LEAP. In 2015, after joining the Ullens Center for Contemporary Art (UCCA), he acted as executive editor on a series of catalogues and curated exhibitions and public programmes; he became a curator and the head of public programmes in 2018. His curatorial projects include La Chair, Secret Chamber, Pity Party, Land of the Lustrous, In Younger Days, and numerous solo exhibitions. He was a finalist for the Hyundai Blue Prize in 2017, a judges of the Huayu Youth Award in 2019, and the recipient of the inaugural Sigg Fellowship for Chinese Art Research in 2020.
About MadeIn Art Museum
Located in Lvhua Town, Chongming District on the outskirts of Shanghai, MAM stretches over 26,000 square meters of land, adjacent to the Xisha Pearl Lake Scenic Area at the watershed of the Yangtze River. Occupying a former chicken farm, it was first built in the 1970s with a construction area of about 3,000 square meters. MAM welcomes every practitioner of contemporary art and person with curiosity, and strives to establish itself as a cutting-edge base of contemporary culture.
MadeIn Art Museum (MAM) is a multi-function art institution dedicated to promoting and exhibiting contemporary art, creating and realizing artistic imaginations of the new era. It is home to vibrant exhibitions, events, and artist-in-residence programs that connect with the local community and natural landscape. We are excited to share with you the energy of contemporary art and together celebrate the birth of creativity.
In my recent creations, I have used digital clay, or 3D technology, to create various non-historical, obscure “characters” from scratch. Unlike a specific “image,” these digital models are inherited, optimized, and interpreted across different works, offering me endless possibilities to assign them new meanings, thus forming expressive elements.
In “Xiao You Yuan” (Stroll Around the Plateau), the term “Xiao” is borrowed from the naming method of traditional Chinese musical scores, distinguishing it from “Da Diao” (major tunes). Similar to standalone “Xiao Ling” in Sanqu or Zaju, these are presented with distinctive locality through non-mainstream melodies, aligning with the theatrical scenes of this work. It reflects the protagonist wandering through pre-modern ruins in the Guanzhong region, showcasing a native lifestyle that existed before foreign cultures almost completely flooded China, and is now gradually disappearing with the passing of the last generation of stay-behinds. My recent works focus on my surroundings, revisiting the peripheral memories of rural culture. These cultural remnants, born from my life experiences, interpenetrate with the inescapable marks of modernization. As vegetation gradually obscures the deep and shallow imprints of human civilization, the open state of unity between heaven, earth, and humans during the agricultural era has become unrecoverable, dissipating, and becoming hidden amidst the rampant growth of nature.
——Kōng Kōng, October, 2024
Kōng Kōng often thinks of a creature. At the turn of spring and summer, this creature travels through the ruins of her hometown, passing through the nearly forgotten places of her past life. Only bees and snakes still choose to live there, and it becomes both bee and snake. Snakes have poor eyesight but are sensitive to movement. They can also sense heat, recognizing when a warm object is moving through the ruins without causing the ground to vibrate as footsteps would, suggesting that the body is floating or crawling along the ground. Bees have a pair of compound eyes and three simple eyes. The compound eyes, with their 6,000 facets, can locate the sun and see the vast world. The simple eyes can discern time: whether it’s spring or winter; day or night. To the bee, the slowly advancing large object does not seem threatening; it simply searches for something lost.
That body originates from the future. In this future, the internal organs are hollow, and the skin is replaced by digits and concepts, forming only a thin layer. The body cannot produce a beautiful whistle. However, this does not mean it cannot nurture offspring with souls. It carries entrusted things, searching for a place to settle. Or perhaps that’s not it—it might be performing a farewell ritual or seeking a place where its form of life can transform—somewhere before the future fully arrives.
——Yang Zi