문명의 대화-이미지 논리

文明对话的图像逻辑 ● 亚洲现当代艺术，以其独特的视觉图像表达、迥异的社会人文景观，异质的万物认知体系，积极融入全球现代性文明进程的视觉生产中，不断展现创作个体对亚洲文化身份主体性的自觉体察与深刻洞见。东西方文明，亚洲各国文化之间，既有冲突摩擦，更有互鉴与交流。近现代以来，东亚、东北亚、东南亚、中亚等亚洲不同区域，先后形成多向度的艺术研究范式，以此呈现亚洲不同地域不同文化特质的艺术史书写逻辑与丰富的在地艺术实践。● 因地缘政治、宗教信仰、种族肤色、性别认知等差异，以及不断变迁中的文明版图，都告诉我们，关于视觉空间所呈现的思考逻辑与话语表达，自古以来，东西方使用的方法与路径不尽相同，就像意大利" 超前卫 "运动组织者，1993 年威尼斯双年展策展人阿基莱 · 伯尼托 · 奥利瓦所言：" 这是两条无法相交的铁轨 "。同样，基于上述原因，从文化人类学视角出发，不同人文景观与历史记忆，也造成亚洲文化版图内部和而不同，富有创造性的个体心智结构，以及文化有机体自身丰富多义的想象力及建构性。● 亚洲艺术家，其创作实践所面临的挑战不仅来自于东西方人文政治，历史时空的多重差异，还有源自亚洲文化生态内部的种种屏障：相对凝固静止的传统思维逻辑、个体自由创作与合乎政治话语体系的图像生产之间的矛盾、以及从最初被动植入的西方消费文化、商业文化，与当下有过之而无不及的对金钱至上，喧哗不止的拜金主义的主动迎合，让曾经以反讽戏虐著称的波普图像的创作意义消弭殆尽，失去目标的文化批判也几乎销声匿迹，就此而言，艺术的现代性锋芒已悄然远去。融合与共生、自然与生态、共构与和谐已然成为全球当代艺术创作的普遍共识，单向度的艺术形态将一去不返，静态文本让位于动态文本，主体间性赋予既定文本更多的自由性、多义性。这些艺术观念正逐渐修复现代性带来的人与人、人与社会、人与自然之间日益严重的断裂与隔阂，文明的悖论终于在后疫情时代为人类所正视。面对不断流动的文化现实与敞开的历史空间，亚洲艺术，毋庸置疑，需要新的叙事系统和学理分析框架。● 此次展览，正是基于这样的目标，邀请中日韩近 30 多位，在各自创作领域具有广泛影响力和实验精神的艺术家，其中，也不乏正在成长中的日本长野市青年艺术家。通过他们的作品，进而深入研究在诸多不同力量碰撞融合中，携带不同文化基因的艺术家，如何以其强悍的生命力、卓越的想象力、深入的感知力、令人惊诧的创造力，在不同地缘文化中所展开的实验探索，以此回应本次展览，一场全球视野下，以艺术的名义汇聚于东亚一座县域城市，就共同关心的问题进行的对话与探讨。● 1868年，日本开始推行明治维新，废除幕府制度，以西方为榜样，在政治、经济，军事、教育等领域进行全面改革，逐步走向现代化。此为二战后，日本当代艺术的崛起埋下重要伏笔。日本先锋艺术家创作大致分为两个方向：一是深入传统文化内部，遵循东方文化精神，进行历史资源的当代转化，生发出具有国际影响力的物派与具体派；二是接受全盘西化，出现日本卡通、波普艺术、照相写实、科技艺术等多元艺术形态。同时，当代艺术与流行文化结合，派生出庞大的艺术文化产业；当代艺术与在地文化结合，出现" 越后妻有 "等全球最具影响力的大地艺术季，从而打通卡通文化、流行文化、消费文化、在地文化与当代艺术的边界。随着日本国际知名艺术家的层出不穷，以及日渐成熟的国际三年展项目不断运作，日本当代艺术迎来了爆发期。● 值得一提的是，上世纪 80 年代以来，作为" 亚洲四小龙" 之一的韩国，已发展为高度的现代化国家，经济力量与艺术力量在亚洲迅速崛起，以其强劲的势头改变了全球艺术市场原有秩序。韩国作为亚洲文化力量的重要组成部分，近十多年来，在艺术文化领域与中日两国始终保持密切互动，组织举办了不少在艺术领域共同探讨亚洲文化身份、文化主体性等有问题针对性的学术展览活动。● 较之日韩，中国当代艺术进入国际视野相对较晚，直至 1993 年，14 位中国艺术家于第 45 届威尼斯双年展中才首次亮相。客观而言，在此之前，中国近现代艺术就曾与亚洲各区域发生广泛而深入的互动交流，特别是日本、东南亚与中国近现代艺术之间，早在民国时期便已频繁互动。迄今，这些发生在亚洲地缘内部的有关早期现代性的流动文本均有详实的文献资料记载与历史图像资料。● 中国当代艺术发生发展，不过短短近五十年时间，现拟以 2000 年为分界线，前者为线性叙事逻辑，即民国时期已然发生的中国早期现代性中断后，自上世纪 60 年代末，七十年代初，现当代艺术再次发端于民间，出现了一系列的艺术潮流与运动。至上世纪 90 年代，反宏大叙事、反理想主义、回归现实，去意识形态化、民间立场、本土策略，" 中国经验" 适时出现。2000 年后，绘画观念化、传统复兴与当代转换、重塑新民间、科学艺术的发展、生物艺术、行为艺术、影像艺术风涌而来，中国当代艺术全面融入全球化语境，多元叙事逐渐取代线性叙事的艺术书写逻辑。此次参展的中国艺术家，他们的年龄结构、代表性创作几乎贯穿中国当代艺术发展的不同时期。同时，他们的创作思考、生存状态，充分体现中国传统文化以及中国近几十年现实人文环境对他们产生的隐匿传承及深远影响。● 日本长野，一处位于东亚的时空场域，召集中日韩艺术家汇聚于此，重提" 东方性"，东方文化精神，并非基于狭义的地缘文化和地缘政治视角，而是希望通过丰富的东方在地实践，重新思考东方文化共同记忆的心理投射，其对创作个体的意义与隐性影响。东方文化精神，因自然变迁、民族迁徙和文化流动始终处于持续变化中，为构建亚洲艺术自身的主体文化价值、意义判断，以及艺术形态的再创造提供充满内驱力的学理支持与精神支撑。亚洲文化有自身清晰的思维逻辑、明确的去 "他者化" 诉求、强烈的对文化身份主体性印证的渴盼。此前提是，上述的艺术实践与精神探寻只有在自由表达的物理空间和精神空间才能得以持续生长。● 仅以此展抛砖引玉，引发关于如何建构亚洲文化身份主体性的探讨，如何去西方中心主义的探讨，以及如何更好地构建人类命运共同体的探讨。在此，特别感谢朴光燮先生及其夫人金玉女士，以及他们优秀的工作团队，在时间极为紧张的情况下，全力以赴，促成此次展览的顺利进行！ ■ 郑娜 博士

張永和(Zhang Yonghe)_Rumi Poetry Map_목판화_43×1200cm_2022

張子康(Zhang Zikang)_Moment_캔버스에 유채_30×50cm_2022

岳敏君(Yue Minjun)_Big swans_석판화, 실크스크린_55×75cm_2005

華継明(Hua Jiming)_Sunflowers of Van Gogh_캔버스에 유채_116×91cm_2021

蒋焕(Jiang Huan)_Ukraine-Flower of Peace_캔버스에 유채_60×120cm_2022

沈敬東(Shen Jingdong)_Badashanren Deer_캔버스에 유채_100×100cm_2021

邱军(Qiu Jun)_Glass Head_캔버스에 유채_200×300cm_2022

馬東民(Ma Dongmin)_Emotional temperature_프린트_100×80cm_2016

萧瑟(Xiao Se)_Explore_캔버스에 유채_190×150cm_2019

朴光燮(Piao Guangxie)_2006No.3_캔버스에 유채_200×200cm_2006

李継森(Li Jisen)_The Dark Side Of The Moon 2_캔버스에 유채_90×90cm_2022

孫雅杰(Sun Yajie)_Academy_바리타지에 아카이벌 피그먼트 프린트_42×60cm_2014

江三波(Jiang sanbo / 3B0)_Sitting Alone_종이에 잉크, 아크릴채색_69×83cm_2023

厳超(Yan Chao)_Alcoholism_캔버스에 유채_180×150cm_2018

金权龍(JIN QuanLong)_Prince Rupert's tears_스테인리스 스틸_58×20×20cm_2023

龐亮(Pang liang)_Refuse_캔버스에 유채_180×210cm_2021

The Image Logic of Civilization Dialogue ● Asian modern and contemporary art, with its unique visual image expression, vastly different social and humanistic landscapes, and heterogeneous cognitive system of all things, actively integrates into the visual production of the global civilization process of modernity, and constantly demonstrates the conscious awareness and profound insight of creative individuals into the subjectivity of Asian cultural identity. Between the civilizations of the East and the West, and among the culture of each Asian country, furthermore, cultural exchange is continuing. Since modern times, East Asia, Northeast Asia, Southeast Asia, Central Asia and other Asian regions have formed a multidirectional art research paradigm, which presents the logic of art history writing and rich local art practices in different Asian regions with different cultural characteristics. ● Differences in geopolitics, religious beliefs, the color of skin, gender cognition, and the ever-changing map of civilization tell us that since ancient times, the East and the West have used different methods and paths to express the logic of thinking and discourse presented by visual space. As Achille Benito Oliva, curator of the 1993 Venice Biennale and organizer of the Italian "avant-garde" movement, who said "These are two tracks that do not intersect". Similarly, from the perspective of cultural anthropology, the different human landscapes and historical memories have also contributed to the harmonious but different and creative individual mental structures within the Asian cultural landscape, as well as the rich and multifarious imaginative and constructive nature of the cultural organisms themselves. ● The challenges faced by Asian artists in their creative practice not only come from the multiple differences between East and West in terms of humanities, politics, history and space-time, but also from the barriers within the Asian cultural ecology;the relatively static traditional logic of thinking, the contradiction between individual freedom of creativity and the production of images in line with the political discourse system, as well as the passive implantation of the Western consumer and commercial culture from the very beginning, which is no less than the current active pandering to the supremacy of money and the clamor of money-worship. The active pandering to the money-oriented and noisy money-worshippers has eliminated the creative significance of Pop images, which used to be famous for their irony and sadism, and the cultural criticism that has lost its goal has almost disappeared. Cultural integration and symbiosis, nature and ecology, co-construction and harmony have become the consensus of global contemporary art creation. The one-way art form will be gone, static text gives way to dynamic text, and inter-subjectivity grants more freedom and polysemy to the established text. ● These artistic concepts are gradually repairing the growing rupture and disconnection between man and man, man and society, and man and nature brought about by modernity, and the paradox of civilization is finally being confronted by mankind in the post-epidemic era. In the face of the ever-flowing cultural reality and open historical space, Asian art, undoubtedly, needs a new narrative system and a framework for doctrinal analysis. ● For this goal in mind that this exhibition invites more than 30 artists from China, Japan, and Korea who has a wide range of influence and experimental spirit in their respective fields of creativity, and among them, there is no lack of growing young artists from Nagano, Japan. ● Through their works, we will further study how artists with different cultural genes, in the collision and fusion of different forces, carry out experimental explorations in different geo-cultures with their strong vitality, excellent imagination, in-depth perception, and surprising creativity, in response to this exhibition, a dialog and discussion on issues of common concern in the name of art in the name of global vision, which is brought together in a county city in East Asia. Through their works, we delve deeper into the experimental exploration of artists carrying different cultural genes in the collision and fusion of various forces. With their strong vitality, outstanding imagination, deep perception, and astonishing creativity, we aim to respond to this exhibition. From a global perspective, we gather in a county city in East Asia under the name of art, Dialogue and discussion on issues of common concern. ● In 1868, Japan embarked on the Meiji Restoration, abolishing the Shogunate system, and following the example of the West, it carried out comprehensive reforms in the political, economic, military, and educational fields, gradually moving towards modernization. This set the stage for the rise of Japanese contemporary art after World War II. The creation of Japanese pioneering artists is roughly divided into two directions: one is to penetrate deeply into traditional culture, follow the spirit of oriental culture, and carry out the contemporary transformation of historical resources, giving birth to the Mono-ha and the Gutai Group with international influence. The second is the acceptance of total westernization and the emergence of diverse art forms such as Japanese cartoons, pop art, photorealism, and technological art. At the same time, the combination of contemporary art and popular culture has given rise to a huge art and culture industry; the combination of contemporary art and local culture has led to the emergence of the world's most influential local art seasons, such as Echigo Tsumari, thus bridging the boundaries between cartoon culture, popular culture, consumer culture, local culture and contemporary art. With the proliferation of internationally renowned Japanese artists and the continuous operation of the increasingly mature International Triennial program, Japanese contemporary art has seen an explosive period. ● It is worth mentioning that since the 1980s, South Korea, has developed into a highly modernized country, the rapid rise of economic power and artistic power in Asia, with its strong momentum to change the original order of the global art market. As an important part of Asia's cultural power, South Korea has maintained close interaction with China and Japan in the field of art and culture for more than a decade, and has organized many academic exhibitions that jointly discuss Asian cultural identity and cultural subjectivity in the field of art. ● Compared to Japan and South Korea, contemporary Chinese art entered the international scene relatively late. It was until 1993 that 14 Chinese artists made their debut at the 45th Venice Biennale. Objectively speaking, before that, Chinese modern art has had extensive and in-depth interactions and exchanges with various regions in Asia, especially between Japan, Southeast Asia, and Chinese modern art, which had been frequently interacted with as early as the Republic of China period. To date, these mobile texts about early modernity that took place within the Asian geoponics have been well documented with historical imagery. ● The development of contemporary art in China has taken place over a short period of nearly fifty years, with the year 2000 as the demarcation line. The former is a linear narrative logic, i.e., after the interruption of China's early modernity that had already taken place during the Republic of China period, a series of artistic currents and movements have emerged since the late 1960s and the beginning of the 1970s, when the present and contemporary art once again started in the folklore. In the 1990s, the "Chinese experience" emerged in the form of anti-grand narratives, anti-idealism, return to reality, de-ideologization, civil stance, and local strategies. After 2000, the conceptualization of painting, the revival of tradition and its contemporary transformation, the reinvention of new folklore, the development of scientific art, bio-art, performance art, and video art have come and gone, and Chinese contemporary art has been fully integrated into the context of globalization, with the logic of linear narrative gradually replaced by multifaceted narratives. The Chinese artists in this exhibition, their age structure and representative creations are almost throughout the different periods of the development of Chinese contemporary art. At the same time, their creative thinking and state of being fully reflect the hidden inheritance and far-reaching influence of traditional Chinese culture and the reality of China's humanistic environment in recent decades on them. ● Nagano, Japan, a spatial and temporal space located in East Asia, brings together artists from China, Japan, and South Korea to reintroduce "Orientality" and the spirit of Oriental culture, not based on a narrow geo-cultural and geo-political perspective, but rather, through the richness of the Oriental on-the-ground practice, to rethink the psychological projection of the common memories of the Oriental culture, and its significance and implicit influence on the individual creators. The spirit of Oriental culture is always under continuous change due to natural changes, ethnic migrations and cultural flows, which provides a full of inward-driven theoretical and spiritual support for the construction of Asian art's own subjective cultural values, judgment of meaning, and the re-creation of art forms. ● Asian culture has its own clear logic of thinking, a clear demand for de-"othering", and a strong desire to prove the subjectivity of cultural identity. The premise is that the above artistic practice and spiritual search can only continue to grow in the physical and spiritual space of free expression. ● This exhibition will only serve as a catalyst for discussions on how to construct the subjectivity of Asian cultural identity, how to de-westernize it, and how to better build a community of human destiny. We would like to express our special gratitude to Mr. Park and his wife, Mrs. Kim, as well as their excellent team, who made every effort to make the exhibition successful. ■ Dr.Zheng

Vol.20230811c | 문명의 대화-이미지 논리-제18회 마쓰시로 현대미술제 中日韓 교류展 / CHINA