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当代艺术中心

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往期展览 | 对戏国际当代艺术展

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展期:2017年10月26日-12月31日

北京文化艺术基金2017年度资助项目

 

出品人:樊星    

总策划:任晓凡

策展人: 周龙|关棋

参展艺术家:柴觅|程昱峥|戴陈连|丁文尧|黄显峻|黄琦馨|郝俪|洛伦佐·费斯勒|李文培|芦雅兰|芦幽优|马驰|王海洋|吴彤|叶甫纳|周龙|邹四维

 

继承是艺术发展之本,创新是艺术进步之魂。“对戏国际当代艺术展”(简称“对戏”)意在继承传统的基础上进行文化创新,与世界发起新的对话。“对戏”,既是发生在舞台之上唱念做打背后的所有准备,更是以戏剧的发生场为空间,用展览的形势来表达戏剧艺术和当代艺术,在基于各自本体的创作基础上,对于艺术边界的主动探索。戏剧艺术和当代艺术在拆解和交融之中形成的新表达,是试图从新的视角来重读戏剧和讨论戏剧和当代艺术的跨界对话。“对戏” 展览中汇集了17位国际艺术家的作品,作品的媒介涵盖了戏曲动画、戏曲音乐、视频影像、舞台装置、纸本、油画、丝网版画和VR体验。用“声”“听”“看”的立体表现形式呈现了一个多元和包容的艺术盛宴。

 

主展厅“戏”空间内嵌对于中国传统戏曲文化的挖掘,而对京剧《三岔口》的梳理则为核心关注。 《三岔口》的故事情节简单,但其在昼亮的聚光灯下表现出伸手不见五指挥刀格斗场面,可谓是中国戏剧“虚拟”表演最具代表性的呈现。展厅中,李文培和马驰分别用宣纸水墨纸本和新媒体动画的形式还原了《三岔口》“做”“打”的经典表演。郝俪,黄琦馨、丁文尧则是以《三岔口2015》《三岔口2016》《三岔口2017》为创作蓝本。此系列戏曲作品是戏剧艺术家周龙试图将传统与现代、古典与时尚交融并蓄,融唱念做打于一体富有浓厚喜剧色彩的演剧样式。展厅中, 周龙以两把“红桌子”的舞台景置形式,形成一种简洁自由的舞台空间。观者走入,恰似置身于舞台之中。空间配以灯光手段的变换,使观者沉浸在剧场的氛围中,拉近了与观众的交流距离。其作品《三岔口2017舞》则是拓展剧场空间可能性的最新尝试,舞者的肢体语言诠释了一种独特的艺术表达。

 

 “影”空间呈现的是叶甫纳、戴陈连、芦优幽及芦雅兰(Katarzyna Matuszczyk-Lu) 的动态影像作品。叶甫纳在作品之中的扮演,与其对于虚拟人生般场景的建构一同,构成新的观看关系。而戴陈连,作为中国当代艺术中最早尝试将剧场观念与影像相结合的艺术家,其“家庭剧场计划”中的表演与展厅外部空间的剧场遥相呼应,映衬出了视觉艺术的戏剧美学。剧场之外的开放式空间“梦”中, 王海洋的绘画作品《无题》、柴觅的纸本绘画《外部世界》,以及程昱峥的影像作品《天才》,它们与开放式空间中流动观者之间的对话,就如同戏剧表演之中的梦境与现实之间的交叠关系,集中体现了艺术创作是连接艺术家个体精神世界与现实的真实通道。

 

除此之外,在“对戏”之中,所有参与者的身份都发生了多重意味的转化。唱者为画,画者入戏。《最后》的创作者邹四维,以及《生旦净丑》的创作者黄显俊,其作品内容是从戏而生。展览中,又有当代艺术家在艺术创作中使用戏剧表演之中的艺术元素进行的实验与探索,诸如吴彤的雕塑作品《三岔口》。当所有作品凝聚在展览空间之时,戏剧艺术和当代艺术之间的微妙关联再次被激发:演员不仅仅是演员,而且是在表演本体之上进行探索的艺术实验者;艺术家不仅仅是视觉美学的创作者,而且是戏剧艺术新的传播者。由此可见,“对戏”之中不是单向的艺术载体呈现,更多的是从相对中完成的艺术对话和交流。

 

“对戏”是繁星当代艺术中心的最新发声,呈现的多元的艺术元素包容了更多的观者。繁星当代艺术中心是一个当代艺术和戏剧文化深度对话的国际艺术交流平台,旨在以多元化的交流、多维度的展示、创新型的体验形式来表达当代艺术的戏剧美学和戏剧艺术的视觉呈现。依托于繁星戏剧村特有的戏剧文化氛围,繁星当代艺术中心剧场化的解构了艺术界线的同时,也转化了以承载表演的空间体的含义。剧场空间从原本视角单一的台前幕后,生发为更为广泛的空间体,随着不同展览单元对于空间的需求,移步换景,在移动之中面对戏剧与艺术的对撞。剧场,在这过程中,也完成了从传统剧场空间向未来剧场艺术空间的延伸。因此,在剧场上演的“对戏”不仅仅是一场表演,也并不是一场表演。

 

 

 

 

INDEPENDENT INTERACTION

International Contemporary Art Exhibition

October 26 - December 31,2017

 

This programme is supported by Beijing Culture and Arts Fund in 2017

Producer: Xing FAN  &  Xiaofan REN

Curator: Long ZHOU | Gloria GUAN

Artist: Mi CHAI | Yuzheng CHENG | Chenlian DAI | Wenyao DING | Xianjun HUANG | Qixin HUANG | Li HAO | Lorenzo F. Fisler | Wenpei LI | Katarzyna Matuszczyk LU | Youyou LU | Chi MA | Haiyang WANG | Tong WU | Funa YE | Long ZHOU | Siwei ZOU

 

Inheritance is the evolution of art and innovation is the soul of artistic progression. "Independent Interaction International Contemporary Art Exhibition" (referred to as "Independent Interaction") is intended to carry out cultural innovation on the basis of traditional inheritance and launch a new dialogue with the world. "Independent Interaction" encapsulates the preparation behind singing, chanting, dancing and acrobatics of an opera performance on the stage. Also, an expression of theatrical arts and contemporary art in exhibition form with the scene of the play as the space and an initiative exploration of artistic boundaries based on the creation by individuals. It is a new expression formed by the fusion of drama and contemporary art, attempting to reinterpret the drama and discuss the expression from a new perspective. The exhibition shows the works of 17 international artists, covering the operatic animation, opera music, videos, installation, paper works, oil paintings, silk-coscreen printing and VR experience. It presents a diverse and inclusive artist feast in a three-dimensional form of expression with "sound", "listening" and "seeing".

 

In the main exhibition hall, the "Chinese opera" space is featured with celebrations of Chinese traditional opera culture, while the combining of Peking Opera The Crossroads is the highlight. “The Crossroads” has a simple story, but under the spotlight in the daylight the show is a fighting scene in darkness, and can be described as the most representative presentation of the Chinese drama "virtual" performance. In the exhibition hall, Li Wenpei and Ma Chi, respectively, with Xuan paper, ink and paper and in the form of new media animation, restored the classic performances of “acting” and “acrobatic fighting” in “The Crossroads”. Hao Li, Huang Qixin, and Ding Wenyao took “The Crossroads 2015”, “The Crossroads 2016”, and “The Crossroads 2017” as the blueprints for their creation. This series of opera works is a drama style with a strong comedy color created by Zhou Long through integrating singing, recitation, acting and acrobatic fighting in an attempt to combine tradition and modern, classical and fashion. In the exhibition hall, Zhou Long used two "red tables" as stage scene, forming a simple and free stage space. It is as if the viewer walks into the stage. Space with lighting change allows the viewer to get immersed in the atmosphere of the theatre, drawing closer to the exchange distance with the audience. His work “The Crossroads 2017ŸDance” is the latest attempt to expand the possibility of theatre space, and the body language of the dancers interprets a unique artistic expression.

 

Displayed in the "Cinematic" space is the dynamic image works of Ye Funa, Dai Chenlian, Lu Youyou and Katarzyna Matuszczyk-Lu. Ye Funa’s role performance works together with the construction of the virtual life-like scenes constitutes a new viewing relationship. Dai Chenlian, the first Chinese contemporary artist trying to combine theatre context, makes the show in his "family theatre program" echos with the theatre outside the exhibition hall, reflecting drama aesthetics of the visual art. In Dream, a show staged in the open space outside the theatre, Wang Haiyang's painting works "Untitled", Chai Mi's paper painting “The Outside World”, and Cheng Yuzheng's video works “Genius”, their dialogues with the flowing viewers in the open space are just like the relationship between the dream and reality in drama performance, and shows that artistic creation is the real channel connecting the artist's individual spiritual world and the reality.

 

In addition, in the "Independent Interaction", the identity of all the participants has seen multiple contrasts. The actor paints and the painter performs. “The Last” by Zou Siwei and “Sheng, Dan, Jing, Chou” by Huang Xianjun took the content from plays. In the exhibition, there are contemporary artists’ experimenting and exploration by using drama elements of drama performance in their artistic creation, such as Wu Tong's sculpture “The Crossroads”. When all the works converge in the exhibition space, the delicate association between the theatre art and the contemporary art is again stimulated: the actor is not only an actor, but also an contemporary art experimenter who explores the ontology; the artist is not just a creator of visual aesthetics but also a new communicator of theatrical arts. It can be seen that "Independent Interaction" is not a one-way artistic carrier presentation, but more the art dialogue and exchange completed in relativeness.

 

"Independent Interaction" is the latest effort of the Star Centre for Contemporary Art, and presents a variety of artistic elements which attract more viewers. The Star Centre for Contemporary Art is an international art exchange platform for the deep dialogue between contemporary art and theatre arts. It aims to express the dramatic aesthetics of contemporary art and the visual presentation of theatre arts in the form of diversified communication, multi-dimensional display and innovative experience. Relying on the unique drama culture atmosphere in the Star Theatre, the Star Centre for Contemporary Art theatrically deconstructs the artistic borders, while transforming the meaning of the space staging the performances. The theatre space turns from the front stage and behind the scenes with singular perspectives into a more extensive space body. Along with the different special needs of different exhibition units, the scenes change and drama and art collide in the movement. In this process, the theatre also completes the extension from the traditional theatre space to the future theatre art space. Therefore, the "Independent Interaction" staged in the theatre is not just a performance, and not a performance at all.

 

 

洛伦佐·费斯勒(传)| 清末上海戏装照 (3张),1870,蛋白照片,21×27cm

 

 

展览现场图

 

 

丁文尧 | 花旦之一,2017纸上钢笔画,丙烯墨水,53x38cm

 

 

邹四维 | 最后 ,2014,影像视频,时长:2’23”

 

 

黄显峻 | 生旦净丑 ,2017,布面丝网印刷,135x120cmx4

 

 

展览现场图

 

 

马驰 | 三岔口动画分镜头 ,2017,纸本水彩 ,30x40cm

 

 

展览现场图

 

 

 

马驰 | 三岔口 ,2011,影像视频 ,时长:4’38”

 

 

李文培 | 三岔口,2017,纸本水墨,60x60cm

 

 

李文培 | 三岔口,2017,纸本水墨,60x60cm

 

 

李文培 | 三岔口,2017,纸本水墨,60x60cm

 

 

展览现场图

 

 

丁文尧 | 三岔口 ,2017,纸上钢笔画、丙烯墨水,57x76cm

 

 

丁文尧 | 武生 ,2017纸上钢笔画,丙烯墨水,53x38cm

 

 

郝俪 | 三岔口 2016,2017布面油画,80x60cm

 

 

展览现场图

 

 

叶甫纳 | 深渊书简-飞舞,2017,影像视频时长:32’41,版数:2/5 

 

 

吴彤 | 三岔口 ,2010玻璃钢雕塑 ,120x90x50cm

 

 

丁文尧 | 花旦之二 ,2017纸上钢笔画,丙烯墨水,53x38cm

 

 

丁文尧 | 霸王别姬 ,2017纸上钢笔画,丙烯墨水 57x76cm

 

 

戴陈连 | 一江春水向东流(五),2016,三屏录像,时长:4’24,版数:1/8

 

 

展览现场图

 

 

 

 

芦幽优&芦雅兰 | 对话-忘记艺术

2017,影像视频,时长:6’00”& 6’00”版数:1/8

 

 

展览现场图

 

 

开幕式表演 《三岔口 2017 · 舞》

 

 

展览现场图

 

 

程昱峥 | 天才,2016-2017,影像视频时长:27’14”版数:1/5 

 

 

王海洋 | 无题,2014,布面油画,60x80cm

 

 

柴觅 | 外部世界之六 ,2010-2011,纸本水色,21.6x15.6cm

 

 

柴觅 | 外部世界之十 ,2010-2011,纸本水色,4 x18.2cm

 

 

柴觅 | 外部世界之十一,2010-2011,纸本水色,23.2x16.4cm

 

 

柴觅 | 外部世界之十三 ,2010-2011,纸本水色 26.9x16.6cm

 

 

开幕式现场

 

 

开幕式现场

 

 

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