伊比利亚当代艺术中心|IBERIA CENTRE FOR CONTEMPORARY ART
北京市朝阳区酒仙桥路4号798艺术区E06
2008.07.12–2008.08.15

“观念的笔记”把后现代画家的困扰当作前提：是一种没有总体的意图与法则可以依赖的虚空。画册的前言里面提出，目前的流行画派丰富而不断地被消耗掉，引起 “绘画概念极其单一，反映社会，或者通过反映内心状态来反映社会”。 此展览试图呈现当代艺术的自觉性。伊比利亚的小策展组收集的十六位画家能否使观众体验“主动试验性”的绘画线索呢？也许多少会一点吧。

宽广的现场集合了不同年代的代表人物， 包括著名的以及正在崛起的艺术家。策展组选择的研究话题很及时，也直接回应了那些爱批评画布艺术商业性的疑问。但对于普通观众来说，这组绘画作品展示在伊比利亚宽敞的空间不一定能够凸显出那些很特别的图像：试验是试验，但是只有理解基本的艺术史，才能感受得到此次展览的试验性的本质。说起展览气氛的学术倾向，这样说并没有贬义，伊比利亚确实在实行着其艺术研究和教育的功能。

“观念的笔记”前辈画家的代表中，有王音对绘画史本身的研究、王鲁炎的具有平面感而以图像为主的绘画、季大纯的重新分析科学真理和意图意义的绘画、还有尹齐的复杂奶油画，后者在试图改变视觉和意识上的规则。年轻的画家相对来说多一些，像龚剑的非审美的、飞溅着白色点点的画面、王光乐最新水磨石的尝试、李威的悬念性的电影语言、还有刘韡的电脑设计过的 “生产线” 大画面、王亚强的自学绘画手法，都达到了新鲜和挑战人眼球的效果；参与的人数众多，也使展览当中的想法充满丰富性，给每个人带来一次惊喜。

偶尔在现场也会碰到策展人所批评的“潮流绘画”的虚饰 （像符号的复制或者反映出影像文化），但是 “观念的笔记”的整体方向是往新鲜的艺术试验上走，一方面提供了有学术价值 的观赏，同时在年纪上相差二十多年的中国画家的绘画试验里，也找到了一 条线索。

文 / 安静 /Lee Ambrozy

此展览评论在artforum.com.cn发表

总监制：田壮壮
编导： 杨蕊
摄影：刘帆 邓旭 韩琰
类型：人文类纪录片
片长：91分钟
拍摄时间：2004年-2005年
出品：北京青年电影制片厂
出品时间：2006年4月

王丹华现在担任artforum.com.cn翻译，也是独立杂志的投稿人，尤其对电影、纪录片方面感兴趣。

山的那一边 －－纪录片《毕摩纪》

文／王丹华


<<毕摩纪>>是一部关于彝族宗教习俗的高清纪录片，杨蕊作品。片中，导演带我们走进大凉山深处,一个如梦境的地方,以细腻精致的画面,记录了彝族美姑毕摩们的生活现状，讲述了隐藏在历史深处的故事.客观地展现了彝族部落不同时期,不同年龄，不同分支的毕摩们的生存状态.
毕摩,其实就是彝族的宗教神职人员,他们以念诵经文的形式协调人与神灵的关系。在日常生活中，主要主持祭祀,占卜的活动,安灵送灵，采药医病，对彝族人们的精神生活有着极为重要的影响,是彝族精神信仰的代表,也是彝族文化的传播者与继承者.传承下来的万卷古典经文,是这个古老民族的丰富的记忆宝库.随着政策的开放与传统文化的复兴，今日，依然有很多毕摩，活跃在彝人聚居的地区。他们举行各种宗教仪式，与人们的生活密不可分，在当地享有较高的地位，受族人尊敬。虽然汉族文化以及现代化在一点点渗透，社会大变革屡屡发生，但彝族的宗教信仰，仍艰难而顽强地保存下来，至今还影响规范着人们的生活。

跟随镜头，我们来到凉山深处，一个似乎被遗忘的角落。那偶然停靠的汽车，车下走来的游子,通往远方的路,提示着此处与外界的丁点儿关联. 而时光又仿佛在此停止,生老病死不经意地提醒着我们岁月的流淌. 然而这里似乎还是安静依然,安静得近乎无动于衷.人们淡淡地过着日子,与命运融为一体，劳动，婚嫁,选举，送葬,作法, 聊天,行走，歇息，一切正在发生着又发生过了.影片伊始，远行的游子—一个歌者归来，走向田间静坐的老毕摩。在归去来的一派田园气息之中，毕摩们的生活，就此徐徐展开。人们平静地讲述着自己的生活，讲述着毕摩的往昔与今天，近到衣食住行婚姻情感，远到亘古不变的传说。导演就默默地退到摄影机后面， (more…)

国际女性博物馆邀请各位提交作品
请为妇女、权力与政治全球在线展览提交您的作品

请在2008年12月31日前向国际女性博物馆提交您的论文、电影短片、诗歌、摄影和漫画等原创作品，参加妇女、权力与政治在线展览。妇女、权力与政治展览以每个月引起人们兴趣的新主题为中心，使用社区提交的作品开始有关问题的讨论。可以使用阿拉伯文、英文、法文和西班牙文直接在线提交作品。直到9月才将为提交过程提供中文协助。如有任何问题，请发送电子邮件至：submissions@imow.org。如需了解提交及如何提交作品的更多信息，请访问www.imow.org/submissions。如需了解妇女、权力与政治展览，请访问www.imow.org/wpp。

I.M.O.W. 很感兴趣中国女士们的故事, 请转发！

有关《黑色咒语》

当我们沉睡时，一切都成为历史。
——孙逊

这是一个有关煤炭工业城市－阜新的兴衰的叙述。艺术家通过对家乡的记忆和感怀，进行着对历史和权利的质疑……

一座神秘的黑暗之城，风暴肆虐，黄沙漫天。城市中心，几座巨大的建筑冲向天际，喷出滚滚浓烟，遮天避日，终日不见阳光。一种主义的声响日以夜继，千日不绝，用以驱逐人们对这个世界的种种好奇与揣测！这是一间巨大的监牢，囚禁着历史，一头性情凶残暴戾而且喜怒无常的怪兽，直到有一天，人们驱动着发出撕心裂肺吼叫的苏联挖掘机，粗暴掀开巨大的地皮，渐渐接近这个城市的心脏……甚至可以窥视历史的变幻！

人民的货币，图案便是插图……

看《黑色咒语》在美术星空

站台中国于2008年5月3日至6月1日在798的项目空间推出年轻艺术家孙逊的最新艺术项目《黑色咒语》。这是一个为期2个月的现场动画创作过程和最后的开放展览相结合的艺术项目。现场的动画创作过程从3月1号持续至5月2日，并从3月29日开始在每个周六开放空间，观众可以看到孙逊的创作状态和进度。创作和展厅于2008年5月3日正式对公众开放，开始为期1个月的展览。观众除了会看到孙逊的最新动画作品《黑色咒语》，也能感受到孙逊现场创作后的装置作品。这个动画现场过程加展览项目是孙逊三部创作曲之二。第一部《讹》已在2006年上海双年展期间在“黄盒子”的展览中完成，第三部将于08年6月至7月在美国洛杉矶翰墨美术馆（Hammer Museum) 完成。

 The following lament for the 798 arts district is featured on artforum.com.cn under angle.

The games are approaching, and China’s most infamous arts district is being scrubbed and shined to make way for tourist traffic. The reality of the immense changes that have occurred here over the past few years now lies below a new layer of concrete and the Italian leather sandals of al fresco diners. This maturation has been rapid and thorough, but for all the media gushing over 798, few have taken time to ponder the effects of her changes, or in what way they have been ministered by her new nanny, the “Beijing 798 Art District Office of Construction Management.”

The “798 Management” office is an office representing the interests of the Beijing Municipal and Chaoyang District governments and the Seven Stars Group. Seven Stars is not a constellation or group of celestial bodies, it is the electronics conglomerate heir to the original factories, and the property management group that now rents to the galleries in 798, comprised of factories 700, 706, 718, 797, 798, and 707. Six factories. Where is the seventh? Maybe the last star is you, or harmony, or maybe it stands for “art zone” with Chinese characteristics.

Established in 2001, in part to deal with factories vacated since being rendered irrelevant by changing electronics technology, Seven Stars was happy to rent to people such as Sui Jianguo the sculptor, Hong Huang the publisher, Liu Suola the composer and many others who began moving in around 2001. Then, the entire area seemed distant and dilapidated, although its former glory was quietly echoed in East German designed Bauhaus style factories. In the mid-1950s this area was the highly celebrated “Factory 718” complex, the national standard in integrated and efficient production, and a model for similar factory complexes across the nation. It is said that Factory 718 was a household name, reaching heights of production amidst swells of socialist ideological hype that encouraged the embrace of industry.

Reverberating with its past fame, 718 has been reincarnated as 798, and sits atop tourist “top ten” lists. One of the government’s “development zones” of the new cultural variety, 798 is prided as a model of official tolerance for artistic expression, as evidence of the booming “cultural industries” and touted as a “healthy” tourist location spotlighting “contemporary culture” where visitors can snap photos of themselves amidst steaming, peeling pipes or shiny fiberglass sculptures, embodying the contrast of a proud industrial heritage with a booming contemporary art scene. 798 has emerged as a media-friendly archetype of the contradictions that define modernizing China. Or does it define something else? (more…)

In these heady days leading to the Summer Games, many “foreign friends” in China and would be visitors are perplexed be the sudden difficulties in obtaining and extending their visas. Indeed, China’s crackdown and imitation of the US Government’s visa policies seems an illogical strategy for a nation on the verge of her debutante ball, even more so when inflation seems almost solely propelled by lusty visions of foreign visitors paying 40 RMB (~5.50 USD) for a cup of swill-piss coffee. Nevertheless, there are rules and conventions in every culture and nation, and with China so eager to enforce hers, international friends should bone up on a more “native” approach to red tape and visa paperwork. Herein lies the soundest advice I can give for anyone who approaches one of the low, laminate countertops that shield the forces of the Chinese bureaucracy: you need yin for yang, something to slake the thirst of the inexplicable administrative madness going on behind those counters. You’ve accepted the mission, now your secret weapon? MY CLEAR BAG.

“Business. School. Home.
Collection Information. Communication.
Shopping. Driving. Playing. Presentation.”

Helpful suggestions for its use are printed right on top of this “simple” document folder. Your lucky amulet comes in five pastel colors, each one bearing a white printed grid, the above “poem” outlining its function, and that discriminating title, those three conspicuous words: MY CLEAR BAG.

If life were a video game, MY CLEAR BAG would be the weapon that you buy with accumulated coins, or the talisman you steal from some dead guy. But, thankfully, this is China, a peaceful nation with some special socialist tendencies, and there are plenty for all! In a nation that loves homogeneity and inconspicuous behavior as much as China, there is no better tool to help you blend in. You can––and you should––buy one from your corner store.

Traditional Chinese philosophy stresses balance: bringing down the heat, restoring harmony. My Clear Bag is your antidote, your leverage for confronting an incomprehensible and opaque Ministry of Foreign Affairs. Imagine the brutalist monoliths that are Beijing’s governmentbuildings, imaging what is tucked behind those endless rows of black windows; the bureaus and the leaders that survey them, the constantly changing rules they make and break. Imagine now My Clear Bag––it is in your hand as you approach one of the many service counters that breech the Ministry with the comparably prostrate public––you use it to approach the human face of this bureaucracy. Your face is forgettable, and probably not as symmetrically pleasing as the My Clear Bag you carry. Place it unassumingly on the desk and revel in its purpose and its methodology: it is transparent, and compact, its function is obvious, self-explanatory, intuitive. It stands in diametric opposition to all of the nastiness inside. Your officer picks it up for inspection. Nestled inside your Clear Bag, nothing can be lost, nothing will fall through the cracks.

Simply the sight of My Clear Bag unconsciously brings peace to whomever you encounter behind the desk, just as a cool cucumber soothes the fires of a spicy hot pot, it calms the soul of this officer. In contrast to their life “within the machine”, the rules of My Clear Bag are simple and easy to follow, and they do not change seasonally with campaigns nor with national holidays. Protocol is obvious and perfunctory. Of course, Everyone’s Clear Bag is exactly the same, with no exceptions. Unlike that Audi A6 with mandatory leather-seats and a quilted tissue box on the dashboard that may or may not be parked outside of the building, there is no “VIP” Clear Bag. No, there is one bag for all, at one price, and with limited variations––that Clear Bag of mine is a tested, true classic model of Marxist socialism.

Of course, the contents My Clear Bag can vary. At more “official” times such as border crossings their contents should include your passport, little stacks of I.D. photos paper-clipped together and––as any experienced My Clear Bag operator should know––photocopies of each document. These contents are stacked in ascending or descending order of importance, depending on your mission. Larger assignments (applying for a Chinese university) would do well to include a typed table of contents.

Approaching any counter á la My Clear Bag is to say in a nonverbal language that you are a law-abiding, trustworthy candidate. It becomes the missing semiotic link between your inevitable success and your visa officer. By toting My Clear Bag, you are demonstrating highly prized values of “healthy thought”: you revere simplicity, you are well organized and respectful of your opportunity to inquire about a little visa from the big bureaucracy. You don’t fly ahead of that flock, and don’t worry, no one’s going to sacrifice you to scare the monkeys. You also know the virtues of being economical, because you bought My Clear Bag for 1.5RMB. This bag can truly change your life.

李占洋   ‘租’——收租院｜ 麦勒画廊
2008.04.26 至 2008.08.24

李占洋的个展是今年夏天不要错过的机会。 他重复文革时期重要的一组雕塑作品“‘租’——收租院” 但是地主、农民、等等身份是被当代艺术圈替代。展览又幽默又有想法，你要是对好艺术不感兴趣，您可以去考验您对有名艺术世界的角色的认识。下面的文章是艾老师写的， 也在展览的画册出现的。

你看着办吧

和李占洋还不认识的时候，就记住了他的那些早期的雕塑，尺寸不大，大都是些有人物、有情节和场景的附着重彩的作品。后来的作品中出现了看热闹不怕事儿闹大的宏伟场面，着色和质感也时尚鲜亮起来。

这些作品与现实之间有一种半推半就的关系，有力的手法和明快处理所表现的趣味倾向，浓艳的作风，入微的细节与市井场面，那些故事的表情，事件的假设，传说中的情节，设定了人们所寻找的快乐，遭遇的不测和梦幻的英雄情节……

在大多数情形下，作为旁观者，我们知道眼前所见仅仅是一堆泥胎附上颜色的玩意，尽管我们可以用上帝的眼光来审视，用有训练有素的涵养来挑剔。这些人 物和情景，和谐与不和谐的光影变化，适宜和不适宜观赏的，刺激或装饰的色彩和形体，确是实实在在地影响了我们的脑神经皮层。作者设下的圈套将观者勾引进入 一个尴尬的境域。诱惑者在诱惑他人时是否亦被诱惑。不祥的快感触发了迷恋贪婪的血腥本性。

李占洋致力于很黄很暴力的败坏世风之举，旗帜鲜明地张扬性色和权力的声色犬马，像是一个长久的风俗败坏之地的景观导游者，操着浓重的市场化了的地方口音，有板有眼地重复着煞有介事的术语。无知中总是掺伴着邪恶，愚蠢里总是依偎着奢华。他一本正经地讲着，讲得认真投入。

这是一些重复了千百遍的历史故事和演绎，听上去显得平凡和陈腐。可是作品的现实力量常常令人难以相信，现实的真实性的侵伤发生了蜕变，它们已经不再是可以抹去的幻象，伴随着潜意识，像是一句无法删除的不停地在脑中反复的曲调，尤其是在你比谁都清醒的时刻。

(more…)

The latest from the sassy Art-ba-ba crew.

Liang Yuanwei 梁远苇， Liang Shuo 梁硕， Wang Jianwei 汪建伟，

展览  八卦  exhibitions and gossip.

下载 download: http://www.art-ba-ba.com/pdf/jy2.pdf

下面的文字是《找自己》70后一代的艺术家。
烟囱的艺术生活是从寝室里的孤单和无聊时光中挖掘出来的：他通过给网友发自己的漫画和小插图来克服孤独感。虚构的风景与小镇居民是烟囱本人的心况与童年乡愁的结合，抑或是对老家农庄的回忆。

烟囱常常使用不起眼的工具作为最基本的材料: 圆珠笔、报纸拼贴、低科技的数码绘画工具，甚至针线他都用过，这些简单的原料反映出作者试图回归单纯生活的愿望。在不同尺寸和质感的纸面上，神话怪物的奇遇在烟囱的寂寞世界中展开。烟囱的叙事能力在从小读漫画的过程中培养出来；美院国画系的教育背景又在画面处理的技术层面上有所助益。他在博客“汽水小店”上跟朋友分享所有的作品，同时也是“绿校年展”的发起人之一（“绿校”可以称得上当代最活跃的青少年民间艺术团体）。

虽然烟囱的作品看上去像儿童画，但人物的眉毛、眼神, 等等类似的细微差别却透露出作者娴熟的处理手法。在烟囱的神话世界里，微笑的月亮保持着俯瞰一切的姿态，还能遇到长牛角的坏蛋和有狗头的乖男孩儿。为了感动你，这些人物可以把心掏出来。烟囱的作品虽然纤小，其中的内容却在膨胀，每一个小图片都化作他私人的神话，庇护着观众在更简单的世界中停留。

著名70后的艺术家工作的环境，你能猜出是谁的吗？