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展覽開幕的籃球賽
“視覺就是經(jīng)濟”當代藝術活動 工作照
工農(nóng)路16號藝術空間所在地
“視覺就是經(jīng)濟”應是一個具有審視性質(zhì)的判斷。
“視覺”在這里不單單是生理的功能，更重要的是“視覺”如何變成一個社會生活系統(tǒng)中重要中介者——它成為思考的一個主要素材來源，對大部分人來說，這就是他們?nèi)粘Ｉ畹闹匾獦嫵刹糠帧２粩嘀圃斐鰜硪曈X傳播載體及資訊擴充個體的認知界面，同時也造成了不同程度的認知干擾。
當代社會的經(jīng)濟運作方式的轉(zhuǎn)變是如何的塑造了我們今天的視覺文化，如何影響了我們的辨別系統(tǒng)，以及更進一步地引發(fā)了我們的思維上動蕩與焦慮——我們什么時候需要這么多的視覺符號來指導我們對生活的判斷？
“視覺”在社會的政治經(jīng)濟活動中充當了不可缺少的作用，“視覺”要變成成品就必然需要成本，它被策劃，被設計，被制作，被建造，變成視覺成品，形成大批量極具侵略性和誘惑性的符號，通過傳播系統(tǒng)將圖像、影像、物品迅速散發(fā)、輻射，影響力和繁殖力驚人。這是一個視覺符號過剩的時代，一切社會經(jīng)濟生產(chǎn)運作的關系都這些表面的符號所暗示和引證。
城市有城市的視覺系統(tǒng)，鄉(xiāng)鎮(zhèn)有鄉(xiāng)鎮(zhèn)的視覺系統(tǒng)，農(nóng)村有農(nóng)村的視覺系統(tǒng)，這是一種政治經(jīng)濟活躍程度的等級化體現(xiàn)。當然這是一個很正常的視覺分配。
作為視覺成品的藝術品是特殊的終端產(chǎn)品。它的產(chǎn)生來源于藝術生產(chǎn)者的精神成本及資金成本，藝術生產(chǎn)者通過復雜的心智、體驗、靈感的融合與投入，同時也將社會的文化現(xiàn)實作為某種內(nèi)在的參照，在一個整體考量的基礎上，作品的生產(chǎn)就有了充分的條件。
實際上，大部分藝術品的生產(chǎn)會對應一種特定的社會政治經(jīng)濟的語境，它們對特定的現(xiàn)實狀態(tài)作出反應也從這種特定狀態(tài)中產(chǎn)生。
“視覺就是經(jīng)濟”第二回活動是在第一回的基礎上再發(fā)展和豐富，是在空間運用、開辟上的進一步拓展，這要通過思路和角度上的進一步舒展來配合進行。這次我們對原有的空間進行了一定程度的整修，活動主要以在空間現(xiàn)場及周圍的考察以及相關的討論和作品的創(chuàng)（制）作為主，在作品創(chuàng)（制）作期間藝術家可以自由組織開展討論活動，此次活動的藝術家有新增加的，也有第一次的人員，希望能找到新的契合點，在既獨立又能協(xié)作的基礎上繼續(xù)尋找更豐富的創(chuàng)作狀態(tài)和角度，持續(xù)而又良性地進行藝術實踐。
空間所在地背景資料：
順德市容奇工農(nóng)路十六號，原為容奇米廠。周圍順德德勝河大堤外約200米的范圍內(nèi)，有大大小小數(shù)十家老廠房。這些廠房大都建于上世紀50年代的“大躍進”時期，其中包括著名的順德繅絲機械配件廠、桂洲石灰廠、容奇米廠、順德冰廠等，形成早期順德的老工業(yè)區(qū)。有些廠房甚至是解放前所建，多在2000年前后或倒閉或轉(zhuǎn)產(chǎn)。由于位處省一級水源保護區(qū)，政府已下發(fā)搬遷令，這些曾經(jīng)代表著順德工業(yè)輝煌時期的老廠房再近年內(nèi)都將被拆除。
“Vision is economy” art activities of contemporary 2nd
“Vision is economy” should be a judgment of perspective nature.
“Vision” does not merely refer to physiological function, but more importantly how to change “vision” into an important medium in social life system, which has become a major source material for thinking. For most people, this is an important component for their daily life, i.e. to create continuously the cognition interface of visual communication carriers and information extension units, but meanwhile it results in cognitive disturbance of different levels.
How has the economical system of our society today changed our culture of vision, how has it influenced our discriminating system, invigorating a turbulence and anxiousness on our way of thinking? When has it become that we need so many symbols to guide our judgment towards life?
“Vision” plays an indispensable role in social political and economic activities. To change “vision” into finished products naturally needs cost. Once designed, manufactured and published, it changes into finished visual products, and forms into a large number of aggressive and seductive visual symbols. Images and pictures, videos and articles are distributed and spread rapidly via the transmission system, with an amazing influence and reproduction potential. This is an era of superfluous visual symbols, since all the social economic production and operation relations are implied and adduced by these superficial symbols.
Cities have their own visual system, and towns and rural areas have their own systems too. This is a kind of hierarchical embodiment of political and economic dynamic levels. Naturally, this is also a normal visual distribution.
The artworks as the finished visual products are special terminal products. Its origin comes from the psychic cost and financing cost of the artists, who integrate and utilize their complicated thinking, experience and inspirations, and meanwhile consider comprehensively the refer to the conditions about social and cultural reality, and thus obtain substantial conditions for artwork creation.
In fact, the creation of most artworks corresponds to a special kind of social, political and economic context. Such artworks respond to the specific realist situation and meanwhile originate from such situation.
The 2nd activity is preceded and enriched on the foundations of the 1st activity, a progressing step in the usage and reclaiming of space, which accomplished in the coordination of the extension of the point of view and the train to thoughts. This time, we have made further renovating on the original space. The activity is mainly composed of investigations, discussions, and art creations on the space itself and its surrounding. Discussions can be held spontaneously while the artists are working on their art. This activity has added new artists, some are in their first time, finding a new cross point, who are looking for a more varied creating state and viewpoint based on the ability of independent and cooperating creation.
參展藝術家（排名不分先后）
劉慶元 周滔 黃小鵬 孫曉楓 胡向前 第五工作室 喻旭東 秦 晉 水木堂工作室 洪榮滿 騰挪小組 鄧猗夫 梁健華 謝劍波 王 楠 金丹丹 許惠晶 雷紹文 大項目小組
策展
張嘉平
策展助理
湯 沁 黃夷白
支持機構：德懿藝術館 博爾赫斯書店藝術機構 上海非藝術中心
支持媒體：《城市中國》雜志
活動時間：2009年6月13日——2009年6月21日
活動地點：順德容奇工農(nóng)路十六號
Artists:
LIU Qingyuan ZHOU Tao HUANNG xiaopeng SUN xiaofeng HU xiangqian FIVE studio YU xudong QIN Jin JI Huai Qroup of TengNuo HONG rongman ShuimutangStudio DENG yifu LIANG jianhua XIEjianbo WANG nan JIN dandan XU huijing LEI shaowen Qroup of Big project
Curator：Zhang jiaping
assistant curator：Tang qin Huangyibai
Supporting Agency: Deyi Museum of Art Libreria Borges Institute for Contemporary Art FEI Contemporary Art center
Supporting Media: Urban China
Time: Jun 13, 2009—July 21，2009
Place: No.16 Gongnong Road, Rongqi, Shunde
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