正在消失的現(xiàn)場(chǎng)
“流動(dòng)的工作室”的第一站：容奇
項(xiàng)目
“正在消失的現(xiàn)場(chǎng)”是流動(dòng)工作室自發(fā)策劃的一個(gè)長(zhǎng)期持續(xù)的展覽活動(dòng)項(xiàng)目，所謂“流動(dòng)”就是工作室的空間將會(huì)不定期地轉(zhuǎn)移，它的所在地就是那些失效的或過期，將會(huì)被拆掉的建筑空間，所以，展覽活動(dòng)的地點(diǎn)會(huì)不斷變化。
活動(dòng)的目的是通過這樣流動(dòng)的過程來(lái)考查一些非中心地區(qū)的、微觀的經(jīng)濟(jì)文化生態(tài)，挖掘一些隱秘的民間野史個(gè)案，為活動(dòng)提供更多社會(huì)學(xué)和地質(zhì)學(xué)意義上的素材。以當(dāng)代藝術(shù)實(shí)踐發(fā)生的“空間轉(zhuǎn)換”來(lái)改變藝術(shù)實(shí)踐的方式作為一個(gè)重要的前提，也涉及與之前固有的當(dāng)代藝術(shù)實(shí)踐方式和展示空間的應(yīng)對(duì)。相信存在這樣的可能：空間的轉(zhuǎn)換會(huì)帶來(lái)角度的更新和狀態(tài)的提升，同時(shí)能通過在這些空間里的一系列藝術(shù)實(shí)踐活動(dòng)及特殊的方式來(lái)介入或投射社會(huì)現(xiàn)實(shí)的某些問題，用活動(dòng)本身來(lái)對(duì)應(yīng)現(xiàn)實(shí)的問題情境，這是一個(gè)主要的出發(fā)點(diǎn)。同時(shí)，我們也希望通過這樣的活動(dòng)將當(dāng)代藝術(shù)的能量延伸到基層的地帶，讓當(dāng)代藝術(shù)與更多的非中心地帶發(fā)生關(guān)系。
我們將對(duì)空間進(jìn)行具體的分析、了解和評(píng)估，在實(shí)踐成本上進(jìn)行仔細(xì)的考量和規(guī)劃。然后確定活動(dòng)的詳細(xì)計(jì)劃，邀請(qǐng)不同領(lǐng)域的藝術(shù)家、學(xué)者和文化工作者參與，在某一空間展覽活動(dòng)次數(shù)不定?，F(xiàn)場(chǎng)展示內(nèi)容包括：錄像、裝置、文獻(xiàn)、攝影、繪畫、紀(jì)錄片。
The scence that is disappearing .
The First Station of “Flowing Studio”: Rongqi
project
“The site that is disappearing or changing” is a long-term continuous project of exhibition activities planned spontaneously by Flowing Studio. The so-called “Flowing” means that the space of the Studio will transfer irregularly, with the location being the expired or aging architectural space to be demolished, so the place of exhibition activities will continue to change.
The purpose of such activities is to investigate the microeconomic and cultural ecology in some non-central regions, to explore some secret individual cases about unofficial folk history, and thus provide more sociological and geological source materials for the activities. Using “space conversion” of contemporary art practice to change the art practice way is considered as an important precondition, it also involves the response to the intrinsic contemporary art practice way and exhibition space. We believe in the following possibility: the space conversion will result in the renewal of visual angle and upgrade of status, and meanwhile a series of art practice activities in these spaces and the special practice ways can be used to intervene or reflect some realistic problems in the society. Using the activities to reflect the realistic problems is a major starting point. Meanwhile, we also hope that such activities can spread the energy of contemporary arts into grass-roots areas, and make the contemporary arts associated with more non-central regions.
We’ll analyze, understand and evaluate the space in details, consider and plan carefully about the practice cost, then determine on specific plans for activities, and invite artists, scholars and cultural workers to participate in the activities. The number of exhibition activities within certain space is indefinite. The on-site exhibition includes: videos, devices, literatures, photographs, paintings and documentary films.
空間
容奇工作室所在地的背景資料：
容奇工作室位于順德容奇工農(nóng)路十六號(hào)，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(jì)50年代的“大躍進(jìn)”時(shí)期，其中包括著名的順德繅絲機(jī)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(jí)水源保護(hù)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(shí)期的老廠房再近年內(nèi)都將被拆除。
Background Information about Site of Rongqi Studio:
Located at No.16 Gongnong Road, Rongqi, Shunde, Rongqi Studio was once Rongqi Rice Mill formerly. There are dozens of old workshops in the range of approximately 200 meters surrounding Shunde Desheng River Dam. These workshops were mostly built in the period of “Great Leap Forward” in 1950’s, including Shunde Filature Machine Component Plant, Guizhou Lime Plant, Rongqi Rice Mill and Shunde Ice Mill, which constituted the old industrial area of Shunde in early days. Some of those workshops were even built before liberation and mostly either wound up or changed the line of production around 2000. Due to the location in the provincial-level water source reservation, the government has issued the order of move and these old workshops that once represented the splendid era of Shunde industry will be demolished in recent years.
藝術(shù)活動(dòng)
“流動(dòng)工作室”容奇站活動(dòng)之一：“視覺就是經(jīng)濟(jì)” 藝術(shù)活動(dòng)
“視覺就是經(jīng)濟(jì)”應(yīng)是一個(gè)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(gè)社會(huì)生活系統(tǒng)中重要中介者——它成為思考的一個(gè)主要素材來(lái)源，對(duì)大部分人來(lái)說，這就是他們?nèi)粘Ｉ畹闹匾獦?gòu)成部分。不斷制造出來(lái)視覺傳播載體及資訊擴(kuò)充個(gè)體的認(rèn)知界面，同時(shí)也造成了不同程度的認(rèn)知干擾。
“視覺”在社會(huì)的政治經(jīng)濟(jì)活動(dòng)中充當(dāng)了不可缺少的作用，“視覺”要變成成品就必然需要成本，它被設(shè)計(jì)，被制作，出版，變成視覺成品，形成大批量極具侵略性和誘惑性的符號(hào)，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(gè)視覺符號(hào)過剩的時(shí)代，一切社會(huì)經(jīng)濟(jì)生產(chǎn)運(yùn)作的關(guān)系都這些表面的符號(hào)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(jì)活躍程度的等級(jí)化體現(xiàn)。當(dāng)然這是一個(gè)很正常的視覺分配。
作為視覺成品的藝術(shù)品是特殊的終端產(chǎn)品。它的產(chǎn)生來(lái)源于藝術(shù)生產(chǎn)者的精神成本及資金成本，藝術(shù)生產(chǎn)者通過復(fù)雜的心智、體驗(yàn)、靈感的融合與投入，同時(shí)也將社會(huì)的文化現(xiàn)實(shí)作為某種內(nèi)在的參照，在一個(gè)整體考量的基礎(chǔ)上，作品的生產(chǎn)就有了充分的條件。
實(shí)際上，大部分藝術(shù)品的生產(chǎn)會(huì)對(duì)應(yīng)一種特定的社會(huì)政治經(jīng)濟(jì)的語(yǔ)境，它們對(duì)特定的現(xiàn)實(shí)狀態(tài)作出反應(yīng)也從這種特定狀態(tài)中產(chǎn)生。
Exhibition and activities
The first activity at “Flowing Studio” Rongqi Station: “Vision is economy”
“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.
“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.
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藝術(shù)家：周滔 劉慶元 黃小鵬 羅 靈（水木堂工作室） 朱曄 樊哲 楊美艷+吳海燕 劉可 喻旭東 張嘉平 陳明生 梁健華 謝劍波 第五工作室
邀請(qǐng)文化工作者：
陳侗 馮原 楊小彥 吳國(guó)霖 胡昉 姜珺 蔡濤 胡斌 王梆
支持機(jī)構(gòu)：容城藝術(shù)館 博爾赫斯書店藝術(shù)機(jī)構(gòu)
支持媒體：《城市中國(guó)》雜志社
活動(dòng)時(shí)間：2008年4月27日——2008年5月30日
活動(dòng)地點(diǎn)：順德容奇工農(nóng)路十六號(hào)
Artists: ZHOU Tao HUANG Xiaopeng LIU Qingyuan ZHU Ye LUO Ling (ShuimutangStudio) FAN Zhe YANG Meiyan WU Haiyan CHEN Mingsheng YU Xudong ZHANG Jiaping LIU Ke LIANG Jianhua XIE Jianbo
Scholars to be invited:
CHEN Tong FENG Yuan WU Guolin HU Fang JIANG Jun CAI Tao HU Bin WANG Bang
Supporting Agency: Rongcheng Museum of Art Libreria Borges Institute for Contemporary Art
Supporting Media: Urban China
Time: March 22, 2008—May 30，2008
Place: No.16 Gongnong Road, Rongqi, Shunde
部分參展藝術(shù)家集體照
陳明生 一線江景
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