练武术还是迪斯科?从大众到后科技时代的娱乐

练武术还是迪斯科?

从大众到后科技时代的娱乐

Kung Fu or Disco

Entertainment from Mass to Post-Tech Era

 

2020.10.1-11.11

 

艺术家:胡向前、贾淳、刘立宏、刘沁敏、清水惠美、黑米·沃什、王梓全、张永基、张钊瀛

Artist: Hu Xiangqian, Jia Chun, Liu Lihong, Liu Qinmin, Megumi Shimizu, Rémi Voche, Zhang Yongji, Wang Ziquan, Zhang Zhaoying


策展人:李泊岩

CuraterLi Boyan





無同空间很高兴地宣布,10月1日最新展览《练武术还是迪斯科:从大众到后科技时代的娱乐》将被推出,本次展览将展出胡向前、贾淳、刘立宏、刘沁敏、清水惠美、黑米·沃什、王梓全、张永基、张钊瀛9位艺术家的作品。展览以武术的现代化转变以及迪斯科文化突如其来的影响为着眼点,探讨随着科技发展对大众娱乐影响至深的两项运动的演变。同时,無同空间将展厅打造成舞厅,并推出两场派对。




胡向前Hu Xiangqian

秘密任务The Secret Mission

高清录像HD video,38’06”,2015 (由长征空间提供 Courtesy of Long March Space)





贾淳Jia Chun

共生与异调:当代体育中的遗迹

Symbiosis and heterophony: relics in Contemporary Sports

收藏级艺术微喷 Giclée Art Print

42cm×50cm(totally 16)

2020


随着现代化战争的演变,近身搏击早已被科技战争、金融战争,甚至网络战争所取代。武术被西方称为“中国功夫”,自上世纪60年代起,随着功夫电影在欧美的流行,曾成为西方流行的娱乐健身活动。它丧失了原有的攻击及防身目的,转而成为养生、健身的大众娱乐。如果说武术代表了一种过去的生产关系,就像传统的艺术一样,强调流派、技术、磨练、封闭式教学。迪斯科则是“现代性”的产物,它以低技术含量、即兴发挥、开放性、社交性、无流派性为主要特征。几乎在“功夫热”兴起的同时期,迪斯科诞生并风靡全球。自上世纪80年代起它随着港台文化的流行而风靡大陆。迪斯科的目的可以说是为了对抗无聊、寻求刺激和快乐、扩大社交等,这验证了当下人类最大的敌人已经不是他人,而是自己内心的空虚。武术的热度正在下降,迪斯科的影响却蔓延至街角,使它成为本土化的大众娱乐项目;最终它们在同一时代和同一国度中平行存在,它们都反映了时代变迁的无奈。




刘立宏 Liu Lihong

凝固 Solidify 

明胶银盐照片 Gelatinsilver salt photo

46cm×31cm

2006




刘沁敏 Liu Qinmin

Real Player 56-软雕塑Solf sculptur|M/L/XL,连帽衫、中国民间纺织、珠宝Hoodies, Chinese folk culture textile,jewelry

2017-2020




清水惠美 Megumi Shimizu

清水动物化-海狮 Animalize Megumi_Sea lion

单频道录像 Single Channel Video

8’44”

2011



We are pleased to announce that on October 1st Wooton Gallery will launch a new exhibition “Kung Fu or Disco?Entertainment from Mass to Post-Tech Era”. This exhibition will exhibit works by 9 artists including Hu Xiangqian, Jia Chun, Liu Lihong, Liu Qinmin, Megumi Shimizu, Rémi Voche, Zhang Yongji, Wang Ziquan, and Zhang Zhaoying. Starting from the modern transformation of martial arts and the sudden influence of disco culture, the exhibition will discuss the evolution of the two sports that have had a profound impact on popular entertainment with technological development. At the same time, Wooton Gallery will transform the exhibition hall into a ballroom and host two parties.




黑米·沃什 Rémi Voche

舞蹈牛仔 Dancecowboy

单频道录像 Single Channel Video

0’51”

2011




王梓全Wang Ziquan

逃太阳 Away From The Sun

影像 Video

04’00”

2020(由没顶画廊提供 Courtesy of MadeIn Gallery


With the evolution of modern warfare, physical combat has long been replaced by technological wars, financial wars, and even cyber wars. Martial arts is called “Chinese Kungfu” in the West. Since the 1960s, along with the popularity of Kung Fu movies in Europe and America, it has become a popular entertainment and sport in the West. It has lost its original purpose of attack and self-defense, and has become a popular entertainment for health preservation and fitness. Martial arts represents an traditional  production relationship, just like the traditional art which emphasizes genre, technique, practice and one-on-one teaching. In contrast ,Disco is a product of "modernity", characterized by low-tech, improvisation, openness, sociality, and non-genre. Almost at the same time when the "Kung Fu fever" was on the rise, Disco was born and swept the world. Since the 1980s, with the popularization of Hong Kong and Taiwan culture, it has become popular in the mainland.


The purpose of disco is generally to fight boredom, seek excitement or happiness, and expand social interaction. It shows that the greatest enemy of human beings is no longer other people, but the emptiness of their own heart. The popularity of martial arts is declining while the influence of disco has spread to street corners and become a localized popular entertainment. In the end, they existed in the same era and same country. They all reflect the helplessness caused by the changes of the times.




张钊瀛 Zhang Zhaoying

开幕式与探戈步 

Opening Ceremony And Tango Step

布面油彩 Oil on canvas

100cm×180cm

2017




张永基 Zhang Yongji

时代在召唤The Generation is Screaming

高清数字影像 3-ChannelHD Video

04’31”

2018





艺术家简介

 

胡向前,1983年出生于广东雷州,2007年毕业于广州美术学院油画系第五工作室,目前生活和工作于广州。

 

贾淳,2004年至2010年,在巴黎美术学院学习并获得硕士学位。2010年至今,工作创作生活于北京、天津。

 

刘立宏,1958年生于沈阳,1982年考入鲁迅美术学院工艺系。任鲁迅美术学院教授、摄影系主任。

 

刘沁敏,90后,生活工作于美国和中国。2017年毕业于SVA纽约视觉艺术学院艺术实践系(研究生)。2013年毕业于旧金山州立大学舞蹈系(本科)。

 

清水惠美Megumi Shimizu),日本当代艺术家,先后毕业于京都艺术造形大学日本画专业(本科),北京中央美术学院摄影系(硕士)。

 

黑米·沃什(Rémi Voche),法国当代艺术家。1983年生于法国马恩河畔拉尼,2012年毕业于尼斯阿尔松别墅国立高等艺术学院,现生活工作于法国巴黎。

 

王梓全,1993年出生于辽宁沈阳,2017年毕业于中央美术学院雕塑系,2019年硕士毕业于英国皇家艺术学院,现生活工作于杭州与上海之间。

 

张永基,2018年硕士毕业于中央美术学院实验艺术学院。个人创作以数字图像作为创作基础,涉及装置、影像等媒介。

 

张钊瀛,1988年出生于中国广州。2009年毕业于广州美术学院附中,2013年毕业于四川美术学院油画系,获学士学位,2015年毕业于比利时布鲁塞尔艺术学院,获硕士学位。



2020/10/23
+share