观念、形式和日常化

新征程：第三届深圳当代艺术双年展

Concept, Form and Daily Life:

New Start—The 3rd Shenzhen Biennale of Contemporary Art

2019.11.15 - 12.3

策展人：杨勇

场地：海上世界文化艺术中心 联合国教科文展厅

主办：深圳市文学艺术界联合会

承办：深圳市美术家协会、深圳市美协艺术策划艺委会

支持：南山区委宣传部、南山区文化广电旅游体育局、设计互联

参展人：王友身、王劲松、王绍强、毛旭辉、毛焰、文祯非、邓箭今、冯小瑞、李邦耀、李洪波、余宣、杨述、杨晓洋、杨黎明、吴玮、沈远、宋永红、张闯、陈向兵、陈侗、陈湘波、林奥劼、周滔、郑伟 、孟禄丁、郝强、胡介鸣、胡燕子、钟曦、栗壮志、陶辉、黄咏瑶、黄河山、梁宇、梁玥、董小明、蒋国远、童文敏、新裤子

Curator: Yang Yong

Venue: UNESCO Gallery, Sea World Culture and Arts Centre

Sponsor: Shenzhen Federation of Literary and Art Circles

Organizers: Shenzhen Artists Association / Shenzhen Artists Association Art Planning

Support: Nanshan District Publicity Department of Shenzhen Municipal Committee of the CPC / Nanshan District Culture, Radio, Television, Tourism and Sports Bureau / Design Society

Artists: Chen Tong, Chen Xiangbing, Chen Xiangbo, Deng Jianjin, Dong Xiaoming, Feng Xiaorui, Hao Qiang, Hu Jieming, Hu Yanzi, Huang Heshan, Huang Yongyao, Jiang Guoyuan, Li Bangyao, Li Hongbo, Li Zhuangzhi, Liang Yu, Liang Yue, Lin Aojie, Mao Xuhui, Mao Yan, Meng Luding, New Pants, Shen Yuan, Song Yonghong, Tao Hui, Tong Wenmin, Wang Jinsong, Wang Shaoqiang, Wang Youshen, Wen Zhenfei, Wu Wei, Yang Liming, Yang Shu, Yang Xiaoyang, Yu Xuan, Zhang Chuang, Zheng Wei, Zhou Tao, Zhong Xi

回溯当代艺术自身最重要的两个 概念 : “ 观念 ” 和 “ 形式 ”， 无意囿于形而上的哲学认知领域，不是为了发动另一场观念变革，也不在于回归形式审美秩序，而是在当代艺术融入日常实践的不争事实过程中，探讨艺术实践在当代语境下的演变。

今日深圳在“双区驱动”的模式下，联动着周边区域共同发展湾区城市群，科技人工智能发展成为热潮，新媒介材料层出不穷。种种热门话题，在当代艺术领域也成为日常，在观念和形式上影响艺术自身的表达。艺术走向日常化，其观念与形式的变化，和时代背景、社会变迁、文化思潮息息相关。艺术自身在观念的探寻与形式的演绎上相应做出深入的实验，探究个人生存实践与主观情感，进入公共领域介入社会， 融合社会学、人类学、计算机科学等其他学科的方法论。不同创作者与不同时间段的艺术创作如同取自多样历史阶段的切片抽样，反射不同的生活现实与文化关注点。

在这加速发展变化的近四十年间，当代艺术在观念和形式上，在日常化的过程中作出不同的平衡实践。审视当代艺术的观念与形式，本次展览在抽样呈现这一实践过程中，重思当代艺术与受众的距离，在观念的转换中重构新的美学，将可能重新认识当代艺术在日常化实践中的意义。

The re-exploration of the two most important concepts of art - “concept” and “form”– is not limited to the metaphysical philosophical field of cognition, not to launch another conceptual revolution, nor to return to some aesthetic order of form, but to probe into the evolution of artistic practice in a contemporary context as contemporary art is being integrated, indisputably, into everyday practice.

Driven by the duo of the Guangdong-Hong Kong-Macao Greater Bay Area and a demonstration pilot zone, Shenzhen is collaborating today with the regions around in developing an urban agglomeration for the Bay Area. Along with the booming of AI technologies, new materials are also emerging one after another. And various hot topics are also becoming part of the everyday in the field of contemporary art and influencing how art expresses itself in form and concept. At the turn of art towards daily life, the changes of its concepts and forms are closely related to the background of the times, social changes and cultural trends. Relevant in-depth experiments are being carried out on the concepts and forms in art to explore individual survival practice and subjective emotions, intervene in society by entering the public domain, and to integrate the methodologies of other disciplines such as sociology, anthropology and computer science. Like samples from different historical stages, artworks made by different artists and from different time reflect different realities of life and cultural concerns.

The turn towards daily life is bringing contemporary art closer to the public in form, but it’s still rather difficult to be accepted conceptually; on the one hand, art is entering the public space, but, on the other, it would lose its ability to comment or criticize while also becoming part of commerce and entertainment. Over the past 40 years or so of accelerating development and various changes, different parallel practices have been done to drive contemporary art in China towards daily life in form and concept. By reviewing the concepts and forms in contemporary art and presenting such practices by means of sampling, this exhibition reflects upon the distance between Chinese contemporary art and the audience, and reconstructs new aesthetics in the renewal of concepts, all of which may allow the significance of contemporary art in everyday practice to come anew into the public sight.

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