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                廣東當代藝術研究·後嶺南文獻作品展

                一、展覽基本信息

                展覽名稱:廣東當代藝術研究·後嶺南文獻作品展

                Guangdong Contemporary Art Research: Post-Lingnan Document and Work Exhibition

                展覽時間:20181219日至201914

                主辦單位:亚美AM8Guangzhou Academy of Fine Arts

                嶺南畫派紀念館Memorial Hall of Lingnan School of Painting

                辦單位:亚美AM8美術館Art  Museum  of  GAFA

                展覽地點:亚美AM8美術館

                         嶺南畫派紀念館

                Art Museum of  GAFA&Memorial Hall of Lingnan School of Painting

                人:李勁堃     韋承紅

                學術主持:韋承紅      

                展覽統籌:關誌全     黎日晁

                展覽執行:       吳文潔      何潔怡

                視覺設計:楊易欣      

                文獻整理:胡文     李夏藍     陳文軒     林楊傑

                參展畫家(按年齡排序):

                陳新華     蘇百鈞     王季華     李勁堃     黃一瀚

                左正堯     李東偉                 黃國武

                活動基本信息

                活動名稱:“後嶺南”與青年藝術論壇

                   間:2018年12月19日上午10:00

                    點:廣州美術學院美術館一樓中廳

                前言

                Preface

                一百年前,發端於廣東的嶺南畫派以勇於改革創新的精神拉開了中國畫變革的序幕。此後,“開風氣之先,領時代之新,走變革之路”一直是廣東美術發展的重要特征。在中國當代美術開始萌發的20世紀80年代後期,一批心懷夢想、敢於嘗試的廣東青年藝術家提出了“後嶺南”概念,積極探索中國水墨在當代的意義與可能呈現的表達方式。如今,當年特立獨行的他們已邁入或者即將到達退休的年齡,此時回首這一美術現象,挖掘、考察“後嶺南”藝術家的成長軌跡,結合他們當下的藝術狀態,不僅是對那一段歷史的重新了解和印證,甚至可能對中國當代美術的發展帶來積極的啟示

                One hundred years ago, the Lingnan School of Painting, which originated in Guangdong, opened the curtain of the transformation of Chinese painting with the spirit of reform and innovation. Since then, "guiding the ethos, leading the new era, practicing the revolution" has always been an important feature of the development of Guangdong art. In the late 1980s, when contemporary Chinese art began to sprout, a group of young artists in Guangdong who have dreams and dare to try have put forward the concept of "Post-Lingnan" and actively explored the contemporary significance and possible expression of Chinese ink painting. Today, those former pioneers have reached the age of retirement. While, looking back at this art phenomenon, excavating and examining the growth trajectory of the "Post-Lingnan" artists, and considering their current artistic status, is not only a re-understanding and confirmation of that period of history, but may even bring the positive inspiration to the development of contemporary Chinese art.

                當年“後嶺南”曾舉辦過三次重要展覽,但因外界對“後嶺南”藝術現象評價兩極分化,毀譽參半,導致每次參展人數變化頗大。這次文獻作品展之所以選擇“第二回展”的十位參展畫家為研究對象,是因為他們在“後嶺南”第一回展遭受猛烈批評的巨大壓力之下,仍然堅持不放棄,尤其彰顯藝術家最本真、最篤定的藝術理念與追求。他們無意挑戰權威,亦不甘淹沒於泛嶺南狀態,他們不但提出了“前衛”觀念,還創作出與當時主流藝術風格迥異的作品。這或許不過是一種文化策略,但是,一部美術發展史,就是在不斷地爭議、質疑、抗爭中躑躅前行。“後嶺南”是廣東在中國當代美術發展進程中不可或缺的重要案█例,考察、研究這段歷史,既是對這些█充滿文化理想的藝術家的致敬,也希望藉此鼓勵更多的青年學生不懼怕非議,勇於在藝術探索中前行。

                At that time, "Post-Lingnan" had held three important exhibitions, but due to the polarized evaluation of the "Post-Lingnan" art phenomenon which got both praise and blame, the number of participants in each exhibition varies greatly. This time, we chose the artists who joined in the "second round exhibition" as the research object, because they insisted on not giving up, especially highlighting the artist's most authentic and determined artistic concept and pursuit under the tremendous pressure of the fierce criticism after the first round exhibition of "Post-Lingnan". They have no intention to challenge the authority, nor are they willing to follow the Lingnanesque Style. They not only put forward the concept of "avant-garde", but also created works that were different from the mainstream art style at that time. This might be just a cultural strategy, but a history of art development is exactly slowly moving forward in this kind of constant controversy, questioning, and resistance. Undoubtedly, "Post-Lingnan" is an indispensable case of Guangdong art in the development of contemporary Chinese art. Thus, studying and examining this history is not only a tribute to these artists who are full of cultural ideals, but also hopes to encourage more young students to be unafraid and brave in the art exploration.

                近十年來,嶺南畫派紀念館從《百年雄才》項目開始,對近現代以來不同歷史階段的重要藝術家、美術現象進行梳理,重點研究廣東百年來的美術發展狀況和代表性美術家,而“後嶺南”是中國當代美術的重要一環,代表了改革開放大潮下中國南方藝術家對美術的反思與變革訴求。當年一些觸覺敏銳的學者如梁江、李偉銘、王璜生、楊小彥、李公明等,早已對此做出了前瞻性分析判斷。因此,本館非常關註這一本土當代美術現象,於2014年開始著手收集有關文獻。2015年,“當代美術30年·後嶺南”立項,至此,這一曾經“非主流”的美術現象正式納入本館的研究序列。20183月和4月,在嶺南畫派紀念館舉辦了兩次“廣東當代藝術30年·後嶺南文獻展”,將所有文獻用展覽的方式做成一個開放性的▓觀摩場所,為特定的藝術家和理論家提供獨立觀看的條件。期間,邀請參與1994年“後嶺南”第二回展的藝術家舉行座談會,一方面由親歷者對已收集的資料進行認定、勘誤和補充,另一方面可以獲取更多研究對象30年來藝術觀、藝術行為演變的文獻與信息。此外,邀請學者進行單獨采訪,我們期望以這樣的工作方式,跳出以往“展覽+研討會”的模式,使每位受邀的研究者,在獨立觀看的狀態下,對被研究者做出更加真實、獨到的觀察評判。以上所有采集到的內容,都將成為此次展覽文獻的重要組成部分。

                In the past ten years, began with the Genius of the Century - Retrospective Project of Li Xiongcais Lifetime Artworks, Memorial Hall of Lingnan School of Painting sort out the important artists and art phenomena in different historical stages since modern times, and focused on the development of art and representative artists in Guangdong over the past 100 years. Among them, "Post-Lingnan" is an important part of contemporary Chinese art, which represents the appeal of the southern Chinese artists to reflect and change the art in the waves of reform and opening up. During that period, some scholars with a keen sense of art, such as Liang Jiang, Li Weiming, Wang Huangsheng, Yang Xiaoyan, and Li Gongming, had already made a forward-looking analysis and criticism. Therefore, we are deeply concerned about this regional contemporary art phenomenon, and began to collect relevant documents since 2014. In 2015, the project of "Thirty Years of Contemporary Art in Guangdong: Post-Lingnan" has been approved, and this once "non-mainstream" art phenomenon has been officially included in our research list. In March and April 2018, Thirty Years of Contemporary Art in Guangdong: Post-Lingnan Document Exhibition was held twice at the Memorial Hall of Lingnan School of Painting, and all the documents were not only displayed as the open exhibitions but also provided a way for specific artists and theorists to view independently. During the exhibition, we invited artists who participated in the second round exhibition" of "Post-Lingnan" in 1994 to hold a symposium. On the one hand, in the presence of previous participants, we tried to identify, amend and mutual prove the source of data; on the other hand, we aimed to get more documents and information on the evolution of art view and art behavior over the past 30 years. In addition, we invited scholars to conduct separate interviews. We hope that in this way of working, we could jump out of the previous exhibition + seminar model, so that each invited researcher could make a more realistic and original observation and criticism in the state of independent viewing. All of the above collected content has been made an important part of the exhibition.

                “廣東當█代藝術研究·後嶺南文獻作品展”作為廣州美術學院年度橫向學術項目,計劃在前兩次文獻展的基礎上,增加藝術家們2000年以前的代表作品。如同前兩次展覽那樣,不會就此劃上休止符,而是下一個展覽的開始,並成為記錄每位藝術家成長變化的具有時間軸意義▓的珍貴文獻。這種對“後嶺南”的追蹤式觀察研究,以及開放的、持續變化的文獻陳列現場,或將開辟一種新的學術研究方式並對未來的展覽業態有所影響。

                Guangdong Contemporary Art Research: Post-Lingnan Document and Work Exhibition, as the annual horizontal academic project of the Guangzhou Academy of Fine Arts, has added the artists' representative works before 2000 based on the two previous documentary exhibitions. Like the two previous exhibitions, this exhibition is not the end but the beginning of the next one, and it will become a valuable document with a timeline significance to record the growth and change of each artist. This follow-up observational study of "Post-Lingnan", as well as an open and continuously changing documentary display, may open up a new way of academic research and influence the ways of exhibition in the future.

                韋承紅

                201812

                Wei Chenghong

                December 2018

                 

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