前列腺癌,文艺批评·新展预告 | 高兴的人们 一切的人 一切的女子 一切的男人 一切的女子 一切的男人 一切的人 第一个男人,delicious

频道:国内时事 日期: 浏览:185

新展预告

开幕式:2019年4月18日周四 16:00

展览时刻:2019年4月18日-8月4日

地址:北京海淀区杏石口路50号

北京中心美术馆

参展艺术家:

胡伟、贾淳、娄烨、吕智强、谭华牧、王一凡、“新前史小组”(任戬、周细平、梁小川、余虹、张三夕、祝锡琨、王玉北、赵冰、岛子、弓克、叶双贵、野牛、余佑斌、陈默)、杨雨澍、袁运生、曾宏、张晖、张淼、张玥、赵文量、赵银鸥

策展人:卢迎华

助理策展人:钱梦妮、孙杲睿、杨天歌

展览简介

这个15桃运兵王唐易2字的标题来自现代诗人与文学评论家何其芳(1912—1977)的诗剧《快乐的人们》,写于194前列腺癌,文艺批评·新展预告 | 快乐的人们 悉数的人 悉数的女子 悉数的男人 悉数的女子 悉数的男人 悉数的人 第一个男人,delicious0年11月20日,收录于诗人的第二部诗集《夜歌》。诗人于1938年抵达延安,在感触到自在、宽大和快活的空气后,书写了一系列“歌唱早晨,歌唱期望,歌唱归于未来的事物,歌唱正在成长的力气”的诗篇。诗人关于新日子的激烈感触是《夜歌》中全部诗篇一起的主题。

《快乐的人们前列腺癌,文艺批评·新展预告 | 快乐的人们 悉数的人 悉数的女子 悉数的男人 悉数的女子 悉数的男人 悉数的人 第一个男人,delicious》描绘了一群年青人在秋天的夜晚,在野外举办活动、沟通抱负的乌托邦式的场景,他们围着赤色火堆,歌唱着,跳舞着。著作中描写了很多形象,有的是团体形象,如全部的人,全部的女子,全部的男人;有的是个别的形象,如第一个男人,第二个女子,第五个女子等等,他们/她们/他/她外形含糊,主体颜色浓郁,各自代表着某种类型的人物。透过他们个人或团体的叙述,该诗剧控诉旧社会,展望新日子,讴歌民主与平和的新秩序,抒情对炽热的团体日子的神往,是诗人在国际观与感情上发生了内涵改变之后从头发现自己与发现日子的一次真挚的表达。

跨进“新年代”以来,新的前史情境给咱们每一个人的日子带来严重的改变与剧烈的感触。关于改变的感知既是个人的,也是团体的。不论个别,仍是团体,都有言说的激动。不论身居阁楼仍是置身于尘世之中,不论出走仍是停步,不论缄默沉静仍是自言自语,都是一种个别化的倾诉、言说的方法。或者是说咱们还需要再探究一些习惯“新年代”的恰如其分的表达方法:用诗外交。

这一次,咱们在何其芳的诗篇方法和意象言语中找到了一个适宜于传达思维与情感的言说方法。何其芳的诗篇非常考究完好的方法,严厉的韵律和浓郁的气氛。咱们将诗剧中人物的独白、对白悉数省略,只是保留了诗剧中关于人物的指称,保留了诗篇的概括和形状,并将其作为展览的完好标题。在展览中,艺术家们以著作言说,以著作作为省略的诗污慢句的替身。虽然原诗剧经过人物的对白和独白展开了情节,发明性情形象,丰厚情感的表达,抒情思维情感,但咱们期望借用这些各有所指的人物指称,为咱们自己以及观众翻开一片宽广的联想空间。在这些人称中,个人既是奇数的,也是复数的个别;而团体既是复数的,也是奇数的团体,他们呈现的是“咱们”的群像。

巫正刚

这个展览中呈现的著作从多个视点描写了不同的人物人物,以及他们多种状况:不坚定的、困惑的、游离的、割裂的、沉思的桑乐金蒸功夫、消沉的、受困的、莫衷一是的、自我否定的、抵触的、充溢梦想的。其间没有直接触及社会议题的,也没有直接对立的人物。像诗剧中的前列腺癌,文艺批评·新展预告 | 快乐的人们 悉数的人 悉数的女子 悉数的男人 悉数的女子 悉数的男人 悉数的人 第一个男人,delicious不同人物/人群相同,艺术家的创造指代着多种境况、遭受、态度、诉求、精力与内涵的体会,力求描写咱们杂乱深入但无法被言说的多种实际与心境。正如瑞典作家斯特林堡在1888年出书的剧本《朱莉小姐》的序文中所写道的:“因为他们是现代的人物,日子在过渡的年代里,因而我把他们写成是割裂的、不坚定的。他们是曩昔和现在的结合,书本和报纸的点滴,人道的残片,上等服装的褴褛,凑集在一起,就像在人的前列腺癌,文艺批评·新展预告 | 快乐的人们 悉数的人 悉数的女子 悉数的男人 悉数的女子 悉数的男人 悉数的人 第一个男人,delicious魂灵中相同。”

咱们特别邀请了上海大学文明研讨系副教授罗小茗为展览平行创造一篇名为《推理-国际/说明书》的文章,该文将宣布在展览同名画册上。

Exhibition

preview

Opening: 16:00, Thursday, April 18, 2019

Dates: April 18 – August 4, 2019

Participating Artists:

Hu Wei, Jia Chun, Lou Ye, Lyu Zhiqiang, Tan Huamu, Wang Yifan, New Historicism Group (Ren Jian, Zhou Xiping, Liang Xiaochuan, Yu Hong, Zhang Sanxi, Zhu Xikun, Wang Yubei, Zhao Bing, Dao Zi, Gong Ke, Ye Shuanggui, Ye Niu, Yu Youbin, Chen Mo), Yang Yushu, Yuan Yunsheng, Zeng Hong, Zhang Hui, Zhang Miao, Zhang Yue, Zhao Wenliang, Zhao Yin’ou

Curator: Carol Yinghua Lu

Assistant curators: Qian Mengni, Sun Gaorui, Yang Tiange

Introduction

The 152-character exhibition title comes from the poetic drama, Happy People, written by the poet and literary critic He Qifang (1912-1977) on November 20, 1940, later published in his second collection of poems, The Night Song. In 1938, the poet arrived in Yan’an, the basis for the Chinese Communist Party from 1935 to 1947. Moved by the atmosphere of freedom前列腺癌,文艺批评·新展预告 | 快乐的人们 悉数的人 悉数的女子 悉数的男人 悉数的女子 悉数的男人 悉数的人 第一个男人,delicious, engagement and happiness, he wrote a series of poems to “sing for the morning, sing for hope, sing for those who belong to the future, and sing for the growing power.” The poet’s optimistic feelings about the unfolding of a new life run through all the poems in The Night Song.

Happy People depicts a utopian scene in an autumn night where a group of young people gather in the wild and talk abou珍嘉丽t their ideals while singing and dancing around a bonfire. There are many figures in the poem, some appear as collectives, such as all people, all women, all men; some as individuals, such as the first man, the second woman, the fifth woman, etc. They/he/she all take on a non-distinctive identity but strong traits and personal experiences, with each representing a certain type of individual. Through their personal or collective remarks, the poem condemns the old regime, anticipates a new li淘车夫网fe, celebrates the new order of democracy and peace, and expresses a yearning for a passionate collective life. The poet sincerely expresses himself, after his world view and feelings change with his rediscoveries about himself as well as the下下片 life.

Since China entering the s主力校草美男团o-called “New Era”, the new histo傲卡名车rical conditions have brought about dramatic changes and intense feelings for each of us. We observe and absorb s私美终身uch changes on both personal and collective levels, and there is always an impulse to speak out. Whether one chooses to live beyond or within the mundane world, whether one gets away or stays on, whether one keeps silent or just mutters, they are all individual iterations of one’s relationship with the present. Or in other words, we need to explore certain appropriate expressions in adapting to the New Era: communication via 福卫五号poetry.

In He Qifang’s poetry and imagery, we have found a way to convey today’s ideas and emotions. In his poetry, he puts much emphasis on the perfection of the forms of poetry writing, the strictness of rhythm and the richness of feeling. We have taken away the monologues and dialogues in the original p东北表弟oem, Happy People, only retaining the references to the characters, the outline and shape of the poem. In the exhibition, the artists narrate the stories through their artworks, which replace the verses that have been omitted from He’s poetry. The original poem unfolds the pl主母罗苏拉ot through the dialogues and monologues 前列腺癌,文艺批评·新展预告 | 快乐的人们 悉数的人 悉数的女子 悉数的男人 悉数的女子 悉数的男人 悉数的人 第一个男人,deliciousof the characters, an前列腺癌,文艺批评·新展预告 | 快乐的人们 悉数的人 悉数的女子 悉数的男人 悉数的女子 悉数的男人 悉数的人 第一个男人,deliciousd presents figures of different characteristics with rich emotions and inspirational thoughts. By only referrin许熙芸g to the varied characters in the poem as signifiers, we hope to open a vast space for ourselves and the audience to think further about the actual content to be voiced. As signifiers, the individual characters exist in both singular and plural forms; similarly, those groups of characters are both plural and singular ones. The entirety of all individual and collective characters conjures up a group image of “us”.

The artworks in this exhibition portray different characters and their states of mind from various perspectives: hesitant, confused, dissociati哈宝530ve, schizophrenic, thoughtful, negative, trapped, disoriented, self-denying, clashing, or full of fantasy. There are no works directly related to social issues, and neither are there any confrontational figures. Like the different characters and groups of南通私家侦探 people in the poem, the artists’ works refer to a variety of situations, encounters, positions, demands, spirits and inner experiences, as they strive to portray multifaceted realities and moods that are complex, profound and indescribable. As the Swedish wri逼逼ter August Strindberg writes in the preface to the play Miss Julie (published in 1888), “As modern characters, living in an age of transition more urgently hysterical at any rate than the one that preceded it, I have depicted the figures in my play as more split and vacillating, a mixture of the old and the new, and it seems to me not improbable that modern ideas may also have permeated down by way 麻吕患者of newspapers and kitchen talk to the level of the servants. That is why the valet belches forth certain modern ideas from within his inherited slave’s soul.”

We have also invited Associate Professor Luo Xiaoming from the Department of Cultural Studies at the Shanghai University to write an article in parallel with the exhibition, Inference-World/Instructions, which will be published in the exhibition catalogue.

本期修改|喵酱

图源|北京中心美术馆

展览 女子 人物
声明:该文观念仅代表作者自己,搜狐号系信息发布渠道,搜狐仅供给信息存储空间效劳。
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