在伊斯坦布尔,Nazif带我到他的富人朋友家里做客。富人朋友前几年在伦敦买了中国当代画家liu的作品。大概十来万欧元买的,现在居然已经升值到50多万,于是开始对中国当代艺术非常感兴趣,晚餐中不断询问中国艺术现状与中国经济,样样他都熟悉。 富人朋友大概40出头,精明能干,太太大家闺秀,举止装扮雍容华贵,三个孩子样貌出众,让人羡慕的家庭。
他客厅桌面上摆放的全是中国艺术家的作品集,我随手翻翻,开始以为都是商业画家。看进去,才发现这两三年进步非常乐观。记得04,05年回上海北京,参观多处艺术家画廊,去参观了苏州河边的工作室,多伦美术馆,798等等。那时还觉得他们刚起步。现在比那时进步更多了。有些作品的思想性超过西方美术馆的作品。 几位知名艺术家都是四川画院出来的。 看到这些作品,我为同胞骄傲。
可以这样讲,我感觉这几年中国美术上的进步超过了文学,所以咖啡客人们对春晚的舞台设计开始满意,大概也是其中的原因。而文字成就呢?中国的文字狱何时才能放松?咖啡何时才能解放?
下面是从google搜索到的我喜欢的图,希望听到大家的评论。
- Re: 中国当代美术进步令人瞩目Impressive progress of Chinese Contemporary Artsposted on 01/26/2009
- Re: 中国当代美术进步令人瞩目Impressive progress of Chinese Contemporary Artsposted on 01/26/2009
- Re: 中国当代美术进步令人瞩目Impressive progress of Chinese Contemporary Artsposted on 01/26/2009
凑个热闹。这个名气大,不过没什么意思。 - posted on 01/26/2009
刘小东等人已经让西方几大知名美术馆高价收藏。
...............
Cultural Revelation
— China Modern Art Moves Mainstream
Financial Focus
In 1991, Chinese contemporary artist Liu Xiaodong’s first auctioned work sold for a little over RMB 80,000 in Hong Kong. Last year, his work “New Displaced Population” was bought for RMB 20,000,000 in Beijing. China’s breakneck transformation to a diverse market economy over the past two decades is now dramatically manifesting itself in the country’s flourishing and increasingly lucrative contemporary art scene.
In some cases popular Chinese artists have seen a tenfold increase in the sale price of their work over the space of just a few years, as with Zhang Xiaogang or Cai Guoqiang. The ten most successful auctions of contemporary Chinese art have been recorded over the past twelve months, and last year over 30 percent of the Chinese contemporary artworks sold at auction went for more than US$100,000.
With auction sales of US$23.6m last year, Zhang Xiaogang, the most famous and sought after contemporary Chinese artist, was second in ArtPrice’s ranking of the 100 top-selling artists. He was far from alone on the chart, however; there were 24 Chinese names listed in 2006, up from almost none five years ago.
Thanks to a dynamic market, Hong Kong Sotheby’s recorded Chinese contemporary art sales of US$21.9m last year. It is a similar story at auction houses in London and New York, many of which only recently started offering modern Chinese work. During the first auction of Chinese contemporary art in New York last April, so many bidders called in that Sotheby’s had to bring in more telephones.
Underground to Overseas
Chinese avant garde art has to be viewed in the light of the tremendous social and economic upheavals that have taken place in recent decades; a large number of works specifically reflect the tension between the socialist ideals which are still officially valid and the wave of consumerism that has swept the country as a result of capitalist reforms.
Only a decade ago there were no contemporary art spaces of note in China. Foreigners could not legally run galleries or, technically speaking, trade in art. Unauthorized exhibitions were organized secretively, with no publicity, and usually lasted a few hours until forcibly closed. Today, Chinese venues for contemporary art are multiplying rapidly, both in the real world and, increasingly, online.
Official attitudes toward art have now relaxed dramatically, with the government often lending support to exhibitions both figuratively and financially. This new laissez faire environment has been a major driver in the internationalization of Chinese contemporary art. In the last few years, Chinese artists have begun to exhibit regularly in overseas shows, leaving behind the underground scene that significantly impeded their creative development, and establishing China as the new darling of the global art community.
As China’s economy continues to boom, and interest in the country’s nascent art scene builds momentum, so a growing number of international profit and non-profit organizations are looking for ways to establish a presence in the Chinese art market. Overseas collectors are eyeing up China hungrily, and increasing numbers of knowledgeable Chinese art lovers are looking to augment their collections with pieces from beyond the mainland.
All the World’s a Stage
Helping to facilitate the flow of international and Chinese art will be the new Shanghai Art Fair (SAF), also called “ShContemporary 2007”. The SAF is being organized by the Geneva gallerist and collector, Pierre Huber, together with Lorenzo Rudolf, former director of Art Basel, and Bolognafiere, an Italian fair organizer which already has offices in Shanghai. It will involve about 120 international galleries from around the world.
Assisting with organization of ShContemporary 2007 is Zhou Tie Hai, one of China’s leading contemporary artists. Zhou graduated from the Fine Arts College of Shanghai University, and won the Contemporary Chinese Art Award in 1998. He explains, “Contemporary art and its market in Asia have developed very fast recently. However, Asia still doesn’t have a quality international art fair. One unique aspect of the SAF is that we are focusing on works instead of galleries. Pierre Huber has traveled widely in Asia to discover artists - we will bring them all to the fair so that the Asian art scene is truly represented.”
China’s international art scene will receive a further boost when the new Shanghai Pompidou Centre opens later this year. Carried out under the auspices of the legendary Paris art institution, the project will involve renovating a 98-year old villa, and the construction of an entirely new building, which will be finished by 2009. The whole complex, which will eventually cover 10,000 square meters, will feature French and Chinese artwork from the start of the 20th century to date.
As well as attracting international investment, China is also leveraging its burgeoning artistic reputation overseas, with a recent proliferation of contemporary Chinese art exhibitions. In addition to the Basel Art Fair, Zhou Tie Hai’s brushwork is also currently featuring in a Chinese contemporary art exhibition at the Tate Gallery in Liverpool, entitled “The Real Thing”. The majority of pieces at The Real Thing are either being shown for the first time outside of China, or were specially commissioned for the exhibition.
The Wheat and the Chaff
Yan Lei, like Zhou Tie Hai, is another Chinese contemporary artist who cut his teeth during Chinese art’s underground period. Together with Ai Weiwei, the grandfather of Chinese art and all things creative, Yan Lei will be traveling to the five-yearly Kassel Documenta in Germany this June to show some of his paintings. Started in 1955, the Kassel Documenta is one of the world’s most important contemporary art exhibitions. Ai Weiwei himself was ranked 71st in ArtReview magazine’s annual list of the 100 most powerful people in the contemporary art world last year.
Although he sees the internationalization of Chinese art as a good thing, Yan comments, “The showing of Chinese art abroad has been increasingly affected by the art market. Young Chinese artists need to be careful to preserve their identity and not to be influenced too much by this market. These artists now have many opportunities to exhibit, but it seems that the quality and originality of their works is sometimes not really taken into account.”
Yan Lei’s warning hints at some of the problems that the unprecedented growth in popularity of Chinese art has caused; inflated price tags have led to factory-style mass production, hyper-commercialization and rampant counterfeiting. Indeed, the use of the Coca-Cola slogan for the Liverpool Tate’s current exhibition refers to the status of art in modern China as just another product in a booming economy, subject to the same laws of supply and demand, and at times cynically marketed in the same fashion as a soft drink.
Charles Saatchi, the renowned art collector and gallery owner, recently commented, “I have been looking at lots of contemporary Chinese art in the past few years and find that a small percentage of it is world class - as good as the best contemporary art anywhere else. However, there is a huge gulf between the small amount that is world class and the majority, which is derivative and kitsch.”
Helping the Homegrown
The de facto legalization of foreign investment in China’s art business has led to the blooming of an active commercial gallery scene, with an obvious focus on Beijing and Shanghai. There are now an estimated 200 contemporary art galleries in these two cities. This has given Chinese artists more options for displaying their work, and has also changed the dynamics for overseas galleries looking to get involved.
Co-owned by Belgian businessman Frank Uyterhagen and Ai Weiwei, China Art Archives & Warehouse (CAAW) was founded in 1993, and focuses on cutting edge artists, with a spectacular hangar-like space in the Beijing suburbs. In 2003 the CAAW formed a partnership with the Lucerne-based Galerie Urs Meile, and is now dedicated to promoting high quality Chinese contemporary art under Ai Weiwei’s expert artistic direction.
A growing number of Chinese galleries are thriving without direct foreign involvement. The Artists’ Village Gallery, one of the largest galleries in Beijing at more than 4,000 square meters, is located in Songzhuang in the capital’s eastern suburbs. There are more than 500 contemporary Chinese artists living in villages around Songzhuang, each hoping to break onto the national and international stage. Sally Liu, who owns the gallery with her husband, says, “Of course we are trying to make money, but at the same time we want to give back to the community by helping Chinese artists promote their work, especially the ones living around us.”
Wei Ding, executive director of the Songzhuang Art Center, comments, “The aim of the Artists’ Village, and more specifically this Center, is to provide a platform for communication between Chinese and international artists. To sustain and promote China’s flourishing contemporary art scene we need to foster more exchange between East and West.”
Digital Dimension
Only a couple of years ago, many Chinese people would simply stereotype an artist as a painter, a sculptor, a calligrapher, or a print-maker who creates attractive images with conventional media. Today, as a result of their country’s rapid technological progress, many Chinese artists are turning to DV cameras, creative software and the internet in their artistic experiments.
New media art works by Chinese artists - ranging from video art, digital art and animation to flash art and sound art - have emerged in contemporary art exhibitions both at home and abroad.
Stephen Danzig is founding director of iDAP, a wide-ranging digital media exhibition incorporating digital video, installation and interactive works, and photomedia from Chinese and Australian artists. In autumn 2007 iDAP will run concurrent shows at the Beijing Film Academy and the Songzhuang Art Center. Last year 22 Chinese new media artists participated in iDAP’s China exhibition, including QingQing, Cui Xuiwen, Song Dong, Aniu, Bu Hua and Wang Jinsong.
Danzig comments, “We are currently witnessing an amazing re-identification in so many elements that make up China’s social fabric - none more so than what's happening in the arts currently. You only need to see what’s happening in Beijing to realize the pace of change. The 798 Dashanzi art district has remained the primary focus, but now we’re seeing several other new districts being built, supported by international galleries that are taking up residence. Form the Western perspective many major Chinese exhibitions are now opening around the world, such as the one in the new Gallery of Modern Art in Brisbane.”
Work on the Web
Technology is also affecting the way Chinese contemporary art is presented and promoted. London’s renowned Saatchi Gallery announced in May that it is launching a new, non-profit website in Chinese to allow artists in China the opportunity to present their work to a global audience. “Your Gallery in Mandarin” will be part of the overall Saatchi Gallery site, which is the largest interactive art gallery site in the world with over four million hits a day. In addition to free postings and translations, the Chinese site will host an interactive blog, forum and chatroom.
The decision to create the Your Gallery in Mandarin website was made after it became apparent that Chinese students were already putting their profiles on the general Saatchi Gallery site, despite the fact that they spoke little or no English. “We began noticing that Chinese artists were posting their work and seemed really keen to show their art and communicate with other students and artists – the language barrier was obviously a problem though,” says Kieran McCann, Head of Creative Development for the site.
“Our goal is to break down language and cultural barriers,” says Neeraj Rattu, who is leading the site’s technology team. Having compiled a considerable amount of data, the team estimates that 20 to 30 art schools operate in China; that about 10,000 students will graduate from such schools in 2007; and that some 14,000 artists in China are represented by galleries. “That leaves roughly 10,000 unrepresented artists,” says McCann.
Stephanie Tung, a Chinese-American Harvard graduate newly arrived in Beijing, was one of the first to post work to Your Gallery in Mandarin. She comments, “From what I’ve seen so far, I think the current art scene in China is just incomparable to that of other cities. The conditions in Beijing are ripe for artists, but the support infrastructure of galleries and museums is still developing. The next five years will play a crucial role in development and sustainability, as the first generation of artists and art critics who have grown up with the a notion of an “art scene” in China come of age.”
- Re: 中国当代美术进步令人瞩目Impressive progress of Chinese Contemporary Artsposted on 01/26/2009
感觉这些所谓美术作品还是停留在扭曲媚宠的一种心理。当然,国内之垃圾,国外可以攻玉,也未可知。
我在英国报纸上看到过一些这样的照片。让人恶心。 - Re: 中国当代美术进步令人瞩目Impressive progress of Chinese Contemporary Artsposted on 01/26/2009
令胡冲 wrote:
感觉这些所谓美术作品还是停留在扭曲媚宠的一种心理。当然,国内之垃圾,国外可以攻玉,也未可知。
我在英国报纸上看到过一些这样的照片。让人恶心。 - Re: 中国当代美术进步令人瞩目Impressive progress of Chinese Contemporary Artsposted on 01/26/2009
玛雅 wrote:
如果老天给我时间,舞台跟画布是我第一第二选择。
这个我承认。不过,里面要是有人物的话,要由我来定。
说实话,这个论坛的花边配色还是挺不错得。:) - Re: 中国当代美术进步令人瞩目Impressive progress of Chinese Contemporary Artsposted on 01/26/2009
这几张是不错的现代水墨画,有新意。
- Re: 中国当代美术进步令人瞩目Impressive progress of Chinese Contemporary Artsposted on 01/26/2009
- posted on 01/27/2009
玛雅 wrote:。。。记得04,05年回上海北京,参观多处艺术家画廊,去参观了苏州河边的工作室,多伦美术馆,798等等。那时还觉得他们刚起步。现在比那时进步更多了。有些作品的思想性超过西方美术馆的作品。 几位知名艺术家都是四川画院出来的。 看到这些作品,我为同胞骄傲。
可以这样讲,我感觉这几年中国美术上的进步超过了文学,所以咖啡客人们对春晚的舞台设计开始满意,大概也是其中的原因。而文字成就呢?中国几千年的文字狱何时才能放松?咖啡何时才能解放?
下面是从google搜索到的我喜欢的图,希望听到大家的评论。
God, 令胡啊,叹气,你是理工脑袋,浆糊一团。
大言不惭地讲,我对视觉艺术/舞台艺术的欣赏能力超过文学鉴赏。视觉艺术以及舞台艺术欣赏,令胡,你要知道你很不够。
我也是什么门道都看不出来, 就觉得这两个半裸女人有让男人性无能的作用,登徒子除外。:-)
咱也不懂艺术,所以特别诚心地想向懂的人学习学习,现在机会终于来了。请老板娘讲讲:
1) 什么是这些你所喜欢的作品的思想性?
2)怎么和西方比较,在哪些方面超过了西方美术馆的作品?
3)你为什么喜欢这些图,思想性?美感?还是别的什么?你的审美过程是怎样的?最好结合实例说明。
知道艺术欣赏有不可言说之妙。但每当别人对当代美术啧啧称奇,我却茫然不知何所感,很是汗颜。还望玛雅不吝赐教! - Re: 中国当代美术进步令人瞩目Impressive progress of Chinese Contemporary Artsposted on 01/27/2009
思想性方面,多幅以1989为背景的画作:
比如最后一幅名为:politician's chorus
- posted on 01/27/2009
知道艺术欣赏有不可言说之妙。但每当别人对当代美术啧啧称奇,我却茫然不知何所感,很是汗颜。还望玛雅不吝赐教!
现代美术是一个大题目。gz常去现代美术馆吗?经常看现代艺术作品吗?这是一个长期熏陶的过程。一两句话讲不清。请多去看现代艺术作品后,比较就知道了。
现代艺术是个人感受,跟喜欢现代艺术的人一起久了,你就会越来越喜欢,好像一开始喝咖啡一样,都有不适应的过程。只喜欢古典艺术的人一般来讲比较难接受现代艺术,需要一个过程。就好比喜欢武侠的人根本看不懂也不喜欢言情小说。我不是专业艺术评论,很难用文字说明。 - Re: 中国当代美术进步令人瞩目Impressive progress of Chinese Contemporary Artsposted on 01/27/2009
玛雅 wrote:
思想性方面,多幅以1989为背景的画作:
比如最后一幅名为:politician's chorus
这点悟性还是有的,如果能体会毕加索的 Guernica 的政治含义,大概“统一思想,宣传教育”那幅画的思想性也是看得懂的。更何况再画上个坦克了。
但请玛雅点拨一下那个吐烟圈的女人的含义,还有那个写着《中国绘画史》盒子,怎么欣赏?如果换成《中国文学史》,也有艺术价值吗?
知道不是几句话说的清的,但对于与此一无感受的人来说,能看到几句话也是甘霖啊!再请玛雅!:-) - posted on 01/27/2009
玛雅 wrote:
知道艺术欣赏有不可言说之妙。但每当别人对当代美术啧啧称奇,我却茫然不知何所感,很是汗颜。还望玛雅不吝赐教!现代美术是一个大题目。gz常去现代美术馆吗?经常看现代艺术作品吗?这是一个长期熏陶的过程。一两句话讲不清。请多去看现代艺术作品后,比较就知道了。
接触现代艺术也有多年了,却并没有熏陶出来。:-(
现代艺术是个人感受,跟喜欢现代艺术的人一起久了,你就会越来越喜欢,好像一开始喝咖啡一样,都有不适应的过程。只喜欢古典艺术的人一般来讲比较难接受现代艺术,需要一个过程。就好比喜欢武侠的人根本看不懂也不喜欢言情小说。我不是专业艺术评论,很难用文字说明。
现在就是在和喜欢现代艺术的人接触的过程之中啊!还请玛雅点拨一二,比如,你对那个吐烟圈的女人是怎么欣赏的?思想性?美感?是个什么样的审美过程? - Re: 中国当代美术进步令人瞩目Impressive progress of Chinese Contemporary Artsposted on 01/27/2009
gz wrote:
接触现代艺术也有多年了,却并没有熏陶出来。:-(
你们还是把现代艺术和当代艺术分开来讲吧。现代艺术我可以有共鸣,特别早期的有的可以很共鸣(不要让我说哈),越往后就越难当代的就更困难。不过我上回在Tate Modern认认真真地读了好多作品的说明,很多就make sense啦,后来读烦了快快地看,就又不懂了:)我觉着了解作品的背景和context都很有帮助,当然如果一个作品already speaks to you,不了解也一样啦。 - posted on 01/27/2009
浮生 wrote:
你们还是把现代艺术和当代艺术分开来讲吧。现代艺术我可以有共鸣,特别早期的有的可以很共鸣(不要让我说哈),越往后就越难当代的就更困难。不过我上回在Tate Modern认认真真地读了好多作品的说明,很多就make sense啦,后来读烦了快快地看,就又不懂了:)我觉着了解作品的背景和context都很有帮助,当然如果一个作品already speaks to you,不了解也一样啦。
有道理,google 把现代艺术定位在1860到1970,那不少早期现代艺术我也可以欣赏。但后现代就困难多了。我在伦敦也去了 Tate Modern, 没对哪件作品有特别深的印象,虽然那天过的挺丰富,大概是对这些艺术品的整体的新奇印象。但就具体一两件作品而言,顶多是 make sense, 但实在说不上喜欢。
看了 Munch 的 scream, 让人感到恐惧的力量。看了 Dali 面片一样的钟,让人联想到梦境的荒诞(肯定受了佛洛伊德的影响)。可看了那个小便器,至今不知该做何感想。同样,也不知道那个吐烟圈的女人和《中国绘画史》的那个盒子,实在不知到底好在哪。叫好的又不肯说 :-( - Re: 中国当代美术进步令人瞩目Impressive progress of Chinese Contemporary Artsposted on 01/27/2009
四个字:哗众取宠。
gz wrote:
可看了那个小便器,至今不知该做何感想。同样,也不知道那个吐烟圈的女人和《中国绘画史》的那个盒子,实在不知到底好在哪。叫好的又不肯说 :-( - Re: 中国当代美术进步令人瞩目Impressive progress of Chinese Contemporary Artsposted on 01/27/2009
国画反过来向日本学学,倒也不错。
Joey wrote:
这几张是不错的现代水墨画,有新意。
- Re: 中国当代美术进步令人瞩目Impressive progress of Chinese Contemporary Artsposted on 01/27/2009
纪福德在《中国路》中说外国人对中国的当代美术叹而观之。他认为中国当代美术的大胆(和中国人致富无所不用其极一样)是在当代中国道德真空的环境中产生的。没有道德考虑,everything goes!
毒奶出了人命,还得治一下。毒奶美术,你能怎么样? - posted on 01/27/2009
touche wrote:
纪福德在《中国路》中说外国人对中国的当代美术叹而观之。他认为中国当代美术的大胆(和中国人致富无所不用其极一样)是在当代中国道德真空的环境中产生的。没有道德考虑,everything goes!
毒奶出了人命,还得治一下。毒奶美术,你能怎么样?
touche说的也是。
毒牛奶,害人害己,恶之花,伤己伤人,如果把毒牛奶画成一幅恶之
花,便是一幅现代艺术品,也有了思想。
没有道德考虑,,,
其实无论毒牛奶还是恶之花,本身亦有其真。对于我来说,方便面和
味精就有毒,美国市场的牛肉,牛奶,星巴的咖啡,都有毒。
我不吃不喝,别人不照样吃喝?
上回在维也纳现代艺术博馆物的书店还翻到一些中国作品,当然,也
有刘小东。
- posted on 01/27/2009
个人理解哈:
似乎代表着大众对于生活的理想状态,富态悠闲。造型肉感而没有性感,半男半女,有点调侃肤浅而中庸的处世观。此图的配色很出彩,如果把那人换成一只猫,相信每个人都很喜爱。其实那人也就是一只猫。
艺术要传承发展,可艺术家被扔到跟所有人一起,为了吃饭穿衣而奔忙折腾。在一切讲眼前实际的时代,艺术的生命、价值轻易就被蹂躏,成了无人赏识的悲哀。
这幅图跟下面那个一样,都是用绿皮大狼狗比喻军队这个暴力机器。不过没什么太大意思。
唯物质时代的人跟墙壁有一点是一样的:都是用人肆意涂抹。一方面是国家宣传机器的禁锢钳制、统一口径,另一方面是杂七杂八的垃圾信息对视听器官的强奸。这是一个信息极度泛滥而思想极度匮乏的社会状态,独立思维的头脑像苍蝇密布的垃圾堆里的一只孱弱的玫瑰。
- Re: 中国当代美术进步令人瞩目Impressive progress of Chinese Contemporary Artsposted on 01/27/2009
浮生说的是,现代当代还得先说清楚。
现代艺术我也能接受,当代艺术却更多是看着好奇而已,得不到什么美的享受,有些作品也能启发人思考,总的而言,良莠不齐。
走了美国几个当代艺术博物馆,最大的感受就是这个当代艺术的主要特征是多媒介。
这些画感觉还不够“当代”。 - Re: 中国当代美术进步令人瞩目Impressive progress of Chinese Contemporary Artsposted on 01/27/2009
touche wrote:
纪福德在《中国路》中说外国人对中国的当代美术叹而观之。他认为中国当代美术的大胆(和中国人致富无所不用其极一样)是在当代中国道德真空的环境中产生的。没有道德考虑,everything goes!
毒奶出了人命,还得治一下。毒奶美术,你能怎么样?
八十一子 wrote:
四个字:哗众取宠。
玛雅还不快来捍卫一下?你衷爱的艺术惨遭亵渎啦!:-)
- Re: 中国当代美术进步令人瞩目Impressive progress of Chinese Contemporary Artsposted on 01/27/2009
第一幅作品看着确实让人感觉很不舒服,不过,这应该就是作者的意图。
这个男不男女不女,性征不明显,四肢发达,假胸伟大的人,我想,是现在城市人的共同面貌吧。
面孔是看不清楚的,好像带了面具,不再真实的人;发达的四肢暗喻过于追求物质享受,物欲横流;胸部是假的,和那个模糊的面孔一样都象征着真诚的丧失。抽烟,女人的坐姿都在表现一种颓废无耻的生活态度。
我不喜欢这幅画,但如果要问思想性,我会如此理解。就是表现现代人的“丑”。 - Re: 中国当代美术进步令人瞩目Impressive progress of Chinese Contemporary Artsposted on 01/27/2009
八十一子 wrote:
四个字:哗众取宠。
这不是哗众取宠,这是呕众取宠。:)
上乘的艺术或美术应该有能力抽象生活和存在。下流的作家或艺术家才去创造生活和存在,并且要取别人所不睬的手段,去强行表达。下三滥的所谓美术家,则可以用动用自己的tiwsted mind,而且选择异域观众,故意施加自己创造的扭曲和误导。:) - Re: 中国当代美术进步令人瞩目Impressive progress of Chinese Contemporary Artsposted on 01/27/2009
小曼说得很是。这里涉及美学问题:怎样表现丑陋?以丑表现丑,还是以美表现丑?
作为美学要领之一的含蓄被丢掉了。 - Re: 中国当代美术进步令人瞩目Impressive progress of Chinese Contemporary Artsposted on 01/27/2009
对于艺术,还是少加评论。古人说操千曲而后晓声,其他艺术也一样。要给艺术品第二次,第三次的机会。
当然你没有必要喜欢它们。眼球和人民币都是稀缺资源。艺术品也像物种一样,只有适者才能生存。
那张《胖女吐烟图》,我觉得是蛮有意思的。当然这意思不容易用文字讲清楚。讲得清楚,人家也不作画了。虽讲不清楚,但“色”的基调是逃不掉的。
这画给我的首要印象是“胖”,plumpiness。这胖中透着力量。这个女人显然是她的世界中的主人。这胖中也透露奢华。我朝资产阶级新贵的写照之一? - Re: 中国当代美术进步令人瞩目Impressive progress of Chinese Contemporary Artsposted on 01/27/2009
这胖女图是有原型的吧?
我怎么隐约记得,就好象在咖啡里也看过。 - Re: 中国当代美术进步令人瞩目Impressive progress of Chinese Contemporary Artsposted on 01/27/2009
xw wrote:
这胖女图是有原型的吧?
我怎么隐约记得,就好象在咖啡里也看过。
Lucian Freud’s 的胖女?:) - Re: 中国当代美术进步令人瞩目Impressive progress of Chinese Contemporary Artsposted on 01/27/2009
这图是谁的作品?画名?
玛雅介绍下。
- Re: 中国当代美术进步令人瞩目Impressive progress of Chinese Contemporary Artsposted on 01/27/2009
我也属于喜欢但不太懂的观众,有一种说不清楚的由衷喜欢,喜欢看到画家挖空心思地表现自己的某个念头,思想或者某种情绪或啥也不表现,就是想涂抹。有的作品使我琢磨,更多的使我疑惑,犯傻,不知所云,也许我喜欢的更多是艺术本身的存在? 至于懂不懂,每个人情绪的反应不是最要紧的。
- Re: 中国当代美术进步令人瞩目Impressive progress of Chinese Contemporary Artsposted on 01/27/2009
我前一段在Times还是什么报上见到这些中国现代画。说实话,让人sick。:)
- Re: 中国当代美术进步令人瞩目Impressive progress of Chinese Contemporary Artsposted on 01/28/2009
第一幅画有意思,这个女人生活中真实存在的可能性很低,所以,我更倾向于作者想象出来的,刻意的虚构。
才注意到她的脑门几乎没有,嘴唇却很厚。从看相来说,嘴唇厚意味着肉欲重,没有脑门也就是没有思想。
- Re: 中国当代美术进步令人瞩目Impressive progress of Chinese Contemporary Artsposted on 01/28/2009
xw wrote:
这胖女图是有原型的吧?
想起毕加索的那些胖浴女,不过表现的东西很不同。 - Re: 中国当代美术进步令人瞩目Impressive progress of Chinese Contemporary Artsposted on 01/28/2009
令胡冲 wrote:
我前一段在Times还是什么报上见到这些中国现代画。说实话,让人sick。:)
马上就会有人说,这正是画家想要的效果啊!:-) - Re: 中国当代美术进步令人瞩目Impressive progress of Chinese Contemporary Artsposted on 01/28/2009
不是画让你恶心,而是画中的“人”让你恶心。画家举起一面镜子,让观众看看想想世人与自己,是很好的提醒。
令胡冲 wrote:
我前一段在Times还是什么报上见到这些中国现代画。说实话,让人sick。:)
- Re: 中国当代美术进步令人瞩目Impressive progress of Chinese Contemporary Artsposted on 01/28/2009
理解九九先生的意思。好的艺术是应该相互学习与借鉴的。日本的版画木刻很优秀。中国的敦煌也了不起。虽不懂艺术却喜欢看别人的讨论。牛年期待之一希望咖啡能坚持类似的讨论。这条线让人想起许多以前在咖啡看到的好的作品。比如文取心的江南水乡。那种蓝色的油彩,还有那洒在加州路上的金色阳光,至今让人难忘。
- Re: 中国当代美术进步令人瞩目Impressive progress of Chinese Contemporary Artsposted on 01/28/2009
我属于不喜欢但也不懂的观众, 但是,鹿希说的“我喜欢的更多是艺术本身的存在?” 说到我的心坎里。
鹿希 wrote:
我也属于喜欢但不太懂的观众,有一种说不清楚的由衷喜欢,喜欢看到画家挖空心思地表现自己的某个念头,思想或者某种情绪或啥也不表现,就是想涂抹。有的作品使我琢磨,更多的使我疑惑,犯傻,不知所云,也许我喜欢的更多是艺术本身的存在? 至于懂不懂,每个人情绪的反应不是最要紧的。
- posted on 01/28/2009
最简单是自己实践一下看看。也许很多疑惑就会消除了,问题都不再是问题,虽然仍没有答案。
草叶 wrote:
我属于不喜欢但也不懂的观众, 但是,鹿希说的“我喜欢的更多是艺术本身的存在?” 说到我的心坎里。
鹿希 wrote:
我也属于喜欢但不太懂的观众,有一种说不清楚的由衷喜欢,喜欢看到画家挖空心思地表现自己的某个念头,思想或者某种情绪或啥也不表现,就是想涂抹。有的作品使我琢磨,更多的使我疑惑,犯傻,不知所云,也许我喜欢的更多是艺术本身的存在? 至于懂不懂,每个人情绪的反应不是最要紧的。
- posted on 01/29/2009
这两天事情多,先转个文章过来大家先读,有空我再评论。
。。。。。。。。。
中国艺术市场“表面繁荣”,画廊生存受冲击
“过去的价格大王意义已经不大了”,关注中产消费群体,让市场多元化或许是发展方向
经营了8年、“没有1分钱收益”却亏损近千万元的上海顶层画廊于2008年8月重组,新的负责人是著名作家姜汤。在接手画廊之前,姜汤已经是个著名的畅销书作家,在他眼里,画廊要发展今后要推广的还必须是最易被大众接受的当代艺术形态。
近年来国内艺术市场的“表面繁荣”之下早已埋下危机的种子,许多画廊的生存受到很大的冲击。不过,当侥幸投机者被无情清理出局之后,这个行业或许会冷静下来思考应该把眼光放在何处?
行业扫描
是撤?是留?
画廊新手有点迷茫
由于酷爱艺术,李枫(化名)在2007年开了一家自己的画廊,准备大展一番拳脚。李枫的画廊位于上海红坊,这是上海一处非常有名的艺术社区。然而,行业形势在2008年急转直下,是撤?还是留?李枫有点迷茫。就在一个多月前,李枫作出了一个决定,不再单打独斗,转而与其他几个老画廊合作,“抱团取暖”。
“一年前,我因为想换一种生活方式,想找一个安静、纯粹的行业做一些事情,对艺术非常感兴趣的我选择了开画廊。但一年下来,我发现中国的艺术界一点都不纯粹,一些不懂艺术的人制造了表面的火爆繁荣,不少画廊的主人投机心太重,不乏忽悠甚至欺骗……没想到危机来得比预料的更快,我现在有点后悔,也有点迷茫。”李枫坦言她遭遇金融危机后的心境:“因为我打算把画廊作为自己非常喜欢的事业长期做下去,所以在过去的一年,我一直在收作品,一张都没有拿去拍卖,我想按照我自己的想法慢慢来经营我的画廊,但这个行业的混乱无序让我产生了犹豫。”
一方面是行业内的无序竞争,另一方面是金融危机带来的市场恶化,这个内忧外患的现实打碎了李枫的理想,也动摇了李枫的坚持。“如果说我恐慌还可以理解,毕竟我是这个行业的新人,但据我所知,一些老画廊的经营者也感觉到迷茫。”和李枫合作的另一家画廊的主人已经在这个行业浸淫了20年。李枫说,这家画廊的主人苦熬到2005年开始有好日子,随后的2006 年和2007年也都比较好,到去年的春拍和秋拍,情况急转直下,送去拍卖的作品全军覆没,一件都没有成交,目前这家画廊的资金流已经接近断裂,已经没有资金再收作品和维持画廊的经营。
李枫计划再观望一年,“画廊在日本已经进入一个较为规范的阶段,这个阶段迟早也会在中国出现,目前我们会压缩一些成本,和红坊方面商讨降低租金,好让自己有实力度过这个冬天。”
新北京画廊:
相信可以挺过这一轮危机
新北京画廊经理于天天坦言:“画廊半年前卖出去的画现在还没有收回款,预计明年的出货量还会减少。”不过,于天天表示,画廊的资金还比较充足,相信可以挺过这一轮危机。“现在的市场价格不好,但我们和艺术家一直都有不错的合作,所以画廊也不会去贱卖作品,不会去扰乱艺术家的市场价格”。
于天天认为,目前国内的画廊已经饱和,“买家和艺术家就那么几个,每次画展上遇到的都是一些熟悉的面孔。画廊应该在挖掘新的年轻买家上花更多功夫,艺术在中国仍然是小众文化,这个市场容量还很大,我很乐观。”据其透露,为了压缩成本,新北京画廊在明年会更关注刚从美院毕业的年轻画家,同时会缩减画展数量,“以往每年的画展在10—12个,今年预计是6—8个,会提高画展的质量,以联展为主。”
资深画廊:
告别过度生产过度消费
长征空间是一家资深画廊,负责人卢杰所主导策划的“长征计划”曾有超过200位艺术家参与,蔡国强等人都名列其中。因为多年的长线计划,面对这样的市场萧条,卢杰并不十分担心。“我是一个不可救药的乐观主义者。”他说,“但是并不是说我就没有对应。”
卢杰“对应”最明显的一步是要缩减空间。本来在798有三个空间,今年要缩减到一个。
他说,“不得不承认,我们也曾有奢华和浪费,为了一个阶段性目的,我们也卷入了过度生产过度消费。”卢杰现在还有点暗自庆幸,当时没有像别的空间那样做奢华的装修:“幸亏没弄,要不又是资金损耗”。
个案:
零利润八年
顶层画廊重新定位瞄准架上油画
姜汤的新年愿望:
能够按照自己的价值观去推动中国当代艺术的发展,我们也有信心在中国当代艺术的大军中高扬我们自己的风帆。
在接手顶层画廊之前,姜汤已经是个著名的畅销书作家,先后出任过多家报刊的老总,并在1997年投资杂志。虽然经营画廊是“半路出家”,但用艺术家张奇开的话说,就是“很有悟性”。
对于顶层画廊的这次重组,姜汤认为和金融危机是个巧合:“我们接手的时候,画廊主要存在方向性的问题,它在摸索‘画廊推广艺术’的这条路子上毫不犹豫地坚持了8年,它的前面几位负责人都各有特色,也都做得不错,但画廊并没有做出一个可持续发展的模式。”
姜汤认为,顶层画廊以前的定位较偏重另类艺术,“这个市场收益肯定不会太好,实际上,在过去的8年里,画廊没有1分钱的收益,8年亏损了近千万元。所以,从画廊自身的角度来说,也有调整的需要。”
重新定位后的顶层画廊瞄准的是当代艺术中的架上油画——在过去的两三年里,屡屡创出中国艺术品拍卖天价的作品大多出自这个领域。之所以选择这个方向,姜汤认为,架上油画是最易推广和最易被大众接受的当代艺术,“顶层今后要推广大众感兴趣的形态,同时我们会从三个方面来衡量:它在学术上是否站得住脚,也就是它是不是创新的;它在艺术上是否站得住脚,也就是它是不是美的,那种半夜起来看着要被吓得头皮发麻的作品不是我们关注的范围;第三个就是它是否有市场前景,我们不会回避市场。”“我们不看好那些单边的、极端的、在意识形态上挣扎的作品,过去的价格大王在学术上的意义已经不大了。”姜汤如是说。
姜汤透露,从去年8月开始,画廊就在全国范围内寻找符合这三个标准的作品,最后确定了张奇开的个展,“可以说,张奇开画作的艺术价值远远超过张晓刚等 F4,但作品的价位却并不高,在国外,张奇开的作品已经达到15万~20万英镑,目前国内的价格还略低于国外。在张奇开个展结束后,我们马上要进行的是川美系新生代的群展。”
展望2009:
重新评估当代艺术
对于2009年,姜汤预测市场仍有不错的机会,“当代艺术的重建工作一定会在2009年开始,我们会瞄准新生代的当代艺术,包括近几年从四川美院等院校出来的年轻艺术家,他们有希望成为中国当代艺术的未来。”
姜汤认为,顶层画廊选择现在进行重组是个较好的时机,“当代艺术市场必须重新洗牌,当代艺术必须要有新的探索和方向性的重新建构,而目前当代艺术的降温正好为这次洗牌提供了较好的外部环境,所以我们才会提出对当代艺术重新进行价值评估,我们还创办了《顶层》杂志,放大我们的声音。”
已经出了4期的《顶层》杂志,有两个特色栏目:“顶层评估报告”与“顶层论坛”。姜汤表示,他们将对市值在100万元以上的每一个艺术家都进行评判,评估的方法是:参照美术史的脉络,把艺术家的作品摆进去比较,如果是独创的,就有价值。如王广义的作品,是安迪·沃霍的翻版,这在上世纪90年代有意义,但现在再做类似的作品就没有意义了。
姜汤强调,评估体系有两个最重要的指标:一、有没有差异;二、差异的社会价值和文化价值。他还透露,评估机构是独立的机构,从事艺术家档案的收集整理。
“当代艺术中有多少垃圾不重要,关键是它的方向要正确。”姜汤如是说。
专家支招
应该把眼光放在
真正的中产阶层
“中国目前有些画廊什么都不懂,但胆子却很大,又投机又短命,这样的画廊为数不少,应该被市场清理出去。”上海美术馆学术部主任肖小兰如是说:“现在市场基本停止了,危机让这个行业冷静下来了,也许到明年会更清晰地看到缺少了些什么,中国的艺术应该回归到学术本身,艺术家是如此,画廊也是如此。”
肖小兰认为,政府应加强在文化产业方面的引导,对中国画廊的从业审核应更严密,行业协会要发挥作用,如最好能推动画廊在中国的分类,将仅仅是卖画、销售大众艺术作品的商业画廊和专注顶级艺术作品的画廊区分开来等。
在艺术批评家、独立策展人朱其看来,中国的画廊应该把眼光放在真正的中产阶层,作品价格以2万元~20万元为好。“而不是像前两年,每一个季度就涨一次价。”朱其认为,“现在画廊要做的是分层,对于藏家有自己的定位,并且不能只卖中国当代艺术,要把眼光放到全世界,至少也是亚洲艺术家和作品。”
朱其认为,转型有个培养的过程,让藏家可以购买国外的作品,这样,画廊才可能国际化,市场才可能多元化,水准才能提高。(周裕妩)
□ 广州日报 - posted on 01/30/2009
中国现代的这些画,还是有些门派之分的。有些是海派,有些是京派。上海的这些画,比如最近又在搞文人油画,比较有象征意味,比较精细和具有南方地方人文的氛围,我觉得靠拢传统南画与法国画较早期。北京的这些画,政治意味浓一些,比较大气,我觉得靠拢传统北画与法国后现代绘画风格。
确实都很不错,颜色用得也很特别,很适合。
忽然,就从农业文明转到后现代,我说忽然,是与几千年比较。
短短几十年,中国的社会发展和社会变化之迅猛,也许这些画家还能捕捉一二,在文人和作家而言,却大多来不及或不能够把握。
哦,说到达达,有人说它“震撼”,这就对了。当时,达达的出现就是为了这个目的--激起公愤。
- Re: 中国当代美术进步令人瞩目Impressive progress of Chinese Contemporary Artsposted on 01/30/2009
土耳其朋友家的画是刘飞的作品。
刘飞的系列大概是这样的: - Re: 中国当代美术进步令人瞩目Impressive progress of Chinese Contemporary Artsposted on 01/30/2009
Joey给了个中国现代艺术的link
http://www.artzinechina.com/galleries_list_vol_0_sid5_cn.html
大家可以去那里欣赏,里面有专业的艺术评论, 可以回答大家提的问题。 - RE: 中国当代美术进步令人瞩目Impressive progress of Chinese Contemporary Artsposted on 05/29/2018
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