铜元局艺术辅导项目---摄影课
1,我们相信艺术;艺术在社会现场可以有不同的表达和诉求方式;
这是毋庸置疑的一个身份决定的,艺术的柔软特质所决定的。
2,艺术是“试剂”可以催化出不一样的歧感
该地区作为中国集体主义时期的一块重要切片,在遭遇现代性所能体现的全部内容,在铜元局片区都能看到。
3,艺术在现场的作用测试;
这时艺术的观众不再是通常意义的艺术空间观看者,你要面对的是作为你“材料”的“原观众”,他们的反应即构成了作品的一部分,
王海川是生活和工作在重庆的艺术家,也是少数没有生活在黄桷坪(黄桷坪曾经是四川美院的所在地,一般毕业后仍在重庆坚持创作的多驻扎于此)的艺术家,实践空间的差异,也显示了他与其他艺术家工作方式上的不同:他的一个工作现场是在重庆的“铜元局”,一个承载了许多历史记忆的“老牌”兵工厂,十几年前,和所有的国有企业改制一样,经济制度的转型和错位,使这里转化为激发种种矛盾的“冲突空间”,最早,王只是这段特殊历史的纪录者,渐渐地开始将艺术事件渗透到这片废墟下的“生活空间”,并试图编织新的社群关系和公共经验,同时,原有居民在差异性语境的促动下,或主动或被动地开始对身份的以及生活经验的重新审视。王海川的一个具体做法,是将一批照相机和胶卷发放给他们,让他们自己纪录生活与本身,采用胶片是为了提示对影像的“尊重”,因为它毕竟不像数码机那么随便;另位冲印的不同步导致了观看的期待和神秘感,这其实复活了照相馆的某种影像“仪式“,这种“仪式”强调或唤起了曾经存在过的社群交往模式。
Wang Haichuan is an artist who lives and works in Chongqing, and he is one of the few artists who didn’t live in Huang Jiao Ping (Huang Jiao Ping was the location of Sichuan Fine Arts Institute, those who keep working as artists after graduation usually reside in that area) . The difference of practice space indicates his unique working style from other artists: one of his work sites is ‘Tong Yuan Ju’ in Chongqing, a long-established military factory bearing centuries-old history. More than a decade ago, the transformation and dislocation of economic system, like all the reform of state-owned enterprises, converted this place into a ‘conflict space’ which stimulates all sorts of contradictions. At first, Wang was merely a recorder of this special history. As time goes by, however, he began to gradually dissolve art events into ‘living space’ under this wasteland and tried to rebuild and reconnect new social relationship and public experience. At the same time, local resident, motivated by diverse context, began to review their identities and life experience either initiatively or passively. A concrete example of Wang Haichuan is giving those local resident camera and films, letting them record themselves along with their lives. The usage of films indicated respect to the images, because it is not as casual as digital camera. The de-synchronization of dislocated printing causes expectation and a sense of mysterious. It actually revived a kind of ‘ceremonialism’ in photo studio. The ‘ceremony’ emphasises or recalls communication pattern in a community that once existed.
1,我们相信艺术;艺术在社会现场可以有不同的表达和诉求方式;
这是毋庸置疑的一个身份决定的,艺术的柔软特质所决定的。
2,艺术是“试剂”可以催化出不一样的歧感
该地区作为中国集体主义时期的一块重要切片,在遭遇现代性所能体现的全部内容,在铜元局片区都能看到。
3,艺术在现场的作用测试;
这时艺术的观众不再是通常意义的艺术空间观看者,你要面对的是作为你“材料”的“原观众”,他们的反应即构成了作品的一部分,
王海川是生活和工作在重庆的艺术家,也是少数没有生活在黄桷坪(黄桷坪曾经是四川美院的所在地,一般毕业后仍在重庆坚持创作的多驻扎于此)的艺术家,实践空间的差异,也显示了他与其他艺术家工作方式上的不同:他的一个工作现场是在重庆的“铜元局”,一个承载了许多历史记忆的“老牌”兵工厂,十几年前,和所有的国有企业改制一样,经济制度的转型和错位,使这里转化为激发种种矛盾的“冲突空间”,最早,王只是这段特殊历史的纪录者,渐渐地开始将艺术事件渗透到这片废墟下的“生活空间”,并试图编织新的社群关系和公共经验,同时,原有居民在差异性语境的促动下,或主动或被动地开始对身份的以及生活经验的重新审视。王海川的一个具体做法,是将一批照相机和胶卷发放给他们,让他们自己纪录生活与本身,采用胶片是为了提示对影像的“尊重”,因为它毕竟不像数码机那么随便;另位冲印的不同步导致了观看的期待和神秘感,这其实复活了照相馆的某种影像“仪式“,这种“仪式”强调或唤起了曾经存在过的社群交往模式。
Wang Haichuan is an artist who lives and works in Chongqing, and he is one of the few artists who didn’t live in Huang Jiao Ping (Huang Jiao Ping was the location of Sichuan Fine Arts Institute, those who keep working as artists after graduation usually reside in that area) . The difference of practice space indicates his unique working style from other artists: one of his work sites is ‘Tong Yuan Ju’ in Chongqing, a long-established military factory bearing centuries-old history. More than a decade ago, the transformation and dislocation of economic system, like all the reform of state-owned enterprises, converted this place into a ‘conflict space’ which stimulates all sorts of contradictions. At first, Wang was merely a recorder of this special history. As time goes by, however, he began to gradually dissolve art events into ‘living space’ under this wasteland and tried to rebuild and reconnect new social relationship and public experience. At the same time, local resident, motivated by diverse context, began to review their identities and life experience either initiatively or passively. A concrete example of Wang Haichuan is giving those local resident camera and films, letting them record themselves along with their lives. The usage of films indicated respect to the images, because it is not as casual as digital camera. The de-synchronization of dislocated printing causes expectation and a sense of mysterious. It actually revived a kind of ‘ceremonialism’ in photo studio. The ‘ceremony’ emphasises or recalls communication pattern in a community that once existed.