「一线」当代艺术展

The Borderline

Contemporary  Art Exhibition

展览时间：2023.4.1- 2023.6.15

Exhibition time：2023.4.1- 2023.6.15

开幕时间：2023.4.1 15:00pm

Opening time：2023.4.1 15:00pm

展览地点：江南 2 号艺术中心（泉州市鲤城区江南大街 2 号）

Exhibition venue：Jiangnan No.2 Art Center No.2, Jiangnan Street, Licheng District,Quanzhou City

出品人：林克珊

Producer / Lin Keshan

艺术总监：吴达新

Art Director / Wu Daxin

策展人：林书传

Curator / Lin Shuchuan

视觉设计：潘焰荣

Visual Design / Pan Yanrong

协办单位：中共鲤城区委宣传部、泉州鲤城文旅投资集团

支持单位：加泰罗尼亚高等电影与视听学院、巴塞罗那EINA设计与艺术学院、加泰罗尼亚理工大学TAP-PTEe

Support Unit：The Film and Audiovisual School of Catalonia (escac) 、EINA University School of Design and Art of Barcelona、Polytechnic University of Catalonia TAP-PTEe

参展艺术家

Agustí Puig（西班牙）

Josep Cerdà Ferré（西班牙）

Miquel Planas Rosselló（西班牙）

苏献忠（中国）

汤国（中国）

吴达新（中国）

一线

The Borderline

本次展览由Agustí、Josep Cerda、Miquel、苏献忠、汤国、吴达新等六位艺术家的作品共同构成，其中三位来自西班牙，两位来自中国。这既是一次冲破地域障碍，孤筏重洋式的跨文化交流，也是一次弥合时差、超越形式、重塑价值的艺术行动。

The exhibition consists of works by six artists: Agustí Puig, Josep Cerdà, Miquel Planas, Su Xianzhong, and Tang Guo, of whom three are from Spain and two are from China. This exhibition not only breaks through geographical barriers and promotes cross-cultural exchange, but also bridges time differences, transcends artistic forms, and reshapes values.

展览定名为“一线”，一方面考虑到艺术家分别来自两个不同的国度，这两个国度又都是海洋大国。而且，早在宋元时期泉州就是世界海洋商贸中心。今天，泉州是联合国唯一认定的海上丝绸之路起点，“一带一路”战略的21世纪海上丝绸之路先行区。泉州，可谓是依海而生，因海而兴，历古弥新，生生不息。西班牙则是三面临海，东临地中海与意大利隔海相望，西北、西南临大西洋，有着长约7800公里的海岸线，地处欧洲西南部的欧非交界处，是历史上著名的“海洋强国”。从西班牙到泉州，一滴海水需要经过大西洋、印度洋、太平洋、南海的超远距离超长时间的漫游方能抵达，这一遥远的旅程，既意味着惊涛骇浪、河汉无极、陂湖禀量，也意味着无尽的风景和无尽的希望。各大洋之间由于海水的温度、盐度、密度、速度等不同，会在交汇处产生一条长长的色差明显的分割线，这条分割线只是在视觉上区分两个大洋，既不影响海水的流动，也不阻碍海水的交融，在这“一线”处，伴随着海水的融合，物质交换、能量交换一直在永无止息地进行中。

The exhibition is named The Borderline partly because the artists come from two different countries, both of which are maritime nations. As early as the Song and Yuan dynasties, Quanzhou was the world's maritime trade center. Today, Quanzhou is not only the starting point of the Maritime Silk Road recognized by the United Nations but also the frontier zone of the 21st Century Maritime Silk Road under the "Belt and Road" strategy. Quanzhou can be said to have flourished by the sea, prospered because of the sea, and has been rejuvenating through the ages. Spain is surrounded by the sea on three sides, facing the Mediterranean Sea across Italy, and the northwest and southwest are adjacent to the Atlantic Ocean. It is situated at the border between Europe and Africa in the southwestern region of Europe. With a coastline stretching approximately 7,800 kilometers, it is also a renowned "maritime power" in history. It takes a drop of seawater a long and arduous journey through the Atlantic, Indian, Pacific, and South China Seas to reach Quanzhou from Spain. This distant journey not only means stormy seas and difficulties but also endless scenery and hope. Due to differences in temperature, salinity, density and velocity of seawater in different oceans, a long and distinct borderline with obvious color differences has formed at the intersection. This boundary line only visually distinguishes the two oceans and does not affect the flow or mixing of seawater. At this borderline, with the fusion of seawater, the exchange of matter and energy is constantly ongoing without end.

另一方面，从艺术家的创作来看，他们也通过不同的媒介、不同的材质、不同的手法，诠释了各自不同的历史传承、各自不同的生存景况、各自独一无二的艺术理念，从而创作出既迥然有别又森然成列的艺术景观。Miquel以陶土为材料，把泥土性、手工性、雕塑性、绘画性进行有机重组，不仅在形式上极具美学冲击力，同时还赋予每一件作品以独一无二的触感、痕迹，乃至灵魂。古老的陶土，象征了一种曲径通幽的、古老的人类文化记忆，当它以全新的面貌呈现在我们面前，这既是实用器和艺术品意义上的“一线”，更是传统和当代意义上的“一线”，甚至它的雕塑感和绘画感也充分强调了一种雕塑和绘画意义上的“一线”。苏献忠的《纸》则是用陶土制作的“纸张”经过德化窑的烧制，一摞一摞地堆放在一起，从而把“陶瓷”和“纸”两个风马牛不相及的事物强行联系在一起，令人在视错觉中受到强烈的冲击，伴随着这种冲击，两种不同的物质属性、两种不同的文化符号，甚至精神的、历史的、文化的能量在这件作品构成了的“一线”处，开始交汇、互渗……

On the other hand, from the perspective of artists' creations, they also interpret their unique historical heritage, living conditions, and artistic concepts through different media, materials, and techniques, creating artworks that are both distinct and coherent. Miquel Planas uses clay as a material and combines its soil properties, handicraft, sculptural, and painterly qualities in an organic way. This not only creates a strong aesthetic impact in form but also gives each piece a unique texture, trace, and even soul. Ancient clay symbolizes a winding and ancient human cultural memory. When presented in a new form, it represents not only the "borderline" between utensils and art but also the "borderline" between tradition and modernity, and even between sculpture and painting. Su Xianzhong's Paper series is made of clay "paper" fired in the Dehua kiln, stacked together to forcefully connect two seemingly unrelated things, ceramics and paper, causing a strong visual illusion. Accompanying this illusion, two different material properties, different cultural symbols, and even spiritual, historical, and cultural energies begin to converge and infiltrate at the "borderline" created by this artwork.

“大脑还没反应过来，手就已经动了起来” 从Agustí的这句关于绘画的观念中，我们就可以管窥他的创作，无论是《论阿维尼翁·毕加索》《论维纳斯·波提切利的诞生》《四女人》《聪明的骑行》，还是《两个舞者》等作品，都带着一种与生俱来的、活生生的、无意识的、粘稠的、神秘的气息和视觉冲击力，绘画的结果完全取决于他的驾驭力，与其说他是一个传统绘画的破坏者，还不如说他是一个“新世界”的建构者来得恰当。汤国的《墟园册》用传统的折页形式装裱，折叠起来是一本册子，展开像一面屏风，画面底层是繁复的线条勾勒出的背景，上层漂浮着白色的云团或羽毛均由艺术家自制的纸浆构成，可以说从内容到形式无一不与本雅明所言的“在历史的废墟上飞翔起救赎的天使”中的“历史”“废墟”“飞翔”等意象发生着深度纽结和纠缠，从而把艺术家意欲建构的“新世界”成功地安置在由“历史的废墟”和“飞翔的天使”所构成的“一线”处。Josep Cerda的《雕塑与画》从命名到作品，从形式到内容，都可以洞悉艺术家希望在“雕塑”和“绘画”，在“二维”和“三维”，在“平面”和“空间”的“一线”处，进行互相弥合、彼此让渡、有机互融的意图。

"The hand has already moved before the brain has reacted." From Agustí Puig's concept of painting, we can catch a glimpse of his creation. Whether it's his works On demoiselles d'Avignon Picasso, On the Birth of Venus Botticelli, Four Women, Clever Riding, or Two dancers and other works, they all carry an inherent, vivid, unconscious, viscous, mysterious quality and visual impact. The result of the painting depends entirely on his mastery. Rather than being a destroyer of traditional painting, he is more of a builder of a "new world". Tang Guo's Ruins uses the traditional foldout format, which, when folded, forms a booklet and, when unfolded, resembles a folding screen. He used intricate lines to outline the background and created floating white clouds or feathers with self-made pulp. Walter Benjamin once discussed the angel of history, wondering what illumination and redemption might come out of the ruins. It can be said that Tang Guo's works are deeply intertwined with Benjamin's images of "history," "ruins," and "angels" in both content and form. In this way, Tang Guo successfully places his desired new world at the "borderline" composed of "history," "ruins," and "angels." Whether in terms of naming or artistic creation, form or content, one can see from Sculpture and Painting that Josep Cerdà intended to bridge and blend together the realms of sculpture and painting, two-dimensional and three-dimensional, and plane and space, at the "borderline" where they mutual reconcile, concede and organically integrate.

总体而言，一线，不仅体现在作为地域意义上的东西方接缝处，也不仅仅体现在作为文化意义上的古老传统和当代景观的接缝处，更是体现在每一个艺术家作为生命个体的创作和生活的接缝处。一线，不仅是梁启超笔下的“虽千变万化，殆皆一线所引”的关系脉络和兴微继绝，同时也应该是元好问的笔下的“东涂西抹窃时名，一线微官误半生”的自省自歉和通透豁达。虽然西班牙与泉州相距甚远，但并不妨碍我们通过此次展览，通过这五位艺术家的作品，去领略东西方宏阔背景下的当代艺术的“一线”深机。

Overall, the borderline represents not only the junction of East and West in terms of geography and culture, as well as the junction of ancient traditions and contemporary landscapes, but also the creative and personal junction of every individual artist. The borderline is not only the ever-changing line by Liang Qichao depicted, but also the introspection, humility, and openness expressed by Yuan Haowen. Although Spain is far away from Quanzhou, this exhibition and the works of these five artists enable us to appreciate the profound significance of the "borderline" in contemporary art under the broad background of East and West.

部分参展作品

吴达新 《没有阳光雨露的日子》钢板 230X72X50CM 2012