▲《人造月2》，王郁洋，偏光镜片、电机、液晶显示器、电脑，φ 400 cm，2020，图片由艺术家提供
Artificial Moon 2, Wang Yuyang, Polarized lens, Motor, LCD, Computer, φ 400 cm, 2020, Courtesy the artist
Fragility, Li Liao, Soap, sponge, aluminum plate, single channel digital video (color, silent), Overall dimensions variable, 2019, Courtesy the artist and WHITE SPACE
▲《浸泡景观》，张如怡，鱼缸，混凝土，清道夫，加热棒，过滤器，灯，木托板，80 × 90 × 55 cm，2019，图片由艺术家和东画廊提供
Submerged Landscape, Zhang Ruyi, Aquarium, concrete, Suckermouth catfish, heater, filter, light, wood pallet, 80 × 90 × 55 cm, 2019, Courtesy the artist and Don Gallery
Lemon Pickers, He Xiangyu, Fiber glass, epoxy resin, oil paint, acrylic, stainless steel, polyethylene, 50 pieces; dimensions variable, 2017, Courtesy the artist and WHITE SPACE
▲《李商隐诗意二》，郝量，绢本重彩，37.1 × 51.9 cm，2021，图片由艺术家和高古轩画廊提供
Poetics of Li Shangyin II, Hao Liang, Ink and color on silk, 37.1 × 51.9 cm, 2021, Courtesy the artist and Gagosian Gallery
「ON︱OFF 2021：回到未来」，整个展题构建了一种多重线索的时间意象。展题的前半部分“ON | OFF 2021”，提示了本次展览与2013年UCCA展览之间的关联性与延续性，并通过2021的时间界定，展现“ ON | OFF ”主题所包含的自2008年之后世界范围内日趋激烈的“整合与脱钩”的后全球的时代张力，并从全球史的角度，将我们在2008年之后遭遇的一系列大事件理解为全球再一次面临新旧秩序交替的历史时期。展题的后半部分“回到未来（Carousel of Progress）”，作为一种对前半部分展题的注释，包含了基于当下，返回过去与未来前进的两条时间线索。“回到未来”的灵感来源于1980年代的一部同名中文翻译的好莱坞科幻喜剧电影，该片讲述了主人公驾驶了一辆时间机器回到其父母青年时代，通过自己的努力改变自己父母以及家庭命运的故事。Carousel of Progress是美国迪士尼乐园里的一个著名的旋转舞台表演项目，通过一个日常家庭的陈设变化与人物表演讲述人类现代文明的科技演进。两种叙事都是以现代科技为前提的，从某种意义上说，科技决定了我们人类的生活环境，而科技进步是我们始终需要面对的未来图景。
然而，这只是关于未来的一种面向。正如电影《回到未来》（Back to the Future）向我们提示的，未来是一种需要面向过去，创造可能性的行动。对于我们而言，它不仅包含了中国古人强调的“以史为鉴”的兴衰之道，还包含了个体回溯现实时暮然回首触及的有情世界，两者辩证地统一在一种抒情的诗学传统之中。不同于2008年之前透明逻辑预设的中国当代艺术实践，“回到未来（Carousel of Progress）”所展现的中国当代艺术系统近年来越加清晰的自省性，以及由此生成出的穿越时空，返回自身情感记忆与历史经验的意识和能力。这不仅显现在艺术家实践层面，同时也反映在和美术馆于顺德北滘的创立与运营层面。顺德作为中国改革开放最早的试验与实践现场之一，和美术馆的创立一方面代表了城市形象的转型与升级，另一方面也预示了中国的美术馆系统超越所谓“大城市”的思维禁锢，进入一种更加有机，更具区域联动与辐射性的大社会环境，而这与中国改革开放的历史经验极为相似。所以，“回到未来”也在重温改革开放的历史经验，对于中国当代艺术系统未来建设所具有的启发意义。
“ON︱OFF 2021：回到未来（Carousel of Progress）”，基于“后全球化”的时代征候，将中国当代艺术实践近期所呈现的回溯现实的趋势，诠释为一种创造未来的行动。展出作品涵盖绘画、雕塑、摄影、装置与影像等多种艺术媒介，作品的主题涉及媒体社会、自然环境、身份认同、地理疆域等不同议题，但都共同呈现出一种源于生命内在的自省精神——何所来，何所去的自省，对应于日益加速的全球化语境，使得艺术不仅是作为保存记忆的媒介，还是一种观察主体召唤历史意识，从而超越时空的有情实践。返回、反复与螺旋，是本次展览着重强调的策展理念，一方面是出于对和美术馆空间形态的诗意比兴，另一方面也试图通过作品之间观念的复沓叠增，让观众在时间与生命、全球与在地、回忆与历史的律动中，感应美术馆空间与展览空间共同构建出的宇宙观照。
ON | OFF 2021
Carousel of Progress
2022/02.04-04.17 He Art Museum
Chen Fei, Chen Wei, Chen Zhe, Gao Ludi, Gong Jian, Guan Xiao, Hao Liang, He Xiangyu, Hu Xiaoyuan, Huang Ran, Jiang Pengyi, Li Liao, Li Ran, Liang Shuo, Liu Yujia, Ma Qiusha, Miao Ying, Pu Yingwei, Qiu Xiaofei, Shen Xin, Tao Hui, Tong Wenmin, Wang Tuo, Wang Yuyang, Xu Qu, Yu Ji, Zhang Ruyi, Zhou Yilun
Liu Xinyi, Li Ming, Zhou Tao, Zhu Changquan
This is a belated exhibition. For reasons we all know, which has given us more time to reflect on what we have experienced before the pause, the turn and the long wait. Coincidentally, this is originally an exhibition about "Time and Memory".
In 2013, ON | OFF was the theme of a well-known group exhibition reflecting the concepts and practices of young Chinese artists in the "Post-Olympic Era". It is now followed by a subtitle and refreshed year, aiming to revisit and to continue the unfinished narrative of the 2013 exhibition, in the midst of the increasingly intense tensions of "integration and decoupling" in the "Post-Globalization Era". Correspondingly, the temporal tendency of retracing reality in recent Chinese contemporary art practice does not manifest itself as a transparent group practice with pre-determined logical goals, but rather as a consciousness and ability to reset the future based on a spirit of self-reflection and the active return to emotional and historical memory.
The exhibition has three sections: Gestures of Time, Chambers of Memories and Multiple Echoes. Starting from the human perception and feeling of time, the grand issues such as the movement of the universe, human destiny and historical moments are integrated and condensed into a certain mood of the present moment. In relationship with the artist's individual practice, the promised future of human being is transformed into a vital energy that transcends the limit of time and space.
Return, repetition and spiral are the emphasized curatorial concepts in this exhibition. It is a poetic comparison of the spatial form of He Art Museum, and on the other hand, through the repetition and superposition of themes and concepts from the works, it also attempts to let the audience sense the rhythm of time and life, global and local, memory and history, thus to reach the cosmic view of the museum's architectural space and the narrative structure of the exhibition.
In ON | OFF 2021: Carousel of Progress, the exhibition builds up a time narrative with multiple clues. The first half of the exhibition title, ON | OFF 2021, suggests the relevance and continuity between this exhibition and the 2013 UCCA exhibition. With the temporal definition of 2021, it presents the post-global tensions that the theme of ON | OFF encompasses since 2008. From the perspective of global history, we have encountered series of major events since 2008, since when this period now has been understood as a time during which the world was facing a historical transition between the old and the new order. The second half of the exhibition title, Carousel of Progress, serves as a kind of commentary on the first half. Based on the present moment, it contains two time lines: returning to the past and moving forward in the future. Carousel of Progress is inspired by the 1980’s Hollywood science fiction comedy of the same in Chinese translation (Back to the Future). It tells a story about the protagonist driving a time machine to go back to his parents' time in order to change the fate of his family. Carousel of Progress is also a famous revolving stage show at Disneyland in the United States. With the changing furnishings and characters in everyday home setting, it tells the story of the technological evolution of modern civilization. Both narratives are premised on modern technologies, which in a sense defined our living environment. Technological progress is a picture about the future that we always need to face.
However, this is only one way of looking at the future. As the film Back to the Future suggests, the future is an action that requires looking back to create possibilities. For us, it encompasses not only the ancient Chinese saying of "learning from history" which reflects the rise and fall of the history, but also the sentient world that individuals touch when they look back on reality. The two are dialectically united in a poetic tradition of lyricism. Unlike the preconceptions of Chinese contemporary art practice before 2008, which are transparently based on logic, Carousel of Progress highlights the increasingly clear self-reflexivity of the Chinese contemporary art system in recent years, and the resulting awareness and ability to trace back, in both time and space, to its own emotional memory and historical experience. This is not only evident in the artists' practice, but also in the creation and operation of the He Art Museum in Beijiao, Shunde. Located in one of the earliest experimental and practical regions of China's reform and opening up policy, the establishment of the HEM represents on the one hand a transformation and upgrading of the city's image, and on the other, a sign that China's art museum system is moving beyond the confinement of the so-called metropolitan mentality to a more organic, regionally connected and out-reaching environment, which shows similarity to the historical experience of reform and opening up. Therefore, Carousel of Progress is also a revisit to this historical experience that would further inspire the construction of China's contemporary art system.
Based on the symptoms of the "Post-Globalization Era", ON | OFF 2021: Carousel of Progress interprets the recent trend of retracing reality in the practices of Chinese contemporary art as an action to create the future. The works in the exhibition cover a wide range of artistic mediums including painting, sculpture, photography, installation and video, with different themes related to issues such as media society, natural environment, identity and geographical boundaries. All of them share a spirit of introspection that originates from life: where one comes from and where one goes. Corresponding to the increasingly accelerated globalized environment, this makes art not only a medium for memory preservation, but also a sentient practice of the observing subject to summon historical consciousness that transcends time and space. Return, repetition and spiral are the emphasized curatorial concepts in this exhibition. On the one hand, it is a poetic reflection of the spatial form of HEM, and on the other hand, in the rhythm of time and life, global and local, memory and history, it is also an attempt to let the audience sense the cosmic vision built up by the museum space through the conceptual superposition of the works.
Special Thanks to
UCCA Center for Contemporary Art, Philip Tinari, Bao Dong, Philip Qu
Sun Dongdong (Photo by Shen Chen)
Sun Dongdong (1977-), born in Nanjing, graduated from Nanjing University of the Arts with a Master degree in Foreign Art History. Sun now is a curator and art writer of Chinese contemporary art, living and working in Beijing. His works mainly focus on the condition and evolution of Chinese contemporary art in the "Post-Olympic Era", as well as the construction of the systematic image of Chinese contemporary art.
海报设计 / 余晓丹
Poster Designer / Yu Xiaodan