URBANIZATION, GLOBALIZATION, AND CONTEMPORARY ART IN CHINA
with Jiang Jiehong, followed by a panel with Barbara Pollack, James Elaine, and Li Zhenhua
Online Event
Friday, December 4, 2020
8:00 pm – 10:00 pm （London Time）
In the last few decades, China has seen the most extraordinary economic growth, fuelled by rapid urban development, the scale and speed of which are unprecedented in human history for both the increase in construction projects and the increase of the urban population. Buildings, architectural complexes, streets, and even whole cities can be transitory, leaving little trace of what has gone before. Many scholars have rightly referred to the recent transformation of China as an ‘urban revolution’. The changes have continued all the way through the ‘revolutions’ in the last century, and are evident in the acceleration of economic and urban development since the Open Door Policy of 1978, shaping a moving reality that is almost surreal, beyond normal and perceptible daily existence. If the mission of an artist is to think, imagine and critique, is it even possible to keep up with a society in such flux? As daily changes are experienced as part of urban existence, what does China really look like? What are the relationships between visual reality and the instability of what has been seen and experienced; between artistic response, imagination and memory? In response to the incessant changes, artists have shaped a shifting reality, an illusory one, beyond the normal and tangible environment of everyday life. In the lecture Urbanization and Chinese Contemporary Art, art curator and educator, Jiang Jiehong will discuss artworks that respond to the urban transformation in China through a range of interconnected natures.
Following the lecture, curator/critic/author Barbara Pollock will moderate a discussion on the topic of “Globalization and Chinese Contemporary Art” with panelists including Li Zhenhua, the curator of A Composite Leviathan, James Elaine, and Jiang Jiehong. This conversation will discuss how globalization, along with urbanization, has influenced Chinese contemporary art in terms of the production of art, the art industry as a whole, and related academia.
Professor Jiang Jiehong is Head of Research at School of Art, Director of the Centre for Chinese Visual Arts, Birmingham City University, and he is also Principal Editor of the Journal of Contemporary Chinese Art (Intellect). Jiang has extensive research and curatorial experiences in contemporary art and visual culture. Jiang curated the Guangzhou Triennial: the Unseen (with Jonathan Watkins, 2012), the Asia Triennial Manchester: Harmonious Society (2014), the Shadow Never Lies (with Mark Nash, Shanghai Minsheng Art Museum, 2016), and most recently, the First Thailand Biennale: Edge of the Wonderland (Krabi, 2018-19). Jiang’s book publications include Burden or Legacy: from the Chinese Cultural Revolution to Contemporary Art (Hong Kong University Press, 2007), the Revolution Continues: New Art from China (Jonathan Cape, 2008), Red: China’s Cultural Revolution (Jonathan Cape, 2010), An Era without Memory: Chinese Contemporary Photography on Urban Transformation (Thames and Hudson, 2015), and The Art of Contemporary China (Thames and Hudson, forthcoming in 2021).
Barbara Pollack has been writing on art since 1994, often addressing the situation for artists in repressive regimes from a global perspective, particularly China. She is the author of many essays and books including most recently Brand New Art from China: A Generation on the Rise, published in 2018. She has regularly curated shows, starting with a 1996 show staged in her home titled My Friends in My Apartment and a one-day exhibition in 2001 at a local schoolyard, Yard Sale, with the cooperation of Simon Watson. In recent years, she has curated shows at the Tampa Museums of Art, Orange County Museum of Art, the Long Museum West Bund in Shanghai and the Yuz Museum, also in Shanghai. In 2022, she will present Mirror Image: Changing Chinese Identity at the Asia Society Museum in New York. She is a professor at the School of Visual Art.
James Elaine is an artist and contemporary art curator living and working in Beijing, China. His artwork has been included in film festivals, museums, and galleries around the world. From 1999 to 2009 he was the Hammer Projects curator at the Hammer Museum in Los Angeles, and from 1989 to 1999 he was the curator for the Drawing Center in New York. He has received numerous grants and fellowships and was the winner of the 2008 Ordway Prize for his lifetime of curatorial work. In 2011, he curated the first emerging Chinese artist exhibition in the US, In A Perfect World…, at Meulensteen Gallery, New York, and in 2012, the first emerging Chinese video exhibition in the US, Unfinished Country: New Video from China, at the Contemporary Art Museum and the Asia Society in Houston, Texas. In 2012, Elaine founded Telescope, a nonprofit project space in Beijing.
Li Zhenhua has been active in the artistic field since 1996. His practice mainly involves curation, art creation and project management. Since 2010 he has been the nominator for the Summer Academy at the Zentrum Paul Klee Bern (Switzerland) and The Prix Pictet (Switzerland). He is a member of the international advisory board for the exhibition “Digital Revolution” at the Barbican Centre in the UK in 2014. He was a member of the international advisory board for Videotage and Symbiotica in 2015. Since 2003, he worked as jury in the film and arts field, such as Shorti (Span 2003), Napolis Film festival (Italy 2006), Transmediale 2010 (Berlin, Germany 2009), CCAA (Beijing, China 2012), CIFF (Nanjing, China 2012), Fantoche (Switzerland 2012), Art Award China (Beijing, China 2015-2016). In 2015, he received the award of Curator of the Year from TANC Asia Prize, Shanghai and the award of Curator of the Year (2014) from Art Power 100, Beijing.
This program will be presented in English.
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Bridge Projects is pleased to announce “Light Through the Cracks,” a suite of online programs curated by art writer Clover Xuesong Zhou that compliments the upcoming show A Composite Leviathan.
The title comes from curator James Elaine who uses lyrics by Leonard Cohen to reflect on themes of the show: “There is a crack, a crack in everything / That’s how the light gets in.” As he says in his curatorial statement, A Composite Leviathan “showcases a community of dispersed artists, living in a conflicting system of flux and control, who are drawing the lines that let the light in.” The programs of “Light Through the Cracks” further explore how art and spirituality exist within the cracks of historical and contemporary Chinese culture. As one of the cracks of reality, some reductionist views have focused too narrowly on the influence of Western art when accounting for the shape of Chinese contemporary art. In truth, Chinese contemporary art also has deep roots in its historical, cultural, and spiritual context, and “Light Through the Cracks” aims to present a more complete picture of Chinese contemporary art.
Free Registration:
https://www.eventbrite.com/e/urbanization-globalization-and-contemporary-art-in-china-tickets-122641527109
城市化、全球化与中国当代艺术
伦敦时间：2020年12月4日 晚上8:00-10:00
主讲人：姜节泓
对话嘉宾：芭芭拉·波洛克（Barbara Pollock）、詹姆斯·伊莱恩（James Elaine）、李振华
过去的几十年里，中国经济经历了迅猛增长，城市的快速发展成为这一过程的燃料——无论是城市建设项目还是城市人口的增加，中国城市发展的规模和速度在全世界都是史无前例的。建筑物、建筑综合体、街道、甚至整个城市都可能是过渡性的——几乎没有留下任何过去的痕迹。很多学者颇为恰当地将中国近期的转型称为“城市革命”。这些变革在上个世纪的“革命”中一路延续，并且在改革开放政策以来经济和城市的加速发展中表现得尤为明显，从而塑造了一个近乎超现实的、超越了常规和可感知的日常存在的变化中的现实。如果说艺术家的使命是思考、想象和批判，那么我们是否能够在这样一个不断变化的社会中跟上社会的步伐？当日常变化成为城市存在的一部分被感知时，中国到底是什么样子，而视觉现实与被看见和经历的不稳定状态之间的关系又是如何；艺术回应、想象和记忆之间有着怎样的关系？为了对持续不断的变化做出回应，艺术家在日常生活的正常和有形的环境之外，塑造了一个移动的、虚幻的现实。在本次“城市化与中国当代艺术”的讲座中，艺术策展人和教育家姜节泓将探讨一系列艺术作品之间相互关联的性质，它们皆回应了中国的城市转型。
讲座结束后，策展人、评论家和作者芭芭拉·波洛克将主持一场主题为“全球化与中国当代艺术”的小组讨论。当代艺术顾问乔西·布朗、“拼拼凑凑的利维坦”策展人詹姆斯·伊莱恩和姜节泓将参与讨论。这几位嘉宾都在连接中国当代艺术与全球艺术界方面有着丰富的经验，因此本次对话将从艺术生产、整个艺术产业、以及相关学术性问题等方面，探讨全球化与城市化对中国当代艺术的影响。
姜节泓教授为伯明翰城市大学美术学院研究总监，该院中国视觉艺术中心主任，同时任《中国当代艺术研究》主编（Intellect出版社）。他在当代艺术和视觉文化方面有着丰富的研究和策展经验。他策划过的重要展览包括广州三年展“见所未见”（与乔纳森·沃金斯合作，2012）、曼彻斯特亚洲三年展“天下无事” （2014）、上海明当代美术馆的“真实的假像”（与马克·纳什合作，2016）、以及最新的首届泰国双年展“仙境的边缘”（2018-19）。姜节泓出版的著作包括《遗赠或负担》（香港大学出版社，2007）、《革命在继续：来自中国的新艺术》（蓝灯书屋，2008）、《红：中国文化大革命》（乔纳森·凯普，2010）、《一个没有记忆的时代：城市变迁中的中国当代摄影》（泰晤士和哈德森，2015）、以及《中国当代艺术》（Thames and Hudson出版社，将于2021年出版）。
芭芭拉·波洛克从1994年开始进行艺术写作，她的书写通常从全球化的视角来探讨专制政权下艺术家的处境，特别是中国的艺术家。她是许多论文和著作的作者，包括最近于2018年出版的《来自中国的新艺术:冉冉升起中的一代》（Brand New Art from China: A Generation on the Rise）。芭芭拉·波洛克也经常策划展览，其中包括1996年她在自己家中策划的第一个展览“我的朋友在我的公寓”（My Friends in My Apartment）、2001年与西蒙·沃森（Simon Watson）合作的在当地一个学校的操场上举办、为期一天的展览“庭院大甩卖”（Yard Sale）。近年来，她曾在坦帕艺术博物馆、橘子郡艺术博物馆、上海龙美术馆西岸馆和上海余德耀美术馆策划展览。2022年，她将在纽约亚洲协会艺术博物馆呈现“镜像：变化中的中国身份”（Mirror Image: Changing Chinese Identity）。芭芭拉·波洛克是纽约视觉艺术学院教授。
詹姆斯·伊莱恩是生活和工作在中国北京的艺术家、当代艺术策展人。他的艺术作品曾在诸多国际电影节、博物馆和画廊的展览中呈现。在1999年至2009年期间，他担任洛杉矶汉默博物馆“汉默项目”策展人；在1989年到1999年之间，他是纽约绘画中心的策展人。他曾多次获得艺术资助和研究基金，并于2008年因其毕生的策展工作而荣获奥德威奖。2011年，他在纽约梅伦斯汀画廊策划了美国第一个中国新锐艺术家展“在一个完美的世界……”；2012年，他在休斯顿当代艺术博物馆和亚洲协会策划了美国首场中国新锐录像艺术展“国家进行时：中国新影像艺术”。2012年，伊莱恩在北京创办了非营利性艺术机构“望远镜”。
李振华自从1996年开始便活跃于艺术领域。他的实践主要包括策展、艺术创作及项目管理。自从2010年开始，他成为保罗·克利艺术中心（瑞士）夏季学院和Prix Pictet的提名人。他是2014年英国巴比肯艺术中心的展览“数字革命”的国际顾问委员会的成员，也是2015年录映太奇（Videotage）和Symbiotica的国际顾问委员会成员。自2003年起，他成为为电影和艺术领域诸多奖项的评委，例如Shorti（西班牙，2003年），那不勒斯国际电影节（意大利，2006年），Transmediale 2010（柏林，德国，2009），CCAA（北京，中国，2015-2016）。在2015年，他在上海获得了艺术新闻中文版年度策展人奖项，在北京获得了艺术权力榜2014年的年度策展人奖项。
讲座将会以英文呈现。
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桥项目很高兴地宣布，由艺术写作者周雪松策划的“拼拼凑凑的利维坦”展览平行公共教育项目“缝隙中的光” 在线上全面展开。
项目的题目“缝隙中的光” 来自詹姆斯·伊莱恩引用的莱纳德·科恩的歌词“万物皆有缝隙/方能让光透进”，该歌词反映了此次展览的主题。正如他在他的策展宣言中提到的，这个展览“呈现的是一群分散的艺术家，居住在一个在流动和控制中挣扎的系统中，描绘着那让光进来的线（缝隙）。”“缝隙中的光” 系列公共教育项目进一步探索艺术与灵性如何在中国历史和当代文化的缝隙中生存。作为这些现实的缝隙之一，在讨论中国当代艺术的形成的问题上，一些简化论者过于狭窄地专注在西方艺术对中国当代艺术的影响。事实上，中国当代艺术有着它在历史、文化、灵性背景上很深的根基。缝隙中的光” 系列公共教育项目希望有助于描绘一个更完整的中国当代艺术图景。
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