[h1]粉紅微笑之後：閱讀‧李山 Reading Li Shan
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官網:
http://www.mocataipei.org.tw/blog/post/28329777
展出地點:台北市大同區103長安西路39號，台北當代藝術館 當代館 MOCA Taipei
展出日期:2012/11/24-2013/01/20
展覽資訊
展覽名稱 | 粉紅微笑之後：閱讀‧李山 Reading Li Shan
展覽時間 Date | 2012/11/24-2013/01/20
展覽地點 Venue | 台北當代藝術館 MOCA Taipei
門票 Admission | 新台幣50元，NTD 50
展覽簡介
關於李山 About Li Shan
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1942 出生於黑龍江蘭西縣
1963 考入黑龍江大學外語系
1964 轉入上海戲劇學院舞臺美術系
1966 文化大革命爆發前，作品就被認為帶有資產階級傾向而被從牆上取下
1968 上海戲劇學院畢業後留校任教
1973 為第一屆工農兵學員上繪畫課時，因「張鐵生事件」成為被批判的對象
1974 因受「黑畫事件」影響，28件作品被批判納為公有
1976 中國領導人毛澤東過世，四人幫被捕文革結束
1977 鄧小平恢復中國共產黨黨內職務，在改革開放政策影響下，美術領域相對於較為開放自由；開始〈擴延〉系列作品的創作實驗
1984-1986 參與八五美術運動，中國現代藝術第一次全國規模的前衛藝術運動
1986 參與策劃〈上海第一屆凹凸展〉
1988 參與策劃〈上海第二屆凹凸展—最後的晚餐〉
1989
北京中國美術館「中國現代藝術展」中，以印有雷根頭像的盥洗用具進〈洗腳〉行為藝術表演，且將自己定位於波普、裝置與行為藝術的結合藝術表現；開始〈胭脂〉系列的作品創作
1993
在悉尼現代藝術博物館「毛走向波普－中國新藝術展」中作品表現出眾，奠定為1980年代後期中國波普藝術運動主要藝術家之一
參加第四十五屆威尼斯雙年展，雙年展上受馬修‧巴尼(Matthew Barney 1967-)半人半獸的〈勞頓候選人〉(Loughton Candidate)作品的啟發，開啟了對生物藝術的研究與實驗
1994 參加第二十二屆聖保羅雙年展
1995 開始為生物藝術創作做知識準備；與批評家張平杰在紐約進一步討論生物藝術問題
1998
〈閱讀〉方案，魚與蝴蝶基因改造方案，是生物藝術史上第一個生物藝術方案，也是中國首次以對生物基因改造為藝術創作的藝術家
在紐約建立「生物藝術實驗室」進行生物藝術方案的製作與實驗〈蛻變與突破－華人新藝術〉展，美國紐約P.S.1展覽中心和亞洲協會美術館
2003-2006
〈閱讀〉系列對當前政治上所聲稱的生物科學實驗環境下的偽善和人類價值的平等性缺乏等議題提出質疑
2005
〈牆：中國當代藝術的歷史與邊界〉展
中國北京世紀壇美術館
美國布法羅大學美術館
2007
上海香格納畫廊「南瓜計畫－李山、張平傑生物藝術作品」展，以《南瓜計畫》與科學家合作，成為中國首次以生物基因工程為技術的生物藝術作品呈現
2008
與批評家張平杰共同起草了《生物藝術宣言》，並於2009年《上海灘1979-2009上海藝術家個案》展上進行公開宣讀
1942 Born in Lanxi County, Heilongjiang Province, China
1963 Accepted to University of Heilongjiang, Foreign Language Department
1964 Transfer to Shanghai Academy of Drama, Stage Art Department
1966 Prior to the outbreak of the Cultural Revolution, his artworks were already deemed to have capitalistic tendencies and were removed from the wall
1968 Graduated from Shanghai Academy of Drama and began teaching there
1973 While giving painting class to the 1st Worker-Peasant-Soldier students, he became the subject of criticism because of the Zhang Tie Sheng Incident
1974 Impacted by the “Dark Paintings Incident”, 28 artworks by Li were denounced and confiscated
1976
Chinese leader Mao Zedong passed away, the arrest of the Gang of Four, and the end of the Cultural Revolution
1977
Deng Xiaoping was transferred back to the Chinese communist party internal affairs, and under the policy of reform, more liberation was granted to the arts; Li began experimenting with the creative series, Expanded
1984-1986
Participated in the 85 Art Movement, China’s first nation-wide avant-garde art movement
1986 Participated in the planning of the 1st Shanghai Concave-Convex Exhibition
1988 Participated in the planning of the 2nd Shanghai Concave- Convex Exhibition – The Last Supper
1989
During the Chinese Modern Art Exhibition at the National Art Museum of China, he conducted a performance, Washing Feet, with a washing basin printed with Ronald Reagan’s portrait, and referred to his work as a form of Pop + Installation + Performance; began creating the Rouge series.
1993
Participated in the 45th Venice Biennial and was inspired by Matthew Barney’s work of the half-man-half-beast, Loughton Candidate, and began researching and experimenting with bio-art
1994 Participated in the 22nd Sao Paulo Art Biennial
1995
Began preparing for creating bio-art, and discussed issues pertaining to bio-art with artist, Zhang Pingjie, in New York
1998
The Reading Project, with the Fish and Butterfly Cell Binding Transformation Project being the first bio-art project in the history of bio-art and Li the first artist in China to create artworks based on genetic modifications of living creatures
Established Bio-Art Lab and Workshop in New York for the production and experimentation of bio-art projects
Inside/Out, New Chinese Art exhibition at MoMA PS1 in New York and Asia Society Galleries
2003-2006
The Reading Series raised questions regarding the politically dictated hypocrisy with biological scientific experiments and the lack of equality in human values
2005
The Wall-Reshaping Contemporary Chinese Art Exhibition
Millennium Art Museum, Beijing, China
University at Buffalo Art Galleries, Buffalo, USA
2007
The Pumpkin Project - Li Shan & Zhang Pingjie Bio-Art Exhibition at ShanghART Gallery, Shanghai, China; through collaboration with scientists, The Pumpkin Project became the first bio-artwork created in China based on bio-genetic engineering technology
2008
Began co-drafting the Bio-Art Manifesto with critic Zhang Pingjie, which was publically read in 2009 at the exhibition of Shanghai History in Making from 1979 till 2009
貼心小叮嚀｜本展覽部分作品包含裸體畫面，12歲以下兒童須由家長陪同參觀。
Note｜This exhibition contains some artworks with naked images. Children under 12 years old should be accompanied by parents.
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李山是中國當代藝術史中最重要的藝術家之一。在長達四十年的藝術生涯中，李山始終堅持思考，不斷探索，通過藝術創作反省人生和人性。八十年代初，李山參與推動了上海前衛藝術運動，並成為八十年代中國抽象藝術—「理性繪畫」的代表畫家。八十年代末，李山創作了《胭脂》系列，不僅被視為中國「政治波普」藝術的代表人物，他的「粉紅色」符號系列作品也廣為人知。從二十世紀九十年代中期，李山開始創作他的生物藝術—《閱讀》系列。本次展覽展示的就是李山過去17年中對生物藝術的思考、構想、實驗以及他創作的部分作品。
Li Shan is one of the most important artists in the history of Chinese contemporary art. In his four-decade long artistic career, Li Shan has always insisted on constantly contemplating, exploring and reflecting on life and human nature through artistic creation. In the early eighties, Li Shan participated in the promotion of avant-garde art movement and became a representative painter of “rational painting”, Chinese abstract art, in the mid-eighties. At the end of the eighties, Li Shan created Yan Zhi (rouge) series, which led him not only be regarded as the representative of the “political pop” art, his series of work with “pink” symbols was also well known. Since the mid-nineties, Li Shan has begun creation of his bio-art—the Reading series. This exhibition is to present Li Shan’s thinking, ideas, and experiments regarding bio-art over the past 17 years by presenting a part of his works.
生物藝術無疑是二十一世紀文化的尖端學科。李山通過視覺方式把生物基因重組的試驗結果展示給大眾。台北當代藝術館本次舉辦的【粉紅微笑之後：閱讀•李山】分別展出了李山九十年代以來聚焦於生物藝術的思考和創作。包括1995年生物藝術的閱讀筆記；1998年在紐約創作的生物藝術方案；數位影像製作的昆蟲和藝術家的結合體；一個轉基因青蛙（包括概念、圖片和影像記錄等）；而李山結合科學認知和藝術想像創作的100幅轉基因生物形象，簡直就是二十一世紀版的《山海經》怪獸大全集！在這個展覽中，觀眾可以同時觀賞李山將生物藝術極簡化、觀念化和最大化、實體化的兩種呈現方式，前者例如用轉基因生物理論濃縮成一本新的《聖經》，或者如用20萬隻蜻蜓翅膀把當代藝術館外牆立面整體包覆起來的奇觀勝景。
Bio-art is undoubtedly a state-of-the-art cultural discipline of the 21st century. Li Shan presented the test results of biological genetic recombination to the public through visual means. For the exhibition Reading Li Shan organized by the Museum of Contemporary Art, Taipei exhibited Li Shan’s thinking and creation focused on bio-art since the nineties. Exhibited items included his reading journals on bio-art in 1995, a bio-art proposal created in New York in 1998, a fused image of an insect and an artist produced digitally, and a transgenic frog (including concept, pictures, and video records, etc.); the hundreds of images of transgenic creatures created by combining scientific knowledge and artistic imagination are truly the 21st century version of the monster extravaganza of the Shan Hai Jing, an ancient Chinese volume of whimsical stories! At the exhibition, viewers can simultaneously appreciate the two methods Li Shan used to minimalize, conceptualize, and maximize bio-art. For example, he condensed the theories of genetically modified organisms into a new Bible. Along with this, he covered the outside walls of the museum with wings of 200 thousand dragonflies, creating a spectacular view.
李山的生物藝術作品大約分這幾個階段：1.生物+非生物，即用動物皮毛來包汽車或飛機等能發動的無機物。2.昆蟲+哺乳動物即把物種兩級的生物基因相融合。3.用人或自身+昆蟲等小生物即把人與其他生物相融合。4.通過生物基因工程製作新的生物物種，《南瓜》計畫作品。李山的生物藝術把想像和實證、玄學和科學結合在一起。李山的生物藝術是一個批判人類中心主義的宣言。李山的生物藝術試圖指出，迄今為止，人類以人文道德為規範，建立了不公平世界之同時，也干擾了自然的秩序。
Li Shan’s works of bio-art came in several stages: 1. Biotic + Abiotic, i.e., wrapping inorganic objects such as cars and planes in animal hides. 2. Insects + Mammals, i.e., fusing the genomes of animals of two different classes. 3. Human or himself + Insects or other small organisms, i.e., fusing human and other living things. 4. Produce new biological species through biogenetic engineering, or the Pumpkin project. Li Shan’s bio-art combines imagination, empiricism, metaphysics, and science. It is a declaration of critique of anthropocentrism and attempts at pointing out that, to date, humans have adopted humanistic morals as norms and through which have created an unfair world and also interfered with the natural order.
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策展人介紹
高名潞
哈佛大學博士，美國匹茲堡大學藝術史及建築史系研究教授。天津美術學院當代藝術研究所所長，天津美術學院特聘教授，四川美術學院特聘教授。
主要從事現當代藝術批評和文化史研究，中文專著包括《’85美術運動》（合著），《中國前衛藝術》，《中國極多主義》，《另類現代，另類方法》，《美學敘事和抽象藝術》，《牆：中國當代藝術的歷史與邊界》，《無名：一個悲劇前衛的歷史》以及《意派論》等；英文專著包括Inside Out: New Chinese Art (University of California Press, 1998)，The Wall: Reshaping Contemporary Chinese Art (Buffalo Academy, 2005)，“Total Modernity in Chinese art”,（Duke University, 2007 )， “Total Modernity and the Avant-Garde in Twentieth-Century Chinese Art”, (MIT Press, 2011)等等。
策劃的主要展覽包括“中國現代藝術展”（1989），Inside Out: New Chinese Art（1998），Point of Origin: Global Conceptualism 1950s -1980s,“豐收：當代藝術展”（2002年），“中國極多主義”（2003年），“牆”（2005年），“無名畫會巡展”（2006），“公寓藝術”（2008），“意派：世紀思維”（2009）和“水墨原形”等。
Curator Gao Minglu
A leading scholar in contemporary Chinese art. A major editor in Meishu (Art Monthly) in the 1980s. Gao Minglu got his Ph.D from Harvard University and currently is a Research Professor at the Department of History of Art and Architecture at University of Pittsburgh.
His major publications include History of Contemporary Chinese Art 1985-1986 (Gao Minglu el), (Shanghai: Shanghai Peoples Press, 1990); Inside Out: New Chinese Art, ed. (Berkeley: University of California Press, 1998); A Century’s Utopia: Chinese Avant-Garde Art (Taiwan: Artists Publishing House, 2000); Chinese Maximalism (Chongqing: Chongqing People’s press, 2003) , The Wall: Reshaping Contemporary Chinese Art (New York and Beijing: The Albright Knox Art Gallery and China Millennium Museum, 2005), The No Name: A History of A Self-Extled Avant-Garde (Beijing: Guangxi Normal University Press, 2007) ，Yi Pai: A synthetic Theory against Representation(Beijing: Guangxi Normal University Press, 2009)，and Total Modernity and the Avant-Garde in Twentieth-Century Chinese Art（MIT Press 2011）.
Major exhibitions he organized include China/Avant-Garde (1989), Inside Out: New Chinese Art (1998), Harvest: Contemporary Art Exhibition (2002), Chinese Maximalism (2003), The Wall: Reshaping Contemporary Chinese Art (2005), Retrospective Exhibition of the No Name Group (2006) and Yi School: Thirty Years of Chinese “Abstraction”(2007 – 2008),Yi Pai: Century Mentality (2009), and Ink as Model (2012) etc.
(2012-11-23 13:32)