On Drawing: Visibility Of Power - Exhibitions

力的能见度 On Drawing: Visibility Of Power

展览照片 Exhibition view

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这是一个关于Drawing的计划 This is a project concerning “Drawing”

展期 Opening

Jan 7 - Mar 10 2017 Jan 7 - Mar 10 2017

策展 Curator

鲁明军 Lu Mingjun

介绍 PRESS RELEASE

这是一个关于Drawing的计划。此计划由两部分（或两个展览）组成，除了“力的能见度”（On Drawing: Visibility of Power），另一部分即2016年12月13日在武汉美术馆开幕的群展“解放的皮肤”。 This is a project concerning “Drawing”. The project is constituted by two parts (or two exhibitions): one is On Drawing: Visibility of Power, the other is the group show On Drawing: Apperceive of Liberation,opened 13th December 2016 at Wuhan Art Museum.

在“解放的皮肤”中，不见得每个参展作品都有Drawing的痕迹，很多时候艺术家的目光、身体和想象本身就构成了一种Drawing，而我关心的是，作为一个感知的界面（或Drawing的方式），“皮肤”是如何直观地表象当代大众生活及其文化机体的。也可以说，这是一种“新”的波普形态，至少，我不希望这个展览提供太多复杂的、繁冗的思考，也没必要在每个作品面前逗留太久，甚至，它是一个反导览的展览。

有一点是一致的，“力的能见度”也不是从Drawing狭隘的定义和经验出发的，而是在回到Drawing作为一种艺术源头或起始的基础上，重新观察和探讨它的当代运作系统，即其内在的动因、驱力和关系、结构，譬如相互的牵引、制衡，包括紧张、冲突，以及最终可能的离散、失序等等。为此，在这一部分我特意选择了13个不可见的、更加“抽象”的Drawing案例。如果说“解放的皮肤”构织了一个“文化面”的话，那么“力的能见度”则试图找到一条可以纵深的“感知线”，切入并打开意识和想象的物理（物与理）机制，最终，它可能还是一条线，亦或是一张网，还有可能是一个结晶体，亦或是一个事件。即使有些参展作品的面目看上去并不抽象，展览所测试、考量或意欲唤醒的也是其内部的抽象之力。关键在于，这一不乏自反性的内在之力同时也是为了激活已被彻底抽象化的现实机体。
In the exhibition On Drawing: Apperceive of Liberation, the exhibited works do not necessarily possesscommon elements of “Drawing”; in fact, the gaze, the body and imagination ofthe artist constitute a kind of “Drawing”. What I have been interested with isthat as a medium of perception (or way of “Drawing”), how “skin” can straight forwardly represents contemporary social life and its cultural agency. Or we can rather interpretit as a “new” form of Pop Art. It is not my intention to offer too manycomplicated thoughts in this exhibition, it is even not necessary for the be holders to stay in front of a work too long; it is rather an exhibition thatcontras exhibition guide.

The two exhibitions share a common ground: that Visibility of Power does not derived from a strict definition orour general experience of “drawing”, but to look back to “drawing” as anessence, or the point of genesis of art, to re-observe and re-discuss itscontemporary operative system, i.e. the intrinsic motivation, impetus and relations,disorder, etc.; for example, reciprocal gravitation and balance，including tension, combat, and finally apossible separation and disorder. For this part I especially choose 13 invisible,more “abstract” cases of “Drawing”. If the Apperceiveof Liberation fabricates a “plane of culture”, Visibility of Power then attempts to search for a “line ofperception” that goes deep into the mechanism of the physics (i.e. objects (物) and logos(理) of human perception and imagination; at the endthat could be a line, a grid, or a crystal complex. Albeit some of the works onshow are not visually abstract, what the exhibition seeks to test, to consider,or intends to awaken, is their internal abstract power. The key issue is thatthis self-reflective intrinsic power activates simultaneously the realisticorganisms that have been thoroughly abstracted.

艺术家选择何种媒介、具体关注什么问题变得次要，但这并不意味着抽象之力是普遍的、同质的，这里的Drawing及其力的逻辑机体并不相同。除了形态各异的作品面目，展览的层次更是体现在其丰富的、不可见的感知维度。所谓的“能见度”既是一种个人意识、情怀和精神的症状，也可能通向一种社会抵抗或行动。何况，“力”和“能见度”本身就是频频出现在有关当代中国政治、社会、文化和意识形态描述和争论中的两个关键词。

透过这一新的空间或时间句法，展览意在重探一种新的政治诗学。而当我们尝试着局部地抽离出诸种不同的、能动的力的机体的时候，发现和“解放的皮肤”一样，其同样依赖于艺术家敏锐的感知和捕捉。这当然无法回避思考和分析，但文本和观念并非话语的条件和重心。这也再次表明，两个展览实际是一体的，或者说其原本就是一个展览的两面。
The media or the topics artists choose to engage with become subsidiary,however, it does not mean that the power of abstraction is universal or homogeneous;here the “Drawing” differs from the logic of its power. Apart from variousforms of artworks, the intellectual strata of the exhibition are represented inits rich, yet invisible perceptional dimensions. Theso-called “visibility” is a symptom of individual awareness, sensation andmind, at the same time it could lead towards some kind of social resistance or reaction.The word “power” and “visibility” in fact are keywords that frequently appearin discourses on contemporary Chinese politics, society, culture and ideology.

Through this new syntax of space or time, this exhibition seeks toreinvestigate a new form of political poetics. When we venture to partially extractdifferent active power agencies, the process very much resembles that of“Apperceive of Liberation”, which similarly relies on the astute perception andapprehension of the artist. Contemplation and analysis are inevitably there,but text and opinions are not the prerequisite or focus of the parole. Hence this demonstrates againthe connection between these two exhibitions, or rather, they constitute the binaryaspects of one single exhibition.