活动预告 | A Conversation 研讨会
‘ A CONVERSATION ’
展览平行活动策划 研讨会
Talk and panel discussion
研讨会专题演讲和讨论：
Talk and panel discussion:
地点：中国美术学院象山校区，杭州
Venue: T – project Art Space, China Academy of Art, Xiangshan campus, Hangzhou,
时间：2021.4.16 18:30
China Timing: 18:30, Friday 16th of April 2021.
专题讨论是中国美术学院雕塑与公共艺术学院纤维 艺术系二年级硕士学位课程学生“一次对话” 展览的一部分。
The panel discussion is part of the exhibition “A conversation” by second year students within the Master Degree program at the Fiber Art Department, School of Sculpture and Public Art, China Academy of Art.
主讲人：
Key speakers:
Janis Jefferies Janis Jefferies/ UK
Alice Kettle Alice Kettle /UK
Kate Egan Kate Egan /UK
王晓松 Wang Xaiosong / China
胡仁仁/布达 Hu Renren/ Bu Da/ China
刘潇 Liu Xiao /China
艺术家们将参与此次“一次对话”展览，所有师生均来自中国美术学院雕塑与公共艺术学院纤维艺术系。
The artists participating in the exhibition ‘A conversation’ and all teachers and students from the Fiber Art Department, School of Sculpture and Public Art from China Academy of Art.
背景/内容
Context
近几十年来，艺术家，策展人和学者日益寻求进入一个多元化的艺术语境，从而逐渐扩大其范围。
此次的专题讨论，我将其称之为“对话”的讨论，是一次跨学科的嵌入式探索，不仅是艺术家自身，也包含了艺术家与观众、社会、与自己的作品之间的交叉联系，以及专题成员间的一次内部对话。
对艺术和视觉文化的理解和创作不再像传统美学那样明智， 而是集中在一些重要的思想，话题和主题上，涉猎范围从日常生活跨越至神秘离奇的事物，以及从心理到政治的广泛内容。
此次专题演讲中所受邀的学者都是策展人，我也想在此提及一点，即策展将跨时空、跨文化的问题串联起来，集中在一个展览中加以研究讨论。也许其中包含着不同国家和起源的文化，但它们都因某种原因联系在一起，参与了基于织物和纤维艺术的实践。
听取这些策展人们的见解和参与讨论将会很有趣，今天作为艺术的纤维或织物是否仍处于边缘地位？如何体现？对新兴的艺术工作者又有何影响？我们如何将其边缘化的历史与当前的现实参照——即纤维和手工艺既边缘化，同时又在主流艺术中日渐普及的状况，二者协调起来？
新兴艺术家们在概念和实践上如何理解织物、跨学科的纤维和织物艺术的创作、归类和诠释的语境？材料在这方面究竟有多重要？
每个字词、句子、交流、对话和访谈都是一种感叹！每个人的“对话”都是尖锐的、深刻的、富有挑战的、极具吸引力的、迷人又挑衅的！
最后，我想以Janis Jefferies在1995年说过的一段话作为结束语，她最早在织物的拓展性讨论中提出“织物的概念”，并谈论到：“织物……不一定‘完全’在那儿，而且也不会总是置于同一空间中，永远不可能在同一位置以相同的方式被阅读两次，”而且它也永远不会结束。
In recent decades artists, curators and scholars have progressively expanded the boundaries of art as they have sought to engage with an increasingly pluralistic environment.
This panel discussion or I can called ‘a conversation’ will be based on an embedded interdisciplinary of the connection between artists, artist and audience, artist and society, artists and their own artworks, and a dialogues between the panelists.
Understanding and making of art and visual culture are like wise no longer grounded in traditional aesthetics but centered on significant ideas, topics and themes ranging from the everyday to the uncanny…the psychoanalytical to the political.
All of the invited scholars on the talk are curators and I would like to mention that curating - in the way the research questions are posed and linked across time and locations within different socio-cultural discourses. They are form different countries and origin, but all of them somehow was related and engaged in the exhibitions based on textiles and fiber art practices.
And will be interesting to discuss and hear their opinion also on, is fiber or textiles as art still marginalized today? How and how not? What are the implications for emerging practitioners, how do we reconcile histories of marginalization with current paradigms of both marginalization and the increasing presence of fiber and craft within mainstream art?
How do emerging artists conceptually and practically understand the context in which textiles and interdisciplinary fiber/textile arts are made, distributed and interpreted? How significant are materially based archives in this respect?
Every word, sentence, conversation, dialogue and interview is an exclamation! Every one ‘conversation’ is strident, demanding, challenging, absorbing and captivating, provocative!
At the very end I would like to conclude with the words of Janis Jefferies from 1995, once she took up the ‘idea of textiles’ in the expanded field to argue that ‘textile’ … is always 'not quite' there and also 'not quite' that... never quite settles in the same space, can never be read in the same place, in the same way twice” and its never ends.
受邀嘉宾简介
Key speakers introduction
Janis Jefferies
Janis Jefferies是一位艺术家、作家和策展人。她是英国伦敦大学视觉艺术金史史密斯学院名誉教授。
http://www.gold.ac.uk/computing/staff/j-jefferies/
Janis Jefferies曾在Magdalena Abakanowicz的指导下，在谢菲尔德艺术学院、梅德斯通艺术学院、英国坎伯韦尔工艺美术学院和波兰波兹南美术学院学习绘画。在1978年回到英国,她开创了当代纺织领域内视觉和物质文化与个人展览,会议和专业研讨会展览、馆长发展期刊出版物目录论文国际地位的艺术家,编辑书籍和几章贡献女权主义实践、纺织品、技术、工艺、性能和实践基础研究选集由曼彻斯特,爱丁堡和杜克大学出版社,劳特利奇,麻省理工学院出版社,终极艺术出版,Berg /布卢姆斯伯里出版社,施普林格,Ashgate,帕尔格雷夫麦克米伦,芝加哥艺术学院的学校,美国艺术公告(美国),米兰Skira版本(法语和英语),Bohlau -“模式全球”系列(德语和英语)和Niissos出版物(希腊语和英语),和Centralne Muzeum Włokiennictwa WŁodzi(两个出版物在波兰和英语)。Jefferies坐在大学的Aarthus(丹麦)视觉艺术委员会和MILL6 /聊天咨询委员会、香港、欧洲科学基金会的国际成员(养)的评论家,2009年5月1日2019年九月,国际VCUarts审查小组,卡塔尔和副研究员与纺织品和实质性研究集群Milieux研究所艺术,文化和技术,康科迪亚大学,加拿大蒙特利尔。Jefferies将向Charlie Gere博士和Francesca Franco博士提供《艺术、工艺设计技术》(Art, Craft Design technologies)，《布卢姆斯伯里新媒体艺术百科全书》(Bloomsbury Encyclopedia of New Media Art)共三卷，将于2022年出版，实践研究版。Graig Vear, Linda Candy和Ernest Edmonds，劳特利奇，2021年，与Vivienne Richmond博士一起担任布卢姆斯伯里世界纺织品百科全书的联合主编，预计2023年出版。
Janis Jefferies is an artist, writer and curator. She is Emeritus Professor of Visual Arts Goldsmiths, University of London, UK.
http://www.gold.ac.uk/computing/staff/j-jefferies/
Janis Jefferies trained as a painter at Sheffield School of Art, Maidstone College of Art, Camberwell College of Arts and Crafts, UK and Poznan Academy of Fine Arts, Poland under the direction of Magdalena Abakanowicz. On return to the UK in 1978 she pioneered the field of contemporary textiles within visual and material culture with solo exhibitions of work, conferences and professional seminars exhibitions, curatorial development journal publications, catalogue essays for artists of international standing, edited books and several chapter contributions on feminist practices, textiles, technology, crafts,performance and practice based research for anthologies distributed by Manchester, Edinburgh and Duke University Presses, Routledge, MIT Press, Telos Art Publishing, Berg/Bloomsbury Publishers, Springer, Ashgate and Palgrave McMillan, School of the Art Institute of Chicago, USA, The Art Bulletin (USA),, Skira Editions Milan (French and English) , Bohlau Verlag’s “mode global” series (German and English) and Niissos publications (Greek and English), and Centralne Muzeum Włokiennictwa w Łodzi (two publications in Polish and English). Jefferies sits on the University of Aarthus (Denmark) visual arts board and MILL6/CHAT advisory Board, Hong Kong, an International member of the European Science Foundation (ESF) Pool of Reviewers, 1 May 2009 -September 2019, international review panel for VCUarts, Qatar and Associate Research Fellow with Textiles and Materiality Research Cluster Milieux Institute for Arts, Culture and Technology, Concordia University, Montreal, Canada. Jefferies is contributing 'Art, Craft & Design technologies’ to Dr Charlie Gere and Dr Francesca Franco, three-volume Bloomsbury Encyclopedia of New Media Art, to be published in 2022, Practice Research eds. Graig Vear, Linda Candy and Ernest Edmonds, Routledge, 2021 and is Co-Chief Editor of the Bloomsbury Encyclopedia of World Textiles with Dr Vivienne Richmond, due 2023.
Alice Kettle
爱丽丝·凯特尔是一位英国当代纺织/织物艺术家。她通过使用工艺介质进行创作，开辟了一个独特的艺 术创作领域，始终如一，规模空前。
她的作品成为各大机构的公共藏品，如:伦敦手工艺协会、曼彻斯特 惠特沃斯美术馆、意大利都灵国际德尔艺术博物馆。
爱丽丝承接的委约项目包括:澳大利亚国家图书馆、 爱丁堡苏格兰高等法院、罗切斯特和温彻斯特大教堂以及曼彻斯特大学音乐与戏剧学院。
Alice Kettle is an English contemporary textile/fiber artist, curator and educator. Through the use of craft media, she has opened up a unique field of artistic creation, consistent and on an unprecedented scale. Her work is in the public collections of institutions such as the London Crafts Society, the Whitworth Gallery in Manchester, and the International Del Art Museum in Turin, Italy. Alice's commissions include the National Library of Australia, the Scottish High Court in Edinburgh, the Rochester and Winchester cathedrals, and the University of Manchester School of Music and Drama.
Kate Egan
凯特在国际大展中展出作品，成功完成公共空间重大委约项目。
为了另辟蹊径革新公共空间作品的跨学科 创作方式，凯特参与一系列跨学科合作项目。
凯特的作品使用了各种各样的材料，例如：空气、肥皂、混 凝土、织物、缝线、薄膜和新技术。凯特还负责指导纺织工艺专业学生开展外部委约项目。
Kate Egan is an artist, educator and curator, has successfully completed a major commission projects for public space, and curate in an international exhibitions. In order to find a new way to innovate the interdisciplinary way of creating works in public space, Kate has been involved in a series of interdisciplinary collaborative projects. Kate's work uses a variety of materials such as air, soap, concrete, fabric, stitches, film and new technology. Kate is also responsible for guiding textile craft students on external commission projects.
布达/胡仁仁
Buda ／HuRenren
馆长，策展人，译者。
毕业于法国社会科学高等研究院、巴黎高等实践学院, 巴黎高师莫里斯·霍尔布瓦奇研究中心。
2016年起主持创办寒山美术馆并担任馆长，独立杂志Surge（生羊毛）创办人和主编。
Curator, writer and translator.
He graduated from the Ecole Superieure des Social Sciences, the Ecole des Praxis de Paris, and the Maurice Holboisch Research Center, Paris Normal University.
Since 2016, he has been the founder and curator of Hanshan Art Museum. He is the founder and editor-in-chief of Surge, an independent magazine.
王晓松
WangXiaosong
博士，艺术评论人、策展人
2015年毕业于中国艺术研究院，获博士学位。2006-2012年供职于何香凝美术馆，2015-2017年在清华大学美术学院从事博士后研究工作。任职何香凝美术馆期间，策划主持的“人文之声——何香凝美术馆系列学术讲座”连续举办100场次，成为大陆最有影响的公共学术讲座之一。
在策划的当代艺术作品展、文献展和学术研讨会中，持续关注思想研究和文献梳理、现场呈现之间的关系，以及展览在艺术观念和艺术史构成中的独特作用。先后策划及参与策划的重要展览包括“何香凝艺术的地·图·志——何香凝美术馆建馆十周年展览”（深圳何香凝美术馆，2017）、“移花接木——中国当代艺术中的后现代方式”（深圳华·美术馆，2008）、“全国高等美术院校应届毕业生优秀雕塑作品年展”（第1－4届，何香凝美术馆，2008-2011）、“两岸四地艺术交流计划”（第1－4届，何香凝美术馆、香港艺术中心等，2009-2012）、“徐冰：木·林·森计划”（深圳何香凝美术馆，2009）、“乌托邦·异托邦——乌镇国际当代艺术邀请展”（浙江乌镇，2017）、徐冰同名个展（武汉合美术馆，2017）“应力场——第四届美术文献展”（湖北美术馆，2017）、“中国和葡语国家艺术年展——三千界”（澳门特区政府文化局，2018）、“徐冰的文字”（澳门艺术博物馆，）、“时间开始了——2019乌镇当代艺术邀请展”（浙江乌镇，2019）、“无界之归——第三届杭州纤维艺术三年展”（杭州浙江美术馆、中国美术学院美术馆、中国丝绸博物馆，2019）等，并应邀担任“亚洲巡弋——物证”（台北艺术大学关渡美术馆，2013）、“移形换影——对话园林艺术邀请展”（苏州雨村美术馆，2013）策展人，以及第1-3届“全球华人书画（艺术）展”。
2011年起，先后为《当代艺术新闻》《Hi艺术》撰写专栏。著有文艺评论集《视线之下》（中国摄影出版社，2016）、《靳埭强：身度心道——中国文化为本的设计、艺术与教育》（安徽美术出版社，2007）（合著），编著《不舍皮相：刘建华的2008-2018》（上海三联书店，2019）、《徐冰》（北京大学出版社，2021）以及周春芽、岳敏君、毛同强、刘旭光等艺术家的文献集。
Art critic and curator Wang Xiaosong received his PhD from the Chinese National Academy of Arts in 2015. He has worked at He Xiangning Art Museum, Shen Zhen from 2006 - 2012, and make his post-doctoral research at the Tsinghua University from 2015-2017.Wang curated and participated in several important exhibitions and art projects, such as The Art and Life of He Xiangning: Mapping, Illustrating, and Documenting the Landscape of History-the Ten-Year Anniversary of the He Xiangning Art Museum, Hypallage: The Pos - Modern Mode of Chinese Contemporary Art (OCT Art and Design Gallery), Cross-Strait-Four-Regions Artistic Exchange Project (First-Fourth editions, He Xiangning Art Museum, Hong Kong Arts Centre, etc.), Asia Cruise: Evidence (Kuandu Museum of Fine Arts), Transforming (Suzhuou Yucun Art Museum), Zhou Chunya: New Works (Macau Museum of Art), Utopias/Heterotopia- Wuzhen International Contemporary Art Exhibition (Wuzhen), Xu Bing Solo Exhibition (Wuhan United Art Museum), Now Is the Time: 2019 Wuzhen Contemporary Art Exhibition (Wuzhen) and Annual Arts Exhibition between China and Portuguese-speaking Countries – The Universe (Macao Ox Warehouse). Wang has planned and hosted the "Voice of Humanism--Academic Lecture of He Xiangning Art Museum" No. 101-200. Since 2011, he has started to write art review columns for Chinese Contemporary Art News and Hi Art . He has edited works/ literature collections for artists like Xu Bing, Yue Minjun, Zhou Chunya, etc. His books include Under the Sight and Kan Tai-keung: Shen Du Xin Dao -- Design, Art and Education Based on Chinese Culture (co-author).
刘潇
LiuXiao
策展、教学与出版，是刘潇的主要工作内容。带着当代艺术策展与展示文化研究的长期经验，形成了强调历史基础工作、以“通过视觉去思考”作为方法的策展人-教师。
先后深层次介入大型学术性展览，作为策展人策划了2016年“我织我在：第二届杭州纤维艺术三年展”（浙江美术馆），2014年“社会工厂：第十届上海双年展”（上海当代艺术博物馆），2013年“西岸建筑与当代艺术双年展：营造与进程”（上海西岸）。作为助理策展人参与策划了2012年“重新发电：第九届上海双年展”与2010年“巡回排演：第八届上海双年展”等。
刘潇的策展实践围绕着中国现代美术教育的历程展开，同时关注基于材料研究的艺术创作，包括雕塑、绘画、纤维艺术、玻璃、摄影等。包括2019年以70年为时间线的雕塑大展“人民的纪程”、“铸金炼课：中国美术学院研究生核心课程十五案”、“贡布里希诞辰110周年纪念文献展”；2018年“西湖志：王公懿、严善醇”（中国美术学院美术馆）、 “如是我闻：郑闻卿”（上海玻璃博物馆）；2015年“未有烛而后至：陈传兴”（中央美术学院美术馆）；2011年“觅金山鸿爪：郑森池”（广东美术馆）等。独立研究、出版及社会性现场事件项目“国道计划”以及“夜间阅读”仍在进行中。
Liu Xiao is an art teacher, curator and editor. She devotes in art education with experience of contemporary art curating and visual culture research. Now Liu Xiao is more act as a curator-teacher with emphasis on historical research and the method of thinking through the visual.She involved and curated numerous academic exhibition. Liu curated“Weaving & We: 2016 Hangzhou Triennial of Fiber Art”(ZJAM, Hangzhou), “Social Factory: 2014 Shanghai Biennial”, Power Station of Art(PSA, Shanghai); “Fabricate and Progress：2013 West Bund Biennial of Architecture and Contemporary Art”(West Bund, Shanghai). And assistant curated “Reactivation: 2012 Shanghai Biennial” and “Rehearsal: 2010 Shanghai Biennial”, etc.Liu’s recent curatorial practice focus on modern art education in China, and art production with material, such sculpture, painting, fiber art, glass and photography, which includes “Memorial Progress of People: Sculpture in China 1949-2019”, “Casting Golden Course: 15 CAA MA Courses”, “Records of West Lake: Wang Gong Yi & Yan Shanchun” (CAA Museum, Hangzhou), “Thus Have I Heard: Zheng Wenqing”(Shanghai Museum of Glass), “Won’t Somebody Bring the Light: Tsun-Shing Cheng”(Central Academy of Fine Art Museum, Beijing), “Reading at Night” (The Quaritch @ Golden Square, London; The Common Art Space, Hangzhou). Her independent exhibition and publish project “National Road” and “Reading at Night” are still in progress.
以上信息均由嘉宾本人提供
文案整理：吴单燕如
文字翻译：王舒艺、吴单燕如
编辑：毛宇