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　　尚品國際當(dāng)代藝術(shù)展

　　Collection of Shangpin International Contemporary Art Exhibition

　　展覽時間：2024年1月24日——3月24日

　　Exhibition Period: January 24 - March 24, 2024

　　開幕時間：2024年1月24日

　　Opening: January 24, 2024

　　地址：尚品當(dāng)代藝術(shù)館

　　Address：Shangpin Contemporary Art Museum

　　策展人：李衛(wèi)忠、楊永炘。

　　Curators： Li Weizhong、Yang Yongxin

　　參展藝術(shù)家：周曉冰、嘉山雅士(日本) 、李衛(wèi)忠、馬行云、徐浡君、張智、饒泓潔。

　　Participating artists：Zhou Xiaobing、Jia Shan Ya Shi (Japan) 、Li Weizhong、Ma Xingyun、Xu Bojun、ZhangZhi、Rao Hongjie.

　　展覽執(zhí)行：張凇瑋、王柯棋、鐘鑫。

　　Exhibition Implementation：Zhang Songwei、Wang Keqi、Zhong Xin.

　　藝術(shù)家語錄

　　說起現(xiàn)代藝術(shù)，普通人的第一反應(yīng)可能會是西方的抽象思維的產(chǎn)物，或是帶有晦澀意味的前衛(wèi)構(gòu)成和行為。不必觀者完全理解，我說我的故事，你能懂最好，不懂的話正好說明我的高深，陽春白雪不正是孤高不群的最高境界嗎?然而，我認(rèn)為置身于這個信息科技極端快速發(fā)展的當(dāng)代社會，無論是標(biāo)榜什么前、后主義的繪畫、裝置、衍生品或是數(shù)字、影像作品，讓人一瞥之后能夠留下深刻印象的便是好作品。雖稍顯偏激，但是人們沒有更多的時間去理解作品的深層內(nèi)涵，你的故事是你的，我在意的是在這個環(huán)境中，正好有與周圍極其協(xié)調(diào)的藝術(shù)品，又是我喜歡的款，那才是我需要的，這便是成功了�？此坪唵螛O了，又是非常功利的，我覺得這就是大眾的審美心理。所謂提高人們的審美意識，責(zé)任在藝術(shù)家，不產(chǎn)出垃圾作品也就不會讓人把丑當(dāng)作美，對觀者來說只存在喜歡或不喜歡的選擇，一個成功的展覽應(yīng)該是讓人產(chǎn)生選擇困難的作品集合體。云南昆明是我非常向往的地方，與一線大都市截然不同的是這里有最純粹的民族藝術(shù)的根本、有著中國民族藝術(shù)走向當(dāng)代藝術(shù)發(fā)展的良好土壤和空間。同時也會給中國當(dāng)代藝術(shù)提出本土化，民族化，話語體系及文化立場一系列的思考的可能性。此次展覽匯集了國內(nèi)外優(yōu)秀的當(dāng)代藝術(shù)家。諸位同仁在繪畫、陶藝、數(shù)字版畫、影像等領(lǐng)域都有非凡建樹。在當(dāng)代藝術(shù)國際化語境的當(dāng)下，民族藝術(shù)語言的融合會給作品帶來全新的面貌。本次參展作品不拘形式，可謂耳目一新，有當(dāng)代藝術(shù)繪畫、陶藝、潮玩、數(shù)字版畫、影像、紀(jì)錄片......展覽呈現(xiàn)的亮點(diǎn)在春天來臨之際勢必掀起一股昆明當(dāng)代藝術(shù)的春風(fēng)!可喜的是我們可以看到今天的昆明當(dāng)代藝術(shù)正在崛起并煥發(fā)出新的活力!一大批社會新階層人士內(nèi)中的非主流職業(yè)藝術(shù)家正站在新一輪的起跑線上，講述云南的故事、發(fā)出云南的聲音，展示著云南的生活、云南的當(dāng)代藝術(shù)!使當(dāng)代藝術(shù)在文化立場上、方向上、審美趣味上提高大眾的審美水平，凈化人們的精神世界。不斷實踐、探索、研究藝術(shù)的規(guī)律和原理、推動當(dāng)代藝術(shù)向前發(fā)展。在整個展覽期間我們將圍繞當(dāng)代藝術(shù)的國際化語境、創(chuàng)作實踐、審美觀念等，從多角度舉辦數(shù)場當(dāng)代藝術(shù)的學(xué)術(shù)講座，面對面和大眾溝通交流，讓當(dāng)代藝術(shù)走下神堂，讓廣大藝術(shù)愛好者及大眾聽得懂、看得懂、買得起。我們能夠看到今天的云南，已經(jīng)產(chǎn)生出具有一定的文化影響和競爭力的一大批優(yōu)秀當(dāng)代藝術(shù)家，他們具備了對話國際的能力和話語權(quán)!可喜可佩!

　　嘉山雅士(日本)

　　2023年12月9日

　　When it comes to modern art, the first reaction of ordinary people may be the product of Western abstract thinking, or avant-garde composition and behavior with obscure meanings. It is not necessary for the viewer to fully understand, I tell my story, it is best if you can understand it, if not, it just shows my profoundness, isn't Yangchunbaixuexue the highest state of solitude? However, I believe that in this contemporary society where information technology is developing at an extremely fast pace, no matter what kind of paintings, installations, derivatives or digital or video works are labeled as pre- or post-post-apocalyptic, the ones that leave a deep impression on people after a glance are good works. It's a bit radical, but people don't have more time to understand the deeper meaning of the work, your story is yours, what I care about is that in this environment, there is a piece of artwork that harmonizes well with the surroundings, and it's my favorite, that's what I need, and that's what I need, and that's what I need, and that's what makes it successful. It seems very simple and very utilitarian. I think this is the aesthetic psychology of the public. I think this is the public's aesthetic psychology. The so-called raising people's aesthetic consciousness, the responsibility lies with the artists, not to produce garbage works will not let people take ugly as beautiful, there is only a choice of liking or disliking to the viewers, and a successful exhibition should be a collection of works that make people have difficulty in choosing. Kunming, Yunnan Province is a place I am very eager to visit, which is very different from the first-tier metropolis in that it has the root of the purest national art, and a good soil and space for the development of Chinese national art towards contemporary art. At the same time, it will also give Chinese contemporary art a series of possibilities to think about localization, nationalization, discourse system and cultural stance. This exhibition brings together outstanding contemporary artists from home and abroad. They have made remarkable achievements in the fields of painting, ceramics, digital printmaking and video. In the context of internationalization of contemporary art, the fusion of national artistic languages will bring a new look to the works. The works in this exhibition are eclectic and refreshing, including contemporary art paintings, ceramics, hip hop games, digital prints, videos, and documentaries. ...... The highlights of the exhibition are bound to set off a spring breeze of contemporary art in Kunming as spring approaches! Happily, we can see that today's contemporary art in Kunming is on the rise and has a new vitality! A large number of non-mainstream professional artists within the new social strata are standing on the starting line of the new round, telling the stories and voices of Yunnan, displaying the life and contemporary art of Yunnan! Contemporary art will improve the public's aesthetic level and purify people's spiritual world in terms of cultural stance, direction and aesthetic interest. Continuously practicing, exploring and researching the laws and principles of art, and promoting the forward development of contemporary art. During the whole exhibition period, we will focus on the internationalization of contemporary art context, creative practice, aesthetic concepts, etc., from a variety of perspectives to hold several academic lectures on contemporary art, face-to-face communication with the public, so that contemporary art down the hall, so that the majority of art enthusiasts and the general public to listen to, understand, understand, and affordable. We can see today's Yunnan, has produced a large number of outstanding contemporary artists with a certain cultural impact and competitiveness, they have the ability to talk to the international community and the right to speak! It is commendable and admirable!

　　Jia Shan Ya Shi (Japan)

　　December 9, 2023

　　本期展覽特點(diǎn)

　　2024年昆明極具影響力的當(dāng)代藝術(shù)展，此次參覽的一個特點(diǎn)，是國際化視野,藝術(shù)是世界通行的溝通語言，透過藝術(shù)我們彼此理解。“打開”傳統(tǒng)藝術(shù)的地理邊界，參展藝術(shù)家共7人，分為老、中、青三代，最長的75歲，最小的23歲，他們當(dāng)中有日本籍藝術(shù)家，有正在留學(xué)日本京都大學(xué)的，有國內(nèi)藝術(shù)院校的教授，專家，學(xué)者，有國家級，省級陶瓷藝術(shù)大師，這樣一個人才資源軌跡，濃縮和見證了共和國發(fā)展與改革開放四十多年藝術(shù)變遷的一個縮影，具有代表性，從作品中不難看出藝術(shù)主張、文化立場、本土性及話語體系,反映出云南當(dāng)代藝術(shù)的一個特點(diǎn)。

　　本期展覽亮點(diǎn)

　　當(dāng)代藝術(shù)無邊界化、作品形式風(fēng)格多樣化、直面懂與不懂、多地巡展持續(xù)時間長、潮流來襲撲面化、體現(xiàn)出生氣、朝氣、雅氣之風(fēng);數(shù)字作品親民化、一出手買得起、帶得走;多場次公益性當(dāng)代藝術(shù)美育及學(xué)術(shù)講座親民面向大眾，體現(xiàn)藝術(shù)家的社會責(zé)任。

　　本期展覽形式

　　當(dāng)代藝術(shù)繪畫作品59件，其中有日本現(xiàn)代書法、當(dāng)代紙本，架上丙稀、油畫，后未來主義綜合材制，絕版木刻，日本巖彩畫、絹本畫、潮玩，數(shù)字復(fù)刻版畫;當(dāng)代陶藝作品30件;涵蓋景德鎮(zhèn)青花瓷、曲靖潦滸柴燒陶瓷、建水紫陶、昆明陶;影像單元:銀鹽套色攝影、七部人文紀(jì)錄片，內(nèi)容含蓋藝術(shù)家傳記文獻(xiàn)影像、云南滄源巖畫、佤族人文歷史，風(fēng)情，歌舞;有記錄講述中國當(dāng)代藝術(shù)文化社區(qū)發(fā)祥地的昆明創(chuàng)庫，千年潦滸陶瓷古鎮(zhèn)，許多資料屬國內(nèi)第一次展示，影像在國際當(dāng)代藝術(shù)展中較為普遍、也是構(gòu)成一個展覽的重要組成部分。

　　本期展覽藝術(shù)家

　　本期展覽藝術(shù)家介紹

　　Introduction of participating artists ：

　　【嘉山雅士】(日本)號心齋，別署大璞堂主人、舍園居士�，F(xiàn)居上海及東京兩地。畢業(yè)于日本多摩美術(shù)大學(xué)。現(xiàn)為日本華人美術(shù)家協(xié)會理事、海上印社社員、上海楹聯(lián)學(xué)會會員、秦漢會(日本書道團(tuán)體)理事。

　　Jia Shan Ya Shi (Japan) Number Heart Zhai, Department Da Pu Hall Master, House Garden Householder. He now lives in Shanghai and Tokyo. Graduated from Tama University of Fine Arts in Japan. Now he is a director of the Chinese Artists Association of Japan, a member of the Maritime Printing Society, a member of the Shanghai Couplet Society, and a director of the Qin and Han Association (Japanese Calligraphy Group).

　　【周曉冰】中國美術(shù)家協(xié)會會員、中國陶瓷藝術(shù)設(shè)計大師、中國非遺物質(zhì)保護(hù)協(xié)會陶瓷分會常務(wù)理事，中國西部陶藝文化中心主任、四川省美術(shù)家協(xié)會陶藝委員會名譽(yù)主任、《西部陶藝》雜志主編、歷屆中國西部陶藝作品雙年展創(chuàng)始人、策展人，四川師范大學(xué)美術(shù)學(xué)院特聘教授、四川旅游學(xué)院藝術(shù)學(xué)院教授。

　　Zhou Xiaobing, member of Chinese Artists Association, master of Chinese ceramic design, executive director of Ceramic Branch of China Non-Legacy Material Protection Association, Director of China Western Ceramic Culture Center, Honorary Director of Ceramic Committee of Sichuan Artists Association, Editor-in-Chief of Western Ceramic Art Magazine, All previous founders and curators of Western China Ceramic Works Biennale, distinguished professor of Academy of Fine Arts of Sichuan Normal University and professor of Art College of Sichuan Tourism Institute.

　　【李衛(wèi)忠】：當(dāng)過兵、務(wù)過工、得過腦梗;會點(diǎn)寫字、繪畫、制陶、紀(jì)錄片的當(dāng)代藝術(shù)家、策展人。

　　Li Weizhong: A contemporary artist and curator who has been a soldier, a worker, and a cerebral infarction.

　　【馬行云】云南省美術(shù)家協(xié)會陶瓷藝委會(原)主任;云南省陶瓷藝術(shù)大師;《陶瓷科學(xué)與藝術(shù)》編委會編委;《云陶》《中國四大名陶》《云南建水紫陶》作者。

　　Yunnan Artists Association Ceramic Art Committee (former) director; Yunnan Ceramic Art Master; " Ceramic Science and Art " editorial committee; " Yunnan Pottery " " Four Famous Pottery " " Yunnan Jianshui Purple Pottery ".

　　【徐浡君】"后未來主義"繪畫藝術(shù)的創(chuàng)始人。代表作品為"KST系列油畫、絕版木刻，“后意念”系列絕版木刻，極具先鋒性.實驗性.創(chuàng)造性。為國內(nèi)外多家藝術(shù)機(jī)構(gòu)簽約藝術(shù)家。

　　Xu Jun, the founder of " post-futurism " painting. Representative works for the " KST Series Oil Painting, Out-of-Print Woodcut, " After the Idea " series of out-of-print woodcut, very pioneering. Experimental. Creative. Contract artists for many art institutions at home and abroad.

　　【張智】曲靖師范學(xué)院美術(shù)學(xué)院油畫老師，畢業(yè)于云南藝術(shù)學(xué)院，進(jìn)修于中央美院壁畫系、油畫系。垚哥陶瓷工作室、美術(shù)館主創(chuàng)，作品多次獲部省市級獎項，云南省萬人計劃首席技師，云南省陶瓷藝術(shù)大師。

　　He graduated from the Academy of Fine Arts of Qujing Normal University and studied in the Department of Murals and Oil Painting of the Central Academy of Fine Arts. Yao Ge Ceramic Studio, Art Museum, the main creation, works won many provincial and municipal awards, Yunnan Province Million People Plan Chief Technician, Yunnan Province Ceramic Art Master.

　　【饒泓潔】女，2000年出生，畢業(yè)于央美附中，2022年留學(xué)日本，就讀于日本京都藝術(shù)大學(xué)，主修現(xiàn)代藝術(shù)、巖彩繪畫。

　　Rao Hong Jie, born in 2000, graduated from the high school attached to the central United States, in 2022 to study in Japan, Kyoto University of the Arts, Major in modern art, rock painting.

　　部分參展作品