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Category: book
我在•视听体验——2010中国版画艺术工作室联盟作品展
策展人: 张新英
展览时间：2010年4月16日——5月2日
展出地点：关山月美术馆1楼A、B、C、中央厅
展览成员: 苏新平、陈琦、周吉荣、唐承华、张广慧、卢治平、贺焜、徐宝中、梁宇、李劲松
主办单位：关山月美术馆(Guanshanyue Art Museum )
关山月美术馆对当代中国版画的关注始于2000年，除自2006年以来承展的每两年一次的“学院版画展”外，还陆续自主成功策划举办了“走进当代”、“灵性空间”、“山外·山”、“视觉漂变”、“穿越浮世绘”、“承前启后”等群体版画学术展览以及李焕民等老一辈版画家的学术回顾展，在全国版画界形成了一定的学术凝聚力，版画艺术的收藏、研究与展示也成为我馆的一个优势学术方向。
“中国版画艺术工作室联盟”是一个在版画学术和社会活动方面都非常活跃的艺术群体，联盟的主要成员苏新平、陈琦、周吉荣、唐承华、张广慧、卢治平、贺焜、徐宝中都是活跃在中国版画艺坛上有成就的艺术家。他们的作品突破了版画原有的架上传统观念，具有很强的当代性和学术价值，在一定程度上标示着当代中国版画的发展趋势。联盟成员在进行版画创作、交流的同时，也特别看重艺术的社会性，热心于社会公益活动，作品体现出高度的社会责任感和人文关怀，这与我馆注重社会服务和公共教育的理念不谋而合。由此，我们推出“我在·视听体验——2010中国版画艺术工作室联盟作品展”。
“我在”即一种自在自为、不为潮流所扰的状态，“视听体验”是我们根据当下中国版画以及当代艺术发展的学术状态而作出的学术尝试，联盟成员一方面通过自身沉潜的艺术创作追索人生的真谛，一方面通过参与社会公益事业、介入社会问题的艺术行为来探寻艺术自身的真正意义。展览展出了9位版画家和1位声音艺术家新近创作的代表作品，版画作品在制作上突破了传统的工具材料的限制，尺幅巨大、印制精良、技术水平精湛娴熟，其中不乏以版画元素实现的影像和装置作品，具有很强的视觉冲击力和美感内容的可读性，同时，作品本身也从不同的视角揭示了艺术家对社会问题的关注以及对生命的关爱，从而生动地阐释了此次展览的学术主题。李劲松创作的声音艺术作品包括为此次展览活动特别制作的主题音乐和为展览中的装置和影像作品专门制作的声音元素两个部分，这些声音元素采用专门的视觉和声音的转译软件制作完成，与装置和影像作品中的构成和色彩等元素构成一种一一对应的关系，从而从视觉和听觉两个方面对观者产生同步的影响。
Noise & Capitalism
Noise & Capitalism
Publisher: Arteleku Audiolab (Kritika series), Donostia-San Sebastián (Gipuzkoa)
Publication date: September 2009.
ISBN: 978-84-7908-622-1
Contributors: Ray Brassier, Emma Hedditch, Matthew Hyland, Anthony Iles, Sara Kaaman, Mattin, Nina Power, Edwin Prévost, Bruce Russell, Matthieu Saladin, Howard Slater, Csaba Toth, Ben Watson.
Editors: Mattin & Anthony Iles
‘Noise’ not only designates the no-man’s-land between electro-acoustic investigation, free improvisation, avant-garde experiment, and sound art; more interestingly, it refers to anomalous zones of interference between genres: between post-punk and free jazz; between musique concrète and folk; between stochastic composition and art brut. – Ray Brassier
This book, Noise & Capitalism, is a tool for understanding the situation we are living through, the way our practices and our subjectivities are determined by capitalism. It explores contemporary alienation in order to discover whether the practices of improvisation and noise contain or can produce emancipatory moments and how these practices point towards social relations which can extend these moments.
If the conditions in which we produce our music affects our playing then let’s try to feel through them, understand them as much as possible and, then, change these conditions.
If our senses are appropriated by capitalism and put to work in an ‘attention economy’, let’s, then, reappropriate our senses, our capacity to feel, our receptive powers; let’s start the war at the membrane!
Alienated language is noise, but noise contains possibilities that may, who knows, be more affective than discursive, more enigmatic than dogmatic.
Noise and improvisation are practices of risk, a ‘going fragile’. Yet these risks imply a social responsibility that could take us beyond ‘phoney freedom’ and into unities of differing.
We find ourselves poised between vicariously florid academic criticism, overspecialised niche markets and basements full of anti-intellectual escapists. There is, afterall, ‘a Franco, Churchill, Roosevelt, inside all of us…’ yet this book is written neither by chiefs nor generals.
Here non-appointed practitioners, who are not yet disinterested, autotheorise ways of thinking through the contemporary conditions for making difficult music and opening up to the willfully perverse satisfactions of the auricular drives.
The distribution of this book is going to be done by trading:
If you are an artist, musician, writer or engage in any creative activity, we would very much appreciate that you send a sample of your work as a form of exchange for the book. Otherwise you can write a critical response to the book and send it to Arteleku.
If you are a distributor or a label or a publisher and you want to get copies of the book for distribution, you can send single copies of different books, zines or records in exchange and Arteleku will send you copies of the book in return.
Any material sent to Arteleku will become part of Arteleku’s library and people will have free access to this material.
Post: Arteleku, Kristobaldegi 14 (o nuevo P. Ainzieta), Loiola Auzoa, 20014 Donostia – San Sebastián (Spain).
Email: [email protected]
Arteleku might take some time to reply and to send the books but they will do it as soon as they can.
This book can be downloaded as a PDF file:
http://www.arteleku.net/audiolab/noise_capitalism.pdf
Spanish and Basque editions of this book will be published in early 2010.
Upcoming presentations:
20 November
Noise & Capitalism at Piksel Festival Bergen
15:30-16:15 Bergen Kunstmuseum/Stenersen
Room Audiotoriet
http://www.arteleku.net/audiolab/noise_capitalism.pdf
Piksel Festival
Bergen
24 & 25 November
Noise & Capitalism reading group at CalArts
4pm – 8pm
1st day:
Genre is Obsolete by Ray Brassier
Towards a Social Ontology of Improvised Sound Work by Bruce Russell
2th day:
Prisoners of the Earth Come Out! Notes Towards ‘War at the Membrane’ by Howard Slater
Anti-Copyright: Why Improvisation and Noise Run Against the Idea of Intellectual Property by Mattin
Herb Alpert School of Music at CalArts
(california institute of the arts)
http://music.calarts.edu/
All welcome
27 November
Noise & Capitalism presentation and discussion
7pm,16 Beaver
16 Beaver Street
4th & 5th Floor
New York, NY 10004
http://www.16beavergroup.org/
2010
11 January
Noise & Capitalism discussion Alan Courtis & Mattin
Instituto Cervantes
Bryggarg. 12 A
11121 Stockholm, Sweden
http://www.cervantes.se/
24-25 February
Noise & Capitalism: Undoing, Understanding and Sharing Time Together
(Emma Hedditch, Anthony Iles, Howard Slater & Mattin)
26 February
Performance/experiment Emma Hedditch, Anthony Iles, Howard Slater & Mattin
Kill Your Timid Notion Festival
Dundee, Scotland
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