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Légendes de gauche à droite :
1/ Xin Yunpeng - 辛云鹏, 20140217, Video - 录像, 2014.
2/ Lin Ke - 林科, Hahnemuhle, 数据泡沫板, 收藏级摄影纯棉数字微喷, 120×57cm, 2013.
3/ Zhou Siwei - 周思维, CCD- photo06, Digital Printing, Variable Size - 数码输出, 尺寸可变, 2013.
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présentation - 展览介绍 :
Curator: Bao Dong
Artists: Lin Ke, Liu Yue, Liao Fei, Lu Pingyuan, Xin Yunpeng, Zhou Siwei
‘A+A the Seventh Exhibition: Too Smart to be Good?’ will take place on April 8th, 2014. As PIFO Gallery’s original exhibition, ‘A+A’ Exhibition has held 7 times. ‘A+A’ exhibition was formed by artists and the gallery going Dutch, now become a group exhibition, which gallery invites curators and artists to complete it. Focus on artists’ individuation, put artists’ latest exploration as exhibition’s springboard. In 2010, it begins to take Biennale Exhibition mode. In the past 9 years, there are 104 artists in total attended, and 25 of them joined more than once. Through ‘A+A’ Exhibition, people start getting to know them.
The curator BAO Dong will invite six artists for this exhibition. They are LIN Ke, LIU Yue, LIAO Fei, LU Pingyuan, XIN Yunpeng, ZHOU Siwei. He use ‘too smart to be good?’ to describe their works for the sensitive and intelligence of them. ‘Too good to be smart’ are daily words, but it contains two levels of rhetorical irony. The original pejorative ‘too… to…’ as a compliment extent complement the rhetoric of ‘smart’, it became commendatory rhetoric sentence. ‘Too smart to be good’ are very normal words, but they have two levels of rhetorical irony as well.
Compare to smart, sincere, justice seem to have primacy in ethic value, and in the category of artistic value, ‘smart’ seems never been the first class virtues. If you use smart to evaluate an artist’s work, which usually means you have to praise the artist’s intellectual, meanwhile, you also have your won intellectual doubt. In fact, ‘smart’ always unconsciously equated with ‘petty trick’, and in the art area, smart is only brought some small ideas. People are used to have more requirements to art, such as profound social significance, correct political stance, the real experience of the state and the ultimate sensory effects, etc., ‘smart’ is just considered as a method to achieve the goals. But what if we put ‘smart’ at the first place to survey art?
This exhibition attempts present the artist's clever side, more precisely, their self worth on the fickle world. Intellectual is no longer take as just a instrumental, it will be stripped out as a independent discussions object, from the rhetoric. If this idea can be established, the aimless ‘smart’ will be as important as ‘aesthetic’. But in fact, nimble, fast, exact, lightness, easy... which are included or involved in smart, has never been so important yet been underestimated.
策展人: 鲍栋
艺术家: 林科, 刘月, 廖斐, 陆平原, 辛云鹏, 周思维
“A+A第七回展：聪明坏了”将在2014年4月8日开幕。“A+A”这个展览项目从偏锋新艺术空间2006年创办以来至今已有七届。“A+A”这个展览平台从最初艺术家以AA制这一自觉和自发的方式形成展览，到现在以群展的方式，邀请策展人和艺术家来共同完成展览，着重强调呈现艺术家的个体性，把艺术家最新的独立探索作为展览的出发点。从最初的年度展到2010年更新为隔年展，在九年七届的时间中，共104名艺术家参与，众多的艺术家通过“A+A”这个展览平台逐渐被大家熟知。
本次展览的策展人鲍栋把林科、刘月、廖斐、陆平原、辛云鹏、周思维这6位艺术家作品中的敏感与急智形象地概括为“聪明坏了”。“聪明坏了”是一个极其日常的短语，但却包含了两个层面的反语修辞。从这个短语的字面结构而言，原本贬义的“坏了”作为程度补语在修辞褒义“聪明”的时候，反而获得了程度上的褒义。而从这个短语的日常使用语境来说，其含义也充满曲折，既包含着对聪明程度的肯定，也包含着对聪明价值本身的不信任。
相对于聪明，真诚、正义等品质似乎具有伦理价值上的优位性，而在艺术价值范畴中，聪明也似乎从来不是第一等级的美德。如果用“聪明坏了”去评价某个艺术家的作品，这通常意味着你在不得不赞美这位艺术家的智性的时候，又对智性价值本身做出怀疑。事实上，“聪明”总是被不自觉地等同于“小聪明”，而艺术创作中的聪明经常被认为只是带来了一些小点子。而人们习惯性的对艺术有着更多的要求，比如深刻的社会意义、正确的政治立场、真实的经验状态、极致的感官效果等等，聪明被认为只是达到这些目标的手段而已。但如果把艺术中的聪明，即其中的智识性因素作为专门的着眼点呢？
这个展览试图呈现艺术家的聪明，更确切地说他们对纷繁变化的外部世界的敏感程度与处理能力的自足价值。智性在这里不再被视为只是工具性的，它被尽量从修辞、批判、论辩等效用中剥离出来，成为一个独自成立的讨论对象。如果这一思路能够成立，这种无目的性、非工具化的“聪明”对于讨论今天的艺术的重要性，可能并不次于曾经划定的“审美”概念对于讨论现代艺术的重要性。但事实上，灵巧、迅速、确切、轻逸、易见……聪明所包含或涉及的这些品质，从来没有像今天这么重要但却被人们轻视。
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