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OPEN CALL
ABOUT TIME
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OPEN CALL PREFACE
展览征集前言
“And indeed there will be time, for the yellow smoke that slides along the street, rubbing its back upon the window panes; there will be time, there will be time. To prepare a face to meet the faces that you meet; there will be time to murder and create; and time for all the works and days of hands, that lift and drop a question on your plate; time for you and time for me, and time yet for a hundred indecisions, and for a hundred visions and revisions, before the taking of a toast and tea.”
- TS Eliot, The Love Song of J. Alfred Prufrock (1965) [1]
Change is the only constant. In Buddhism, there is an emphasis on recognising the impermanence of all things. This concept holds that "all conditioned existences, without exception, are transient, evanescent, and inconstant. All temporal things, whether material or mental, are compounded objects in a constant state of change, subject to decline and destruction."[2] The Japanese term "物哀" (mono no aware), which translates to the pathos of things, reflects a subdued and enduring sorrow faced with impermanence. [3] Hiroshi Yoshida (1876-1950), a modern master of printmaking, is one of the representatives of the aesthetics of "mono no aware". Meanwhile, the "I Ching" (Book of Changes), as one of humanity's earliest efforts to position itself within the cosmos, employs sixty-four hexagrams as a system model for change. It advocates for a mindset of positive adaptation, seeking to understand and grasp the nature of change.
In the 60s, conceptual artists including Roman Opałka, On Kawara, Hanne Darboven had pushed the depiction of time to an extreme. They had embedded the notion of time in the content, philosophy, and most profoundly in their process by establishing and committing to rigorously serialized systems. Both Opałka’s 1965/1-∞ and Kawara’s Today series (date paintings) have lasted for almost half a century, which were sustained practices lasting throughout the artists’ careers. Kawara had referred to his way of working as the “primordial forms of image-making”. Each Date Painting had to be completed within 24 hours with the same ritual, and in One Million Years, every page contained five hundred years typed in a uniform format. [4] Starting from the number “1”, Opałka continued to paint numbers sequentially in rows on the same sized canvas (the size of the door of his Warsaw studio). When he ran out of space, he would start again on another canvas. Each canvas is a detail of the series. At last, Opałka completed 233 details and ends with the number 5,607,249. [5] In Darboven’s Cultural History 1880–1983 (1980-83), 1,589 individually framed works on paper of uniform format and 19 sculptural elements deliver an overwhelming encyclopedia of cultural, social and historical elements. [6]
We hope our sharing provides inspiration rather than constraints to artists. The process of art creation is the materialisation of momentary thoughts and experiences, where ideas are carried by canvas or other mediums, essentially constituting a confrontation with time. The exhibition "about time" invites artists to share their experiences with time, change, and eternity.
“的确总会有时间。让黄烟沿街道肆意,在窗上摩擦它的后背。总会有时间,总会有时间准备一张面孔,去迎接你遇见的面孔。总会有时间去扼杀,创造。总会有时间让辗转劳作的双手,举起问题又丢进你盘里;总会有时间,给你,给我;有时间一百次迟疑,一百次幻想与修正,在吃一片烤面包与喝茶之前”
- T.S. 艾略特,《J·阿尔弗雷德-普鲁弗洛克的情歌》[1]
永恒的对抗
改变是唯一的永恒。佛教中强调对「无常」的认知,即 “所有有条件的存在,无一例外,都是短暂的、稍纵即逝的、不稳定的。所有临时的事物,无论是物质的还是精神的,都是在持续变化的条件中复合的对象,受制于衰退和毁灭。” [2] 日文中有「物哀」(物の哀れ,mono no aware)一词,是面对无常而产生的克制隐忍的悲伤。现代版画大师吉田博(HiroshiYoshida,1876-1950)是「物哀」美学的代表之一。[3] 而「易经」(I Ching, Book of Changes),作为人类试图将自己置于宇宙之中的最初努力之一, 则以六十四卦作为变化体系模型,以积极应变的思维,谋求理解、把握变化
从对时间这一主题的探索上,罗曼·奥帕乌卡(Roman Opałka)、河原温(On Kawara)、汉娜·达博文(Hanne Darboven)等观念艺术家将时间的描绘推向了极致。他们通过建立严格的序列化系统及苛刻的执行标准,将时间概念深刻地嵌入到创作过程中。Opałka的「1965/1-∞」和河原温的「今日」系列(Date Paintings)的创作都持续了近半个世纪。河原温将他的工作方式称为「图像制作的原始形式」。每一幅日期画都必须在24小时内完成,并以同样的仪式进行,而在「一百万年」(One Million Years)中,每一页都包含以统一格式打印的五百年。[4] 从数字1开始,Opałka继续在相同尺寸的画布(艺术家华沙工作室门的尺寸)上绘制数字。每一张画布都是该系列的一个细节。Opałka完成了233 个细节,最终数字为 5,607,249。[5] 在Darboven的「1880-1983年文化史」中,1,589件统一格式的纸上作品和19个雕塑元素呈现了令人震惊的文化、社会和历史元素百科全书 [6]
我们希望我们的分享给艺术家提供灵感而非约束。艺术创作是将瞬间的思想、经历具象化的过程,思想由画布或其他媒介承载,本质即是对时间的对抗。展览 about time「流年」邀请艺术家分享对于时间、改变、永恒的体会,挑战、质疑、并重塑我们对时间的理解,发现超越时间限制的情感和真理
1965/1 - ∞; Détail 993,460–1,017,875, Roman Opałka
1965/1 - ∞; Détail 993,460–1,017,875, 罗曼·奥帕乌卡
One Million Years, On Kawara
一百万年,河源温
Cultural History 1880-1983, (1980–1983), Hanne Darboven
1880-1983年文化史,汉娜·达博文
The Clock, Christian Marclay
时钟,电影(24小时),克里斯蒂安·马克雷
Eliot, T. S. (1965) The Love Song of J. Alfred Prufrock, June 1915 issue of Poetry: A Magazine of Verse
Buswell Jr, R.E.; S. Lopez Jr, D. (2013). The Princeton Dictionary of Buddhism. Princeton University Press. pp. 47–48, Article on Anitya. ISBN 978-1-4008-4805-8
Prusinski, L, (2013) Wabi Sabi, Mono no Aware, and Ma: Tracing Traditional Japanese Aesthetics through Japanese History. Available at: https://castle.eiu.edu/studiesonasia/documents/seriesIV/2-Prusinkski_001.pdf
Papastergiadis, N (2012) Space/Time: Matter and Motion in On Kawara, Available at: https://www.afterall.org/article/space_time_matter-and-motion-in-on-kawara
Theophanidis, P (2011) Roman Opałka, Available at: https://aphelis.net/roman-opalka-polish-painter-1931-2011
Adler, D (2009) Hanne Darboven, Cultural History 1880 -1983
VENUE AND LOCATION
展厅及展览地址
3 Loughborough St London SE11 5RB
伦敦拉夫堡街三号 SE11 5RB
LAYOUT
展厅布局
SUBMISSION GUIDELINES
征集指引
征集要求
· 无年龄背景限制,欢迎不同职业阶段的艺术家投稿;
· 无艺术形式限制;
· 1-3件作品图;
· 单幅作品尺寸限制:120厘米;
· 作品标题、尺寸、媒介、年份和作品描述;
· 艺术品价格(或NFS,即不可出售);
· 艺术家陈述及艺术家简历;
· 艺术家网站、instagram或其他社交媒体(如有)
征集截止日期
2024年4月21日
投稿渠道
https://www.swanfall.art/exhibitions/about-time-
我们只接受通过官方网站表格(https://swanfall.typeform.com/open-call)或扫码提交的作品。如您需要任何帮助或对投稿有任何问题,请发送电子邮件至submission@swanfall.art
艺术家简历指南
https://www.swanfall.art/library/cv-checklist-for-artists
作品定价指南
https://www.swanfall.art/library/artwork-pricing-guidebook--for-artists
AWARDS AND DELIVERABLES
奖项及交付
策展人奖
赞助个展或双展(计划展期:2024年10月);
落雁艺术 (SWANFALL ART)官方网站个人网页(永久);
落雁艺术 (SWANFALL ART)专栏报道或采访;
受落雁画廊(SWANFALL GALLERY)邀请参加北京当代艺博会 (2024年5月);
观众选择奖
赞助群展(计划展期:2024年10月);
SWANFALL ART专栏报道或采访;
* 展览及其他机会将根据艺术家提交情况及时间安排决定
所有参展艺术家
展览证书
展览记录及官方网站、社交媒体宣发
TERMS AND CONDITIONS
条款及条件
艺术家一般责任
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如入选,艺术家须按照确认邮件中指定的时间段将作品送达指定地址;
作品运送、展览期间的保险责任由艺术家承担;
所有艺术作品必须以可直接安装的状态送达指定地址;所有纸面作品须装裱;
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PAST EXHIBITIONS
过往展览回顾
请前往官方网站及媒体账号了解此前展览记录:
https://www.swanfall.art/exhibitions
FEES AND COMMISSIONS
费用及佣金
费用
艺术家提交作品不需要支付报名费。与其向全部艺术家收取报名费用并让艺术家承担无法入选的失望,我们倾向于要求入选艺术家为确定的展览机会支付展览费用。我们会为参展艺术家提供全面的服务,以推动他们的职业发展
若作品入选,艺术家将须支付展览费用£150/RMB1,370
佣金
本次展览面向公众及藏家,旨在提供展览及销售机会。若销售成功,我们将收取30%佣金费用,但我们同样欢迎非待售作品参加展出,艺术家须提交作品价格,或明示不可出售(NFS)
CANVAS TO CAREER
艺术家职业赋能计划
CANVAS TO CAREER
艺术的内在价值无法衡量,每件艺术作品都经历了无数次实验和辗转的思考,寄托着艺术家的经历和情感。然而如同任何职业一样,将热情转化为职业常常充满挑战。艺术家将不可避免地面临从创作者到职业艺术家、雇员或创业者的身份转变,并需要全方面的了解市场、行业,以打造自身的竞争力并明确职业发展路径
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CANVAS TO CAREER计划旨在弥合艺术教育、实践与职业发展间的差距。我们将以艺术家/创作者的职业愿景出发,对艺术家/创作者进行针对性辅导及职业计划,以帮助艺术家全方位打造竞争力,包括
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