文化是流动的，人也是流动的。
时间和空间中，都能找到这样线索。如你正在观看的瓦尔达，她也在看着你，借助另一台照相机，借助另一个人的凝视。这个展览在讨论宏大叙事中的个体，及其联系。也希望观众能给予：另一个视角，另一种凝视。因为这都关乎我们如何看待他者，如何自观、自省的开始。
我不会说法语。Je ne parle pas français. 我也不会说重庆话。
但这并不妨碍我们相互是可以交流，并互相理解的。人的一个眼神，一个手势，一个身体姿态，一个微笑，一个善意的表示，甚至一次误解，都是人性共通的东西。
艺术史就是每个个体故事的总和，每个人都有曲折的经历，每个人都有深刻的体会，每个人也都有创造的兴奋，艺术还有什么不可能？在今天身份、地缘、媒介被不断扩延的世界中，一切都有可能。
我们如何相遇？
Culture is fluid, and so are people.
Such clues can be found in both time and space. As you are watching Varda, she is also looking at you with the help of another camera and another person's gaze. This exhibition discusses individuals in grand narratives and their connections. We also hope that the audience can provide: another perspective, another gaze. Because this concerns how we view others, and how we begin to observe and introspect ourselves.
I don't speak French. Je ne parle pas français. I don't speak Chongqing dialect either.
But this does not prevent us from being able to communicate and understand each other. A look, a gesture, a body posture, a smile, an expression of kindness, or even a misunderstanding are all common to human nature.
The history of art is the sum of each individual's story. Everyone has unique experiences, profound insights, and the thrill of creation. What is impossible in art? In today's world, where identity, geography, and media are continuously expanding, anything is possible.
How do we encounter each other?
展览现场
展览以留学法国的早期中国艺术大师为一条线，徐悲鸿（1895-1953）于1919年留法，1927年归国。林风眠（1900-1991）于1919年留法，1925年归国。吴冠中（1919-2010）于1947年留法，1951年归国。此阶段为新中国成立之前，中国前途未卜之大变局中。后在经济文化腾飞之初，黄永砯、杨诘苍、沈远等人留法。再之后，国际交流更加繁荣，姚清妹、刘真辰、王令杰&郝经芳、周雯静等人留法。
The exhibition follows the theme of early Chinese art masters who studied in France. Xu Beihong (1895-1953) studied in France in 1919 and returned to China in 1927. Lin Fengmian (1900-1991) also studied in France in 1919 and returned in 1925. Wu Guanzhong (1919-2010) studied in France in 1947 and returned in 1951. This period was marked by great upheaval before the founding of the People's Republic of China, with China's future uncertain. Later, during the early phase of economic and cultural growth, artists such as Huang Yongping, Yang Jiechang, and Shen Yuan studied in France. Following that, international exchanges flourished even more, and artists like Yao Qingmei, Liu Zhenchen, Wang Lingjie & Hao Jingfang, and Zhou Wenjing studied in France.
展览现场
展览以“法国”艺术家及文化工作者视角为另一条线，Agnes Varda（1928-2019）生于比利时，成长于法国，应中国政府邀请1957年访华。Philippe Jonathan于70年代末访华，钟情于中国当代诗歌和艺术，后传播中国当代文化于法国。后有Michel Madore、苏文、安娜伊思·马田为代表的长居于中国的艺术家和文化工作者，与长居法国的中国艺术家和文化工作者群体，异地而居，遥相望。
The exhibition also takes the perspective of 'French' artists and cultural workers as another narrative. Agnes Varda (1928-2019) was born in Belgium and grew up in France. She visited China in 1957 at the invitation of the Chinese government. Philippe Jonathan visited China in the late 1970s, developed a passion for Chinese contemporary poetry and art, and later promoted contemporary Chinese culture in France. Subsequently, artists and cultural workers like Michel Madore, Su Wen, and Anaïs Martin, who lived long-term in China, along with groups of Chinese artists and cultural workers residing in France, maintained connections despite the geographical distance.
展览现场
展览还有来自学院及其教育的线索，自1918年国立北京美术学校创办，1938年延安创立的鲁迅艺术学院，1938年四川省成立中华工艺社，1949年成立国立美术学院。其引领者如徐悲鸿、林风眠等人，作为中法文化交流的奠基者，有着深远的影响。此展览中罗中立、焦兴涛、唐勇，作为四川美术学院教育教学的带头人和实践者，也是中西文化相互借鉴，杂糅的实践者。而此线索也可扩展为去身份化的另一种状态，如长居于法国的日裔艺术家池田亮司，作为第三方的文化身份，也可以被看作是跨地缘身份的另一种文化样貌。如范勃、高世强、周春芽、王小松、王易罡、徐震、刘韡、蔡磊、童昆鸟等，文化更为开放环境下，更为流动的艺术家和文化工作者之姿态。既有来自法国和欧洲其他国家，也有来自苏联时期美学教育的诸多线索，及其反思和实践。而90年代新自由主义经济，以及时代发展，带来新的文化思潮，也在教育和实践中不断国际化碰撞和流转。如环境议题、新媒体议题、实验性议题等，也可被看作今天艺术多样化的果实。
The exhibition also traces lines back to the institute and its educational roots, starting with the founding of the National Beijing Art School in 1918, the establishment of the Lu Xun Academy of Fine Arts in Yan'an in 1938, the founding of the Chinese Craft Society in Sichuan in 1938, and the establishment of the National Academy of Art in 1949. Pioneers like Xu Beihong and Lin Fengmian, who laid the foundation for cultural exchanges between China and France, have had a profound impact. In this exhibition, Luo Zhongli, Jiao Xingtai, and Tang Yong, leaders of the Sichuan Fine Arts Institute, exemplify the synthesis and mutual learning of Eastern and Western cultures. This theme can also be extended to a de-identified state, exemplified by artists like Ryoji Ikeda, a Japanese artist long residing in France, whose third-party cultural identity can be seen as another cultural expression across geographic boundaries. Artists such as Fan Bo, Gao Shiqiang, Zhou Chunya, Wang Xiaosong, Wang Yigang, Xu Zhen, Liu Wei, Cai Lei, and Tong Kuniao, represent more fluid identities of artists and cultural workers in a more open cultural environment. There are traces from France and other European countries, as well as reflections and practices stemming from Soviet-era aesthetic education. The economic neoliberalism of the 1990s and the development of the era ushered in new cultural trends, which clashed and circulated internationally in education and practice. Topics such as environmental issues, new media topics, and experimental issues can also be seen as the fruits of today's artistic diversity.
展览现场
展览还有媒介上的互文，绘画、摄影、雕塑、装置、多媒介、新媒体、声音等艺术领域，即有年代学线索，也有相互交织的时代语境迁移。如贝尔纳·弗孔、瓦尔达、安娜伊思、雷磊、苏文、Jonathan父女在摄影媒介的联系。展览也有代际和情感上的互文，如Victoria Jonathan受到汉学父辈影响下的中国情缘，如雷磊和苏文长期合作的文化共构，如安娜伊思长期中国生活的文化凝视。你中有我，我中有你。这也是艺术家如何看待外部世界，也是有选择的如何生活之现实。
The exhibition also explores intertextuality in the media, encompassing various art fields such as painting, photography, sculpture, installations, multimedia, new media, and sound. It presents both chronological clues and the intertwined shifts of contextual eras. For instance, the connections in the medium of photography are highlighted by artists like Bernard Faucon, Varda, Anaïs, Lei Lei, Su Wen, and the father-daughter duo Jonathan. The exhibition also showcases intertextuality across generations and emotions, in instances such as Victoria Jonathan's affection for China influenced by her Sinology-inclined father, the cultural co-creation by Lei Lei and Su Wen through their long-term collaboration, and Anaïs's cultural observation through her prolonged stay in China. This embodying of each other reflects not only how artists perceive the external world but also their selective approaches to living reality.
展览现场
展览希望能给予最大限度的理解和温情，希望观者试着思考百年来变迁中的文化工作者，及其处境，进而更好的理解文化的流动性，艺术的纯真、炙热。理解更为宽广奔涌的未来。
The exhibition aims to offer the utmost understanding and warmth, encouraging viewers to contemplate the plight of cultural workers amid a century of changes, and in doing so, better grasp the fluidity of culture and the purity and passion of art. It seeks to foster a comprehension of a more expansive and vigorous future.
李振华
Li Zhenhua
丨相关展览丨
展览名称
再遇——中法艺术展
展览地点
四川美术学院美术馆7、8、9号厅
展览时间
2024年9月20日——2024年11月20日
终 审：何桂彦
复 审：李 芳
初 审：符周阳
编 辑：李呢喃
排 版：曾雨馨
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四川美术学院美术馆
参观入口：美术馆东门（四川美术学院东2门旁）
开放时间：9:00-17:00 16:30停止入馆（逢周一闭馆）
参观费用：免 费
地 址：重庆市高新区大学城南路56号
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