北京时间2024年5月10日，西财天府学院客座教授、天府学院美术馆特聘艺术家张小涛个展——《超越世界》于韩国光州的G.MAP媒体艺术中心顺利开幕！新媒体数字艺术作品个展，与绘画作品个展《空间叙事 | 工厂、高架桥与遗落的神圣之所》两种媒介，在中韩两地交相呼应。
艺术家简介:
张小涛
ZHANG XIAOTAO
1970年生于中国重庆合川，1996年毕业于四川美术学院油画系，2010年创建四川美术学院新媒体艺术系，2013年师从徐冰教授攻读博士学位，2016年博士毕业于中央美术学院，香港城市大学创意媒体学院客座教授、西财天府学院客座教授、天府学院美术馆特聘艺术家，现工作生活于北京。张小涛是具有国际影响力的新一代中国当代艺术家的代表人物。
曾参加：第55届威尼斯双年展、第7届亚太当代艺术三年展、第6届莫斯科双年展、第2届布拉格双年展、广州三年展、成都双年展、深港建筑双年展、深圳独立动画双年展、荷兰动画电影节、渥太华国际动画节、东京动画节、亚洲动画大赛、伦敦萨奇美术馆、罗马21世纪当代艺术馆、奥胡斯美术馆 、纽约Albright Knox美术馆、卢塞恩美术馆、弗罗里达瑞林博物馆、瓦伦西亚现代艺术馆、博洛尼亚当代美术馆、维也纳艾塞尔ESSL美术馆、巴塞罗那圣·莫妮卡艺术中心、挪威3.14基金会、韩国国立现代美术馆、首尔市立美术馆等展览。
2008年获得中国年度青年艺术家奖、2009年3月意大利《FLASH ART》杂志对其做了专访、2011年和2012年连续获得“亚洲最佳动画奖”的殊荣，2015年他受邀作为法国巴黎CUBE全球数字艺术大奖国际评委，2016年1月他接受《纽约时报》国际版的专访——《怀旧与超现实，动画艺术家张小涛的现代中国》，2018年《量量历险记》获中国荔波国际动画节金奖，2019年《三千世界·蜉蝣》入选奥地利林茨电子艺术节，其作品被国际、国内重要美术馆、基金会、艺术中心及收藏家收藏。
超越世界
Beyond the world
人类世是一个地质学术语，它解释了人类在地球历史上的巨大变化。与地质年代分类相比，它强调人类对环境的影响，包括许多物种的灭绝。这个术语是为了唤醒人类对其滥用的道德责任，并意识到地球生态系统的变化。
由于我们已经处于一场紧迫的全球危机中，人类世的概念是一个持续的信息，也是一个反映的问题。
《超越世界》 展览现场 © G.MAP
G.MAP的沉浸式媒体艺术展《超越世界》将让我们提及我们这个时代悬而未决的主要问题，如材料过剩和精神缺失。
展览主题中“超越”的含义涉及对艺术家时代和艺术观点的展望，而不是空间或事物的另一面。韩尹忠和张小涛通过他们的媒体艺术作品的形式，及时地告诉我们个人危机、精神文化缺失和环境问题等议题。
《萨迦》 三屏数字截图 8‘50” 2007-2021
Yoon Chung Han（韩尹忠）与Seong-Lyun Kim（金升莲）教授合作创作的《塑料场景-隐藏的世界》 ，延续了艺术家几十年来对气候变化数据的持续艺术探索。这件艺术品是对微塑料这一关键问题的警告，微塑料是环境危机的主要贡献者之一。由塑料材料组成的场景采用了不同于传统输入输出方法的工程方法：通过故意错误、使用反向算法删除数据和降低复杂性。通过详细的声音效果和改善作品的沉浸感，它引导我们看到气候变化的现实，并警告我们未来会被塑料摧毁。
《萨迦》 三屏数字截图 8‘50” 2007-2021
张小涛的艺术作品《萨迦》 向我们展示了当今物质世界中精神世界的缺失。自2006年起，他花了五年时间探索藏传佛教，创作了这件作品，希望我们能明白自己该何去何从，并思考如何关心我们的精神。他拍摄了纪录片和动画视频，并与考古学进行了跨学科研究，探索了萨迦寺。
他解释道：“艺术是艺术家的个人信仰，艺术家的工作就是追随超越之路。”他的作品专注于图像和声音，展现了精神与艺术世界的神秘性。
《萨迦》三屏数字截图 8‘50” 2007-2021
从某种角度看，人类世可以被视为精神和物质、个体与世界之间固有的矛盾所引发的问题。
最终，我们将在认识论问题上找到线索：“什么是人类正义？”
尽管这个问题的答案仍然难以捉摸，但我希望你们有机会通过艺术家在物质和精神领域间导航的视角来思考我们的生活。
G.MAP馆长Ko Young-jae
Beyond the world
The Anthropocene is a kind of geological term that explains a tremendous change in the history of the earth by humankind. Compared to the geological age classification, it features human impact on the environment, including the extinction of many species. This term is to awaken the ethical responsibility of human for their abuse as well as to be aware of changes in the ecosystem of the Earth.
As we are already in an urgent global crisis, the concept of Anthropocene is a message ongoing and an issue reflecting.
《萨迦》三屏数字截图 8‘50” 2007-2021
The Immersive Media Art Exhibition at G.MAP will allow us to mention the main pending problems of our time, such as surplus materials and the lack of spirituality.
The meaning of 'beyond' in the exhibition theme involves the vision toward the era of artists and artistic viewpoint, not the other side of space or things. Yoon Chung Han and Zhang Xiaotao tell us timely issues such as personal crises, the absence of spiritual culture, and environmental problems through forms of their media artworks.
《萨迦》三屏数字截图 8‘50” 2007-2021
Yoon Chung Han’s, in collaboration with Professor Seong-Lyun Kim, extends the artist’s ongoing artistic exploration of climate change data for decades. This artwork serves as a warning about the critical issue of microplastics, one of the primary contributors to environmental crises. The scenes that consist of plastic materials employ an engineering approach that diverges from conventional input-output methods: Througn intentional errors, data deletion using reverse-direction algorithms, and reducing complexity. With detailed sound effects and improving immersion in their work, It leads us to see the reality of climate change and to get warnings of the future destroyed by plastics.
《萨迦》 数字截图 15'06'' 2011
The artwork,by Zhang Xiaotao shows us the absence of a spiritual world in today's material world. Exploring Tibetan Buddhism for five years from 2006, he made his work hoping that we will know where to go and consider how to care about our spirits. He filmed the documentary and animated videos conducting interdisciplinary research with archaeology exploring the Sakya monastery.
"Art is the artist’s personal religion, and the job of the artist is to follow the path of transcendence." he explained. His work focused on image and sound and exposed the mystique of the spiritual and artistic world.
《萨迦》 数字截图 15'06'' 2011
In a way, the Anthropocene can be seen as a problem arising from the contradiction inherent in the interconnectedness between spirit and material, individuals and the world.
Eventually, we will find a clue in the epistemological question, "What is human justice?".
Even though the answer to this question remains elusive, I hope you will have a chance to contemplate our lives through the perspective of artists who navigate the realms of both the tangible and intangible.
G.MAP Curator Ko Young-jae
文章来自G.MAP官网：http://gmap.gwangju.go.kr/eng/bbs/board.php?bo_table=exhibition&wr_id=79&sca=Current%20Exhibition
《超越世界》 展览现场 © G.MAP
《超越世界》 展览现场 © G.MAP
《超越世界》 展览现场 © G.MAP
《萨迦》创作手记
Sakya project
《萨迦》项⽬是2006-2011年期间张⼩涛⼯作室与北⼤公众考古中⼼徐天进教授、陕⻄考古研究院考古学家张建林教授共同合作完成的一次跨领域、跨学科、跨媒介的⼀次新媒体艺术项⽬。
《萨迦》 数字截图 15'06'' 2011
“萨迦派”在藏传佛教历史上有重要的节点意义，通过考古与数字艺术的结合来考察《萨迦》的时空流变，其实也是在考察藏传佛教⾯临世俗化世界价值观的历史嬗变。《萨迦》是藏传佛教在今天的⼀个缩影，藏传佛教也许是⼈类最后精神世界的⾼原，是⼈类⽂明余晖的回光返照。对于我来说去藏地拜偈寺庙是万⽔千⼭的朝圣之旅。⼈类今天⾯临着精神世界的崩坍，物质世界的包围，当代⼈在处于剧烈的时代冲突⽭盾的漩涡之中，如何通过数字艺术表现形式来重建精神与物质、全球化与地⽅性、个⼈与世界的某种内在联系？这是我在这个项⽬中最关⼼的课题。在完成这个项⽬的5年过程中，我⾛进了⼀个浩瀚⽆限的藏传佛教世界中，对于我来说是⼀次重新学习和认识佛教的过程，这个过程既是信仰的世界，也是⾁身的修炼。今⽇世界正⾯临全球新冠疫情的重⼤影响，科技与信息技术的巨变正在深刻的改变时代，我们⽆法知道世界将要⾛向何⽅，此刻讨论佛教的信仰与世俗化世界的联系，其实是关⼼我们的灵魂何处安放？⾁身必朽，精神不灭。在⼀个动荡的世界中，我们还需要灵魂的“导航仪”吗？
《萨迦》 数字截图 15'06'' 2011
佛教是“智慧”与“觉悟”的道路，我想把从佛法中得到的启示与感悟转换在视觉作品中。这⼗年来《萨迦》项⽬去过全球不少的重要机构和空间进⾏展示和交流，我希望把《萨迦》项⽬公诸于众，有⼀种“回向”的⼒量，能起到传播佛教的义。佛经浩如烟海，“五经多味，万法⼀⾔”，最后艺术家还是需要⽤艺术的“⾁身”去丈量这个虚⽆⽽荒诞的世界。从某种意义上来讲：艺术就是艺术家的个⼈宗教和个⼈信仰，在此刻作为艺术家的个⼈信仰与佛教不期⽽遇，重要的是⼀种精神⼒量的“宗教感”的相遇，充满了个⼈和时代的关联，这是关于⽣死的终极追问、是“缘起性空”的觉悟、也是涅槃重⽣之路……
张⼩涛
2021年7⽉2⽇
《萨迦》纪录片 78‘00” 2007-2011
Sakya is a new media art project from Zhang Xiaotao's studio, produced in collaboration with Professor Xu Tianjin from the Center of Archaeology and Art for the General Public (CAAGP) at Peking University and Professor Zhang Jianlin, an archaeologist from the Shaanxi Academy of Archaeology from 2006 to 2011. Sakya crosses domains, media, and disciplines in its intensive engagement with Tibetan Buddhism.
《萨迦》纪录片 78‘00” 2007-2011
The Sakya School has played a significant role in the history of Tibetan Buddhism. The Sakya project combines methods from archaeology and digital art to investigate the historical evolution of Tibetan Buddhism and its value in a secular world. Sakya is a microcosm of Tibetan Buddhism; Tibetan Buddhism may be the plateau of the last spiritual world of mankind and a reflection of the afterglow of human civilization. I myself travel far and wide through thousands of rivers and mountains in the name of spiritual pilgrimage. Today we are facing the collapse of the spiritual world and the material world is closing in around us. People are in a vortex of intense conflicts and the contradictions of the times. How can digital art be used as an artistic tool to reconstruct the spiritual and the material, the global and the local, the individual and the world, and their interconnectedness? This is my most pressing concern for this project. During the five years that I spent completing Sakya, I walked through the vast and infinite world of Tibetan Buddhism. For me, it was a process of relearning and understanding Buddhism. This process is not only about faith, but also the cultivation of the flesh. The world today is facing a major challenge after the pandemic. The tremendous changes in technology and information technology are profoundly changing our time. We cannot know where the world is going. At this moment, discussing the connection between Buddhist beliefs and the secular world is an act of caring for our souls. Where can we find our souls? The flesh is mortal, but the spirit is immortal. In a turbulent world, do we still need a “navigator” for the soul?
《萨迦》纪录片 78‘00” 2007-2011
Buddhism reveals to us the path of “wisdom” and “enlightenment.” I want to transfer the insights found in Buddhism into my art. Over the past ten years, the Sakya project has shown at many important international institutions and exhibition spaces. I hope that the Sakya project’s public presence will contribute a kind of "returning" power that can help spread Buddhism further. The Buddhist scriptures are as vast as the mist clouded ocean. “The five scriptures are multi-flavored, and the ten thousand teachings are one word.” In the end, the artist still needs to use the “physical body” of art to measure this imaginary and absurd world. Art is the artist’s personal religion and personal beliefs. In this project, as an artist’s personal faith meets Buddhism, what is important is the encounter of a spiritual force of “religious ritual,” a charged connection between the individual and our contemporary era. This is the ultimate act of questioning life and death, awakening to “dependent origination” and the realization of “emptiness,” and traveling the road to Nirvana and deathless rebirth…
Zhang Xiaotao
2021.07.02
我们一直在这条路上寻找，希望你也同我们一起。
编排｜蒋洁
图片｜来源于网络
初审｜蒋洁
复审｜李文波
终审｜蒲果毅
文章转至：极少艺术中心
