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桃花源 | 反烏托邦 - 國(guó)際當(dāng)代藝術(shù)展

藝術(shù)家：安迪?霍登（英國(guó)）、韋恩?沃倫（英國(guó)）、加里?李（澳大利亞）、詹姆斯?紐伊特（澳大利亞）、杰森?榮（澳大利亞）、簡(jiǎn)?戴爾（澳大利亞）、卜樺（中國(guó)）、王智遠(yuǎn)（中國(guó)）

策展人：牛睿智（澳大利亞）

展期： 2014年11月22日 - 12月28日

時(shí)間：每天10.00 - 22.00

地點(diǎn)：廣州市越秀區(qū)恤孤院路9 號(hào)逵園藝術(shù)館

桃花源 | 反烏托邦 - 國(guó)際當(dāng)代藝術(shù)展將展出來(lái)自中國(guó)，澳大利亞和英國(guó)的八位藝術(shù)家獨(dú)特、多樣的藝術(shù)作品。參展的八位藝術(shù)家都是擁有國(guó)際展覽記錄的知名藝術(shù)家。展出的藝術(shù)作品形式各異，具有很高的藝術(shù)理念與學(xué)術(shù)探討價(jià)值，涵蓋影像媒體、靜物裝置、投影和數(shù)字影印裝置等創(chuàng)作作品。展覽的題目采用對(duì)偶手法，并以反諷的形式促進(jìn)觀者思考和與生活對(duì)話。烏托邦和反烏托邦的區(qū)別會(huì)因個(gè)人對(duì)于是何構(gòu)成了理想的或者災(zāi)難性的見(jiàn)解不同而模糊——尤其關(guān)于生態(tài)、經(jīng)濟(jì)和社會(huì)領(lǐng)域的不同見(jiàn)解。

康德派哲學(xué)中的兩個(gè)概念——本體和現(xiàn)象——影響著藝術(shù)家對(duì)生態(tài)腳印和社會(huì)歧視的認(rèn)知。康德認(rèn)為經(jīng)驗(yàn)主義和理性主義并不是完全分開(kāi)的——經(jīng)驗(yàn)主義（現(xiàn)象世界）堅(jiān)持所有知識(shí)源于實(shí)踐；理性主義（本體世界）則認(rèn)為理性先于理解。康德則指出二者密不可分，缺了任何一方都會(huì)造成知識(shí)的曲解。過(guò)去的經(jīng)驗(yàn)以及對(duì)未來(lái)的期望都會(huì)影響人們對(duì)各種情境的解讀。此次展出的藝術(shù)作品對(duì)當(dāng)代（社會(huì)）價(jià)值提出疑問(wèn)并引發(fā)思考。作品主題突出，表達(dá)方式不失幽默；它們反對(duì)武斷、拒絕說(shuō)教——不執(zhí)拗于當(dāng)前的烏托邦理想，同時(shí)揭示了反烏托邦的方方面面。他們的藝術(shù)作品傳播媒介多種多樣，表現(xiàn)手法各不相同，體現(xiàn)了文化或時(shí)間上的差異。藝術(shù)家們會(huì)以輩分歸為兩組: 四位屬于60 年代前，另外四位屬于70 年代后。

主辦方逵園藝術(shù)館本身地處廣州的文化中心，免費(fèi)對(duì)公眾開(kāi)放不同的藝術(shù)活動(dòng)，廣大群眾可以直接參與到當(dāng)代藝術(shù)之中。通過(guò)此展覽，公眾能更好地感受和體會(huì)不同地區(qū)、不同文化的藝術(shù)，領(lǐng)略藝術(shù)的魅力。

Peach Blossom Spring | Cacotopia

Artists: Andy Holden (England), Wayne Warren (England), Bu Hua (China), Wang Zhiyuan (China), Gary Lee (Australia), James Newitt (Australia), Jason Wing (Australia), Jayne Dyer (Australia)

Curator: RegNewitt (Australia)

Exhibition Duration: 22 November - 28 December 2014

Open Hours: 10.00 - 22.00

Venue: Kui Yuan Gallery, No.9, Xuguyuan Road, Yuexiu District, Guangzhou

The exhibition will be an international cultural exchange involving eight artists with varying connections between China, England and Australia. All eight artists have established international reputations and currently exhibit in Europe, Asia, America and Australia.

The title of the exhibition adopts the duality of the ideal and the terrible or horrific – the exhibition does not use the artworks to portray instances of either one or the other situation – rather it uses irony to stimulate thought and dialogue.

Gallery audiences are encouraged and supported to read the meanings of the artworks as cultural, national and individual perceptions of issues that are relevant to all of us.

The artists in this exhibition address ecological, economic and social situations – the works question contemporary (social) values; they employ irony and humour without dismissing the issue; they subvert pontification or taking the high moral ground – they reveal aspects of dystopia while not presuming to present utopian ideals.

Readings and interpretations of situations are subject to individuals’ previous experience, their reasoning and their aspirations for the future. The works cover a range of media and reflect modes of practice, which may imply cultural and/or time period differences. The artists may be grouped according to two generations: four are pre-1960s, the other four are post 1970s. The art works will include a diversity of art forms including photo-media, moving image, stills, projection and digital prints, installation and fabricated object.

The gallery positions itself as a cultural hub in the local district of Guangzhou, which is open access to the public to engage with contemporary art.

（來(lái)源：英國(guó)使館文化教育處，編輯 Helen）