「在理想和栖息地之间」城市艺术邀请展圆满举办成功

2023-01-09 10:15 作者:哔哩个苏州 0人读过 | 我要投稿

相土尝水，象天法地

“自然山水”化作“诗意栖居”

构成“理想和栖息地之间”

无限可能

“在理想和栖息地之间”城市艺术邀请展

于12月31日圆满举办成功

展览笔谈

艺术与城市

Art and the City

曹星原

Hsingyuan Tsao

大自然中的动物们总是选择自己喜爱的环境条件来选择栖息地，比如候鸟不知疲倦地飞行千里万里去寻找理想的栖息地。而高智商的动物佼佼者人类，不但常常在不适于自己的场所苟且生存，更是把对场所的改造视为人生理想。然而对环境的改造往往滞后于生存的必需，面对人生的无奈，纪德也叹息着：“我的理想和我的栖息地之间隔着我的一生。”

Animals always choose their favorite environmental conditions to settle down. For example, migratory birds fly for thousands of miles to find the ideal habitat. However, the most intelligent animals, humans, not only survive in places that are not suitable but also consider the optimization of habitats as an ambition. However, the transformation of the environment often lags behind the necessity of survival. In front of the “not ideal” life, Gide said: "My ambition and my habitat are separated. The distance in between is my whole life."

公共艺术兴起于力图减少人生与环境之间的摩擦，公共艺术也是缩短理想和我的栖息地之间隔距离的文化手段。中国的公共艺术虽然在国际环境中是后起之秀，但是近年来，颇有急起直追的势头。公共艺术的最精彩的部分在于它的公共性，正由于这一公共性，通过视觉引导心理的逻辑，因从文化心理改变了人们的生存环境，使得理想暂且栖息在表现了理想的公共艺术空间之中。

Public art emerged to reduce the issues between life and the environment, and it is also a cultural method to shorten the distance between ambition and the habitat. Although Chinese public art is a latecomer to the international environment, it has gained momentum in recent years. The most wonderful part of this kind of art is its public nature. Because of this, it changes people's living environment through visual guidance and makes the ambition temporarily rest in the public art space.

公共艺术不是一般意义上的艺术，而是精神层面的文化氛围营造。世界上的繁华都市的繁华之处不仅仅在于商业的繁华，而更在于文化的魅力。公共艺术的价值不是简单地美化装饰城市景观，也不是为了点缀特定的公共场所，而在于通过文化的手段来调整都市生存空间，把都市的公共文化取向和概念——不但作为素材，更作为最后的终极目标，通过作品，使走进这个空间的人都能感受到。

Public art is not art in the general sense but rather the creation of a cultural atmosphere on a spiritual level. The prosperity of the world's prosperous cities lies not only in commercial prosperity but also in the charm of culture. The value of public art is not simply to beautify and decorate the urban landscape nor to embellish specific public places but to adjust the urban living space through cultural methods. It takes the public cultural orientation and concept not only as a material but also as the ultimate goal so that people who enter this space can feel it through art through works.

公共艺术既是一个城市的IP，也是一个城市的凝聚力。比如芝加哥千禧公园的著名公共艺术作品《云门》就从三个方面呈现了作为工业大都市的文化精神：镜面抛光的豆形表面体现了钢铁工业、当代工业和当代艺术的凝聚点。每一个站在这颗银豆前的人都会通过球形镜面看到自己与芝加哥的摩天大楼和朵朵白云。远在天边的白云，却在这个豆形的镜面上呈现出一个云朵编织的拱门。千禧公园的《皇冠喷泉》则交替在大屏幕上不断播放芝加哥的1000个居民的笑脸，芝加哥的百姓最爱做的事情就是到喷泉那里等着自己认识的人的笑脸的出现。一个《云门》、一张张笑脸，不但呈现了后工业时代的科技手段改变了的艺术呈现方式，更使人们暂时忘却了芝加哥的社会问题、忘却了芝加哥的不够宜人的天气。

Public art is both the IP and the cohesive force of a city. For example, the famous public art work "Cloud Gate" in Chicago's Millennium Park presents the cultural spirit of being an industrial metropolis in three ways. That's to say, the polished bean-shaped surface embodies the cohesive point of the steel industry, contemporary industry, and contemporary art. Each person standing in front of this silver bean sees himself or herself through the spherical mirror, as well as the skyscrapers and dazzling white clouds of Chicago. The white clouds are far away in the sky but present an arch of woven clouds on this bean-shaped mirror. Millennium Park's "Crown Fountain" displays 1,000 smiling faces of Chicago's residents on a large screen, and people in Chicago go to the "Crown Fountain" and wait for the smiling faces they know. A "Cloud Gate", the smiley faces, not only changes the way of art through the post-industrial era technology but also makes people forget the social problems and the unpleasant weather of Chicago.

苏州市相城区文化体育和旅游局、苏州市相城区文学艺术界联合会和苏州消泾手工艺术村开发有限公司共同举办的《在理想和栖息地之间》公共艺术邀请展由武湛和潘周策划，邀请了戴亮、黄玉龙、刘以林、李严、廖生祥、周海等海内外著名的有思想内涵的艺术家的作品参展，一定能够使参观者体验到凝聚了数千年姑苏文化精髓、更体现了当代苏州的文化与科技的呈现手段的至高点。

The public art invitation exhibition "Between Ambition and Habitat," jointly organized by Suzhou Xiangcheng District Bureau of Culture, Sports and Tourism, Suzhou Xiangcheng District Federation of Literary and Art Circles, and Suzhou Xiaojing Handicraft Village Development Co., Ltd, was planned by Wu Zhan and Pan Zhou. It invited famous artists from home and abroad, such as Dai Liang, Huang Yulong, Liu Yilin, Li Yan, Liao Shengxiang, and Zhou Hai. This exhibition will surely enable visitors to experience the culmination of Gusu culture and Suzhou's contemporary culture and technology.

衷心祝贺《在理想和栖息地之间》的盛大开幕！

Congratulations on the grand opening of "Between Ambition and Habitat"!

2022年11月4日于加州萨克里门托

November 4, 2022 in Sacramento, California

展览序言

相城，无限的可能 ——“在理想和栖息地之间”公共艺术邀请展代序

Xiangcheng, Infinite Possibilities ——“Between Ambition and Habitat” Public Art Exhibition Preface

武湛

Wu Zhan

相城，位于苏州北部、阳澄湖西岸，因春秋名士伍子胥的“相土尝水，象天法地”而得名，自古便是物阜民丰的鱼米之乡。在两千多年的江南文化发展史上，相城的风土生发了艺术，艺术的光韵也滋养了相城，这里不仅是兵圣孙武和商圣范蠡的归隐之地，更是冯梦龙和沈周的故乡——自十五世纪始，以沈周为宗师的吴门画家，将宋元大师笔下的山高水长收于胸次，在日渐兴盛的城市园林中叠石为山、引泉为池，呼朋唤友、吟风弄月，将晤对天地的“自然山水”化作莳花修竹的“诗意栖居”，心手相传间成就了那个诗情画意的烟雨江南。

Xiangcheng, located in the north of Suzhou and on the western shore of Yangcheng Lake, is named according to the famous scholar Wu Zixu in the Spring and Autumn Period, who said, "Xiang, the image of heaven and earth." In the cultural development of Jiangnan for more than 2,000 years, the terroir of Xiangcheng has given birth to art, and the charm of art has also nourished Xiangcheng. This city is not only the retreat of Sun Wu - the sage of soldiers, and Fan Li - the sage of merchants, but also the hometown of Feng Menglong and Shen Zhou. In the prosperous urban gardens, they stacked rocks for mountains, drew springs for ponds, invited friends casually, and turned the "natural landscape" into a "poetic habitat" of flowers and bamboo, creating the poetic Jiangnan.

在艺术诞生的时代，城市尚在遥远的未来；在城市繁荣的岁月，艺术已是不可或缺的风景。从达芬奇和米开朗基罗的弗洛伦萨，到莫奈和雷诺阿的巴黎，再到波洛克和沃霍尔的纽约，西方艺术史跌宕起伏的演进，始终与城市的崛起和兴衰相伴；而在唐宋以降的长安、汴梁和临安，在明清之际的北京、金陵和苏州，吴道子、董源、范宽、马远、黄公望、沈周……一众艺术大师的名字同样如雷贯耳，在王朝更迭的历史激流中演绎着另一派艺术与城市的共鸣。因为艺术，那些平常的日子被凝铸成“大师的时代”；因为大师，那些精彩的城市被升华为“文明的坐标”。在这些经典的坐标中，特别令人神往的便是往昔之吴门、今日之相城。

In the era of the birth of art, the city was still in the distant future; in the years of urban prosperity, art was already an indispensable landscape. From Leonardo da Vinci and Michelangelo's Florence to Monet and Renoir's Paris to Pollock and Warhol's New York, the ups and downs of Western art history have always been accompanied by the rise and fall of cities. In Chang'an, Bianliang and Lin'an since the Tang and Song dynasties, in Beijing, Jinling and Suzhou in the Ming and Qing dynasties, Wu Daozi, Dong Yuan, Fan Kuan, Ma Yuan, Huang Gongwang and Shen Zhou... The names of masters also ring a bell, interpreting resonance between art and the city in the history. Because of art, those ordinary days were cast into the "era of masters." Because of masters, those wonderful cities were sublimated into "coordinates of civilization." Among these classical coordinates, the particularly fascinating one is Xiangcheng.

烟雨的江南属于山水，属于城市，属于相城。这里不仅有散落于河道水网上的观桥、南桥、凤凰桥，更有隐身于街巷的御窑遗址、悟真道院、熙馀草堂、玉皇殿、城隍庙和古戏台。粉墙黛瓦的建筑和花红柳绿的庭园勾勒了相城的风骨，而往来其间的文士和志存高远的画家则丰盈了相城的理想。从这个意义上说，因为艺术，更因为人，砖瓦木石的建筑点缀了灯火阑珊的相城，凿池堆山的园林也化身为天伦之乐的家园，在艺术、人文与城市历史的交融中，那片江南的烟雨悄然成为中国人心中难以磨灭的文化记忆和历久弥新的精神向往。

Jiangnan belongs to the landscape, the city, and Xiangcheng. There are not only Guanqiao, Nanqiao, and Fenghuangqiao scattered on the river, but also the ruins of the Royal Kiln, Wuzhen Daoist Temple, Xiyi Cao Hall, Yuhuang Temple, Chenghuang Temple and the ancient theater hidden in the streets. The pink-walled buildings and red-willow gardens outline the spirit of Xiangcheng, while the scribes and aspiring painters traveled around enriched the ambitions of Xiangcheng. Because of art and people, the brick, wood, and stone buildings embellish the lighted Sangcheng. The pond and mountain gardens are transformed into a home of heavenly bliss.

艺术与相城的相遇，本质上是人与人的相遇。在六百年前的“吴门”，这样的相遇是诗文的唱和，是笔墨的雅集，是酒逢知己的觥筹交错，是对月焚香的琴箫棋弈，也是沈周心中《东庄图》的浪漫和文征明笔下《拙政园图》的温情。在六百年后的相城，这样的相遇是“在理想和栖息地之间”的展览，是戴亮、黄玉龙、刘以林、李严、廖生祥、周海等艺术家们的相聚，是阳澄湖国际艺术交流中心草坪上的《羽》、《N.E.S.W 四大天王》、《知天者》、《蛇》、《人间》、《结构》、《生长》和“小外滩”的《花石纲2023》。

The encounter between art and Xiangcheng is essentially between people and people. Six hundred years ago, such an encounter was the harmony of poetry and writing, the gathering of ink and brush, the mingling of wine with confidants, the game of qin and chess, the romance of "Dongzhuang" in Shen Zhou's heart and the warmth of "Humble Administrator's Garden" by Wen Zhengming. Six hundred years later, in Xiangcheng, such an encounter is the exhibition "Between Ambition and Habitat." It is the meeting of artists such as Dai Liang, Huang Yulong, Liu Yilin, Li Yan, Liao Shengxiang, Zhou Hai, etc.; the "The Feather," "N.E.S.W. Four Kings," "The One Who Knows Heaven," "The Snake," "The Earth," "The Structure," "Growing," on the lawn of Yangcheng Lake International Art Exchange Center; and the "Huashigang 2023" on the "Little Bund" square.

如果说，在安德烈·纪德的世界里，理想与栖息地之间隔着他漫长的一生；那么在“理想和栖息地之间”的公共艺术展览中，将两者完美统合的，正是日新月异的相城。通过这个展览，艺术家们用西西弗斯推动巨石的倔犟和“吴刚伐桂”百折不挠的笃定，为沉静而温婉的相城带来了全新的城市想象，同时，也在相城宽阔的艺术视野和开放的人文情怀中，期许着时代、畅想着生活、书写着明天。

If in the world of André Gide, ambition and habitat are separated, with his whole life in between. Then in the public art exhibition "Between Ambition and Habitat," the ever-changing city of Xiangcheng unites the two perfectly. Through this exhibition, the artists use the stubbornness of Sisyphus pushing the boulder and the indomitable determination of "Wu Gang Fa Gui" to bring a new urban imagination to the quiet and gentle Xiangcheng. At the same time, in the broad artistic vision and open humanistic feelings of Xiangcheng, they hope for the times, think about life and write about tomorrow.

至此，因为艺术，烟雨成了诗，江南成了梦，相城也成了“理想和栖息地之间”的无限可能。

So far, because of art, the rain has become poetry, Jiangnan has become a dream, and Xiangcheng has become an infinite possibilities "between ambition and habitat."

2022年11月5日

November 5, 2022

展览现场