相土嘗水，象天法地

“自然山水”化作“詩(shī)意棲居”

構(gòu)成“理想和棲息地之間”

無(wú)限可能

“在理想和棲息地之間”城市藝術(shù)邀請(qǐng)展

于12月31日?qǐng)A滿舉辦成功

展覽筆談

藝術(shù)與城市

Art and the City

曹星原

Hsingyuan Tsao

大自然中的動(dòng)物們總是選擇自己喜愛(ài)的環(huán)境條件來(lái)選擇棲息地，比如候鳥(niǎo)不知疲倦地飛行千里萬(wàn)里去尋找理想的棲息地。而高智商的動(dòng)物佼佼者人類，不但常常在不適于自己的場(chǎng)所茍且生存，更是把對(duì)場(chǎng)所的改造視為人生理想。然而對(duì)環(huán)境的改造往往滯后于生存的必需，面對(duì)人生的無(wú)奈，紀(jì)德也嘆息著：“我的理想和我的棲息地之間隔著我的一生。”

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."

公共藝術(shù)興起于力圖減少人生與環(huán)境之間的摩擦，公共藝術(shù)也是縮短理想和我的棲息地之間隔距離的文化手段。中國(guó)的公共藝術(shù)雖然在國(guó)際環(huán)境中是后起之秀，但是近年來(lái)，頗有急起直追的勢(shì)頭。公共藝術(shù)的最精彩的部分在于它的公共性，正由于這一公共性，通過(guò)視覺(jué)引導(dǎo)心理的邏輯，因從文化心理改變了人們的生存環(huán)境，使得理想暫且棲息在表現(xiàn)了理想的公共藝術(shù)空間之中。

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.

公共藝術(shù)不是一般意義上的藝術(shù)，而是精神層面的文化氛圍營(yíng)造。世界上的繁華都市的繁華之處不僅僅在于商業(yè)的繁華，而更在于文化的魅力。公共藝術(shù)的價(jià)值不是簡(jiǎn)單地美化裝飾城市景觀，也不是為了點(diǎn)綴特定的公共場(chǎng)所，而在于通過(guò)文化的手段來(lái)調(diào)整都市生存空間，把都市的公共文化取向和概念——不但作為素材，更作為最后的終極目標(biāo)，通過(guò)作品，使走進(jìn)這個(gè)空間的人都能感受到。

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.

公共藝術(shù)既是一個(gè)城市的IP，也是一個(gè)城市的凝聚力。比如芝加哥千禧公園的著名公共藝術(shù)作品《云門(mén)》就從三個(gè)方面呈現(xiàn)了作為工業(yè)大都市的文化精神：鏡面拋光的豆形表面體現(xiàn)了鋼鐵工業(yè)、當(dāng)代工業(yè)和當(dāng)代藝術(shù)的凝聚點(diǎn)。每一個(gè)站在這顆銀豆前的人都會(huì)通過(guò)球形鏡面看到自己與芝加哥的摩天大樓和朵朵白云。遠(yuǎn)在天邊的白云，卻在這個(gè)豆形的鏡面上呈現(xiàn)出一個(gè)云朵編織的拱門(mén)。千禧公園的《皇冠噴泉》則交替在大屏幕上不斷播放芝加哥的1000個(gè)居民的笑臉，芝加哥的百姓最愛(ài)做的事情就是到噴泉那里等著自己認(rèn)識(shí)的人的笑臉的出現(xiàn)。一個(gè)《云門(mén)》、一張張笑臉，不但呈現(xiàn)了后工業(yè)時(shí)代的科技手段改變了的藝術(shù)呈現(xiàn)方式，更使人們暫時(shí)忘卻了芝加哥的社會(huì)問(wèn)題、忘卻了芝加哥的不夠宜人的天氣。

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.

蘇州市相城區(qū)文化體育和旅游局、蘇州市相城區(qū)文學(xué)藝術(shù)界聯(lián)合會(huì)和蘇州消涇手工藝術(shù)村開(kāi)發(fā)有限公司共同舉辦的《在理想和棲息地之間》公共藝術(shù)邀請(qǐng)展由武湛和潘周策劃，邀請(qǐng)了戴亮、黃玉龍、劉以林、李嚴(yán)、廖生祥、周海等海內(nèi)外著名的有思想內(nèi)涵的藝術(shù)家的作品參展，一定能夠使參觀者體驗(yàn)到凝聚了數(shù)千年姑蘇文化精髓、更體現(xiàn)了當(dāng)代蘇州的文化與科技的呈現(xiàn)手段的至高點(diǎn)。

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.

衷心祝賀《在理想和棲息地之間》的盛大開(kāi)幕！

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

2022年11月4日于加州薩克里門(mén)托

November 4, 2022 in Sacramento, California

展覽序言

相城，無(wú)限的可能 ——“在理想和棲息地之間”公共藝術(shù)邀請(qǐng)展代序

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

武湛

Wu Zhan

相城，位于蘇州北部、陽(yáng)澄湖西岸，因春秋名士伍子胥的“相土嘗水，象天法地”而得名，自古便是物阜民豐的魚(yú)米之鄉(xiāng)。在兩千多年的江南文化發(fā)展史上，相城的風(fēng)土生發(fā)了藝術(shù)，藝術(shù)的光韻也滋養(yǎng)了相城，這里不僅是兵圣孫武和商圣范蠡的歸隱之地，更是馮夢(mèng)龍和沈周的故鄉(xiāng)——自十五世紀(jì)始，以沈周為宗師的吳門(mén)畫(huà)家，將宋元大師筆下的山高水長(zhǎng)收于胸次，在日漸興盛的城市園林中疊石為山、引泉為池，呼朋喚友、吟風(fēng)弄月，將晤對(duì)天地的“自然山水”化作蒔花修竹的“詩(shī)意棲居”，心手相傳間成就了那個(gè)詩(shī)情畫(huà)意的煙雨江南。

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.

在藝術(shù)誕生的時(shí)代，城市尚在遙遠(yuǎn)的未來(lái)；在城市繁榮的歲月，藝術(shù)已是不可或缺的風(fēng)景。從達(dá)芬奇和米開(kāi)朗基羅的弗洛倫薩，到莫奈和雷諾阿的巴黎，再到波洛克和沃霍爾的紐約，西方藝術(shù)史跌宕起伏的演進(jìn)，始終與城市的崛起和興衰相伴；而在唐宋以降的長(zhǎng)安、汴梁和臨安，在明清之際的北京、金陵和蘇州，吳道子、董源、范寬、馬遠(yuǎn)、黃公望、沈周……一眾藝術(shù)大師的名字同樣如雷貫耳，在王朝更迭的歷史激流中演繹著另一派藝術(shù)與城市的共鳴。因?yàn)樗囆g(shù)，那些平常的日子被凝鑄成“大師的時(shí)代”；因?yàn)榇髱?，那些精彩的城市被升華為“文明的坐標(biāo)”。在這些經(jīng)典的坐標(biāo)中，特別令人神往的便是往昔之吳門(mén)、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.

煙雨的江南屬于山水，屬于城市，屬于相城。這里不僅有散落于河道水網(wǎng)上的觀橋、南橋、鳳凰橋，更有隱身于街巷的御窯遺址、悟真道院、熙馀草堂、玉皇殿、城隍廟和古戲臺(tái)。粉墻黛瓦的建筑和花紅柳綠的庭園勾勒了相城的風(fēng)骨，而往來(lái)其間的文士和志存高遠(yuǎn)的畫(huà)家則豐盈了相城的理想。從這個(gè)意義上說(shuō)，因?yàn)樗囆g(shù)，更因?yàn)槿?，磚瓦木石的建筑點(diǎn)綴了燈火闌珊的相城，鑿池堆山的園林也化身為天倫之樂(lè)的家園，在藝術(shù)、人文與城市歷史的交融中，那片江南的煙雨悄然成為中國(guó)人心中難以磨滅的文化記憶和歷久彌新的精神向往。

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.

藝術(shù)與相城的相遇，本質(zhì)上是人與人的相遇。在六百年前的“吳門(mén)”，這樣的相遇是詩(shī)文的唱和，是筆墨的雅集，是酒逢知己的觥籌交錯(cuò)，是對(duì)月焚香的琴簫棋弈，也是沈周心中《東莊圖》的浪漫和文征明筆下《拙政園圖》的溫情。在六百年后的相城，這樣的相遇是“在理想和棲息地之間”的展覽，是戴亮、黃玉龍、劉以林、李嚴(yán)、廖生祥、周海等藝術(shù)家們的相聚，是陽(yáng)澄湖國(guó)際藝術(shù)交流中心草坪上的《羽》、《N.E.S.W 四大天王》、《知天者》、《蛇》、《人間》、《結(jié)構(gòu)》、《生長(zhǎng)》和“小外灘”的《花石綱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.

如果說(shuō)，在安德烈·紀(jì)德的世界里，理想與棲息地之間隔著他漫長(zhǎng)的一生；那么在“理想和棲息地之間”的公共藝術(shù)展覽中，將兩者完美統(tǒng)合的，正是日新月異的相城。通過(guò)這個(gè)展覽，藝術(shù)家們用西西弗斯推動(dòng)巨石的倔犟和“吳剛伐桂”百折不撓的篤定，為沉靜而溫婉的相城帶來(lái)了全新的城市想象，同時(shí)，也在相城寬闊的藝術(shù)視野和開(kāi)放的人文情懷中，期許著時(shí)代、暢想著生活、書(shū)寫(xiě)著明天。

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?yàn)樗囆g(shù)，煙雨成了詩(shī)，江南成了夢(mèng)，相城也成了“理想和棲息地之間”的無(wú)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

展覽現(xiàn)場(chǎng)

作者介紹

01

藝術(shù)家 | 戴亮

Dai Liang

2014年畢業(yè)于中央美術(shù)學(xué)院雕塑系，獲碩士學(xué)位；2008年畢業(yè)于中央美術(shù)學(xué)院雕塑系，獲學(xué)士學(xué)位；現(xiàn)工作生活于北京。

作品 | 《羽》

The Feather

綜合材料 | Mixed media

尺寸 | Size 200×100×70cm

02

藝術(shù)家 | 黃玉龍

Huang Yulong

出生于中國(guó)安徽，中國(guó)當(dāng)代青年藝術(shù)家，作品以街頭文化為背景，致力于打破以Hip-hop為代表的當(dāng)代青年文化與中國(guó)傳統(tǒng)美學(xué)之間的邊界，作品大多以第一人稱的視角與世界對(duì)話，總能直接而精準(zhǔn)地捕捉街頭文化的典型形態(tài)，將傳統(tǒng)與當(dāng)代元素、東方與西方審美完美融合，充滿個(gè)性張力和思考空間。

衛(wèi)衣人作品系列是黃玉龍雕塑創(chuàng)作的起點(diǎn)，也是他的堅(jiān)持。每一個(gè)造型的衛(wèi)衣人都注入了他的情感，記錄著他對(duì)生活的態(tài)度和思考。

作品 | 《N.E.S.W.四大天王》

N.E.S.W. Four Kings

玻璃鋼著色 | Fiberglass Coloring

尺寸 | Size 80×80×200cm

03

藝術(shù)家 | 劉以林

Liu Yilin

藝術(shù)家、作家、旅行家、行修者。曾為學(xué)，為官，為商，周游中國(guó)，周游世界?，F(xiàn)居北京之北深山中19年。有建筑作品《好望山莊》、《巨石小屋》等； 受邀為《讀書(shū)》等多家雜志長(zhǎng)期繪制插圖，已創(chuàng)作雕塑作 品6000余件、油畫(huà)作品2000余幅、鋼筆畫(huà)作品15000余幅、 國(guó)畫(huà)作品7000余幅，并在國(guó)內(nèi)建有多個(gè)雕塑園區(qū)。

作品 | 《蛇》

The Snack

鑄銅 | Cast

尺寸 | Size 160×600cm

作品 | 《知天者》

The One Who Knows Heaven

不銹鋼 | Stainless Steel

尺寸 | Size 82×82×305cm

04

藝術(shù)家 | 李嚴(yán)

Li Yan

當(dāng)代雕塑與裝置藝術(shù)家，先后畢業(yè)于景德鎮(zhèn)陶瓷學(xué)院和汕頭大學(xué)長(zhǎng)江藝術(shù)與設(shè)計(jì)學(xué)院，現(xiàn)工作生活于北京、景德鎮(zhèn)。

作品 | 《人間》

The Earth

不銹鋼鍛造 | Stainless Steel

尺寸 | Size 172×105×210cm

05

藝術(shù)家 | 廖生祥

Liao Shengxiang

1985生于中國(guó)福建, 現(xiàn)工作生活在北京。2005年畢業(yè)于福州工藝美術(shù)學(xué)校雕塑專業(yè)。2014年成立北京天目造雕塑鑄造工作室。

作品 | 《生長(zhǎng)》

Growing

不銹鋼 | Stainless Steel

尺寸 | Size 275.9×207×100cm

作品 | 《解構(gòu)》

Destructure

不銹鋼 | Stainless Steel

尺寸 | Size 215×120×115cm

06

藝術(shù)家 | 周海

Zhou Hai

網(wǎng)名駕風(fēng)牧云，70年生于上海，畢業(yè)于上海大學(xué)美術(shù)學(xué)院環(huán)境藝術(shù)系，畢業(yè)后進(jìn)入上海奧美廣告公司，后進(jìn)入上海萬(wàn)科，任執(zhí)行創(chuàng)意總監(jiān)及創(chuàng)意經(jīng)理，后辭職創(chuàng)辦上海高浪文化傳播有限公司至今。

作品 | 《花石綱2023》

Huashigang 2023

綜合材料 | Mixed media

尺寸 | Size Height 600cm

展覽時(shí)間

2022年12月1日-2022年12月31日

展覽地點(diǎn)

陽(yáng)澄湖國(guó)際藝術(shù)交流中心

參展藝術(shù)家

戴亮 黃玉龍 劉以林 李嚴(yán) 廖生祥 周海 （按姓名首字母排列）

學(xué)術(shù)主持

曹星原

策展團(tuán)隊(duì)

武湛 潘周

主辦單位

蘇州市相城區(qū)文化體育和旅游局

蘇州市相城區(qū)文學(xué)藝術(shù)界聯(lián)合會(huì)

承辦單位

蘇州消涇手工藝術(shù)村開(kāi)發(fā)有限公司