What is contemporary sculpture? How should contemporary sculptures advance? These problems have been plaguing the sculptors of the Middle Ages since the 1980s. As far as the development of Chinese contemporary sculpture is concerned, the most important significance of sculpture in the early 1980s is to get rid of the shackles of the subject, return to the media, return to aesthetics, and change the concept of established rigid sculpture. Undoubtedly, the first wave of contemporary sculpture was kicked off in the departure of the monumental sculpture, the rejection of the grand narrative, and the movement to defend the independence of the sculpture. After entering the 1990s, with the rise of a group of young sculptors, Chinese contemporary sculptures gradually entered the construction period of contemporary culture, that is, they no longer aim at the creation of simple forms and personal styles, but how to make sculptures participate in contemporary The expression of culture is our responsibility. I have summarized the contemporary sculpture creation after 2000 into the third stage. After nearly two decades of development, Chinese contemporary sculpture has gradually established a diversified pattern in the first decade of the new century after gradually completing the linguistic turn and its linear development. There have been several changes in this period that deserve attention. The first is related to some new topics. Compared with the materials, language, media, and cultural identity of the 1990s, many works after the 2000s revolved around topics such as gender, body, theater, time, and process. Secondly, the form and style show a more open attitude, which not only effectively accepts the achievements of installation art, architectural art, and conceptual art, but also morphologically integrates some visual methods of video art and process art. In this situation, the existing boundaries of sculpture and installation are becoming more and more blurred. Third, the ideological resources and theoretical discourse of contemporary sculpture are becoming more and more abundant. At the same time, the works of representative sculptors in this period have some commonalities, such as a clear personal style, which can form a unique language; can raise certain problems in the established art history logic, or can effectively address cultural appeals. Incorporate into the cultural context of contemporary society; finally, there must be a relatively clear personal methodology. The fourth characteristic is the rise of young sculptors. These artists pay attention to sculptural thinking, but most of the works are placed in the context of contemporary art, and are no longer confined to the existing sculpture paradigms and concepts, the works show the characteristics of "de-sculpting".
The “Tomorrow†Contemporary Sculpture Award was established to encourage young students to create and research contemporary sculptures, and to create new talents for Chinese contemporary sculpture art. In fact, in the face of today’s global context, the external world built by images and landscapes, and the era of high-speed digital communication and information flooding, young artists perceive external realities and use different media. The concept of creating works will be more abundant and more personal. Therefore, it will be positive to build a platform for young artists. This is not only directly related to the rise of young sculptors since 2000, but also to the future development of contemporary art. The spirit and breakthrough of young artists are easier. Bringing new possibilities to contemporary sculpture.
In 2014, the second “Tomorrow†Contemporary Sculpture Award was further expanded on the basis of the first year of last year. It was not only limited to the southwest region, but to young artists under the age of 45, attracting major art schools across the country. A total of 147 students from the school or the young artists who insist on sculpture creation have nearly 700 works, including the Central Academy of Fine Arts, China Academy of Art, Tsinghua University Academy of Fine Arts, Guangzhou Academy of Fine Arts, Hubei North Academy, Lu Xun Academy of Fine Arts, Xi'an Academy of Fine Arts, Tianjin The Academy of Fine Arts, the Academy of Fine Arts of Sichuan Conservatory of Music, the Academy of Fine Arts of Northeast Normal University, Nanjing Art College, Guangxi Academy of Fine Arts, Shanghai University Academy of Fine Arts, Shenyang University Academy of Fine Arts, etc., fully embodies the growing reputation and influence of the “Tomorrow†Contemporary Sculpture Award. force. In terms of exhibition organization, the second “Tomorrow†Contemporary Sculpture Award was hosted by the China Academy of Contemporary Art. The Sculpture Department of the Sichuan Academy of Fine Arts and the Institute of Contemporary Art of the Sichuan Academy of Fine Arts jointly organized and co-organized by Sichuan Tomorrow Culture and Art Investment Management Co., Ltd. In order to ensure the academic nature of the exhibition, the outstanding award-winning works were selected. The first evaluation judges of the exhibition were: He Guiyan, Jiao Xingtao, Shi Jinqi, Tan Xun, Tang Yi,; Yin Shuangxi, Lu Wei, Xiang Lijun as the end The judges. The initial judges selected 20 finalists from among the many applicants. The final judges voted for the last five winners in the 20 fair and fair votes, according to the number of votes: Lu Yunxia, ​​Deng Yufeng, Zhang Xinghua , Tong Kun bird.
As far as the works exhibited in this exhibition are concerned, although many works contain rich information and different entry points, they cannot be summarized in a single perspective and theoretical discourse, but in general, there are several characteristics. First of all, the artists generally reflect the "formal consciousness", and are good at exploring the expressive power of the material itself, and have a strong sense of production. In terms of formal expression, it can be roughly divided into two tendencies, one is "meaningful form" and the other is "anti-form form". The former are works by artists such as Zheng Lu, Xiao Cai, Jiang An, and Deng Yufeng, and the latter are works by Wen Hao, Zeng Lulin, Lu Yunxia, ​​and Qian Liang. The so-called "anti-form form" is the artist's re-conceptualization in the process of expressing the form of works. For example, Wen Hao's grasp of the contingency and uncertainty of formal expression, Qian Liang reduced the bamboo chopsticks into the shape of bamboo. The second characteristic is that a large number of works exhibit the characteristics of “de-sculptizationâ€. The main reason for this appearance is that the artist used the ready-made products in the creative process, which can be seen in the works of artists such as Pang Hailong, Yang Guang, Lu Yuanliang, Zhang Xinghua, and Zhao Xiaolan. Obviously, once the finished product is involved, it will inevitably touch the boundaries of the sculpture and the device. Therefore, one of the basic dimensions of how to reflect the ability of a young sculptor is to make the meaning of the work and the use of ready-made products effectively fit. Of course, another consequence of “de-sculptization†is that it will be completely away from the creative paradigm of the college sculpture and bid farewell to the established sculpture language and technology. The third characteristic is to emphasize the "conceptuality" implicit in the personal creation methodology, such as the works of artists such as Hu Qingyan and Zhan Yang. Hu Qingyan regards the process and time in the repeated creation of "a pile of mud" as the meaning of the work. In the history of modern Western art, Duchamp is a pioneer in the use of ready-made products. However, the works of War Yang attempt to “appropriate†Duchamp’s work once again. His work has a clear sense of methodology. Since 2013, the artist has collected a large amount of information from 186 international first-line contemporary artists, including press releases from the media, critics' review articles, artist's self-reports and interviews. Then, begin to classify, summarize, analyze their strengths and weaknesses, extract keywords, and then use the most basic features of these artists' works, such as media, materials, or creative ideas for their own In the creation of the work. At the same time, the works of several other artists also reflect the distinct personal style and characteristics, such as Zhang Xiang's discussion of the "field" problem, the hidden female consciousness in Yue Yanna's works, and the very personalization of Tong Kun's works. Tune and irony. Of course, even if the works of these artists have more or less deficiencies, the way of creation is independent, individualized, and sometimes alternative and critical.
After the opening of the exhibition, an academic seminar on the “Tomorrow†sculpture award was held in the Sculpture Department of the Sichuan Academy of Fine Arts. In response to this exhibition, many critics and artists who participated in the conference gave constructive criticism and involved many topics worth discussing, such as the transformation of materials in the contemporary category, the boundaries of contemporary sculptures, and the ways in which contemporary expressions were expressed. Validity issues and more. One of the more concentrated criticisms is that contemporary sculptors, especially young sculptors, should not fall into a "successful learning model." In recent years, especially in the wave of high-speed marketization of contemporary art, the “de-politicized art†has become the main trend. In the sculptural world, there are also works of “small freshness†and “stylingâ€. They are well-made, tend to be crafted and kitsch, and they are also “harmless contemporary artâ€. Therefore, critics, artists, etc. all expect young sculptors to stay away from the "successful learning model", not to fall into the quagmire of "styling" prematurely, and to create some works that are truly problematic. In response to the exhibition mechanism of the “Tomorrow†Contemporary Sculpture Award, the participating experts gave some suggestions. For example, there should be relatively clear standards on the evaluation method and selection mechanism. The selection of works also needs to consider the inherent logic and context of the work. For the "Tomorrow" contemporary sculpture award, it should pay more attention to its academic and forward-looking nature, and should be distinguished from the same type of awards such as "Zeng Zhuyu Scholarship".
In fact, we review the development of Chinese contemporary sculpture for nearly three decades. It is not difficult to find that some important nodes are closely related to the phenomenon of young sculptors or young sculptures. Such as the sculpture works appearing in the "Star Art Exhibition", a group of young sculptors emerging in the later period of "New Wave", as well as "1992 Young Contemporary Exhibition", "1994 Sculpture Five-person Exhibition" and so on. What is certain is that the sensitivity and development of young artists, the "trial and error" spirit and critical consciousness will continue to generate new meanings and possibilities, and will continue to inject new connotations into "contemporary". As Jiao Xingtao said, “In all words that express time, 'tomorrow' always represents some unknown possibility and change, especially in the face of today’s unpredictable reality, such words are always like art. "It is hopeful." And for the "Tomorrow" sculpture award, his hope is - "to foot for the past, to help the future."
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