机构权威 +观众凝视 → “艺术性”的赋权
机构权威 +观众凝视 → “艺术性”的赋权
我们来到博物馆中看到了什么？是博物馆中的精英主义操纵了我们、亦或者我们的凝视本身造就了这样的结果？在进行了前期的资料调研后，为了构建为上述被摄物品赋权其艺术性的“机构场域”和“观众的凝视”，我决定就这类“展品”设计一场虚构机构+虚构艺术家+虚构展览，并进行公开宣传，完成这次传播与体验设计。
在纪录片《艺术话语》中，吉娜·费尔利对于艺术评论界过于晦涩难懂、故弄玄虚的现象进行了讨论，这并非一个新鲜的话题。在本土领域，2018年一篇名为“中国当代艺术编瞎话指南”的文章成为朋友圈爆款，同样引起了广泛的讨论与争议。是否正如玩笑中所说，由于自身生态的特殊性，对于大众而言，当代艺术评论仅凭借其令人望而生畏的学术语言体系、甚至无需切实的内在逻辑就足以令人信服？带着这样的戏谑与疑问，在本次虚拟展览中，我邀请几位艺术领域的相关从业者共同撰稿，化用当代艺术领域中的种种“热点”元素，同时通过随机收集当代艺术评论中的“大数据”、“艺术评论文本生成器”的随机生成等，“拼贴“生成了8000余字策展文案、虚拟机构与艺术家设定。
北京布施特画廊为位于瑞士苏黎世约翰·布施特画廊的中国分馆，主馆于1980年由约翰·布施特（John Bullshot）捐款筹建，布施特先生生前为苏黎世地区艺术经销商协会的创始成员，主馆长期与法国、加拿大艺术品鉴定专家和专业团队合作，关注对于所选作品的艺术家背景也经过深层的学术研究和市场考量，曾代理世界范围内的成功艺术家和艺术新人。本画廊是一家专业展示和推介当代艺术的画廊，在引入欧洲优质艺术展览的同时，与中国当代艺术家紧密合作，画廊通过对不同文化背景的当代艺术家的展览和出版活动，力图在学术批评和公众接受之间建立有效的连接，形成当代化的艺术品鉴和价值认同体系。自成立以来，致力于挖掘和推广具有强烈个人风格的当代艺术家，致力于通过引进不同视角、不同思想产生的艺术作品来为机构注入新鲜的活力，考察被视作无效重复的生活空间中可能存在的艺术叙事。
画廊位于东交民巷胡同6-66号，建筑外部本身具有极强的历史感和艺术性。内部经过改建后拥有600平米专业展厅和附属空间。其空间设计、布局和艺术品展示按照美术馆级别配置，是一座有着本土文化基础的西洋式建筑，现代建筑的钢架玻璃结构与传统建筑的装饰外形相互结合碰撞，形成强烈的对比。
地 址 Dongjiaominxiang 6-66, Chaoyangqu, Beijing 100000, China
电 话 Telephone & Fax: +86 100366
开放时间 Tuesday - Friday: 11am - 6pm / Weekend: 1pm - 6pm / Closed on Mondays
电子邮件 Bullshot@BEIJING.com
Arthur Stowe, 全名Dominique Arthur Stowe出生于委内瑞拉南部，幼年跟随管理员父亲居住于纽约画廊的经历使他对创作抱持着天然的亲切和视察。1990年，斯托毕业于佐治亚理理工学院此后从事公立机构数据业务，2000年年辞职离开后通过纽约地下艺术小组“假使明日我们能丈量城市”开始尝试进行小组艺术实践，其前期实践主要以城市残留地标的档案式记录与不定期的现场行为探讨地域发展中失落的人文景观和高速工业抹消城市自身的断裂感。2004年艺术家逐渐开始进行独立创作，此前30年的数据研究为其创作蓝本提供了非常规的思考角度，在此后10年的尝试诸多类型的艺术创作中，他最终将目光收束，回归日常的文本，以窥探的角度力图重构对于常规景观的程式化认知，探索贫乏日在中的多重诠释。地下艺术家的生涯带给了斯托反学院派的视角，在日益明星商品化的艺术名利场中，他选择不将真实面目示于公众，作为性别未知的艺术家活跃于纽约。在过往的记录中，斯托通常以现代工业现成品遮盖面部，切身探索着身为符号动物的人类在城市中的活动与城市场域的关系，在被遮断的观看中获得反观看的权利，以对自身的符号化实现了自体的艺术行为反叛。
Arthur Stowe(Dominique Arthur Stowe) was born in southern Bangladesh. Living in a New York gallery at an early age, with his father as its manager, gave him a natural affinity for creativity and inspection. In 1990, Stowe graduated from Georgia Institute of Technology and then engaged in data work at public institutions. After resigning in 2000, he began to try to carry out group art practice through the New York Underground Art Group "If We Can Measure the City Tomorrow", whose early practice is mainly based on the archival records of the city's residual landmarks and irregular on-site investigation, to explore the lost cultural landscape in regional development and the sense of fragmentation that the city is erased by high-speed industries. In 2004, he gradually began to create independently, and the previous 30 years of data research provided an unconventional perspective for his creative blueprint. After 10 years of experimenting with many types of artworks, he finally narrowed his focus and returned to everyday contexts, trying to reconstruct the programmed perception of conventional landscapes from a voyeuristic perspective, and to explore the multiple interpretations of the lack of everyday bits. The underground artist's career has brought Stowe's anti-academic perspective, and in the increasingly star-commodified art vanity, Stowe has chosen not to show his true colors to the public, active in New York as an artist of unknown gender. In passing accounts, Stowe, who often covers his face with modern industrial readymades, explores the relationship between human activity in the city as a symbolic animal and the urban domain, gaining the right to counter-view in the obscured viewing, achieving an autobiographical artistic act of rebellion against the symbolization of the self.
布施特画廊荣幸地宣布，将于2020年2月2日举办空间特展“the Artwork is(not) Present 艺术品在现场吗？”，本次展览同时也是委内瑞拉艺术家阿瑟·斯托在中国的首此个展。本展览由阿瑟·斯托最新创作的装置、雕塑、与摄影作品构成，在画廊的全部空间内集中展现艺术家对超越、转译与时间性等议题的长期探索。艺术家对20世纪早期现成品雕塑的关注在布施特画廊的数件新作中得以延续。令人想起马塞尔·杜尚那件著名的作品《折叠…在阴影中(也在明暗中)》(Folds…in shade (also light and shade) ,2020)斯托的艺术实践可被视作一个换位过程，其根本仍关注于“具有方向性且不不可逆的单向给予”，而反观不被审视与留意的日在景观，其背后可能存在的隐形叙事与象征的探讨在此处被艺术家发掘——他们在被包含的同时也翻转塑造着空间，两侧的指向在思索中组织成为一种持续变动且没有定论的叙事——但其实潜意识中的单向赋值并不存在。
艺术家在近期创作中放弃了宽泛的研究档案，选择重新缩回意义与无意义的裂隙，并力图呈现被忽略的独立景观中潜在的双向审视，以期发展出一套关于“重新审视”的语言，进而向社会阐明不可见的意义裂隙与反思。由此可见，意义的赋予并非只是与赋值来源的简单对立，更多在于被切碎和重组的演变过程。在这个无定向的被构成的空间中，反向赋值的自主概念最终被也被赋值给每一位观众，当你凝视并考量这日常的风景时，你的视线也正被纳入赋值体系中的一环——这也正是艺术家对当代生活过度溢出的指向性叙事所给予的回应。
BST.Gallery is pleased to announce the opening of "the Artwork is (not) Present", on March 2, 2020, which is also the first solo exhibition of Venezuelan artist Arthur Stowe in China.Comprised of Stowe's latest installations, sculptures, and photographs, this exhibition focuses on the artist's long-term exploration of topics of transcendence, interpretation, and temporality throughout the gallery's entire space. The artist's focus on early 20th century ready-made sculpture continues in several new works at the BST. GARRARY, reminiscent of Marcel Duchamp's famous work Folds...in shade (also light and shade). Stowe's artistic practice can be seen as a transposition process, which remains fundamentally concerned with the "directional and irreversible one-way giving", while the unexamined and unnoticed landscape, behind which the exploration of possible invisible narratives and symbols is unearthed by the artist. They are included and at the same time in turn shape the space, both sides organized in thought into a constantly shifting and inconclusive narrative, yet in fact, the subconscious one-way giving does not exist.
In his recent work, the artist has abandoned the broad archival research, opting to retract into the fissures of meaning and meaninglessness, and seeks to present a potential two-way look at the neglected independent landscape, with a view to developing a language of "re-examination" that would clarify the invisible fissures of meaning and reflection to society. It follows that the assignment of meaning is not a simple opposition to the source, but more in the evolutionary process of being shredded and restructured. In this undirected constructed space, the autonomous concept of reverse assignment is finally assigned to each viewer, and as you gaze at and consider the everyday landscape, your gaze is also being incorporated into the assignment system, which is the artist's response to the overflowing directional narrative of contemporary life.
展品内容 Artworks
展览画册 Guildbook
展览衍生品 PRODUCTS
在最终的线上传播与展示上，我在专业艺术网站（雅昌、Artlink等）和微博、公众号等平台中对上述机构、艺术家、展览进行了虚拟宣传，以获得观众观看的视角。同时，作品导师芦影教授围绕本作品在专业本科生、研究生中开展了“寻找隐藏毕设”的分析课题，引发了热烈的学科讨论，目前获得了良好的传播成果。并作品中展册、海报等未来计划参加当年ABC书展、成都艺术书展等活动，进行后续的虚拟宣传。
