非常现场
从今日开始,拒绝为任何人写艺评文章。我写和艺术有关的文字,本意是澄清思想,自我求助。免得被伪批评家伪装成学术的胡说八道弄晕了脑子---至今也还是这一目的。不意近年以来,约为画册画展作文者渐多。四方亲朋,多处设局。强我所难,百口莫辞。分身乏术,身心俱疲。兹有此告:今日之前之旧约,将尽快清账。自今日始,请诸方君子,好我恤我,勿开尊口,以免尴尬。强我为文者,即是陷我害我,侮我辱我。有欲再三相强者,请自行下载本段文字使用可矣!----邱志杰 2006.7.6

长期征集关于国际机场的故事

为创作互动多媒体作品《国际机场共和国》,我向各位朋友征集你自己过着你所听说过的人们在各种国际机场的经历,所见,所遇,感触,奇闻轶事都可以。您的故事将有可能作为音频出现在多媒体作品中。欢迎直接提供你本人讲述的音频。可发我邮箱 
世界各地的国际机场,在一个国家的海关和另一个国家的海关之间,创造了一个本质上不属于任何国家的崭新的空间,同时,也在时区之间创造出一种新的时间经验。因此作者将这一空间与时间的独特存在命名为国际机场共和国。国际机场是面孔的盛宴,也是地方与全球经验、种族、文化、宗教、经济阶层相互混杂和交换的场所。它是个人的身份确认的场所,也是跨国公司进行商业竞赛的兵家必争之地。它是时尚的最大的窗口,也是孤独、团聚、等待、离别等永恒的人类情感重新发酵的场所。---邱志杰 2007.11

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虚苑版画新锐奖序




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红砖访谈

导言:      
                        
多年以前,在邱志杰与黄永砅的一次对话中,邱志杰曾经这样评价黄永砅的工作方式,“评注式的”,“根据‘机’来做”。 这似乎正可以用来描述邱志杰自己当前的工作方式。如果说《红楼梦》是脂砚斋的“机”,《水浒传》是金圣叹的“机”,那么当前邱志杰的“机”就是这张明代佚名画家的风俗画《上元灯彩图》。

根据故宫博物院专家的考证,《上元灯彩图》年代应该在明万历到天启年间,是在《清明上河图》影响之下,江南一带富商定制的作品,描绘了在上元节这一天金陵秦淮河畔夫子庙古玩市场的盛况。这张画虽然画工精良,但并未见载于画史,流传至今,原本由一位台湾藏家私藏,2004年美国俄勒冈大学与俄大美术馆举办《中国近代私密生活面面观:物品、影像与文本》研讨会上才首次与公众见面。

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给四个毕业生写的短评

谭斌的竹栏杆外表朴实无华,围绕一潭我们早已熟视无睹的水。 这潭水在校园中是浅近的公器 。但凭栏者却绝非置身事外的观望者。栏杆的内部暗藏玄机。通过安装在竹栏杆上的猫眼,凭栏远眺的登临之意被置换成了内省式的探究和阅读。而内部的风景比槛外江山更加浩荡无垠,千山万壑都出没于梦境与闪念之间。此作妙哉,一管之见,有四海之象,天下之心。



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QIU ZHIJIE’ Bird eyes view

Mark D Johnson
The confluence of conceptual approaches and the classical traditions of ink have invigorated contemporary Chinese landscape painting in exciting ways.  Qiu Zhijie (born 1969) became known for his work in photography and video that explored aspects of Chinese language and famous texts.  But in 2012, the artist began an ambitious series of maps, often displaying them as scrolls and sometimes in high-profile venues including the Venice and Gothenburg biennials.  Qiu Zhijie’s monumental Bird’s Eye from 2013 was conceived as an immersive environment of twenty-six contiguous scrolls. The work premiered at Hanart TZ Gallery in Hong Kong, and eight of the original twenty-six scrolls are featured in the current exhibition (a contiguous set of three and a separate set of five).  These paintings synthesize elements drawn from topographical maps, aerial perspectives and photography, and feature eclectic ahistorical imagery and short poetically ambiguous texts that are encapsulated in dozens of small cartouches dispersed across the works.  Imagery on the scrolls include strip mines, mountaintop mines, nuclear power plants, off-shore oil rigs, craters, archeological sites from Greek and Mayan cultures, pyramids and a buried obelisk, pagodas and a Hakka walled village, castles, 21st century high-rises, mountains, agrarian landscapes, rivers, bridges, an orderly European harbor town, mosques, aircraft carriers, fish weirs, ancient sailing vessels, giant footprints made by shoes with different soles, and a camel-train – virtually the only living beings depicted in this encyclopedic frieze.  It is as if this “bird’s eye” gives us an overview of human history – not the surveillance seeing-eye of a panopticon, but the analytic archeology of a detective approaching a crime scene.
Qiu Zhijie’s map paintings provide an unexpected parallel to the distinctively literary aesthetic of Chinese painting.  The artist has also drawn a link between ‘bird’s eye’ perspective and the
“subtle use of the Chinese technique of multiple perspectives, in which elevated and distant views of mountain peaks and ranges draped in clouds and mist are linked together in a single panorama, giving the view the exalted feeling that he is embracing the entire world…

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准备为圣保罗双年展画地图

Map-making is one of the fundamental ways that Western society has come to terms with the world. Through maps, the unknown is made visible and understandable. Yet maps have also been used to frighten off potential visitors, as in the famous ‘here be monsters’ rubric on early European maps of the continents of North and South America.

Qiu Zhije uses these histories and techniques of mapmaking, together with a Chinese ancient tradition of mapping imaginary places, to construct unexpected narratives, imaginary cities or strange utopian locations, such as the 'Map of Utopia' or the 'Map of Total Art'. He was trained as a calligrapher and uses these skills in rendering his free hand drawn maps.

For the 31st Bienal, Qiu Zhije has drawn a large-scale map that functions as a curious pathfinder for the journey ahead, through the exhibition. The map is based on some of the curatorial and artistic ideas behind the Bienal itself, merged with the artist’s own reflections while he was here preparing the image. The map is drawn directly on the wall of the ramp, which currently leads from the ground floor, and will disappear once the Bienal is closed on 7 December 2014. In this way, the idea of the map as a permanent rendition of a geographic landscape is rejected in favour of the temporary, subjective aspects of mapmaking – aspects that are always present no matter how neutral or scientific the map claims to be. (Charles Esche)

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