<한 조각의 하늘 2012>
설치, 인골, 동물의 뼈, 화석, 레이저 커팅된 거울, 와이어. Courtesy of the artist.
2012년 초에는 골목길 지하에 꾸린 스튜디오에 설치 작업을 하고 《하늘 한 조각》이라는 제목을 붙여 그것을 굳이 개인전이라고 주장했다. 화석화된 유물로 발굴된 인간의 뼈와 동물의 해골에 구멍을 뚫어 천장에 매달고 방 전체에 조각난 유리 조각을 붙였다. 붉은 레이저 불빛이 거울들 사이에서 튕겨져 나와 뼈에 난 구멍을 통해 움직였고, 리 푸춘은 빛이 돌아다니는 길을 섬세하게 조절하여 최종적으로는 빛을 측창을 통해 밤하늘로 쏘아 올렸다. 이것은 작가가 세상 바깥으로 보내고 싶어했던 개인적인 신호이자 자화상이라고 할 수 있다.
뭉크 탄생 150주년 기념전시
내년엔 뭉크의 한 해가 되겠군
Anniversary Exhibition "Munch 150"
The Anniversary Exhibition "Munch 150" will be the most comprehensive presentation of Edvard Munch’s art ever displayed. It will feature major works from all periods of his life and provide an overview of his enormous output.
The Anniversary Exhibition "Munch 150" aims to make Munch’s distinctive contribution to modern European visual arts even more evident. Edvard Munch was artistically active for over 60 years, from his debut in the early 1880s until his death in 1944. He retained his fresh and innovative commitment to art creation throughout his life and his pictures have inspired, offended and pleased several generations. Edvard Munch will be celebrated with this presentation covering all periods and central themes of his enormous life production. A total of about 220 paintings and 50 works on paper will be exhibited. Visitors will be treated to a number of his most famous major works, but also some less renowned treasures. Among the highlights of the exhibition are the almost complete reconstructions of his picture series The Frieze of Life from 1902 and theReinhardt Frieze from 1906–07. Munch’s changing portrayals of himself and the ways he repeated and refined particular motifs comprise a general theme. You will also see how Munch utilised places and landscapes he was well acquainted with in continually changing variations. The Anniversary Exhibition "Munch 150" offers an opportunity for a new experience and understanding of Munch’s ground-breaking contributions to modern visual arts. In his day he elicited anger and admiration for his unorthodox style of painting. His continual experimentation ensures him topical interest today as well. The enormous scope of the exhibition has been made possible through cooperation between the National Museum of Art, Architecture and Design and the Munch Museum. The works on display have been selected from the museums’ own collections and supplemented by generous loans from public and private institutions in Norway and abroad.
One exhibition - two venues
The exhibition is split into two venues. Works from 1882–1903 will be displayed at the National Gallery, while works from 1904–1944 can be experienced at the Munch Museum.
Curators: Nils Ohlsen (National Museum of Art, Architecture and Design), Mai Britt Guleng (National Museum of Art, Architecture and Design), Jon-Ove Steihaug (Munch Museum) and Ingebjørg Ydstie (Munch Museum).
뭉크 150탄생 기념 전시 사이트
http://www.munch150.no/en/Programme/Anniversary-Exhibition-Munch-150
뭉크에 관련된 내년의 온갖 전시들 안내 사이트
http://www.munch150.no/en/Programme
| 策划： | 民生现代美术馆 |
|---|---|
| 出版发行： | 文化艺术出版社 |
| 经 销： | 新华书店 |
| 印 制： | 北京雅昌彩色印刷有限公司 |
| 版 次： | 2010年4月第1版 |
| 开 本： | 889＊1194 1/16 |
| 印 张： | 45 |
| 字 数： | 280千字 |
| 书 号： | ISBN 978-7-5039-4355-3 |
| 定 价： | 880.00元 |
| 书名中文： | 《中国当代艺术三十年 [ 绘画 ]》 (1979-2009) |
|---|---|
| 书名英文： | Thirty Years Of China Contemporary Art 1979-2009 |
| 出品人： | 董文标 |
| 主 编： | 何炬星 |
| 执行主编： | 周铁海, 郭晓彦 |
| 艺术委员会： | 范迪安, 费大为, 高名潞, 高士明, 黄专, 侯翰如, 栗宪庭, 吕澎, 邵大箴, 王璜生, 巫鸿, 许江, 易英, 尹吉男, 赵力, 朱青生 |
| 责任编辑： | 李峰, 黄予 |
| 编 辑： | 郭小力, 李佩琦, 徐腾飞 |
| 校 对： | 黄予, 郭小力, 李佩琦, 徐腾飞, 陈玉敏, 刘正花, 陈冲, 陈世友 |
| 翻 译： | Archibald Mc Kenzie, Lesley R. Turnbull, Ned Levin, 许茜, 陈早 (Nicole Chen), 刘品毓, 许婷婷, 康梦纯 (Maggie Connolly) |
| 英文校对： | 王碧蓉, Neil Hartley , 何兰英 (Vanessa He) , 李佩琦, 徐腾飞, 伊恩 |
| 设计： | 王序 (wx) |
| 设计助理： | 侯颖, 晨夕, 张帆, 张超, 丁凡, 杨光 |
| 展览题目： | 中国当代艺术 30 年历程大展(1979-2009) |
| 主办： | 民生现代美术馆 |
| 总策划： | 何炬星 |
| 执行策划： | 周铁海, 郭晓彦 |
| 顾问： | 范迪安, 费大为, 高名潞, 高士明, 黄专, 侯瀚如, 栗宪庭, 吕澎 邵大箴, 王璜生, 巫鸿, 许江, 易英, 尹吉男, 赵力, 朱青生 |
| 项目管理： | 邵波, 李峰 |
| 项目协调： | 周旭君 |
| 媒体联络： | 于晓芹 |
| 行政助理： | 刘佳, 朱燕青, 张帆, 方琦, 端木霞子, 吕楠 |
| 展览地点： | 上海市淮海西路 570 号 F 座 |
| 展览时间： | 2010年4月18日-7月18日 |
<상해현대미술사대계>
워너비 도록 0순위
上海现代美术史大系(1949-2009)(宣传画卷)》及《上海现代美术史大系(1949-2009)(版画卷)》新闻发布会于2012年11月22日下午在沪召开。
《上海现代美术史大系》是据上海市文联主席、上海市美术家协会主席施大畏的倡议，列为上海市美协第六届主席团的一项重大工程。不仅得到了上海市文联领导的有力支持，也得到了上海人民美术出版社的友好合作。整部“大系”分为中国画史、油画史、版画史、雕塑史、水彩粉画史、连环画史、年画吏、宣传画史、漫画史、儿童美术史、艺术设计史、美术理论史，共12卷。
每卷包括总序、卷首语、正史、文献、年表、艺术家简历、附录、编后语第几个部分。以及大量的作品图片及历史图片，比较全面的呈现了上海解放以来60年间的美术发展脉络。
* 전집 구성
整部“大系”分为中国画史、油画史、版画史、雕塑史、水彩粉画史、连环画史、年画吏、宣传画史、漫画史、儿童美术史、艺术设计史、美术理论史，共12卷。
유화, 연환화, 만화사, 미술이론사 등이 재미있겠군
* 제작단체
上海市文联 上海市美术家协会 上海市美协第六届主席团
* 전집내용
每卷包括总序、卷首语、正史、文献、年表、艺术家简历、附录、编后语第几个部分。以及大量的作品图片及历史图片，比较全面的呈现了上海解放以来60年间的美术发展脉络。
http://www.namoc.org/news/yjxw/2012/201211/t20121123_153185.html
搜尽奇峰
중국 산수화는 대륙의 힘을 느끼게 한다
| 展览名称： 搜尽奇峰——20世纪中国山水画选展 展览时间： 2012.11.01 至 2013.01.06 主办单位： 中国美术馆 展览场地： 19-21号厅 参展作品： 更多作品 |
中国山水画拥有悠久的历史，在20世纪中国社会变革和中外文化碰撞交流的语境中，开始了从传统向现代的变革历程。山水画的巨大传统与外来艺术的影响形成20世纪中国山水画发展的两股动力，“传统出新”与“中西融合”成为中国山水画家选择的必然路径。传统型画家的艺术实践是在传统绘画的基础上，接续以“笔墨”为中心的文人画文脉，将自然造化与个人心性结合起来，形成符合现代审美的山水画风格。融合型画家在山水画创作中吸收融合了西方绘画观念与技法，形成了中西融合型山水画风。1949年新中国成立以后，中国山水画家走向了以表现社会生活为目的的山水画创作之路，在特定历史背景之下，山水画家们在描绘山河新貌的过程中，开拓了山水画的语言，提升了山水画的境界，创作出了具有鲜明时代特点的新山水。这三种类型的山水画代表了20世纪中国山水画的主要取向，也构成本展的三个篇章。
http://www.namoc.org/msg/zhanlan/201209/t20120919_151972.html
« Le jury après une longue délibération a porté son choix sur Daniel Dewar et Grégory Gicquel, chez lesquels la relation à la sculpture monumentale est apparue particulièrement originale, a annoncé Alfred Pacquement, Président du jury. L’usage des matériaux, sans exclure les pratiques artisanales et le fractionnement des volumes, y compris sous la forme de films d’animation, élargit chez eux les standards esthétiques tandis que leurs thématiques se réfèrent aux loisirs ou aux traditions culturelles les plus populaires. »
Trois autres artistes travaillant dans le domaine des arts plastiques et visuels étaient sélectionnés pour la 12ème édition du prix Marcel Duchamp : Valérie FAVRE (née en 1959),Bertrand LAMARCHE (né en 1966) et Franck SCURTI (né en1967).
Daniel Dewar et Gregory Gicquel succèdent à Mircea Cantor, lauréat 2011. Ils sont invités par le Centre Pompidou pour une exposition personnelle de trois mois à l’automne 2013 dans l’espace 315. L’ADIAF leur remettra une dotation financière de 35 000 euros et participera à la production de l’exposition. Le duo d’artistes est représenté par la galerie Loevenbruck, Paris.
http://www.adiaf.com/le-prix-marcel-duchamp-2012-est-decerne-a-daniel-dewar-et-gregory-gicquel/
Based in Paris and Bordeaux, the artists Daniel Dewar (b. 1976) and Grégory Gicquel (b. 1975) have been producing work collaboratively since 1998. Dewar and Gicquel’s practice redefines the medium of sculpture through the unlikely solutions of narrative structure and craftsmanship, foregoing the contemporary tendency towards slick hyper-industrialized ready-mades. Using a range of materials and techniques – from weaving to carving and casting – they create large-scale vanitas, situated somewhere between neo-pop and ethnic folk art. Dewar and Gicquel’s pieces conflate cultural markers in order to suggest wildly fantastic tales, imagining such unlikely characters and scenarios as a leather studded manta ray armed with num chucks: “Driving in the Abyss Behind a 2 Big Tits Lorry Truck Truck Mental Ray” (2006). They mis-match references as diverse as hunting and fishing lore, skateboarding, rock’n’roll paraphernalia and Japanese manga comics, filtering these sources through their particular bricolage aesthetic. In elaborating their own personalized brand of ritual art objects, Dewar and Gicquel have evolved, in the process, a singular repertoire of contemporary myths.
http://www.aptglobal.org/view/artist.asp?ID=4560
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