2018年上海玻璃博物馆“退火”项目正式揭幕
2018年11月05日
11月5日,“物镜——刘建华个展”和“塞上——孙逊个展”在上海玻璃博物馆正式开幕。作为上海玻璃博物馆本年度的“退火”项目,艺术总监李力邀请了艺术家刘建华和孙逊以玻璃为媒介材料进行最新创作。本次两位艺术家的个展呈现于博物馆最新改造的当代艺术空间中,展览将持续到2019年5月31日。
当日下午一点半,2018年“退火”项目的新闻发布会于上海玻璃博物馆的爱庐彩虹礼堂举行,上海玻璃博物馆馆长张琳,“退火”项目艺术总监李力,艺术家刘建华和孙逊出席了本次新闻发布会。上海玻璃博物馆馆长张琳谈到,“退火”项目今年迎来了第五周年,他也期待今后能够与更多的当代艺术家展开合作,希望玻璃与当代艺术的联系能够不断地延续下去,从而为公众展现出玻璃的无限可能性。
李力作为“退火”项目的艺术总监,向媒体朋友们介绍了“退火”项目的起源和发展。她在新闻发布会现场表示,作为策展人,她并不为艺术家设置创作的规则和边界,而是鼓励他们利用相对不熟悉的玻璃材料大胆而自由的创作。今年呈现的两场展览,对两位艺术家而言都是首次用玻璃进行创作,她在策展过程常常感受到强烈的颠覆性,对未完待续的“塞上”展览下集她也抱有许多期待。
艺术家刘建华谈到,在项目启动至今将近一年的时间里,创作过程充满了纠结、艰难和各种偶然性。虽然陶瓷和玻璃在材质和特性上有许多共通性,但他仍然感受到了二者之间的明显区别,面对玻璃时陌生、不可控的感觉对他而言也是一种特别的享受。
艺术家孙逊表示,当李力向他提起“退火”项目时,他对这样的创作表达了强烈的兴趣。他希望能够从玻璃这个完全陌生的媒介中找到自己过往创作的核心,与玻璃的这次“对话”也带给孙逊许多启发和挑战。而谈及未来的期待时,他表示,希望“退火”能够坚持自己的实验性,以及纯粹的艺术性。
艺术家刘建华选用了血红色和黑色玻璃作为《碑》、《黑色形体》和《呼吸的风景》三组作品的创作媒材,意在打破人们对玻璃的既定认知。半开放状态的展厅将窗外风景的自然流动与展览场域融为一体,而当观众踏入这个地上布满碎玻璃的展厅时,“物镜”将会触发他们从视觉、听觉、触觉到心灵层面的共通和思考。
“塞上——孙逊个展”展出于当代艺术空间的一楼,本次展出的部分为展览上集,包括艺术家的系列手稿、绘画、动画影像以展示艺术家对于新创作的思考脉络,下集则将于明年三月揭开神秘的外衣。
感谢各位嘉宾、艺术家和媒体朋友莅临“退火”项目的开幕式,共同见证上海玻璃博物馆以更多元的姿态和身份,正式迈出跨向当代艺术领域的脚步。展览将于明日起正式向公众开放,并将持续至2019年5月31日。
2018 Annealing Project is Unveiled in Shanghai Museum of Glass
November 5,2018
Mirror Effect and Frontier, the individual exhibition of LIU Jianhua and SUN Xun opened on January 5th 2018 respectively. As the 2018 ANNEALING Project of Shanghai Museum of Glass, Lise LI, the project art director, invited artist LIU Jianhua and SUN Xun to create their latest artwork with the media of glass. The two exhibitions are presented in the renovated art space in the museum. The exhibition will last until May 31st 2019.
The press conference of 2018 ANNEALING Project was held in the Rainbow Chapel at Shanghai Museum of Glass, with the attendance of museum director ZHANG Lin, ANNEALING Project art director Lise LI and artists LIU Jianhua and SUN Xun. In the press conference, the museum director Zhang Lin stated that 2018 was the fifth year of the ANNEALING Project, thus he hoped the Project could cooperate with more contemporary artists, and the connection between glass and contemporary art would be continued, in order to present the infinite possibilities of glass to the public.
As the art director of ANNEALING Project, Lise LI introduced the origin and development of the project. LI stated that, as the curator, she would not set any regulations or boundaries to creation and she would encourage the artist to work boldly and freely with glass, an unfamiliar new material to the artists. In the exhibitions presented, both LIU Jianhua and SUN Xun are the first time to work with glass. Thus LI felt a strong subversive-ness in the process of curation and she had a high expectation on the coming part II of the unfinished exhibition Frontier.
LIU Jianhua mentioned that, in the one year since the beginning of the project, the creation process was full of confusing, difficulty and serendipity. Even though there are many common characters between ceramics and glass in materiality, he still experienced the sharp difference between the two materials, and the unfamiliarity and uncontrollability when work with glass is a special enjoyment to him.
SUN Xun expressed that, when Lise LI introduced the ANNEALING Project to him, he was deeply interested in this unique creation method. He wanted to reframe the core in his previous works through a completely unfamiliar material, glass. And this “dialogue” with glass brought many inspirations and challenges to him as well. When talking about the future expectations, SUN Xun expressed that he hoped the ANNEALING Project could insist its experimentalism and pure artistry.
LIU Jianhua chooses dark red and black glass as the material of three sets of works, Monument, Breathing Scenery and Black Body, which aims to break the existed understanding of glass. The half opened exhibition hall brings the out-window scenery into the gallery space, and when visitors step on the floor that full of broken glass, Mirror Effect would intrigue their sense and reflection in visual, acoustic, sense and mental level.
Frontier, the individual exhibition of SUN Xun locates on the ground floor of the contemporary art space in Shanghai Museum of Glass. It is the part I of the whole exhibition, including the manuscripts, drawings, and animated videos, showing artist’s threads of thoughts on the new project, and the part II will be unveiled in March 2019.
Thank the guests, artists and media friends for attending the opening of the ANNEALING Project, witnessed the Shanghai Museum of Glass taking the step into the field of contemporary art with more diversified identity. The two exhibitions will open to the public until May 31st 2019.