展览
阶跃·潮生——致敬波螺油子综合艺术展”
主办：
日期：
9/19--11/19
地点：螺美术馆 市北区无棣二路70号甲
出品
学术支持
展览总监
策展人
王焱坤 王家旭
Sean Won × Wang Jiaxu
Chen Yuke
陈尚隆 Chen Shanglong | 冯潇 Feng Xiao | 葛成根 Ge Chenggen | 黄政 Huang Zheng | Jomou | 匡汇聪 Kuang Huicong | 李黎 Li Li | 梁凌娟 Liang Lingjuan | 李小白 Li Xiaobai | 刘世超 Liu Shichao | 孟国华 Meng Guohua | 曲小哼 Qu Xiaoheng | Sisu | 王海宁 Wang Haining | 王鹏 Wang Peng | 吴正中 Wu Zhengzhong | 徐海芹 Xu Haiqin | 徐得真 Xu Dezhen | 尤良诚 You Liangcheng | 于瑶 Yu Yao | 翟海滨 Zhai Haibin | 周子琦 Zhou Ziqi
主办
承办
开幕
2025.09.20 2:30 PM
螺美术馆
市北区无棣二路70号甲
前言
作为一个外乡人，“波螺油子”这个词，从完全抽象、陌生，到一知半解，我用了好些年。一如“GALA”之于蛤蜊，“波螺油子”，从青岛人的口中自顾自的说来，亲昵、亲热、亲切，夹带着啤酒与海鲜混合的味道，每每谈及，像聊着儿时的玩伴。在青岛城市化进程中，波螺油子有着独一无二市的市井烟火气和历史肌理。被岁月打磨的锃亮的块块青石，弯弯绕绕、曲线放射般盘旋而上的街巷，以及丘陵上层叠错落的建筑，给一代又一代青岛人的生活记忆里烙上了极其特殊、无法磨灭的情感记忆。正是这份记忆，让已经远去的波螺油子，仍然鲜活的存在着。因着这份记忆，我们邀请了22位与青岛有着深刻情感连接的艺术家，在波螺油子的现场，以艺术之名，向这一不可替代的青岛人文地标致敬。他们有的曾是波螺油子“老街坊”，有的来青岛仅短短数年，而 “50后”到“00后”的年龄跨度，又让他们对波螺油子的差异性理解增加了一个新的维度。无论传统，抑或潮流，创作差异性的叠加意味着视觉的丰富。而以精神为引导的艺术创作，还须体现人文关怀。所以，对波螺油子的“致敬”并不是为了回望，而是希望借助展览呈现，让艺术家和每一位观者，能借着对“波螺油子”和因其而形成的独特人际关系、历史衍变，及当前的重建发展，进行观念和思维的交流碰撞。不同时代、不同地域、不同经历的人能在全新的螺美术馆，在波螺油子，以艺术为媒，互相看见、彼此好奇，就是最有价值的开始。不是吗？
FOREWORD ︳Sean Won
Coming from another city, the term "BOLUOYOUZI" went through a process of evolving from being completely abstract and unfamiliar, as it being somewhere or somewhat. It took me quite a few years to get used to it and fully understand it.
Just like The dialectal pronunciation of the Chinese word "GELI". It is affectionate, intimate, and full of the aroma of the mixture of beer and seafood, when the word “BOLUOYOUZI”comes from local people`s dialog. Whenever it is mentioned, it feels like chatting about childhood playmates.
During the urbanization process of Qingdao, BOLUOYOUZI has its own unique urban atmosphere and historical texture. There are polished blocks of quartzite worn smooth by time, the winding and curving streets that radiate in a spiral pattern, and the stacked and scattered buildings on the hills. All of these have left an extremely special and indelible emotional memory in the lives of generations of Qingdao residents. It is precisely this memory that keeps the bygone BOLUOYOUZI alive even now.Searching among these memories, we invited 22 artists who have a deep emotional connection with Qingdao. At the site of BOLUOYOUZI, they, in the name of art, paid tribute to this irreplaceable cultural landmark of Qingdao. Some of them were long-time residents of BOLUOYOUZI, while others had only been in Qingdao for a few years.Mean while, the the artists` age range which is from the 1950s to the millennials, added a new dimension to their understanding of the uniqueness of BOLUOYOUZI.Whether traditional styles or contemporary artistic movements, the accumulation of creative differences means the richness of visuals. Moreover artistic creation guided by spirit must also reflect humanistic care. Therefore, the "tribute" to BOLUOYOUZI is not for reminiscing, but to hope that through the exhibition. Artists and every viewer can engage in exchanges and collisions of ideas and thoughts by referring to "BOLUOYOUZI" and the unique interpersonal relationships, historical evolution, and current reconstruction and development formed by artists and viewers,People from different eras, different regions, and different backgrounds can come to the palingenetic HELIX GALLERY, in the block of BOLUOYOUZI, using art as a medium to understand each other, be curious about one another, and this is the most valuable beginning. Isn't it?（SeanWon，Curator, Director of Kun Gallery）
时无重至，波螺油子历史锚点的复勘
波螺油子作为城市的一个历史锚点，它既是几代人记忆的化身，也是城市空间生长的过程中的尺椽片瓦。作为一处遗迹，我们应当用一个适应当下的方式呈现并阐述。借助这次“阶跃·潮生”艺术家群展，我们寄希望于抽离波螺油子在具象记忆中代表的所指，将对其不同的认知集合成在城市更新过程中连贯的图像符号或泛化的地方人文。任何的创作都需要个性的参与，我们也的确不希望这场关于波螺油子的展览演变成一场套着模板的风景题材绘画走秀，这次展览寄希望呈现的是一个发散且丰富的阐述，也是每个不同的独立个体在统一的坐标中多元化的观察视角和个性的艺术语言。这次参展的艺术家或是土生土长的青岛人，或是如今生活于此，或是曾经在这里留下过属于自己的回忆，但无论关于过往的回忆还是遥远的乡愁，还是自身创作中潜移默化的本土元素，或是抽象的层层迭进的阶梯，此起彼伏的波纹，总之都有太多的形象可以寄托。这些情感或无意识的元素构成了不同代际艺术家作品之间串联成为展览的统一线索，同时也以艺术的地域性为中心构建了一个想象中的意识共同体。近几年，我就生活在如火如荼依旧在翻新的旧城区。那些上上下下的城市街道似乎比周遭的建筑更能给人留下挥之不去的印象。建筑攀着斜坡彼此错层，而道路在起伏中盘结交互。偶然有几栋千禧年代左右的后现代主义高楼，近看很突兀，远看又很和谐。我个人其实很喜欢那些穿插在城市中的后现代主义建筑。青岛的历史建筑，甚至包含几处大家熟知的地标，并非所谓严谨的新古典主义建筑，反倒是那些后现代的建筑隐约能看出古典时代的审美原则。那些百年前的洋房或是里院，大多是之于本地文化背景而兼有异域风情的实用住宅，由砖石、木件、瓦片构成，这一组合由当时的生产条件所决定的。同样，那几栋后现代的高楼也遵循相似的生成逻辑，只不过是由钢筋、水泥、蓝色钴玻璃组合而成。尽管它们展现了那个朝气蓬勃的年代里人们对于新世纪的大胆畅想，但那时的人还是为曾经的摩天大厦修筑了红色的屋顶和三角钟楼。在我短暂地经历城市变化的过程中，我发现城市似乎也遵循天演的逻辑，城市即作为一个独立的主体又作为一个庞大的场景实现着有机循环的自生长，它从不完美，但是总在群魔乱舞的演化中找到出路。而作为个体的人相比较于主导者的角色，更像是城市生长的细胞、运转的齿轮。一座城市的人文，正是我们作为细胞存在的整个生产生活的过程。就像城市的扩张和新陈代谢，一座城市的人文艺术也有它自己的发展逻辑，即为时代所塑造，又反过来为时代留下阶梯和潮水般的印记。如今，许多城市生活空间正在变得“千城一面”，国际风格的CBD建筑，连锁品牌四海皆准的门头设计，小区里统一的单元门，宽阔道路两旁孱弱单调的行道树。城市中追求规模实用的那些效率机器裹挟着定义现代化生活的符号暴力正在覆写市井烟火曾赖以运行的源代码，那些朴素的愉悦和轻松正有被缙绅化驱逐的趋势。我们没有办法回到过去，用过去的方法唤醒老城。曾经的波螺油子或许还在，但已无当时嬉戏打闹的儿童。我们今天所能不遗余力的应该是在为新的波螺油子一块砖一块砖地铺垫很久很久以后或许会尘封的回忆。
这次展览横亘在个体与城市之间，无法避免地触及两者之间的关系。我愿意将这一次展览比喻为一次勘探，借此去思考一处遗迹在未来是否会生成更多新的历史锚点，这并不意味着破旧立新，而是一个概念在被阐述的过程中逐渐发散为超越他本身的存在，作为变化着的图像符号和地方人文的物质载体延续着无数主角的故事，而不同年龄、不同经历的每一个人在这里都将会是新的主角。Re-exploration of the Linear Historical Anchor Points in BOLUOYOUZIThe BOLUOYOUZI, as a historical anchor point of this city, is not only the embodiment of the memories of several generations, but also a piece of relic in the process of the city's spatial growth. That`s why we should present and explain it in a way that suits the present era. Through this "STEPS BEYOND THE WAVES" exhibition, we don`t only hope to detach the referent represented by the BOLUOYOUZI in the concrete memories, but also wish to integrate different understandings of it into a coherent image symbol or generalized local culture in the process of urban renewal.Any art creation requires the participation of individuality. We truly do not want this exhibition about BOLUOYOUZI become a fancy show of landscape-themed paintings with a fixed template. This exhibition hopes to present a divergent and rich exposition, as well as the diverse observation perspectives and individual artistic languages of each different independent individual within a unified coordinate system. The participating artists in this exhibition are either native Qingdao residents, or currently living here, or used to live here. But whether it is about past memories, distant nostalgia, or the subtle local elements in their own creations, or the abstract lyers of steps, the rising and falling waves. In short, there are too many images that can be attached to them. These emotions or unconscious image elements constitute the unified thread that connects the works of artists of different generations into the exhibition, and also builds an imagined community of consciousness centered on the regional nature of art.In recent years, I have been surrounded by the new project of urban renewal. The city streets in hillsides and downhill seem to leave a more lasting impression on me than the buildings next to. Those architectures on sloping facades interlocks with each other, and the roads, winding and undulating, create a unique and captivating landscape. Among them, a few post-modernist buildings from the millennium era standing out occasionally. When viewed closely, they seem out of place, but from a distance, they appear harmonious. Personally, I actually quite like those post-modernist buildings that intermingled in the city view. The historical buildings in Qingdao, including several well-known landmarks, are not the so-called strict neoclassical architecture. Instead, the post-modern buildings hint at the aesthetic principles of the classical era. Those old houses and courtyards from a hundred years ago were mostly practical residences with an exotic flavor, adapted to the local cultural background, constructed with bricks, wood, and tiles. Similarly, those post-modern buildings follow the same generation logic, but are composed of steel, cement, and blue cobalt glass. Although they reflect the bold imagination of people in that vibrant years for the new century, but at that time, people still built red roofs and triangular clock towers for those skyscrapers.I believe that people who have experienced different periods of time are all new participants at present.During my brief experience of observing urban changes, I discovered that cities seem to follow the logic of organic evolution. Cities, as an independent entity and as a vast scene, achieve organic and self-generating growth through an interlocking cycle. They are never perfect, but always find a way out amidst the chaotic evolutionary transformation. Compared to the role of the leaders, human individuals are more like the cells or gears in the growth of the city. The culture of a city is the entire process of our existence as cells in daily life and production. Just like the expansion and metabolism of a city, the cultural and art of a city also has its own development logic, which is shaped by the times and in turn, leaves steps and tidal-like imprints for the times.Nowadays, many urban living spaces are becoming same looking. International-style CBD buildings, uniform storefront designs of chain brands everywhere, exactly alike unit doors in residential areas, and monotonous Just planted trees on both sides of wide roads. The efficiency machines that pursue scale and practicality in cities, along with the symbolic violence that defines modern life, are rewriting the source code on which the daily life of the common people once relied. The simple pleasures and ease that were once present are trending towards being driven out by gentrification. We cannot go back to the past and use the methods of the past to awaken the old city. The old BOLUOYOUZI might still be there, but children who once played and laughed there had already gone. What we should do today with all our efforts should be paving bricks by bricks for the new BOLUOYOUZI, perhaps in the future, new memories will be gladly and relievedly dusted off.This exhibition lies between the individual and the city, inevitably touching upon the relationship between the two. I would like to compare this exhibition to an exploration, through which we can ponder whether a relic will generate new historical anchor points in the future. This does not mean replacing the old with the new; rather, it is a concept that gradually expands beyond its original form during its exposition, continuing to exist as a transcendent existence. As changing image symbols and the material carriers of local culture, it continues to tell the stories of countless protagonists. Anyway, everyone of different ages and experiences will be a new protagonist here.（Wang Jiaxu，Curator, Director of XUFENG ARS）
- END -
登录后可评论.