Write some words to us!

BY:Hu Xinyun

Edited BY:Li Shiyu

Source:

11 06, 2018

The exhibition “From/To: the Frontier of Chinese Art Education”, jointly hosted by CAA and San Francisco Art Institute will be on at Chestnut Street Campus and Fort Mason Campus of SFAI from Nov 16 to Dec 9.

The exhibition will revolve around 90 art and education questions. Therefore, we hope all of you can join the event. You can record a video or write some words about a question you want to ask the world/Art and then email your question to us (FromTo_90questions@126.com)!

 

From / To Art:90 questions

是否有一个发问不隐藏着回答?

Is there a question without a hidden answer?

是否有一个答案不夹杂着疑问?

Is there an answer without an entangled question?

一支努力瞄准的箭,

准确,取决于射出的地方?

For an arrow trying hard to take aim,

is its accuracy dependent on its way of discharging?

I

谁在发问?

Who is asking?

如何发问?

How do we ask a question?

今天,

是过往某一个行动的周年纪念,

还是未来回溯之时的某一基奠?

Is today an anniversary of some past events, or some foundation to reminisce in a future day?

今天可能从历史的手中,夺回它当下的行动感吗?

Is it possible for people today to take back their agency of action from history?

 

我们与过去的关系是什么?

What is the relationship between us and the past?

我们如何从一场已然宣告终结的行动中,发现那些被遮蔽与中断的延伸之路?

How do we discover then, from an already terminated action, those hidden and interrupted tracks?

我们与未来的交集在哪里?

Where is our intersection with the future?

 

历史的延续与完整性,对一所学院意味着什么?

What does the continuation and integrity of history mean to an academy?

学院是教育者的庇护,抑或教育者是学院的庇护?

Does the academy shelter educators, or educators protect the academy?

艺术应当被学科化地分类和教学吗?

Should art be categorized and taught as an academic discipline?

如何避免学院成为狭隘理想主义的代名词?

How do we avoid making academy a synonym of parochial idealism?

技艺/技术是学院教育中最后的遮羞布吗?

Is skill/technique the last fig leaf of academic education?

 

知识是通向艺术的必须途径吗?

Is knowledge a necessary approach to the mastery of art?

知识让我们对世界的认知更清晰了吗?

Does knowledge make us better at understanding the world?

艺术生产依赖于共享的知识和价值体系吗?

Does artistic production rely on a shared knowledge and value system?

艺术学院需要重视「非知识」性的知识吗?

Should academies of arts highlight knowledges of 「non-knowledge」?

 

现代主义城市空间建设的形式和排布是否束缚了个体行为的多样?

Has the configuration and arrangement of modernistic urban space constrained the diversity of individual behaviors?

我们能否真正参与栖居之城的建设与改造?

Can we really play a role in the construction and transformation of the city?

更智能化的统一和管理,就是更理想化的城市面貌吗?

Does more intelligent unification and management make a city more ideal?

今天的城市空间还能再触发我们的创造力吗?

Can today’s urban space still inspire our creativity?

地域的独特性与抵达的仪式性在今天的城市生活中消失了吗?

Have the regional uniqueness and the rituality of arriving disappeared in today’s urban life?

 

我们的身体每时每刻都在被不可视之物规驯吗?

Has the invisible been constantly normalizing our bodies?

我们是否拥有感知与表达自我身体的权利?

Do we have the right to feel and express our own bodies?

城市是独立于我们存在的另一个「身体」吗?

Is the city another 「human body」 independent of our existence?

艺术,当为理想之城中延伸的大道,还是悬置于天空的云?

Is art an extended path in the ideal city or a lonely cloud suspended in the sky?

 

纯为「艺术」的艺术,是否存在?

Does art only exist for art’s sake?

艺术,是一种教化方式吗?

Is art a way of cultivation?

是否存在一种真正的生活?

Does a kind of real life truly exist?

学院会成为这种生活的推行与践行者吗?

Will the academy promote and practice this kind of life?

 

 

II

对话是必要的吗?

Is dialogue indispensable?

我们在创造对话,还是只在进行对话?

Are we creating dialogues, or are we just engaged in dialogues?

真正的对话是否被束缚在了话语的奇观下?

Are real dialogues under the yoke of spectacles of discourses?

巴别塔的废墟堆叠在了话语之上?

Do the ruins of Babel pile on the discourses?

有隐藏的话语吗?

Is there any hidden discourse?

 

我们清楚地意识到

我们一直以来对概念的偷换和混淆吗?

Are we cognizant of the fact

that we have always been distorting and confusing concepts?

在价值协商的时代,

及在多声道的现代性和非线性主宰的历史观下,

我们还可能谈论未来吗?

Can we talk about future,

in an age of value negotiation, with a conception of history governed by polyphonic modernity and nonlinearity?

与其说我们正迈向未来,不如说我们在回到未来?

Should we say we are returning to the future, rather than marching toward it?

 

资本已然成为权力的骨骼与血液了吗?

Has the capital already become the blood and flesh of power?

资本定义与推动了艺术的形式和生产?

Is it the capital that define and promote the forms and production of art?

艺术家是否应该主宰艺术话语?

Should artists seek to dominate artistic discourses?

 

艺术发生在艺术圈之外吗?

Is art taking place outside the art circles?

艺术存在私人化与社会化阐述的分隔吗?

Is there the divide between privatized narration and socialized narration of art?

何为艺术的完整性?

What is the integrity of art?

 

消费在耗尽我们的创造力与对创作时刻的感受吗?

Is consumption depleting our creativity and feelings in the moments of creation?

如何存留那些被网络与讯息所遗漏的日常时刻?

How can we retain those ordinary moments inundated in the digital age?

我们为何乐于在社交媒体上分享自己的隐私?

Why do we take delight in sharing our privacy in social media?

艺术能否让我们重新拾回对自我精微的感知?

Can art help us rediscover the subtle perception of ourselves?

那些被讯息与数码保留的记忆,是对真实的一种补充还是销毁?

Do those memories retained by digital information complement or destroy some aspects of reality?

 

什么是真正的自由?

What is the real freedom?

我们在利用自由的幌子说谎和牟利吗?

Are we telling lies and making a profit under the pretense of freedom?

为什么我们看似独立却仍旧感到不自由?

Why are we 「independent」 but still not 「free」?

艺术的创造力已在这种四面围堵的「自由」中蒸发殆尽?

Has artistic creativity been exhausted under the siege of 「freedom」?

 

今天的我们被「严禁」了什么?

Today, what are we 「strictly prohibited」 from?

我们正以一种不可被抹去的姿态被抹去吗?

Are we being erased with a kind of indelible posture?

人与人之间,拥有真正的理解吗?

Do people really understand each other?

艺术,能完成这种理解吗?

Can art realize this kind of understanding?

 

 

III

何为民族艺术:艺术具有民族性吗?

What is national art:Does art have national characters?

对文化符号与大众记忆的挪用与滥用,是一种以艺术之名的懒惰和欺骗?

Is the appropriation and abuse of cultural symbols and public memory a kind of sloth and deceit in the name of art?

艺术等同于同理心和感人吗?

Is art equal to empathy and affection?

艺术能否超越划界, 使我们感知与联结自己的「民族」?

Can art transcend demarcation, making us feel and connect with our own 「nation」?

 

我们有可能书写「世界艺术史」吗?

Is it possible to write a 「world art history」?

被书写的艺术与艺术史,如何影响着正发生的艺术?

How do the written art and art history affect the ongoing art?

「山水」能成为一种超越史学和美学概述的新的感知方式吗?

Can 「Shanshui」 become a new perceptive mode that will transcend historiography and aesthetic overviews?

「山水」独立于我们而自在吗?

Can 「Shanshui」 exist independent of our existence?

人的进入和离开,之于「山水」有何不同?

How do human beings’ presence and absence affect 「Shanshui」?

 

绘画的创作基于作者所视吗?

Is the creation of painting based on what the artist sees?

艺术能否洞见与描绘,那些被日常景象所遮盖的真实?

Can art delineate and shed light on those facts covered by commonplace sights?

绘画的创作基于作者所绘吗?

Is the creation of painting based on what the artist paints?

当我们谈论绘画性时,我们仅能够谈论材料与技法吗?

When we discuss ‘picturality’, are we limited to just talk about materials and techniques?

绘画的创作基于作者所思吗?

Is the creation of painting based on what the artist thinks?

那些未经消化的现实与概念,对艺术的表达是一种负担吗?

Are those undigested realities and concepts burdens for the expression of art?

 

劳作,是创作的必经途径吗?

Is laboring inevitable in the process of creation?

艺术的真诚等同于创作时付诸的劳作吗?

Is sincerity of art equal to the labor spent in the process of creation?

当代的创作者,失去了对媒材的亲密与警觉吗?

Have today’s creators lost the intimacy and vigilance towards media and materials?

艺术家需要对自己的作品有足够的认知吗?

Is it necessary for artists to have enough understanding of their own works?

对风格与形式的效仿是否如期抵达艺术?

Can art be reached through imitation of styles and forms?

 

我们在被强迫感受吗?

Are we forced to feel?

艺术智性如何面对来自人工智能的过滥生产?

How should artistic Intelligence face the excessive production which comes with Artificial Intelligence?

如何言说那些难以言说的时刻?

How to express the inexpressible?

如果一切都能被记录,什么才真正值得被记住?

What can be truly remembered, if everything can be recorded?

只有艺术能治愈社会,还是只有社会能救治艺术?

Only art can rescue the society,

Or, only society can rescue the art?

 

这是一个去艺术的时代吗?

Is this an age of doing away with art?

为何今天的艺术使人感到如此不安?

Why art makes people so anxious today?

艺术,能使喧哗之世失语,让哑然之物发声吗?

Can art make the noisy world silent, and the hushed beings heard?

艺术是一种持续的战斗状态吗?

Is art in an unremitting state of fight?

今天,我们为什么而战?

What do we fight for today?

Question End