展名/ Title :陈琦格致：一个展示和理解的实验
The Physics of "Chen Qi":
Experimenting With Curation and Comprehension
艺术家/ Artist :陈琦 Chen Qi
策展人/ Curator : 邱志杰 Qiu Zhijie
主办方/ Host Institution :德基美术馆 Deji Art Museum
展期/ Date :2018.11.15 (Thu.) - 2019.3.10 (Sun.)
开幕/ Opening :2018.11.25 (Sun.) 2:00pm
地点/ Venue :南京市玄武区中山路18号
No.18, Zhongshan Road, Xuanwu District, Nanjing
陈琦格致：
一个展示和理解的实验
2018年11月15日，“陈琦格致：一个展示和理解的实验” 已于南京德基美术馆正式开展，并于11月25日下午2点举办开幕仪式。展览将持续至2019年3月10日。
此前，德基美术馆馆长艾琳在接受采访时表示：“每一场优秀的‘个展’，总是肩负着‘颠覆对艺术家固化成见’的学术使命。我们需要找到一条新的解读通道，将时间长河中艺术家的心路全貌与每个瞬间中里程碑式的定格精准呈现，并为不同艺术理解力的观者提供全新的认知。然而陈琦作为中国版画界的翘楚，无数的作品早已深入人心，如何去理解和展示陈琦，如何做好这场个展，变得极具挑战性。为此，我们特邀国际知名策展人邱志杰先生，将陈琦1983至2018三十五年间创作的200余件版画、装置作品，重新解构为九大版块，在8楼、28楼共计2000余平的展厅内进行展示，并通过四个月的时间持续解读这场艺术实验。”
在8楼展厅，以“长物志”、“心印”、“水光潋滟”、“虫洞”四大版块串联我们所熟知的陈琦，这批作品技术完美、气势恢弘，具有里程碑式的意义。28楼展厅则以“曝光”、“孤独者”、“风景”、“反刍”、“混沌” 五个版块展示了一个更任性、更浪漫、更疯狂、更具实验精神的陈琦。
九大版块，九条理解的隧道，雅致的控制者还是疯狂的实验者？在这场实验中，相信所有人都会结识一个看似熟知却又不同以往的陈琦。
邱志杰：实验报告
展示陈琦是一种实验，理解陈琦更是一种实验。像这样一位拥有大量经典作品，其中一些已经成为艺术史经典的艺术家，人们一定已经有意无意地形成了对他的某种定论。但我更愿意相信人们的定论多多少少都是某种刻板印象——优秀的艺术家总是会超越所有的定见与成见，总是存在着更多的理解他的渠道，只要你的理解够有实验性，我们便有机会收获一个让我们耳目一新的陈琦。
长物志
《桌之二 Table No.2》 73x95cm 水印版画 Woodblock Print 1989
《古琴 Guqin》 100x160cm 水印版画 Woodblock Print 2011
《水中鱼之二 Fish in the Water No.2》 80x80cm
水印版画 Woodblock Print 1999
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对我来说，这次策展正是这样一种挑战，我志在颠覆业已固化的将陈琦叙述为单线深入的精益求精者的思路，而将其描述为一个视野开阔、思路缤纷的实验者。我也不愿意过多谈论水印版画中的墨韵或者水墨精神，而更愿意从中看到照相写实主义。我从陈琦身上看到一个抽象主义者，甚至一个观念主义者；我们不但看到一个热爱绘画的，甚至还能看到一个怀疑绘画的人。
基于这种展示策略，我们在两个展厅中设置了九个命题，或者说九个关键词，试图用它们挖掘出九条理解力的隧道。
心印
《荷之舞 Dance of Lotus》 139.5x147cm
水印版画 Woodblock Print 1999
《彼岸之二 Faramita No.2》 180x180cm
水印版画 Woodblock Print 2002
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出现在8楼的是大家更为常见的陈琦：“长物志”是一个人以观照物品作为精神修炼的历程。“心印”则关注对物象的凝视是如何酝酿出象征的力量。“水光潋滟”展现了一种物质和一种景观如何等同于整个世界。“虫洞”则一头通向宇宙论，一头通向触手可及的痕迹。时间史道成肉身，洒落为斑驳的光。这批作品技术上完美，气势恢弘，展厅渗透着一种纪念碑性。
水光潋滟
《1963》 335x780cm 水印版画 Woodblock Print 2009
《失联 Lost Connection》 85x85cmx21拼（panels）
水印版画 Woodblock Print 2015
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虫洞
《时间简谱-No.12 Notations of Time-No.12》
直径 87.5cm 水印版画 Woodblock Print 2010
《时间简谱-No.19 Notations of Time-No.19》
120x160cm 水印版画 Woodblock Print 2012
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在28楼，我们将走进一个更任性、更浪漫、更疯狂、更解构的陈琦。在“曝光”中我们看到一种对过程的赞叹，呈现的路途中有如此之多值得驻留的时刻。“孤独者”试图从艺术家生涯的最早期考古出所有后来作品中的基因，从而癫狂地尝试把一个不断推进的艺术工作进程描述为一种预先构型，把所有未来的工作提前假设为一种回忆，否认了时间的秩序。“反刍”延续了这种努力，艺术家的工作形成规模之后开始自我增殖，犹如一种正在获得自我意识并走向失控的人工智能。在“混沌”中，陈琦被展示为一个对抽象艺术一直念念不忘的暴烈的痕迹制造者，这样一个画家在呈现给我们精美而熟悉的自然物象时，该是多么的居心叵测，该是挂着怎样耐心的、反讽的微笑？而“风景”似乎是一种和解。物像、记忆、运动和光、冥想和追问在孤独者的遭遇中，降临在一个个具体时空，此时此地，彼时彼地，尚在我们这个世界。
曝光
《寓言 Fable》 80x120cm 水印版画 Woodblock Print 2016
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这九条理解力的隧道互相分层，互相跨越，迂回，编织，又相互交叉，贯穿。它们共同搭建成一座博尔赫斯式的小径分岔的迷宫花园。而每一条隧道依然在不断掘进，生长，蔓延。这么一场展示和理解的实验，并不能使陈琦的形象变得更清晰和更可靠，而毋宁是使陈琦的形象更有机、更流动，化作一片水光潋滟。理解陈琦的努力，注定是在无穷尽的反刍中，意识到语言的无力。
图文来源：德基美术馆
关于艺术家
陈琦，1963年生于南京，1987年毕业于南京艺术学院美术系，获学士学位；2006年毕业于南京艺术学院美术系，获博士学位；中央美术学院研究生院常务副院长，教授，博士生导师。中国美术馆展览评审委员会委员，中国美术家协会版画艺术委员会委员，中国国家画院版画院秘书长，中国人民大学特聘教授。其作品连续获得第七、八、九届全国美展铜奖及优秀奖，第十三届版画展金奖及第五届北京国际美术双年展优秀作品奖。
个展：“陈琦格致：一个展示和理解的实验”（德基美术馆，南京，2018）、“印痕与复数 - 陈琦个展” （亚洲艺术中心，北京，2018）、“陈琦的时间：1983-2016”（半岛美术馆，上海，2016）、“时间简谱 - 陈琦艺术作品展”（中国国家博物馆，北京，2013）、“陈琦木刻”（杜伦大学东方博物馆，杜伦，英国，2008）、“陈琦水印版画第一回展”（中国美术馆，北京，1993）
群展：第四届苏州·金鸡湖双年展“自 - 沧浪亭”当代艺术邀请展”（金鸡湖美术馆，苏州，2018）、“我在 - 2017中国版画艺术工作室联盟作品展”（广东美术馆，广州，2017）、“2017上海国际版画展”（上海中华艺术宫，上海，2017）、“沈勤、陈琦：零度”（亚洲艺术中心，台北，2016）、“中国当代版画名家文献展”（中国版画博物馆，深圳，2016）、“沈勤&陈琦作品展”（亚洲艺术中心，北京，2015）、“后印刷 - 第一届CAA国际版画双年展”（中国美术学院美术馆，杭州，2015）、“第十二届全国美术作品展”（中国美术馆，北京，2014）、“我在 - 中国版画艺术工作室联盟展”（江苏省美术馆，南京，2013）、“水·印·象 - 第十一届『姑苏之秋』当代水印版画邀请展”（苏州美术馆，苏州，2012）、“观城 - 国际版画邀请展”（上海美术馆，上海，2011）、“传统的复活 - 中国当代艺术展”（法兰克福当代艺术馆，法兰克福，2009）、“神奈川国际版画艺术节－日本当代版画和战后50年世界脚步”（横滨美术馆，横滨，1995）
公共收藏：大英博物馆（英国）、维多利亚阿尔伯特博物馆（英国）、阿什莫林艺术与考古博物馆（英国）、苏富比艺术学院（英国）、欧洲木版画基金会（英国）、纽约公立图书馆（美国）、福冈美术馆（日本）、维也纳青年美术馆（奥地利）、中国美术馆（北京）、上海美术馆（上海）、广东美术馆（广州）、浙江美术馆（杭州）、江苏省美术馆（南京）、苏州博物馆（苏州）、深圳美术馆（深圳）、关山月美术馆（深圳）、青岛美术馆（青岛）、德基美术馆（南京）
关于策展人
邱志杰，1969年生于福建，1992年毕业于浙江美术学院版画系。现为中央美术学院实验艺术学院院长，教授，博士生导师；中国美术学院跨媒体艺术学院教授，中国美院总体艺术研究所主任，博士生导师；中国美术家协会实验艺术委员会副主任；中国摄影家协会理事。
作为知名艺术家，邱志杰的创作活动涉及书法、水墨绘画、摄影、录像、装置、剧场等多种方式。他代表了一种沟通中国文人传统与当代艺术、沟通社会关怀和艺术的个人解放力量的崭新尝试。他曾在国内外美术馆举办几十次个展，并参加了数百个群展，其中包括：2015年第56届威尼斯双年展主题展“全世界的未来”；2009第53届威尼斯双年展中国馆“见微知著”；2016年新加坡双年展； 2015年莫斯科双年展； 2014年第31届圣保罗双年展；2013年哥德堡双年展；2009年福冈亚洲艺术三年展；越后妻有三年展；2006光州双年展；2005横滨三年展；2002 第25届圣保罗双年展；及2004年和2010年的上海双年展等。
邱志杰亦是影响广泛的艺术理论工作者，曾出版《影像与后现代》、《给我一个面具》、《自由的有限性》、《重要的是现场》、《摄影之后的摄影》、《总体艺术论》等著作。他作为策展人在1996年策划了中国最早的录像艺术展“现象与影像”及1997年的“97中国录像艺术观摩”，并在相当时间内扮演了新媒体艺术在中国的推动者和组织者的角色。他策划了1999年到2005年之间推介青年一代艺术家的“后感性”系列展览。2002年他担任“长征 - 一个行走中的视觉展示”执行策展人，2003年，他策划了北京798艺术区的第一个展览“回音 - 再造798”；2005年他策划了“未来考古学 - 第二届中国艺术三年展”；2012年，他是第九届上海双年展“重新发电”的总策展人。
2015年开始，邱志杰任上海明当代美术馆馆长，先后策划了“实验剧场30年”、“无声无名：杨罗维斯回顾展”、“超常识机械：明和电机个展”、“为什么表演”等涉及视觉艺术和表演艺术跨界的展览。2017年，邱志杰在北京策划了“教学相长－第三届学院实验艺术文献展”及“后来你风生水起－首届俊安实验艺术教育奖”，同时担任2017年度威尼斯双年展中国馆策展人。
关于美术馆
德基美术馆（Deji Art Museum）是经江苏省文化厅正式批准、江苏省民政局注册成立，由德基集团创立的民办非营利艺术机构。依托南京一脉相传的历史积淀和丰富浓厚的文化底蕴，在全球化语境中，立足本土，面向世界，以开放的姿态和前沿的视野探索美术馆的新模式。
德基美术馆座落于南京高端商业综合体德基广场二期8F。第一阶段于2017年9月26日正式开启，建筑面积2200平方米。特邀德国著名设计师菲利普·曼泽尔设计，打造“大隐于市”的独特艺术生态，设计强调材料与空间的纯净性。置身于美术馆中，大片的白色与原木色交接呈现出的空灵感，让人感觉贴合、放松又自在。
德基美术馆参照国际和国内美术馆的管理经验，并结合自身的实际需求，设立了以下九个部门：馆长办公室、藏品保管部、展览研究与陈列部、社会教育宣传部、运营推广部、视觉呈现部、信息网络部、行政保障部、图书馆。除了收藏、学术研究、展览以外，德基美术馆定期向公众开展公共教育、主题沙龙、文化交流等活动，以培养公众艺术欣赏能力、推动艺术教育为己任，探求当下美术馆的教育性和社会职责。
The Physics of “Chen Qi”:
Experimenting With Curation and Comprehension
Deji Art Museum presents the exhibition The Physics of “Chen Qi” - Experimenting With Curation and Comprehension on November 15, 2018, the opening ceremony will take place at 14:00 on November 25. The exhibition will continue through March 10, 2019.
Ai Lin, the director of Deji Art Museum stated in the interview: “A noteworthy solo exhibition always voluntarily bears the scholarly mission of “subverting the stereotypes and biases about the artist. We specially invited the internationally acknowledged curator Qiu Zhijie. In this exhibition, he deconstructs Chen Qi’s oeuvre of more than 200 installations and printmaking artworks created over a span of 35 years from 1983 to 2018 into nine sections. In an exhibition space of more than 2000 square meters on level 8 and level 28, the exhibition is set to comprehend unceasingly this art experiment in the upcoming four months.”
On the 8th floor, the four sections - “Treatise on Superfluous Things”, “Mind-Seal”, “Glistering Ripples” and “Wormholes” creates a public recognized image of Chen Qi. The works here are perfect in techniques, full of momentum. A monumentality permeates the space. On the 28th Floor, the five sections - “Exposure”, “Loner”, “Landscape”, “Rumination”, and “Chaos” presents a true romantic and mad Chen Qi along with his exploration in his experiment.
If exhibiting Chen Qi’s work has been an experiment, understanding Chen Qi is even more so. Nine subjects, nine tunnels of comprehension. Is Chen Qi a cultivated controller or a mad experimenter? We believe that audience will be able to meet a familiar Chen Qi but is differentiated from our common understanding.
Qiu Zhijie：Preface - A Laboratory Report
If exhibiting Chen Qi’s work has been an experiment, understanding Chen Qi is even more so. Regarding an artist with a rich and acknowledged corpus of works, among which many are endorsed by discourses in art history, people already hold presumptions. Yet, I rather believe that these propositions are mingled with stereotypes - outstanding artists surpass preformed conclusions and biases, always leaving space for more creative understanding of his works. As soon as the approach itself is experimental enough, a refreshing view of Chen Qi’s work will unravel before us. The curation of this exhibition is precisely such a challenge for me. My objective is to subvert the secured narratives about Chen Qi as a perfectionist and to depict him as someone with vision and creativities vibrant and extensive. Nor would I discuss in length about the spirit of ink and water in water printing, I would, however, capture the photorealism in his works. In Chen Qi, I see an abstractionist and even a conceptualist; a passionate painter who is skeptical about painting.
孤独者
《稚羽 The Immature Feather》 115x85cm
水印版画 Woodblock Print 2016
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Based on this curatorial tactic, we organized nine subjects, or nine keywords in two exhibition rooms, which are also nine tunnels of comprehension.
On the 8th floor, we see artworks that are more familiar to most of us. ‘Treatise on Superfluous Things’ unfolds the course of the artist’s spiritual practice that scrutinizes and reflects upon objects. ‘Mind-Seal’ focuses on how gaze directed at objective phenomenon gives birth to the power of symbolic meanings. ‘Glistering Ripples’ presents how matter or landscape stretch into the entire world. As one end of ‘Wormholes’ leads to cosmology, the other opens to tangible traces. History of time incarnates and drizzles down, turning into dappled light. The works here are perfect in techniques, full of momentum. A monumentality permeates the space.
反刍
《觉-No.1 Awakening-No.1》 180x180cm
水印版画 Woodblock Print 2017
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混沌
《12cm》 60x190cm 水印版画 Woodblock Print 2018
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On the 28th floor, we walk into a headstrong, romantic, mad and deconstructive Chen Qi. ‘Exposure’ is the admiration for process. There are plenty of moments worth stopping over on the road to presentation. ‘Loner’ tries to archaeologically excavate from the earliest phase of the artist’s career, the genes leading to his later works, frenetically venturing out into reformulating a progressing practice as pre-constructed, presuming all future works to be a memory and therefore denying the sequence of time. ‘Rumination’ continues this effort. As the artist’s work develops into a greater scale, it begins to grow reproductively like artificial intelligence forming self-consciousness and losing control. In ‘Chaos’, Chen Qi becomes a violent maker of trace who is constantly concerned with abstract art. What ulterior motives must he harbor when presenting to us refined and familiar natural scenes, wearing a patient and sarcastic smile? ‘Landscape’ is a reconciliation. Objective phenomenon, memory, movement and light, meditation and investigation arrive at concrete incidents of time-and-space in a loner’s journey, here and now, there and then, still being.
风景
《寂静松林 Quiet Pine Forest》 46x74cm
水印版画 Woodblock Print 1998
《无韵 Gentle Tree》 27x41.5cm
水印版画 Woodblock Print 1991
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The nine tunnels of comprehension extend in different layers above and across one another, winding, weaving - crosses and links. Together they build a Borges’ garden of forking paths, and in it every tunnel continues to extend and sprawl. Such an experiment in comprehending and exhibiting Chen Qi’s works wouldn’t clarify for us Chen Qi’s practice. Instead, it becomes more animate and dynamic, becoming an expanse of glistering ripples. Our endeavor for comprehending Chen Qi’s works is destined to confront the powerlessness of language in an endless rumination.
Resource From： Deji Art Museum
About Artist
Chen Qi was born in Nanjing in 1963. He graduated from the Fine Arts Department of Nanjing Arts Institute in 1987 with a bachelor's degree. He graduated from the Fine Arts Department of Nanjing Arts Institute in 2006 with a doctorate degree. Now he is the Vice-Director of School of Graduate Studies at Central Academy of Fine Arts. He is a member of the Exhibition Advisory Committee at National Art Museum of China, member of Prints Art Committee of China Artists Association, General Secretary of the Printmaking Academy by the National Painting Academy of China, and Visiting Professor of Renmin University of China. Chen Qi’s artworks have won the Bronze Award and Excellence Award continuously at the 7th, 8th, and 9th National Art Exhibition; and won the Golden Award at the 13th National Print Exhibition; and won the Excellence Award at the 5th Beijing International Biennale.
Solo Exhibitions: The Physics of “Chen Qi”: Experimenting With Curation and Comprehension (Deji Art Museum, Nanjing, 2018), Imprint · Plurality - Solo Exhibition of Chen Qi (Asia Art Center, Beijing, 2018), The Time of Chen Qi - 1983-2016 (Shanghai Peninsula Art Museum, Shanghai, 2016), The Notation of Time - Exhibition of Chen Qi’s Art (National Museum of China, Beijing, 2013), Chen Qi Woodcuts (Oriental Museum, Durham University, Durham, UK, 2008), Woodblock Prints by Chen Qi (National Art Museum of China, Beijing, 1993)
Group Exhibitions: Shanghai International Printmaking Exhibition 2017 (China Art Museum, Shanghai, 2017), Shen Qin & Chen Qi: Zero Degree (Asia Art Center, Taipei, 2016), Chinese Modern Watermark Print Document Exhibition (China Printmaking Museum, Shenzhen, 2016), Artworks by Shen Qin & Chen Qi (Asia Art Center, Beijing, 2015), Print in the Post-Print - The 1st CAA (China Academy of Art) Printmaking Biennial (CAA Art Museum, Hangzhou, 2015), The Twelfth National Exhibition of Fine Arts (National Art Museum Of China, Beijing, 2014), Being Here - 2013 Prints by the League of Chinese Printmaking Studios (Jiangsu Art Museum, Nanjing, 2013), Water · Print · Impression - International Woodblock Print Invitation Exhibition (Suzhou Art Museum, Suzhou, 2012), View of the City - International Print Invitation Exhibition (Shanghai Art Museum, Shanghai, 2011), Revival of Tradition - Chinese Contemporary Art Exhibition (Museum of Contemporary Art in Frankfurt, Frankfurt, 2009), Kanagawa International Print Festival - The Contemporary Prints of Japan and the World - Steps in Post War - 50 years (Yokohama Museum of Art, Yokohama, 1995)
Collections: British Museum, UK / Victoria and Albert Museum, UK / Ashmolean Museum, UK / Sotheby's Institute of Art, UK / The Muban Foundation, UK / New York Public Library, USA / Fukuoka Art Museum, Japan / Museum of Young Art (MOYA), Austria / National Art Museum of China, China / Shanghai Art Museum, China / Guangdong Museum of Art, China / Jiangsu Art Museum, China / Zhejiang Art Museum, China / Guan Shanyue Art Museum, China / Shenzhen Art Museum, China / Qingdao Art Museum, China / Suzhou Art Museum, China / Deji Art Museum, China
About Curator
Qiu Zhijie, 1969 Born in Fujian Province, China. In 1992, he graduated from China Academy of Art, Printmaking department, Hangzhou, China. Currently, he is the dean and professor at the School of Experimental Art of the Central Academy of Fine Arts, Beijing. He is the professor and the mentor of master and PhD at the School of Intermedia Art of China Academy of Art.
As an artist, Qiu Zhijie is known for his calligraphy and ink painting, photography, video, installation and performance. He tries to link the Chinese literati tradition and contemporary media, as well as the self-cultivation and social participation, as he called the “Total Art”.
His major solo exhibitions include the “Unicorn and Dragon” exhibition at the Querini Stampalia Foundation,Blue Printat the WDW art center in Rotterdam; the “Twilight of the Idols, Haus of World Culture” exhibition in Berlin; the “Breaking through the Ice”exhibition at Ullens Center for Contemporary Art in Beijing. His group exhibitions include the Sao Paulo Art Biennial, Göteborg International Biennial for Contemporary Art, the 53th Venice Biennale, the Chinese Pavilion, the “A Question of Evidence” exhibition at the Thyssen-Bornemisza Art Contemporary in Vienna, “The Real Things: Contemporary Chinese Art” exhibition at the Tate in Liverpool, UK, the 6th Gwuangju Biennale in Korea, Yokohama Triennale, Japan, the “2004 Techniques of the Visible” at the 5th Shanghai Biennial, the “Tower of Babel” exhibition at Landesmuseum Mainz in Germany, the 25th Sao Paulo Biennial, etc.
As an art writer, Qiu already published several books including: The Image and Post Modernism;Give Me a Mask;The Limit of The Freedom;The Photography after Photography;On Total Art, etc. His catalog of works include:Breaking through the Ice;The Shape of Time;Archeology of Memory, etc. He was the curator of the first video art exhibition in China 1996, and curated a series of young generation Chinese artists' exhibition named “Post-Sense Sensibility” from 1999 to 2005.
In 2012 he was the chief curator of the 9th Shanghai Biennale “Reactivation”. In 2017 he curated the Chinese Pavilion of Venice Biennale.