不动声色

更新时间：2006-11-01 09:10:54 来源：Tom 专稿 作者：佚名 编辑：木子 浏览量：1078

　　开幕时间/ 2006年11月4日下午3点

　　OPENING/ NOV. 4,th ,2006 15:00

　　展览时间/ 2006年11月4日----12月3日

　　DURATION/ NOV. 4th ---DEC. 3RD , 2006

　　展览地点/ 北京今日美术馆(北京市朝阳区百子湾路32号)

　　VENUE/ BEIJING TODAY ART MUSEUM(NO.32 BAIZIWAN ROAD, CHAOYANG DISTRICT, BEIJING 100022)

　　策展人/ 王宝菊

　　CURATOR/ WANG BAOJU

　　参展艺术家/ARTISTS

　　中国/陈妍音崔岫闻董姝茜胡柳彭禹秦凤玲孙芙蓉

　　CHINA/CHEN YANYIN CUI XIUWEN DONG SHUQIAN HU LIU PENG YU QIN FENGLING SUN FURONG

　　挪威/NORWAY BODIL FURU GILLIAN CARSON INGHILD Karlsen INGRID BOOK & CARINA HEDEN MARIANNE HEIER MARIANNE HESKE SIRI HERMANSEN

　　主办/ 今日美术馆

　　ORGANIZER/ BEIJING TODAY ART MUSEUM

　　协办/ 挪威王国驻华大使馆挪威当代艺术办公室

　　SPONSOR/ ROYAL NORWEGIAN EMBASSY OFFICE FOR CONTEMPORARY ART NORWAY

　　新闻稿

　　主体：不动声色

　　——后娜拉时代的女性态度与现场

　　1917年，挪威著名的剧作家易卜生因为鲁迅的介绍而为中国人所知。他的《玩偶之家》以及该剧女主人公娜拉作为女性觉悟和解放的象征在中国家喻户晓。鲁迅曾写过：娜拉出走以后怎么样？

　　如果说在家庭中，女性面临着人的尊严和独立的问题，那么走出家庭就意味着面临社会急剧变化所带来的更多、更尖锐的问题——家庭问题，性别问题，儿童问题，还有更重要的社会问题、全球化问题。这些问题并未在走出家庭后就能顺理成章地得到解决，而是在每天每日的遭遇中，因此必须冷静勇敢地面对它，思考它，处置它，从而找到女性解决社会问题的终极方案。

　　娜拉出走在某种意义上标志着后娜拉时代的开始。

　　后娜拉时代强调主动的主体。强调采取合作的、积极参与的策略，正视她们所看到的事实；同时以高度的情感来看待她们的地位，以理智来约束创造一个世界的需要，成为社会积极的建构者和创造者。

　　后娜拉时代意味着“去中心”的女性主体意识的强化。消除差异、消除分化。男性不再是中心，女性也不再是边缘。在这种性别的消解和解构中，求得女性主动的自主。

　　后娜拉时代意味着不动声色。“不动声色“的本意是沉着、镇定。在这里有两重意思：一是女性在表达她对世界的思考时，不再用表面的眩目、大声的呐喊、流泪的哭泣来吸引观者的眼球，而是用女性独有的内在的、冷静的、思想的力量，此为不动声；二是不再用裸露的身体和感官来表达一种私密的“小”，而是以沉静的思想和智慧，介入公共生活的“大”，此为不动色。

　　挪威作为一个高度社会福利保障、高度完整、高度民主的国家，其社会环境、人文历史传统、经济发展的状态与中国完全不在一个层面。对挪威的女性来说，可能更多地要面对健全的社会体系下人的异化，精神的方向感的迷失，及来自精神方面的张力和压迫感；而中国则处在社会转型时期，处于贫富悬殊、城乡分化的裂隙中，女性在被时代洪流的裹胁中充满了焦虑、竞争感，此时她们不但要思考人的主体，还要面对残酷的生存。但毋庸质疑的是，她们都身处于消费社会、传媒时代以及全球化的情境下，面对着急剧变化的社会现实，面对急剧动荡的文化语境，面对都市生存问题——孤独、生存焦虑、人际关系淡漠、精神沟通困难等；面对环境问题——能源快速消耗、无法逆转的污染：儿童问题——物质化、自我中心、信仰迷失、过早的成人化和人际的疏离；全球化问题——资本的强势和文化的占领和认同，跨国公司与社会变革及西方模式与本土经验。因此她们对社会现实与真实问题的关注，对于人的生存境遇和精神状态的关注，有着不谋而合的内在的一致性。

　　本次展览是中挪两国女性当代艺术的第一次展示和交流。因此我们看到，她们面对的问题是共同的，也是有差异的。她们在艺术中呈现问题、解决问题的方法、策略、手段、地点与媒介也是有所不同的。此次展出的挪威、中国两国十几位艺术家的作品，其共同特征是从更广泛的社会层面与现实发生关系，站在一个主体的立场对社会现实进行全面的感受、理性的分析和深刻的思考，以一种积极参与的精神，非激进式的方式体现了艺术家们的主体觉悟，以个人化的生存感觉和社会化的感知方式和表达方式，体现了具公共性的自觉的态度和不妥协的立场。

　　本次展览作品广泛涉及了90年代以来的艺术议题，对后殖民、全球化、都市化、现代性、人性、消费文化作了进一步关注和拓展，强调直面社会现实并高度参与，挖掘作品深思熟虑后的内在力量。强调艺术家鲜明的主体意识、个人立场，张扬其个性。作品类型涵括绘画、雕塑、装置、录像、摄影等。

　　策展人/ 王宝菊

　　参展艺术家：中国/陈妍音崔岫闻董姝茜胡柳彭禹秦凤玲孙芙蓉

　　挪威/NORWAY BODIL FURU GILLIAN CARSON INGHILD KARLSEN INGRID BOOK & CARINA HEDEN MARIANNE HEIER MARIANNE HESKE SIRI HERMANSEN

　　本次展览由今日美术馆主办，挪威王国驻华大使馆、挪威当代艺术办公室协办。

　　开幕式时间：2006年11月4日下午3点

　　展览时间：2006年11月4日-12月3日

　　展览地点：北京今日美术馆(北京市朝阳区百子湾路32号)

　　Press Release

　　Post Nora Attitudes and Positions

　　In the early twentieth century, Ibsen’s plays were introduced into China by Luxun, which oriented Chinese modern theatre to critical realism. What’s more, the heroine Nora in A Doll House as a symbol of women’s awakening and emancipation was widely known in China.

　　“What would happen after Nora leaves her family?” asked Luxun.

　　In fact, women in the post-Nora age have to face more complicated and more acute problems.

　　In the family sphere, women must face the problem of human dignity and independence; but outside the family, they must confront more complicated and more acute problems such as family issues, gender issues, children issues, globalization issues and other important issues. These problems can not be naturally solved so women must think over them and deal with them in their daily life in order to find the final solution as there is absolutely no way to escape society.

　　An active subject is highly praised in the post-Nora age, which signifies a brand-new feature of women’s autonomous consciousness.

　　In the post-Nora age, the “decentered” women’s subjective consciousness is strengthened.

　　Self-possession marks the post-Nora age.

　　No doubt, women in Norway, Nora’s hometown and Ibsen’s birthplace, have confronted and experienced similar social reality to some extent. As a highly developed welfare, and economical state, Norway has comparatively different social environments, humane and historical traditions, and economically developing conditions from China. Therefore, Norwegian women might well confront human alienation, spiritual loss, tension and pressure under a complete social system, while situated in the social transition, and in a wide gap between the rich and the poor, city and country, Chinese women are destined to have anxiety and competitive sense in the powerful torrents of times, and they have not only to reflect human subject but to face the crucial issue of existence. Nevertheless, both of them live in the context of consuming society, media age, and globalization and are confronted with radically changed social reality, turbulent cultural context, urban exiting issues such as loneliness, anxiety about existence, indifferent interpersonal relationships, difficult spiritual communication, environmental problems such as rapidly exhausted resources, irreversible pollution, children problems such as materialization, self-centeredness, loss of belief, precocity and estrangement from others, and globalization issues such as capital power and cultural occupation and identification, transnational corporation and social transformation, Western model and native experience. In all, there just exists an essential coherence in their concern about social reality and truth about human living situation and spiritual condition.

　　They have common but distinct problems, and the methods, strategies, techniques, and media for presenting and solving problems in their art takes on somewhat different features. This time, the artworks on display created by over ten Norwegian and Chinese artists are common as such: They all more widely involve in social reality, extensively perceive, rationally analyze, and deeply reflect it in subject’s position, moderately represent artists’ subjective consciousness with positive and cooperative spirit, and effectively represent their open, autonomous attitudes and uncompromising stand in personalized feeling of life and socialized perceptions and expressions.