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開展預(yù)告

AES+F是活躍在當(dāng)下新媒體藝術(shù)領(lǐng)域具有獨(dú)特視角和觀念呈現(xiàn)的藝術(shù)家，他們總是將對(duì)現(xiàn)實(shí)的思考放置在歷史文脈的上下文關(guān)系中，通過主觀化的、超現(xiàn)實(shí)的虛擬情節(jié)與超常規(guī)的、長畫幅的視覺方式言說出來，由此與現(xiàn)實(shí)拉開距離，形成疏離于日常的荒誕感。他們主觀化的劇場景觀所要傳達(dá)的不僅是戲劇化的荒誕幽默，還包含著藝術(shù)家敏感且強(qiáng)烈的社會(huì)思考。

AES+F is an individual case with unique perspectives and concepts, and it is active in the field of new media art. The artists always put thoughts towards the problems into reality in the context of history, and then express the thoughts by subjective, surreal, and unconventional long-frame visual methods with virtual plots. Thus, the sense of absurdity alienated from daily life is formed. What this sense expresses is more than the dramatic humor, and thoughts towards society are also included in their subjective theater landscape .

《神圣的寓言》的靈感來自于文藝復(fù)興時(shí)期的藝術(shù)家喬凡尼?貝利尼（Giovanni Bellini）的同名畫作，描繪了一個(gè)懸置在時(shí)間中的超現(xiàn)實(shí)世界，其中的旅客被困在一個(gè)未來機(jī)場里，他們不知不覺地進(jìn)入到彼此的夢境。這件作品既是對(duì)美術(shù)史經(jīng)典的致敬與引用，又立足于今天全球化的文化現(xiàn)實(shí)語境，借用機(jī)場這一充滿文化匯集交融、物流轉(zhuǎn)載頻繁的域場，集合式地呈現(xiàn)他們作為藝術(shù)家個(gè)體對(duì)現(xiàn)實(shí)的態(tài)度。

Allegoria Sacra is inspired by the mysterious painting of the same name by the Renaissance artist Giovanni Bellini. It depicts a surreal world suspended in time, in which travelers are trapped in a futuristic airport, and they unconsciously enter each other's dreams. This work is not only a tribute and reference to the classics of art history, but also exists in the context of today's globalized cultural reality. Through the airport, a landscape full of cultural convergence and frequent goods flow, the artists collectively present their individual thoughts towards reality.

《顛倒世界》這部史詩般的劇作，其創(chuàng)作來源點(diǎn)是多重的，作品以西方中世紀(jì)版畫為故事藍(lán)本，又融合了文藝復(fù)興、巴洛克以及新古典主義等藝術(shù)表現(xiàn)手法。作品中的人物關(guān)系與情景結(jié)構(gòu)是藝術(shù)家精心組織、策劃的，其中所涉及的藝術(shù)家關(guān)注的問題也是多方面的：全球與地域文化的交融碰撞、大眾文化、生態(tài)問題等社會(huì)話題。為了帶動(dòng)觀者進(jìn)入作品，自我反思，藝術(shù)家將現(xiàn)實(shí)中的身份角色在作品中進(jìn)行互換，原本理所當(dāng)然的現(xiàn)實(shí)在置換后的視幻空間中被異化，由此引發(fā)并產(chǎn)生共鳴。

Inverso Mundus is like an epic with diverse sources in creation. The story of the work is based on Western medieval prints, and also incorporates art expression techniques in Renaissance, Baroque, and Neoclassicism. The relationship between the characters and the structure are carefully organized and planned by the artist, and the social issues to be expressed are also multifaceted: the integration and collision of global and regional cultures, popular culture, environmentalism, ecology and others. In order to bring the viewers into the work for self-reflection, the artist exchanges identities in the work. The reality that was taken for granted is alienated in the visual illusion space after the replacement. This generates thoughts..

“我們并不是對(duì)現(xiàn)實(shí)擁有積極或消極的觀點(diǎn)，我們只是對(duì)美麗和丑陋\善良和邪惡的邊緣感興趣。藝術(shù)家的作用是展示給公眾他們已經(jīng)在換掉的還有他們尚未了解的。”

——— AES+F

繼“貝爾納·弗孔：真實(shí)與虛構(gòu)”開展后，2020年9月24日下午，由四川美術(shù)學(xué)院美術(shù)館主辦，當(dāng)代唐人藝術(shù)中心（北京）提供支持的“烏托邦：敘事與修辭——AES+F個(gè)展”也正式開展。

展覽呈現(xiàn)兩組由大型影像裝置和數(shù)碼拼貼組成的藝術(shù)項(xiàng)目——《神圣的寓言》（Allegoria Sacra，2011-2013）和《顛倒世界》（Inverso Mundus，2015-2017），兩組大型作品通過回顧性的自我反思，從心理分析的角度分別剖析了當(dāng)下的人類狀態(tài)，作品皆曾于威尼斯雙年展上展出，并獲得國際諸多獎(jiǎng)項(xiàng)。

四川美術(shù)學(xué)院美術(shù)館館長何桂彥在開幕現(xiàn)場提到：“今年因?yàn)槭艿揭咔榈挠绊懀佬g(shù)館的展覽規(guī)劃受到了一定程度的影響，但是我們希望通過近期開展的這一系列國外藝術(shù)家的展覽，和這一系列多媒介、跨文化的藝術(shù)形態(tài)逐漸延展學(xué)院師生以及重慶觀眾的視覺視野，為藝術(shù)與文化的對(duì)話提供國際化的場域與更多的可能性。”

當(dāng)代唐人藝術(shù)中心創(chuàng)始人鄭林在開幕式中對(duì)本次展覽的最終呈現(xiàn)狀態(tài)表示贊賞，并提到當(dāng)代唐人藝術(shù)中心與四川美術(shù)學(xué)院有著很深的淵源。

最后，重慶市美術(shù)家協(xié)會(huì)副主席、四川美術(shù)學(xué)院副院長、本次展覽的學(xué)術(shù)顧問焦興濤也在開幕現(xiàn)場提到：本次展覽作品從呈現(xiàn)方式、視覺效果等方面都非常值得我們討論，我們可以感受到作品傳達(dá)給我們的強(qiáng)烈感情，在當(dāng)下這樣的環(huán)境這些作品可以幫助我們了解更多人們背后的情感元素。

學(xué)術(shù)顧問：焦興濤

Academic Advisor: Jiao Xingtao

項(xiàng)目策劃：何桂彥、鄭林

Project Leaders: He Guiyan Zheng Lin

策展執(zhí)行：郭巍薇、楊彪

Curators：Guo Weiwei Yang Biao

開幕時(shí)間：2020年9月24日15:00

Opening: Sept.24th, 15:00, 2020

展覽時(shí)間：2020年9月24日—10月22日

Duration: Sept.24th. - Oct.22th, 2020

展覽地點(diǎn)：四川美術(shù)學(xué)院美術(shù)館7號(hào)廳

Venue: Hall 7, Art museum of Sichuan Fine Arts Institute

主辦單位：四川美術(shù)學(xué)院美術(shù)館

Organizer: Art museum of Sichuan Fine Arts Institute

支持單位：當(dāng)代唐人藝術(shù)中心（北京）

Supporter: Tang Contemporary Art ( Beijing )

四川美術(shù)學(xué)院美術(shù)館致力于以國際化的視野聚焦學(xué)術(shù)前沿，關(guān)注當(dāng)代藝術(shù)現(xiàn)場，繼舉辦“貝爾納·弗孔：真實(shí)與虛構(gòu)”后，于2020年9月24日隆重推出AES+F十年來在中國舉辦的大型個(gè)展。展覽呈現(xiàn)兩組由大型影像裝置和數(shù)碼拼貼組成的藝術(shù)項(xiàng)目——《神圣的寓言》（Allegoria Sacra，2011-2013）和《顛倒世界》（Inverso Mundus，2015-2017），兩組大型作品通過回顧性的自我反思，從心理分析的角度分別剖析了當(dāng)下的人類狀態(tài)，作品皆曾于威尼斯雙年展上展出，并獲得國際諸多獎(jiǎng)項(xiàng)。

AES+F是一支由四位俄羅斯藝術(shù)家組成的藝術(shù)組合，他們的實(shí)踐跨越傳統(tǒng)媒介和新興技術(shù)，作品以高度概念化的修辭手法為特征，透過歷史經(jīng)典的棱鏡折射出當(dāng)代世界的媒體流，他們將自己最具代表性的實(shí)踐方法稱為“社會(huì)心理分析”，并通過它來揭示后全球化時(shí)代的缺陷和沖突。

本次展覽將AES+F的作品引入重慶，在四川美術(shù)學(xué)院美術(shù)館展出，我們希望能夠通過這一系列多媒介、跨文化的藝術(shù)形態(tài)逐漸延展學(xué)院師生以及重慶觀眾的視覺視野，為藝術(shù)與文化的對(duì)話提供國際化的場域與更多的可能性。

The Art Museum of Sichuan Fine Arts Institute is committed to focusing on academic frontier with global vision and on the contemporary art scenes with an international perspective.After holding "Bernard Forcong: Truth and Fictions", The Art Museum will launch AES+F's large-scale solo exhibition held in China in the past ten years on September 24, 2020. The exhibition has two art projects composed of large-scale video installations and digital collages including "Allegoria" (Allegoria). Sacra, 2011-2013) and "Inverso Mundus" (Inverso Mundus, 2015-2017). They have analyzed the human state in the early and mid-2010s from the perspective of psychological analysis through retrospective self-reflection. Both of them have been exhibited at the Venice Biennale and won many international awards.

AES+F is an art group composed of four Russian artists. Their practice are not limited to traditional media and emerging technologies; their works are characterized by highly conceptualized rhetorical techniques; they have reflected the media stream of the contemporary world through the prism of historical classics; they call their most representative practical method "social psychoanalysis" to reveal the defects and conflicts of the post-globalization era.

This exhibition AES+F's works are introduced to Chongqing and exhibited in the Art Museum of Sichuan Fine Arts Institute. We hope to gradually extend the visual horizon of teachers, students and audience through this series of multi-media and cross-cultural art forms, so as to provide an international field and more possibilities for the dialogue between art and culture.

ABOUT AES+F

1987年，塔綈安娜·雅拉瑪索娃（Tatiana Arzamasova）、列夫·埃夫左維奇（Lev Evzovich）和葉夫根尼·斯夫亞斯基（Evgeny Svyatsky）創(chuàng)立了AES藝術(shù)家小組；1995年，弗拉基米爾·佛里德科斯（Vladimir Fridkes）正式加入，小組隨后更名為AES+F。AES+F的作品跨越傳統(tǒng)媒材、攝影、影像和數(shù)碼技術(shù)。

First formed as AES Group in 1987 by Arzamasova, Evzovich, and Svyatsky, the collective became AES+F when Fridkes joined in 1995. AES+F work at the intersection of traditional media, photography, video and digital technologies.

在2007年威尼斯雙年展俄羅斯國家館展覽中，AES+F憑借他們的第一件多頻道視頻作品《最后的暴動(dòng)》（Last Riot，2007）獲得了世界的認(rèn)可和好評(píng)。隨后的兩件作品《特立馬喬的盛宴》（The Feast of Trimalchio，2009）和《神圣的寓言》（2011）也曾在威尼斯和莫斯科雙年展等展會(huì)中展出。他們的多頻影像作品《顛倒世界》（2015）曾參展第56屆威尼斯雙年展、第4屆科欽-穆吉里斯雙年展和第一屆曼谷雙年展等。

AES+F achieved worldwide recognition and acclaim in the Russian Pavilion at the 52nd Biennale di Venezia in 2007 with Last Riot (2007), their first multi-channel video installation. The following two projects, The Feast of Trimalchio (2009), and Allegoria Sacra (2011), were also shown at the biennales of Venice, Moscow, and others. AES+F presented their newest multi-channel video project, Inverso Mundus (2015), at the 56th Biennale di Venezia, 4th Kochi-Muziris Biennial, 1st Bangkok Biennial, and others.

AES+F曾在世界各地各大博物館、展覽空間和商業(yè)畫廊舉辦了超過100場的個(gè)展，其中包括：卡斯魯爾媒體藝術(shù)中心、赫爾辛基藝術(shù)博物館、斯德哥爾摩現(xiàn)代藝術(shù)博物館、泰特藝術(shù)博物館（倫敦）、羅馬MAXXI博物館和羅馬當(dāng)代藝術(shù)博物館、巴黎蓬皮杜藝術(shù)中心、提森-博內(nèi)米薩國家博物館（馬德里）、今日美術(shù)館（北京）、森美術(shù)館（東京）、三星美術(shù)館（首爾）、俄羅斯國家博物館（圣彼得堡）、車庫當(dāng)代藝術(shù)博物館（莫斯科）、澳大利亞國立美術(shù)館（堪培拉）、法艾納藝術(shù)中心（布宜諾斯艾利斯）等。AES+F的作品在全世界各地許多重要的藝術(shù)節(jié)和當(dāng)代藝術(shù)雙年展上展出，包括威尼斯雙年展、莫斯科雙年展、阿德萊德、光州、哈瓦那、赫爾辛基、伊斯坦布爾、基輔、科欽-穆吉里斯、里爾、里昂、墨爾本、圣莫里茨、悉尼、臺(tái)北、溫哥華等地的當(dāng)代藝術(shù)節(jié)和雙年展，他們的作品也出現(xiàn)在諸多專注于新媒體的藝術(shù)活動(dòng)中。此外他們還為劇場和歌劇進(jìn)行舞臺(tái)設(shè)計(jì)。

The group had more than 100 solo exhibitions at museums, exhibition spaces, and commercial galleries worldwide. AES+F works have been shown in such venues as the ZKM (Karlsruhe), HAM (Helsinki), Moderna Museet (Stockholm), Tate Britain (London), MAXXI and MACRO Future (Rome), Centre Pompidou (Paris), Museo Thyssen-Bornemisza (Madrid), Mori Art Museum (Tokyo), Leeum Samsung Museum of Art (Seoul), The State Russian Museum (St. Petersburg), Garage Museum of Contemporary Art (Moscow), National Gallery of Australia (Canberra), Faena Art Center (Buenos Aires), and many others.

AES+F的作品被收藏在諸多重要的當(dāng)代藝術(shù)收藏系列中，其中包括：國立特列季亞科夫畫廊、莫斯科現(xiàn)代藝術(shù)博物館、莫斯科多媒體藝術(shù)博物館、莫斯科國立當(dāng)代藝術(shù)中心、俄羅斯國立博物館（圣彼得堡）、斯得哥爾摩現(xiàn)代藝術(shù)博物館、克拉科夫當(dāng)代藝術(shù)博物館、烏維雅士都城堡當(dāng)代藝術(shù)中心（華沙）、卡斯魯爾媒體藝術(shù)中心、南澳大利亞美術(shù)館（阿德萊德）、新舊藝術(shù)博物館（塔斯馬尼亞）、戈茲現(xiàn)代藝術(shù)收藏館（慕尼黑）、范海倫特藝術(shù)收藏館（布魯塞爾）、田口藝術(shù)收藏館（東京）、休斯頓美術(shù)館、托馬斯基金會(huì)（芝加哥）、諾瑪死基金會(huì)（羅馬）、皮諾·帕斯卡利美術(shù)館（波利尼亞諾海濱）、CA2M現(xiàn)代藝術(shù)博物館（馬德里）、維也納博物館、北挪威藝術(shù)博物館（特羅姆瑟）、角斗場藝術(shù)博物館（圖盧茲）、白南準(zhǔn)藝術(shù)中心（龍仁市）、歐洲攝影藝術(shù)中心、蓬皮杜藝術(shù)中心、路易-威登基金會(huì)（巴黎）等。

Their works appear in some of the world's principal collections of contemporary art, such as the State Tretyakov Gallery, Moscow Museum of Modern Art, Multimedia Art Museum, National Center for Contemporary Art (Moscow), State Russian Museum (St. Petersburg), Moderna Museet (Stockholm), MOCAK (Krakow), CCA Ujazdowski Castle (Warsaw), ZKM (Karlsruhe), Art Gallery of South Australia (Adelaide), MONA (Hobart), Sammlung Goetz (Munich), Vanhaerents Art Collection (Brussels), Taguchi Art Collection (Tokyo), Museum of Fine Arts (Houston), Thoma Foundation (Chicago), Nomas Foundation (Rome), Pino Pascali Museum (Polignano-a-Mare), CA2M (Madrid), Wien Museum (Vienna), Art Museum of Northern Norway (Tromso), Les Abattoirs (Toulouse), Nam June Paik Art Center (Yongin), European Center of Photography, Centre Pompidou, Louis Vuitton Foundation (Paris), and many others.