痕迹--刘小东文献展

联合策展人：巫鸿 | 欧宁

开幕时间：二零零九年九月十八日晚上九点 展期：二零零九年九月十八日至十月二十九日 开放时间：星期一至星期五，下午二点至晚上八点

地址：北京市朝阳区工体东路甲二号「中国红街」一座四层，北京角度画廊

CROSSTALK 北京 #6：档案学与艺术家个案研究

嘉宾：刘小东，巫鸿，欧宁

时间：二零零九年九月十九日下午三点

地址：北京市朝阳区工体东路甲二号「中国红街」一座四层，北京角度画廊

刘小东于一九六三年生于辽宁，一九八八年毕业于中央美术学院，一九九九年进修于西班牙马德里康普鲁登塞大学艺术系。他一九九零年的首次个展掀起了「新生代」艺术序幕，并被冠以「新生代」代表性艺术家。同时期参与多部独立电影制作，是中国独立电影的起始参与者。2004年以来其大型野外写生项目涉及多个国家与地区，直面现实，表明了一个艺术家的立场、态度和行动力，开拓了架上绘画的新的内涵。作为中国最成功的艺术家之一，刘小东的代表性作品《田园牧歌》、《烧耗子》、《新十八罗汉》、《三峡系列》、《青藏铁路》、《易马图》等已经成为中国当代美术史的经典和艺术市场的神话。

当一个展览现场只有他的艺术成品时，作为一个观众或评论者，人们只能对之进行「形式分析」和「图像辩认」，除此之外，无从获得其它任何信息。「痕迹：刘小东文献展」展出的将是草图、笔记、Snapshot、纪录片、谈话录音、出版物，它们呈现出刘小东灵感的轨迹、画作的原型、与其它媒体的链接、过程的反复和画面外更广阔的现实，它将为艺术家个案研究提供了更多的切入点：它可能是社会学的，也可能是政治学的，更可能是其它我们无从预料的角度（这取决于它与不同知识结构的观看者的相遇）。

这个展览强调的不是作品(work)，而是过程(process)。「作品」意味着艺术创作的凝固，是冲线刹那计时器的显示，记录在案，不可改变；「过程」意味着开放的时间和心态，是有始无终、不可以数量化的奔跑本身。「作品」命定地不属于艺术家自己，它的价值只能通过转移和收藏实现，只能被它者──美术馆、展览会、市场、观众、批评家、历史──估量和确定；但「过程」却只属于艺术家本人，散见于草图和笔记，书房和画室，还有那不见诸于图像和文字的记忆。「作品」的公共呈现成就了美术史；对「过程」痕迹的搜集和积累则形成了档案库。但是没有痕迹的作品不可能是艺术，没有过程的画者不可能是艺术家。

Traces: Liu Xiaodong

Co-curators: Wu Hung | Ou Ning

Opening Reception: 9pm, September 18, 2009 Exhibition Time: September 18 – October 29, 2009 Opening Hours: 2pm–8pm, Monday–Friday

Address: Beijing Angle Modern Art, 4/F, Tower 1, Zhongguo Hongjie (China View), Jia 2 Gongti Dong Lu, Chaoyang District, Beijing

CROSSTALK Beijing #6: Archiving and Case Study in Contemporary Art

Guests: Liu Xiaodong, Wu Hung, Ou Ning Time: 3pm, September 19, 2009

Address: Beijing Angle Modern Art, 4/F, Tower 1, Zhongguo Hongjie (China View), Jia 2 Gongti Dong Lu, Chaoyang District, Beijing

As one of the most successful artists in China, Liu Xiaodong’s works are classics in contemporary Chinese art history and an art market phenomenon. In an exhibition of his finished works, an audience or critic can only make a ‘format analysis’ and ‘image/pattern recognition’ during the

show. No more information is available. But here, sketches, notes, snapshots, documentary films, conversations and publications are all available, presenting the traces of Liu’s inspirations. In this exhibition, you will see the primary form of his works, revealing and unraveling a process to give an insight and depth beyond the paintings. This wealth of context provides many points of penetration and investigation for case studies: they could be sociological, political or even from a perspective we never expected.

This exhibition is not about work, but process. A finished work signifies the solidification of artistic creation; it is the sprint result on the timer, recorded, and unchangeable. On the other hand, the process signifies time and thought, which is the endless and unquantifiable running itself. A work is destined to be a possession of other people, rarely of the artist himself. Its value is only realized through translocation and collection or appraised and determined by museums, exhibitions, art market, audience, critics and history. But the process will belong exclusively to the artist himself. It is scattered in sketches, notebooks, study rooms and the studio, just as thoughts and memories. It is the public exhibitions of finished works that made art history; while the trace collection and accumulation of the process that made archive. A work with no traces can’t be art, while a painter with no process can’t be an artist. Biography:

Liu Xiaodong was born in 1963 in Liaoning, China. He graduated from Central Institute of Fine Arts, Beijing and then studied in Academy of Fine Arts at University of Complutense in Madrid, Spain in 1999. Liu’s first solo exhibition in 1990 lifted the curtain on the New Era in China’s art field. He was titled the representative artist of New Era, and during the same period participated in the making of several independent films, which made him one of the first participants of Chinese independent movies. His major field painting projects since 2004 ranged over several different countries and areas. These projects faced straight up to reality and showed his position, attitude, and power of action as an artist. They extended the connotation of paintings. Liu’s most important works; Pastoral Song, Burning Mouse, Eighteen Soldiers, Three Gorges Series, Qing Zang Railroad, Horse Market, secured his place in both contemporary art history as well as the art market.