Cover News Reporter Xu Yuyang According to the organizer of the Tomorrow Sculpture Award
In the field of contemporary youth sculpture occupies an important position in the field of "Tomorrow Sculpture Award" has been held for 10 sessions, this year's 11th session also opened on April 12 at the Sichuan Fine Arts Institute, in addition to the selection of artist awards, the "Tomorrow Sculpture Award" exhibition will last until May 15, for the majority of scholars and citizens to visit.
This year's annual award was won by artist Tang Yuhan, and four other young artists won the "Tomorrow Sculpture Award", namely Kong Jingcai, Lin Shuangpeng, Ma Xiantong, and Yan Wenhao.
Tang Yuhan "Joy"
Tang Yuhan's work "Joy" shows an 85-inch LCD TV and a lazy sofa, and the materials include mirrored stainless steel, square steel, tempered glass, crystal hemispheres, etc., while Kong Jingcai's work "㔾" is composed of hair. Lin Shuangpeng's "Image Spatialization Research NO.8 - Shanghai Road, the Northeast County" uses paper and wood to build the scene, and Ma Xiantong's "New World" uses aluminum alloy, wood, acrylic, motors and controllers, etc., making people feel a heavy mechanical style. Yan Wenhao conjured up the scene of the "Louvre" and completed the work "If I Go to the Louvre".
The other participating artists are also imaginative, and it is difficult to overlap the "Tomorrow Sculpture Exhibition" with the traditional understanding of "sculpture" at the moment when the audience is viewing the exhibition. Some of them are heavy on devices, some on planes, and some on behavior, and the language they want to express is different, and their vision is also very different. In fact, this is also an important trend in the field of contemporary sculpture where the boundaries are constantly blurred and new artistic languages are constantly formed. Jiao Xingtao, vice president of Sichuan Fine Arts Institute and sculptor, summed it up as "frontier" and "non-painting" trends in sculpture.
To put it simply, today, the use of the term "sculpture" is no longer limited by a particular style or material, but has developed in a diverse and interdisciplinary context.
Ma Xiantong "New World"
Jiao Xingtao uses this historical concept to clarify "borders" and "frontiers": historian John Lattimore once stated that borders are the farthest distances that power can reach, and frontiers gather many explorers trying to cross borders. The study of frontiers can transcend the inherent boundaries and discover the economic and productive activities of the region from the influence of the geographical environment on the population, the cultural and ethnic exchanges of the region, and finally the political history of the region.
The phenomenon of the "boundary" of sculpture being constantly crossed and expanded can also be seen as a process in which the boundary becomes more and more blurred and drifting, and a process in which the consciousness of "frontier" replaces the consciousness of "boundary". Jiao Xingtao believes that, compared with the clarity of the "boundary", the "frontier" of sculpture can interact and interact with the "adjacent" art field with the least obstacle because of its vague and uncertain characteristics, and the "frontier" of sculpture has become a territory where various elements gather, intersect and constantly change, a fertile ground for the cultivation of new artistic language expressions, and a "region" where many new experimenters who try to integrate various art forms and languages across the "boundary".
It is not difficult to see from the considerable number of contemporary sculptures that the artists continue to challenge the audience's perceptions and lead them to rethink the role and meaning of sculpture in contemporary society. It can be said that it is the "frontier" zone of sculpture that reflects the complex interpretation and uncertainty characteristics of society and culture, and at the same time shapes the ever-expanding and rich forms of contemporary sculpture.
Yan Wenhao "If I Go to the Louvre"
In the past ten exhibitions of the "Tomorrow Sculpture Award", as well as many exhibitions in the contemporary sculpture world, many works have been difficult to discuss with the existing concept of sculpture, and there are very few works that can meet the needs of "sculpture" and "sculpture".
"When all kinds of art installations, behaviors, events, including performances in a specific space, are discussed in the field of 'sculpture', and even the renamed 'sculpture' cannot be summarized and described, how can we grasp the direction of the seemingly infinitely expanding scope and the unique drift and uncertainty of its extension? Jiao Xingtao said.
Jiao Xingtao believes that the concept of "non-painting" is the farthest boundary drawn for "ambitious" sculpture. That is to say, in addition to the real sense of flat painting, the art field can enter the category of "sculpture", which is "non-painting". It is precisely because of this kind of topic that sculpture or art has more expectations and wider discussions.
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