To this end, Yiguan Art Center launched the offline art sharing meeting "Beyond the Eyes", as an offline brand project focused on creating, inviting three guests from different fields to collide with cross-border thinking and jointly start a meaningful artistic journey. On the evening of October 29th, the first sharing session "Tradition & Pioneer: Strange Experiences" was held at the Yiguan Art Center. Ke Jun, general manager of Jiangsu Performing Arts Group Co., Ltd., Chen Weixin, a well-known designer, curator and arts and crafts artist, and Meng Yao, editor-in-chief of Jiangsu Phoenix Fine Arts Publishing House,Pictorial Magazine, discussed the hidden role of traditional culture and classical spirit in avant-garde art.
When engaging in new undertakings and opening up new paths, the "experience" that continues from tradition can often not be ignored, and often inadvertently gives a boost. In Ke Jun's view, "experience" is precious, because to some extent it can be regarded as tradition itself, which means strict norms and good habits, helping people to reduce misunderstandings and blind spots on the way forward. "What we need to pay attention to is that people may be stuck in their own way because they cling to the 'experience' they can see, and their ability to innovate is bound by tradition." Ke Jun said.
In Chen Weixin's view, experience is relatively personal, and tradition can be seen as the overlap of many individual experiences, slowly becoming the traces of a certain era and continuing downwards, and inevitably changing with the flow of time and the changes of the times. For example, he said, at the beginning of the last century, the two major new materials of concrete and glass were widely used, which quickly brought about earth-shaking changes in the construction industry.
Meng Yao distinguishes experience into individual "experience" and the public and cultural "experience" given to people by people's era, and the changes in the two will deeply promote the experience transformation of an industry. He introduced the 47 years of the founding of the "Pictorial Journal" and different stages, after the professional and character upgrades, and finally put the ideological and academic as the basis of the journal, and the magazine's professional tradition over the years, edifying many people's art appreciation and innovation ability, and constantly integrate contemporary into the art logic of the journal.
In the discussion, Ke Jun introduced the "Su Kun" attempt he has been adhering to. Among them, the most classic is the experimental Kunqu opera "Night Running", which abandons the traditional makeup of Kunqu opera actors and interprets the actors themselves in a vegan way. Yang Yang, a Kunqu opera actor who completed "Night Running" with Ke Jun, was also at the scene, and he recalled: "Once he and his teacher (Ke Jun) performed "Night Running" at the Suzhou Museum, the day was bright and sunny, the teacher had been praying, it rained and rained. When he came on stage, it really rained lightly, and the teacher improvised in the rain to perform 'plain face', and the scene at that time was particularly moving. Ke Jun explained the reason for his "praying for rain": "Kunqu opera has a lot of lyrics, so beautiful, I was thinking, can you give me a little 'tears' in the sky, that is, the 'tears' that fall from the sky, representing the atmosphere of the whole play, and also contains the character of the city of Suzhou." What is more meaningful is that many of our audiences are tourists, and tourists improvise and we improvise, which is also a unique aspect. ”
Many people expect to produce new experiences in traditional industries, and some people choose to go back and go inside the tradition, so as to innovate. In recent years, Chen Weixin has given up many commercial projects and instead carried out some renovation projects in the old city. In his view, although the ancients left behind profound historical and cultural resources, in fact, people can see very little in the current real life, so it is necessary to think about how to expand and use some existing cultural information, and how to express the humanity of culture. For example, he said that he made a children's picture book museum in a street in Nanjing, and made an exhibition in the space, and is currently planning a picture book exhibition of "Spring Festival", depicting the Spring Festival, a very important cultural experience and cultural tradition in China. "This project is to use art to create stickiness, glue families and children in such an art space; at the same time, through the education of this kind of painting, get a kind of understanding of traditional culture." I think this method should be said to be a way that is more necessary for urban renewal in the future, rather than completely using a graphical change in the surface of the building to complete. Chen Weixin said.
From 2019 onwards, Meng Yao and his team began the "Pictorial Cover Project", each year the pictorial magazine has an annual theme, 12 artists will be selected for the cover of the 12 issues, and there will be unique creations for the annual theme, and there will also be some artists' own creative testimonials, notes and related interviews. When the 12 issues of the journal are finished, the team will transfer the visual content of the covers of the 12 issues to the exhibition site and extend it to the space for expression. Meng Yao believes: "Such a creative connection is not a simple construction of a stage and the spotlight on the artist. It actually shows how an art creator and an editor of a journal can co-create a cultural experience in a specific context. I think this cultural experience reflects how contemporaneity is presented in the narrative logic of the journal and in the space of the exhibition. It contains the artist's personal will and his cognition of culture and society, and also contains the journal's reflection of the initiative thinking of the scene through a new means, which is a co-construction of personal experience and cultural experience. ”
Cross-border is often seen as an effective means of learning from each other's strong points and colliding with "new". Ke Jun believes that many people's cross-border is to stretch out their "feet" to cross the boundary, and then their own center of gravity is actually still in the circle. "How long are your feet?" How far do you have to go? Our cross-border needs to truly step out of ourselves and go to other circles to learn in a down-to-earth manner. Looking back at your own circle, can you be a little bigger, a little more boundless, really cross the border and not just cross the border. ”
Chen Weixin said that cross-border is very important for the design industry, because designers are not like simple artists, but completely self-creation. In fact, this designer is more and more with the client to create, the client is also more and more diverse. For example, in the field of urban renewal, more to take into account the needs of a city, from this point of view, it may be necessary to hide some of the self-things in time. "Of course, your 'axis' can't be moved. I think I should stick to a main axis, and then make my horizons more open, and in my daily life, I will accept and perceive beauty more. ”
"Today, people in all industries should strive to be a lifelong learner. The so-called cross-border success depends on people's ability to learn. You cross the border, let more people know you, exchange experiences with each other, different types of work, different cultural backgrounds, there will be different ways of working and different working habits, which will produce a lot of interesting chemical reactions. However, you first have to know where your coordinates are, and the purpose of your stepping out is actually to let others know you, to lead others over, rather than simply to complete the action of crossing. Meng Yao said.
Xinhua Daily, intersection reporter Wu Yuyang
【Source: Xinhua Daily, Meeting Point】
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