作为2011年合作项目的延续，Arthub Asia今年带来全新的“新水墨”展览，试图重新审视当代艺术实践中对于中国传统文化中水墨的运用，以及对水墨画和书法的艺术化处理。展览邀请18位中外艺术家，通过当代的艺术语言和表达方式来呈现对于“新水墨”的理解。
“水墨”一词如今已包含越来越丰富的文化内涵，其定义涉及多样化的艺术形式。一方面，它植根于传统水墨画的技巧，另一方面，它也融合了现代水墨中突破笔墨局限的多样化探索。不仅如此，新水墨已超越了对水、墨、纸的程式化运用，转而更深层次地关注中国水墨传统中存在的问题，并将他们融入到当代的艺术表现形式中。例如在此次展览中，艺术家们广泛运用了行为艺术、舞台表演，仪式进程，空间干预，行为记录等表现手法。
展览的另一侧重点在于东西方关系，直击在跨文化交流的过程中，中外艺术家如何在西方语境中重新解读和发展中国水墨艺术，而发展而来的新水墨又如何重新适应中国和东南亚的文化语境。
中国水墨画的未来不仅在于传承笔墨的技巧，保存记录对水墨的使用，及其对于丰富文化内涵的意义，更重要的是，进一步开发和利用中国绘画中尚未被发掘的传统和资源。通过不断结合新媒体和当代艺术的实验性尝试，中国水墨画一定能够突破传统和固有文化的束缚，引发新一轮的艺术讨论。无独有偶，在关注印度板块中，印度艺术家也大量运用新兴的技术手段和独特视角来对水墨这一课题进行思考，揭示了水墨未来发展的各种可能性。
今年Arthub Asia特别邀请了策展人兼学者项丽萍，Rachel Marsden和Diana Campbell，协同Davide Quadrio(乐大豆)，Defne Ayas和邱志杰一同策划了这场展览，共同完成对“新水墨”的全新解读。
Chen Chun Hao陈浚豪
Born in 1971, lives and works in Taipei.
Represented by Tina Keng Gallery, Taipei and Beijing.
1971年出生，生活并工作于台北
代理画廊：耿画廊，台北与北京
The Chinese landscape (shan shui), constructed by pieces of mosquito nail, mark Chen’s return to Eastern art traditions whilst representing his interest in Western painting techniques. The mosquito nails, at times grouped together, but at other times showing the small specks of ink from the original landscape paintings, produce effects of light, shadow, and water vapour, seen in such works as Kuo Hsi’s Early Spring. Chen, through the act of “copying,” absorbs and learns from the masters of landscape painting and, in doing so, he injects them with a contemporary interpretation of Chinese landscape (shan shui).
陈浚豪使用数以千记的不锈钢蚊钉，巧妙地刻画出一幅山水图景，同时展现出他对东方艺术传统的回归以及对西方绘画技巧的浓厚兴趣。这些蚊钉时而大片聚集归拢，时而又被散落摆放，细致地表现出绘画原作上的微小墨点，营造出光、影的效果，以及出如郭熙《早春图》中雾气一般的意境。陈浚豪通过“临摹”，吸收学习了中国水墨画的精华，并注入他对于中国山水独特的当代解读。
Imitating Red Cliff by Wu Yuan Zhi in Jin Dynasty 临摹金代武元直赤壁图
Chen Chun Hao 陈浚豪|mosquito nail, canvas, wood 不鏽鋼蚊釘.畫布.木板|2012|128 x 345cm
Rohini Devasher
Born in 1978, lives and works in Mumbai.
Represented by Creative India Foundation for SH Contemporary 2012.
1978年出生，生活并工作于孟买
由创意印度基金会为SH Contemporary 2012特别支持
Devashar’s artistic practice explores the interface between the underlying laws and processes, which govern growth and form in biological and physical systems and their mirroring in the digital domain. Standing at the threshold of art, science and fiction, her forms pulsate with primordial life, while simultaneously being precursors to a futuristic space. While closely resembling ink with tree-like forms widely found in Asian landscape paintings, Devasher’s work Arboreal was created through a deeply intuitive process that involved gradual manual layering of more than 700 individual layers of video. By gradually increasing the recursion level, the form slowly ‘grows’ and becomes more complex, engulfing the space. If we consider the video to be the archetype or ideal tree, its permutations create “a greenhouse of possibilities.”
Rohini Davashar的艺术作品探索支配生物生长体系的定律和过程，及其在电子领域的镜像反映。同时结合艺术、科技和虚幻色彩，她的作品与生活的本质相契合，同时也试图探索未来空间。作品由超过700层影像截图的手工堆叠制作而成，模拟了亚洲风景画中常见的树的形态。随着图像的不断叠加，树木逐渐生长，越来越错综复杂，直至撑满整幅构图。如果我们将录像视为树的原型，那么录像截图的堆叠便创造了“可能性的温室。”
Arboreal
Rohini Devasher |Single Chanel Video|2011 |duration 15 minutes
Image courtesy the artist and Project88
Dai Guangyu戴光郁
Born in 1955, lives and works in Beijing.
Represented by ifa Gallery, Shanghai.
1955年出生，生活并工作于北京
代理画廊：艺法画廊，上海
In this work, the artist captures Northern China during its typical cold winter weather with its frozen lakes. Here, two Song script characters for "Feng Shui (geomancy)" are hand-written in ink on the icy surface of Lake Houhai in central Beijjng. The characters, as part of the "fengshui landscape", are exposed between the banks of the lake which are lined with ancient architecture, where they eventually melt away, along with snow and ice during the warmer months that follow, so only water remains.
The artist makes use of the elements of nature to illustrate the evanescence and inevitable passing of all things, and the impermanence of human existence, thus questioning myths of the eternal.
在“风水墨水冰水”这件作品中，戴光郁捕捉到了在中国北方典型的严冬中，由于严寒而冻结的河流。在北京市中心的后海结冰的表面上，艺术家用墨水书写了宋体的“风水”二字。后海的两岸遍布了传统建筑，而“风水”两字就静静地躺在湖面上，直到冬去春来，最终随着冰雪的融化慢慢消失，只剩河水依旧。艺术家借用自然来表达万物的短暂性和终将消失的命运，同时也揭示了人类生命的短暂，并对永恒的存在表达质疑。
Geomancy Ink Ice风水-墨水-冰水
Dai Guangyu 戴光郁|Landscape Art 地景 |2004-2005
编辑：文凌佳
