发表:2018-06-16 15:52阅读:310


                                                                               文/ 李心沫

               “存在-国际女性艺术展长沙2018” 研讨会现场  策展人郭桢


       在比利时的布鲁塞尔的莫伦贝克-圣约翰海军活动中心,举办了一场以《你当时穿了什么》为题的特殊展览。展览墙上钉了18个女孩在遭受性侵时穿的衣服,旁边配有一段简短的文字,是记录衣服主人当时遭受的不幸。“长袖衫,成套睡衣,运动裤,童装T=shirt,而这些衣服都是再普通不过的了,正好和人们*惯性的认为“穿得太少才会被性侵”形成巨大的反差。另外在布拉格Artwall画廊举办的一个展览中,Alma Lily Rayner 展出了童年遭受自己得父亲性虐待时的经历,墙上挂着一系列照片,照片拍摄的都是一些3D建模的寻常物件:勺子,米奇玩偶,剃须刀,肥皂,假阳具等,而就在墙的尽头就会看到这一系列作品令人战栗的名称,“我爸爸在我阴道里插进过什么?”无论是作品的呈现方式,还是艺术家运用真实事件以及亲身的经历而使作品内容所产生的张力,都足以使作品产生巨大的震撼和冲击。


       在这样一个大的背景下,跨国界的女性主义艺术正成为一种流向。近年来,国际女性艺术展览层出不穷,来自不同国家的女性艺术家聚集起来,呈现了一种不同以往的艺术形态,即具有国际性的视野,同时保留了各自社会地域特征,以及个体经验。此次的长沙国际女性艺术展就具有这样的特点。这些艺术家来自不同的国家,很多艺术家都有在其他国家生活和创作的经历。她们的经验不是单一的,而是多元和复合的。从表现的形式到所表达的内容都具有一种更加广阔的视角,和跨地域性的特征。象瑞士艺术家弗朗西斯卡在非洲,印度,以及中国等地所实施的《黑暗中的女性》艺术项目,聚焦于遭受家庭暴力的女性。郭桢作为旅居美国的华人,从个体经验出发,融合装置与波普艺术等方法创作出恢宏的女性主义作品《母亲》等。王宝菊通过一系列对政治权力进行解构的方式反衬出女性主义的视角和态度。法国艺术家LaetitiaDeschemps 则运用一种富于张力的表现语言呈现了她基于自身经验的隐喻世界。这些作品使我们看到女性主义艺术的一些新的特征,首先是对女性主义视域的扩展,她们不再局限于女性基于身体经验的无意识表达,而是更加注重理性的思考和有意识地创作。她们也不刻意运用地域性以及身份性的的符号系统,而是将语言建基在对自身反思以及对整个社会文化历史的思考之上,从而建立自己的艺术语言系统。这些作品已经超越了以往我们基于国家民族等对于女性主义艺术的定义,而使女性主义艺术在拓展艺术边界的同时也拓展了空间的限制。无疑,此次展览将给未来的女性主义艺术的实践和研究提供新的线索。

The Art of Feminism

Li Xinmo

Globalization has made it a widespread phenomenon to live and work cross-nationally. The internet that developed the information communication era, builds up an open and mutual relationship between people in diverse places and in multiple nations. With the drive towards capital globalization, the spreading information, sharing knowledge and blending cultures are ongoing at unprecedented speed. It becomes a significant premise to band all the females around the world together. From the “March to Washington” that had 2million female marchers globally, to the “Me too” anti-sexual harassment campaign that has swept the world recently, you can find that the power of the female is united more than ever before. All of these movements undoubtedly have become promotion to the art of feminism.


At the naval activity center at Molenbeth St. John, Brussels, Belgium, there was a particular exhibit with the theme of “What Were You Wearing.”  Eighteen outfits hang on the wall, each accompanied by a brief printed story from a sexual assault victim answering the question of what they were wearing when they were assaulted. There was a long-sleeved shirt, complete sets of pajamas, workout shorts, child-size clothing, plain T-shirts which were so ordinary that none of those outfits invited the people wearing them to be assaulted. In Prague at the Art wall Gallery, Alma Lily Rayner exposed her childhood experience of being sexually abused by her father with a series of pictures on the exhibit wall. They are 3D molded daily items, such as a spoon, Mickey doll, a shaver, soap, dildo and so on, then come the theme of those trembling images “What my father stuck in my vagina?” at the end of wall.  In addition to this presentation, the tension produced by the artwork itself by through utilizing real events and personal experiences created a huge shock and impact to witnesses.


Today, when the art of feminism is about to be a thing of the past, these works suddenly awaken the whole world, making people realize that feminism and the art of feminism are far from ending. On the contrary, they’re still going strong. The tragedies these women experienced are universal, literally crossing countries, regions and races, and show the common destiny and experience to the females all over the world.


Under this general background, cross-border feminist art is becoming a major orientation. International feminist art exhibits have sprung up in recent years, and successfully presented a unique art form which contains an international view and at the same time keeps the regional characteristics of each society and the personal experience. The international women's art exhibition that is being held at Changsha, China, is one of this kind. Artists are coming from different countries, some of whom have lived or worked in another country before. Their experiences are not unique, but are various and comprehensive. The forms and contents that expressed are with broader perspectives and multiple regional characteristics. The “Female in Darkness” program that Franziska Greber, a Swiss artist, put into practice in Africa, India and Asia, is focused on women who suffered from family violence. The impressive feminist artwork “Mother” created by Zhen Guo, a Chinese-born American, is based on her own experiences, with other aspects such as the installation art and the pop style merged. Baoju Wang reflects her feminism perspectives and attitudes is a series way of deconstructing the political power. The French artist Laetitia Deschemp, on the other hand, brings out a metaphorical world based on personal experience with expressive language that is full of tension.

New characteristics of the art of feminism show up in these works. First of all, the extension to the perspective of feminism no longer binds the female with unconscious expressions of sexuality.  Instead, they pay much attention to rational thinking and conscious creation. They prefer not to use territoriality and symbols of gender deliberately. To build up their own language system, they start from the self-examination and deep thinking of the entire social culture and history. These significant works embody the art of feminism beyond the traditional definition expanding the boundaries as well as the orientation of feminism. Without doubt this exhibition provides evidence for the practice and research on feminism art in the future.

                                                                                                    Li     Xinmo

                                                                                                    2018 Beijing





瑞士艺术家Franziska Greber 的装置作品





法国艺术家Laetitia deschamps作品




标签: 女性主义艺术




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