展览现场
展览现场
以刻录时光的艺术痕迹为形象印记的《机械手稿•黄建成的艺术》黄建成个展于2019年3月20日在意大利威尼斯Diocesano博物馆开幕，展品涵盖绘画、装置、影像三个类别，共23件作品。
由范迪安先生担任学术主持、由Vittorio Urbani先生担任策展人。本次展览计划是黄建成近年来对艺术及创作的一次集中表现，延续2015年德国柏林宝马中心展出的概念手稿的创作思路，以机械性理念的整合创作模式来呈现本次展览。本展览以时间刻度为艺术展的计量单位来凸现对宇宙、历史、社会的宏观与微观的思辨性认识，并以多元的表现形式和系列的核心图形来交叉传递这一符号体系。
策展人Vittorio Urbani在开幕式上说，此次展览筹备了半年时间，从最初的一个创作想法到最终展览的完美呈现，黄建成希望他的视觉语言能将客观现实与自己的思维方式联结在一起。同时，他也对作品中的控制、误读、真理、留痕和借用等概念颇感兴趣。这些概念都是构成黄建成艺术创作的关键要素。
黄建成和策展人Vittorio Urbani
主办方ICAA国际艺术创意联盟国际理事会成员代表、米兰Palazzo Reale艺术总监Dalia Gallico
主办方ICAA国际艺术创意联盟国际理事会成员代表、米兰Palazzo Reale艺术总监Dalia Gallico在致辞中说，本次展览不仅仅表达了艺术家的个人艺术创作理念，同时也为中国和意大利的艺术文化交流提供了一个机会。通过艺术作品，传达出一些观点，帮助来自不同文化、地区和背景的人们认识到共同的思维方式，提高人们对人类自身的理解，从而走向融合。
据悉，此次展览为黄建成”机械手稿“系列作品的首次展出，囊括概念架上、装置、影像等作品形式，力求在展示空间内部融合所有作品的表现形态，以勾勒出艺术家在其观念探索的完整艺术实践轨迹。出席开幕活动的嘉宾有威尼斯美术学院、威尼斯建筑学院、威尼斯大皇宫等当地代表。
本次展览由中央美术学院、 ICAA国际艺术创意联盟主办，中央美术学院城市设计学院、威尼斯Diocesano博物馆承办，意大利国际展览机构We Exhibit Srl协办，广东玉兰集团支持。展览将持续至4月17日。
艺术家阐述
“在现实世界的表象之下其实充斥着许多的未知和不确定性，可感知的存在与虚无的未来之间亦存在无限转换的可能，理性与感性、规范与无序、冷静与热烈，控制与放纵等诸多矛盾体构成了物质世界与心理空间的均衡与置换，有序的摹写与偶发的游走形成了精神世界的轨迹，我试图用机械运行的原型与知觉手稿的图像进行溶解与契合来刻录和印证这一痕迹，我想这种多项度、多界质的转译是有温度、有价值的，凸显生长、生命的哲学意义，惟望这一实验和过程是有勇气的，至少是有意义的行为…”
此次艺术呈现以一个主题概念，一个融合空间的形式来展开述事和对话，将包裹一件主艺术装置，一组概念架上作品，一宗生长的影像媒材，共同构成“机械手稿”的核心理念与视知觉沉浸体验，形成以静拟动、以动写静的内外交融、意犹未尽的交织效应，从而阐释主题要义的深层意蕴。
——《机械手稿•黄建成的艺术》
艺术家介绍
黄建成，中央美术学院城市设计学院副院长、教授、博士生导师；中国著名的空间整合设计师、艺术家；同时担任ICAA国际艺术创意联盟执委会主席、中国美术家协会环境设计艺委会副主任；并兼任纽约室内设计学院、罗马圣拉斐尔大学建筑与设计学院、中国美术学院、广州美术学院等院校的客座教授，同时兼任西安美术学院博士生导师。
黄建成曾担任2005日本爱知世博会中国馆艺术总监、总设计师，2010上海世博会中国国家馆设计总监；2015、2016、2017、2018年度中国文化部“欢乐春节•艺术中国汇”纽约主题活动总设计。
黄建成的作品曾参加多次国家级和国际性美展和设计展，获多项重要奖项；2014年《场域•黄建成设计》艺术展曾分别在中央美术学院美术馆、广州美术学院美术馆及上海新新美术馆成功举办；2015年《数字时代的仿像•黄建成艺术展》在德国宝马展示中心成功展出。
学术主持介绍
范迪安 全国政协委员、中国美术家协会主席、中央美术学院院长、中央文史研究馆馆员。
策展人介绍
Vittorio Urbani，活跃的当代艺术独立策展人，Nuova Icona文化艺术机构创办人，多次在威尼斯双年展上和其他重要展览策划展览项目。
策展人文章
《Mechanical Manuscript 机械手稿》
In a conversation I had with artist Huang Jiancheng he quoted Chinese artist Xu Bing, who once said，where life is, there will be problems; where there are problems, there will be art. It is an important statement which unveils Jiancheng’s point of view. He scrutinizes the boundaries between the individual and the outer world that make History and believes that our perception and comprehension of history is based on a certain degree of misunderstanding. So what is reality?
在我与艺术家黄建成的一次交谈中，他提到了中国艺术家徐冰的观点，你生活在哪，就面对哪的问题，有问题就有艺术。这句重要的话也表达了黄建成对艺术的观点。个人与外界之间的界限创造了历史，而黄建成通过对这种界限的审视，认为我们对历史的感知和理解是建立在一定程度的误解之上。那么，什么才是真实？
The artist wishes that his visual language will be able to connect objective reality with his way of thinking; he is interested in the concepts of control, misreading, truth, leaving traces and borrowing. These are all key words that make up the field of his creation.
黄建成希望他的视觉语言能将客观现实与自己的思维方式联结在一起；同时，他对控制、误读、真理、留痕和借用等概念颇感兴趣。这些概念都是构成他创作领域的关键要素。
Art is a form of language. For millennia, human beings have embarked in the most difficult of tasks, that of making each other be understood. Art is often literally a form of language as it is traditionally intended: just think about contemporary street graffiti or calligraphy. But its power of communication is deeper and subtler. It is the metaphorical content that counts. Metaphor is not always evident and sometimes in great artworks it functions as a hidden power plant. But even when the meaning is not evident, good art always raises reactions, stimulates emotions. You will not feel indifferent in its presence but this does not automatically mean that you will have understood everything.
艺术是一种语言形式。数千年以来，人类一直都在解决最棘手的难题，即人与人之间的相互理解。从字面上看，艺术通常是传统所期望的一种语言形式，想想当代街头涂鸦或书法。但艺术的传播力更深刻，也更微妙。艺术中重要的是隐喻内容。然而，隐喻并非总是显而易见。有时，在伟大的艺术作品中，隐喻就像是隐蔽的动力装置。但是，即使含义不明，优秀的艺术作品也总能引发回应、激发情感。你会对它的存在而动容，但这并不意味着你已透彻地理解了它。
With a strong professional engagement in space design, linked to architecture，interior and visual design, Huang Jiancheng maintains a strong interest in the artistic and artisanal traditions of China. Craftsmanship and design share a strong rational link with practicality, that is with function. The idea is meant to serve a function. In good design, Function commands Form.
黄建成主要从事专业空间设计，涉足建筑、室内、视觉等的相关创作，对中国的艺术和传统手工艺。手工艺和设计与实用性，即功能有着深刻而合理的关联性。手工艺和设计的目的就是发挥功能。在优秀的设计中，功能是凌驾于形式之上的。
An artwork, instead, only follows the rule of its inner coherence: the meaning of the work should adhere to its exterior aspect or form. Prof. Jiancheng makes use of computer - generated mechanical images as a tool he “inherited” from his profession of designer. And the computer - generated mechanical lines in the work for Venice, following the rules set by the artist, maintain their own logic, as that of streets drawn on a map, which follow coherently the orographic lines of the land.
相反，艺术品只遵循内在一致规则，即作品的意义应与外在表现或形式一致。黄建成教授将机械生成的图像作为一种源自设计师专业的工具。在为威尼斯展览创作的作品中，用机械画出的线条既符合他设定的规则，又保持了自己的逻辑性，就像地图中的街道线条，始终与地形线保持一致。
Or like the logic that controls the position of branches on a tree. We are used to considering the shapes of trees as harmonious, in particular when they are without leaves. But why do branches grow at regular distances, do not sprout all on one side, or almost never grow longer than others? A sector of Botany called Phyllotaxis studies the logic according to which leaves and branches grow at regular distances from each other and discovered that such «behaviour» follows mathematical rules. The main reason is to allow each leaf to grow sufficiently apart from its neighbours so that it can gain the best possible exposure to the sun. This reveals to us that the plant’s main need in order to grow is to seek the best possible energetic balance. This need conditions what we see in a tree: the reason of its shape (which allows us to tell a lime from a poplar or a cypress), and its Harmony … which we perceive as Beauty.
又甚或像决定树枝生长位置的逻辑一样，我们通常认为树木的形状是协调、统一的，尤其是没有叶子的时候。但为什么树枝的生长距离总是固定的，而不是全部从一侧长出新芽，或者为何每一根树枝几乎同样长呢？植物学中有一个分支叫做叶序学，它研究的是树叶和树枝固定间隔生长逻辑，其发现这种“生长行为”遵循的是数学规则。背后的主要原因是要让每片叶子足够远离邻近的树叶，以确保最大程度地吸收阳光。这揭示了一个道理，即植物生长的主要需求是寻求最佳的能量平衡。要获得最佳能量平衡，树木需满足一定的条件，这也是树木生长形状（我们由此可分辨出菩提树、杨树和柏树）与协调外形的原因，也就是我们所感知的美感。
In design and also – more subtly – in the artistic field, there are no problems of energy production, but there is the need for a reason to exist. An underlying motivation gives life to the work, it is its necessity. A good artwork, AND a good product of design, need to have a meaning. The success of the artwork or of the design product comes from the coherence between the visible form and its inner reason.
在设计领域和更为微妙的艺术领域，不存在能量生产问题，而更需要的是存在的理由。潜在动机赋予了作品生命，是作品存在的必然性。优秀的艺术作品和设计产品都需要有内涵。艺术作品或设计产品之所以获得成功是因为外在形式与内在动机达成了统一。
Or sometimes, paradoxically, from the contrast between form and reason. The ensuing coherence results in harmony, the contrast in energy. Abstraction, symbolism and imagination are intellectual mechanisms that the artist himself considers important in the production of artworks.
或者有时，形式与动机之间形成的反差也能造就一个成功的作品。统一所产生的一致性实现了协调，而反差则孕育出能量。黄建成认为，抽象、象征和想象是艺术创作中重要的脑力机制。
I asked the artist about his relationship with flowers. Smilingly he answered that he finds that flowers are relatively complete visual symbols, and recalled that, when young, he worked for a product factory. One of his job was to paint floral patterns on the products. A way to interpret his work is therefore linked to the plant world.
当我问及他与花之间的关系时，他微笑着答道，他发现花是相对完整的视觉符号，并忆起年轻时曾在设计一线的工作经历。当时，他的工作内容之一就是进行花卉图案的创作。因此，解读他作品的一种方式就与植物进行关联。
We have talked about the rules that determine the position of branches on trees and of how roads on a map are drawn in order to test the flowing of lines in Huang Jiancheng’s work. We want to, so to say, test if it has its own phyllotaxis. His work is made not only of sweeping harmonious lines, such as those of a grass field swept by wind or of a spring abundant with waters, but also of bolder, harsher, more broken ones. These lines recall the traditional way of drawing landscapes according to the antique Chinese painting style: steep mountains and hills disappearing in the mist are perforated by grottoes and running waters, tired old scholars on horseback and farmers burdened with heavy encumbrances wander on narrow streets. The landscape thus becomes the theatre of human fragility and of the futility of our pursuits.
我们探讨了决定树枝生长位置的规则，以及如何绘制地图上的道路，以此理解黄建成作品中线条的流动性。或者说，我们想知道他的作品是否也有自己的“叶序”。黄建成的作品不仅有风吹草地、溶溶泉水等流动、和谐的线条，也有更加硬朗、更加支离破碎的粗线条。这些线条让人回想起中国古代传统山水画的绘画方式：陡峭的山脉隐于雾霭之中，石洞和流水贯穿其间，疲惫的老朽才骑在马上，挑着重担的农民则在窄道上慢行。通过这种景象，反映出人的脆弱和求而不得后的徒劳。
The human figure is pictured small, fragile, burdened with preoccupation and tiredness from daily work, cursed by the weather which, hot or cold, is always harsh. Sometimes the little men look ridiculous in their inadequacy and disproportionate in comparison to the majesty of the mountains. In the study of a high- ranking Chinese officer, on his desk, you would often have found a gongshi - or scholar rock – a natural stone whose interesting and various shapes make it look like a miniature mountain or landscape. Through a simple trick of inverted proportions, a gongshi encourages us to reflect on the relationship between Man and the World, which is immense and indifferent to human destiny. A good gongshi is a ready-made ante litteram. Even if it is a three dimensional object, it is not a sculpture, but it is eventually a substitute for painting, because alone it is able to evoke whole natural landscapes and the emotions aroused by them.
画中的人物重担于身，矮小而又脆弱，专注却又疲惫不堪，常因酷热或极寒而备受折磨。有时，这些矮小的人物与雄伟的山脉相比，是那么的微不足道，甚至有些可笑。在研究中国古代高官时，可以发现，官员的案几上常放有一块供石，即观赏石。这是一种天然石头，其造型别致且形状各异，看起来就像一座小山体或微型景观。借由简单的反比技巧，供石激发了我们思考人与世界的关系，这种关系无处不在，却又与人的命运毫无关系。一块完美的供石是大自然浑然天成的作品。即使供石是三维物体，它也不属于雕塑。但是，它最终却能成为油墨画的替代品，这是因为它能唤起人们脑海中的自然景象，激发人们的情感。
And it is landscape–the lyric expanse of plants, flowers, waters, wind, the succession of light and darkness during day and night–is the ideal scene in which the wide forms drawn by the lines of Huang Jiancheng’s work are set.
同时，供石也是一种景观，是花草、树木、水、风和日夜光影交替构成的抒情空间，也是承载黄建成作品中线条所勾勒出各种形式的理想意向。
Another way to interpret his work is the secret but continuous exchange of proportions from landscape to interiors and vice versa. And in fact in his own words: “I am engaged especially in space design”, which is, so to say, to draw landscapes for interiors.
黄建成作品的另一种解读方法是，以隐秘的方式在山水景观与室内场景之间不断切换。事实上，就像黄建成自己所说的那样：“我所做的尤以空间设计为主”，也就是为室内空间“绘制”风景。
Calligraphy is another important point of reference for his work as an artist. His art can be compared to an abstract form of calligraphy. The artist considers his work, interestingly, as “the shadow of calligraphy” or the ghost of it, as I may suggest. As a youth he practiced calligraphy. This technique is the most abstract form of art in Oriental culture. Calligraphy is of course first and foremost a form of language “concise to the extreme” (in Huang Jiancheng’s words).
书法是解读黄建成艺术作品的另一种重要参考方式。他的艺术可以比作书法的一种抽象形式。有趣的是，黄建成认为自己的作品是“书法的影子”，或者在我看来，是“书法的幽灵”。年轻时他曾练习过书法。书法在东方文化中是最为抽象的一种艺术形式。当然，以黄建成的话说，书法首先是一种“简练到极致”的语言形式。
Let us now come to the title of the exhibition for Venice: Mechanical Manuscript. It bears an interesting contradiction between the idea of a handmade text and that of the mechanical production of it. How could this not be an interesting paradox? Computerized programs allow to set “rules” for the production of whatever text or image. The manuscript part refers to the translation of the artist’s thinking through a mechanical reproduction. The text/drawing resulting from this process “has the mobility and fluidity of the continuous transformation of human sensitivity and rationality”. (Huang Jiancheng)
现在，让我们来谈谈威尼斯展览的主题——机械手稿。该主题表现了可控的手稿创作与不可控的机械方式在理念上的反差，这难道不是一个十分有趣的悖论吗？利用计算机程序，我们可以实现任何机械创作的文本或图像的“规则”，而“手稿”则是通过艺术家的手工温度，表达艺术家的思想。由此创作出的文字/图画“具有人类感性和理性不断转换的流动性”黄建成如此说道。
I asked Jiancheng how he sees the relationship between his work as an industrial designer and his free artistic creation. He answered: “I have nearly thirty years of design experience. In my opinion design is one way to solve social problems. Design is functional, usable and object-oriented. Art, on the other hand, presents problems to solve, it is a way to influence others through concepts, that is to change the logic behind the appearance of things”. He also added: “I hope that through my artistic creation I will be able to convey perspectives and viewpoints that will help people from different cultures, regions and backgrounds to perceive a common way of thinking and develop an understanding of human beings that lead to integration.” Contribution to the growth of positive social and cultural values is the reason of Huang Jiancheng’s art, and at the same time the warranty of its authenticity and necessity.
当我问黄建成，作为一名独立设计师，如何看待自身作品与自由艺术创作之间的关系时，他回答说：“我拥有近三十年的设计经验。在我看来，设计是解决社会问题的一种方式。设计讲究功能性、可用性和目标性，而艺术，从另一方面来讲，呈现的是需要解决的问题，它是一种通过概念影响他人的方式，即改变事物表象背后的逻辑。”他又补充道：“我希望通过自身的艺术创作，传达出一些观点，帮助来自不同文化、地区和背景的人们认识到共同的思维方式，提高人们对人类自身的理解，从而走向融合。”黄建成进行艺术创作的动机是发扬积极的社会和文化价值观，同时保证作品的真实性和必要性。
展览组织架构
主办单位：中央美术学院、ICAA国际艺术创意联盟
承办机构：中央美术学院城市设计学院、Museo Diocesano威尼斯主教博物馆、广东玉兰集美合作支持
合作机构：广东玉兰集团
协作机构：We Exhibit Srl、中远运输
学术主持：范迪安
策展人：Vittorio Urbani
艺术家：黄建成
展览时间
2019.3.20 - 2019.4.17
展览地点
意大利威尼斯主教博物馆
Museo Diocesano - Salone Ss. Filioop e Giacomo，Castello 4312，Venice，Italy
部分作品
