跨界大展｜九层塔⑥刘韡个展“形式的狂想”预告
九层塔：空间与视觉的魔术
Nine-Tiered Pagoda: Spatial and Visual Magic
“九层塔：空间与视觉的魔术”是一次跨界行动，是中国从未有过的展览方向和形式。它将邀请9位／组艺术家提供作品，作为展览的基础素材，同时邀请9位建筑师，9位设计师，组成九个临时团队。艺术家、建筑师、设计师三方联名合作，没有“主次”和“中心”，只是分工与协作，最终形成9个全新类型的展览。
空间和设计是决定展览的核心元素，也是对展览和作品的再创作和再生产，它决定了观众看到什么，怎么看，看的次序和节奏。空间和设计，在这里不再是为展览服务，而是独立自主的体验，给予展览无数的变量和可能。
一直以来，我们缺乏一种高质量的跨界，它们不是流俗于明星和网红效应，迎合一种快餐式的出圈，就是自说自话，拘泥于专业壁垒。“九层塔”倡导的跨界方式，创造了一个艺术、建筑和设计的连接点，一个全新的交叉学科，它既是三个专业间的实际需求，有益协作，又保留了各自的专长和优势，分工得当。
作为中国古代建筑，“塔”有着一种特殊的结构，它的每一层讲述着不同的故事。这些故事和空间、设计，紧密围绕成一个彼此叠加的整体，成为展览的外在形象和精神内核。
“九层塔：空间与视觉的魔术”由策展人崔灿灿和建筑师刘晓都共同在2020年发起，它是一个混合了思想、方法、工具的实践项目，也是对跨领域工作的兴趣班，拓展彼此方向的攻关小组。
“九层塔”的出现，饱含着创造一个全新领域和事业的雄心，旨在发明一种新的合作方式和展览观念，重塑这个时代的感知体验。
九层塔：空间与视觉的魔术⑥
“形式的狂想” 刘韡个展
+ 空间呈现
马岩松
+ 平面设计
广煜
+ 策展人
崔灿灿
+ 出品人
刘晓都
+ 开幕
2021年5月9日
+ 地点
+ 主办
深圳市坪山区文化广电旅游体育局
+ 承办
坪山美术馆
+ 协办
华润文化体育发展有限公司坪山分公司
作为九层塔的第六个项目，“形式的狂想”像是一部狂想曲，激发想象力的形式实验室，亦或是一幕孕育着无限力量的舞台剧。展览以艺术家刘韡的几何形装置为基础，邀请建筑师马岩松进行空间的呈现，平面设计师广煜进行海报等视觉系统的创作。
作为新一代文化代表的中坚力量，刘韡、马岩松、广煜的工作，植根于中国发展进程中的一个重要阶段，深受新世纪中国社会特有的变动和起伏影响——城市和人文景观的快速变迁。在这个时期，现代主义中的形式不再作为形式而存在，形式成了快速变幻与未来想象的媒介。“狂想”召唤人们走向形式的指引，走向无限的联想和“所有”。这里的“所有”可能是万事万物的运动法则，这里的“明暗光影”可能是时间的起源或变幻的光阴，“上扬的线条”可能预示着飞升的雄心，“圆”是起点，也是循环的终点。
和九层塔其它项目相比，这个展览有了新的合作方式，艺术家刘韡并没提供“完整”的作品，而是提供了一些作品的材料和散落的部件。这些几何形体的圆、块面、曲线，带着打磨的痕迹，像是立体主义绘画的笔触，或是等待被摆放的抽象形体，最终以什么形式展出，由建筑师决定。
建筑师马岩松将这些“未命名”的作品，放置在一个“陌生”的空间，类似于宇宙的黑洞。这让作品呈现出与过往展览中截然不同的气质和观感。时间停滞，并且沉浮，沉默无言的“静物”，释放了巨大的张力。挤压的空间，看似狭小，却具引力，一道光像是预示着“太空舱”外的浩瀚，“力”在这里获得了重量和样貌。马岩松用去形式化的方式，挑战着“形式的狂想”。
历史上许多时刻或是古老的仪式，在斗转的时空中，总会被染上天启般的色彩。“形式的狂想”在这里暗示的是亘古不变的法则，是历史长河和昨夜琐事里，都暗含的光影与走势。事物中的动与静，开与合，垂直与堕落，飞扬与低陷，可能源自立体派或是未来主义某幅画作里的静物，可能预示着春天枝木的崩裂，可能为了铭记19世纪午夜后的一场暴雨，或是太空漫游里的一块石碑，几万年间弹指一挥的波澜壮阔。
在设计师广煜的海报中，形式给了我这样的想象，信息排成塔的样子，线条是地平线的开始，圆悬于高处，海上古塔升明月。“形式的狂想”亦是“九层塔”的狂想，它希望人们从束缚中出走，用广阔的感知去想象没有边界的未来。我们狂想，在希望之春和失望之冬中战斗，直至万物寂静，悄无声息。
策展人：崔灿灿
艺术家
《大自然》 尺寸可变 铝，喷漆，钢化玻璃，亚克力板，玻璃钢，纸，钢，聚乙烯，镜面，泡沫，KT板，水泥（2016/2020）
*上图仅为本次展览展出的部分组件
●刘韡
1972年生于北京，毕业于杭州中国美术学院。他以众多不同媒介，诸如绘画、影像、装置及雕塑等来进行创作，并逐渐以自己独特的艺术方式在世界舞台上受到瞩目。
近期个展包括上海龙美术馆西岸馆的“散场/OVER”（2020年）、 克里夫兰当代美术馆和克里夫兰艺术博物馆的《看不见的城市》（2019年）等。参与国际联展包括：纽约古根海姆美术馆的《1989后的艺术与中国：世界剧场》（2017年）、伦敦白教堂美术馆的《黑色方块的冒险：抽象艺术与社会1915-2015》（2015年）；曾参加第58届和第51届威尼斯双年展（2019、2005年）、第11届、第8届和第5届上海双年展（2016、2010、2004年），第11届和第9届里昂双年展（2015、2007年)等。也曾多次获得国内外艺术家大奖和公益奖，包括第十届AAC艺术中国年度艺术家大奖（2016年）、Artnet年度艺术家（2016年）、中澳文化大使（2016年)、CCAA中国当代艺术奖最佳艺术家奖（2008年）等。
空间呈现
《九层塔：空间与视觉的魔术⑥“形式的狂想” 刘韡个展》空间呈现效果图
●马岩松
1975年出生于北京，目前工作、生活于北京和洛杉矶。马岩松是MAD建筑事务所的创始人和合伙人。他通过建筑设计回应居住者的精神及情感需求，致力于构建人们对未来城市的想象。在过去的16年中，马岩松通过具有文化内涵的建筑实践在世界范围内获得了广泛关注。其代表作包括：哈尔滨大剧院、洛杉矶卢卡斯叙事艺术博物馆，以及位于加拿大密西加市的“梦露大厦”。
近期展览包括：“MAD X”（蓬皮杜艺术中心，法国巴黎，2019）；“光之隧道”（越后妻有大地艺术祭，日本越后妻有，2018）；“天镜”（米兰设计周，意大利米兰， 2018）；“微型花园”（第十五届威尼斯建筑双年展，意大利威尼斯 ，2016）；“回到东方：中国建筑景观”（国立二十一世纪艺术博物馆，意大利罗马，2011)；“生活”（路易斯安那现代艺术博物馆，丹麦哥本哈根，2011）；“感觉即真实，奥拉弗·埃利亚松和马岩松”（UCCA尤伦斯当代艺术中心，北京，2010）；“中国设计的当下”（维多利亚和阿尔伯特美术馆，伦敦，2008）。
2019年，马岩松作为特邀演讲嘉宾参与大都会艺术博物馆举办的“我们的时代：这一年的建筑实践”。他的作品也被诸多公共机构收藏，包括巴黎蓬皮杜艺术中心等。
平面设计
《九层塔：空间与视觉的魔术⑥“形式的狂想” 刘韡个展》折页设计示意图
●广煜
设计师，现在生活、工作于北京。A BLACK COVER DESIGN 平面设计工作室创始人、美术指导。2004年、2008年两次获得东京字体指导俱乐部 TDC Prize；“设计2007”，V&A设计博物馆，伦敦，英国。2010年担任东京字体指导俱乐部 TDC 评委；2016年在德国埃森参展“图文—全球华人平面设计展”；2009年、2018 香港设计师协会环球设计大赛，两次荣获金奖、银奖及铜奖；2020年美国纽约担任ADC Young Guns设计大奖评审。
策展人
●崔灿灿
策划人，写作者。策展的主要展览和活动从2012年开始一百多场，个展涵盖中国最具代表性的老、中、青三代艺术家，群展包括夜走黑桥、乡村洗剪吹、不在图像中行动、六环比五环多一环、十夜、2015-2019过年特别项目系列、策展课、九层塔等。
“九层塔”系列同时展出
九层塔：空间与视觉的魔术⑤ 陈文骥+丁乙+梁铨+谭平 “相似的结果，不同的路径”
关于坪山美术馆
坪山美术馆位于坪山文化聚落北区，是深圳重要的公共文化设施。坪山美术馆以创新的体制机制，推动传统公立美术馆与民间美术馆的资源融通，汇聚各方能量，办一个专业化、品质化、国际化的“正而酷”的美术馆，成为集活力、包容、创意、互动为一体的新时代新都市美术馆新标杆，为市民群众带来新鲜、多元的文化享受和体验。
Nine-Tiered Pagoda:
Spatial and Visual Magic
Nine-Tiered Pagoda: Spatial and Visual Magic, as a cross-disciplinary event, represents an unprecedented direction and form of exhibition in China. Nine (groups of) artists will provide their works as the basis material for the exhibition. Besides, nine architects and nine designers will also join to form nine temporary teams, hence the cooperation among artists, architects and designers. There is no ‘priority’ or ‘center’ in the exhibition, only division of labor and collaboration, presenting nine individual exhibitions of a brand-new type.
As the core determinant for the exhibition, space and design are also a kind of re-creation of the exhibition and the work; They determine the content and how the audience see the exhibition, as well as the sequence and pace. Space and design, no longer in the service of the exhibition, provide an independent and autonomous experience for the audience, granting the exhibition a myriad of variables and possibilities.
There has always been a lack of quality cross-disciplinary exhibitions, which are neither a fast food product preached by celebrities and online influencers nor a highbrow art confined to professional barriers. The cross-disciplinary advocated by Nine-Tiered Pagoda creates a nexus joining art, architecture and design together with a new cross-discipline, which reflects the practical needs and collaboration of the three professions, while it also retains the expertise and strengths of each with a proper division of labor.
As an ancient Chinese architecture, ‘Pagoda’ has a special structure, with each tier telling a different story. These stories, spaces, and designs are closely intertwined with each other into a superimposed whole, formulating the external image and spiritual core of the exhibition.
Nine-Tiered Pagoda: Spatial and Visual Magic, launched by curator Cui Cancan and architect Liu Xiaodu in 2020, is a hands-on project that mixes ideas, methodologies and tools. It's not only a workshop for cross-disciplinary art, but also a platform for artists, architects and designers to cooperate and expand their development realms together.
The advent of Nine-Tiered Pagoda represents the ambition to create an entirely new field, with an aim to invent a new way of collaboration and to create a fresh exhibition concept that can reshape the perceptual experience of our times.
Nine-Tiered Pagoda: Spatial and Visual Magic ⑥
Forma Fantasia - Solo Exibition of Liu Wei
Spatial Design: Ma Yansong
Graphic Design: Guang Yu
Curator: Cui Cancan
Producer: Liu Xiaodu
Opening: 5/9/2021
3rd Floor, Exhibition Gallery, Pingshan Art Museum
Host: Culture, Broadcast and Television, Tourism and Sports Bureau of Pingshan District
Organizer: Pingshan Art Museum
Co-Organizer: China Resources Culture and Sports Development Co,. Pingshan Ltd Pingshan Branch
As the sixth project of “Nine-Tiered Pagoda”, “Forma Fantasia” is like a rhapsody, a laboratory of forms that inspires imagination, or a stage play that breeds infinite power. The exhibition is based on the geometric installations created by the artist Liu Wei, with the architect Ma Yansong designing the space, and the graphic designer Guang Yu in charge of posters and other visual designs.
As the backbone of the new generation of cultural representatives, the works of Liu Wei, Ma Yansong, and Guang Yu are rooted in an important stage of China’s development and has been deeply affected by unique changes and vicissitudes of the Chinese society in the new century, that is, the rapid changes of the urban and cultural landscape. In this period, the form in ancient modernism no longer exists as a form. Instead, it has become a medium of rapid change and future imagination. “Fantasia” calls people to follow the guidance of “form”, to pursue the infinite association and “wholism”. The “wholism” here may be the law of motion of everything, while the “light and shadow” may represent the origin of time or its change. The “rising line” will herald the ambition of soaring, while the “circle” is the starting point and the next loop.
Compared with other projects of “Nine-Tiered Pagoda”, this exhibition presents a new way of cooperation. Artist Liu Wei doesn’t provide a “complete” work, but some materials and scattered parts instead. The circles, blocks, and curves of these geometric shapes, with traces of polish, are like the brushstrokes of a Cubist painting, or the abstract shapes waiting to be placed. The way they will finally be exhibited depends on the architect.
Architect Ma Yansong places these “unnamed” works in a “unfamiliar” space, similar to a black hole in the universe. This grants the works a completely different temperament, if look and feel from previous exhibitions. Time stagnates, while still going through ups and downs, just like the silent “still life” releasing a huge tension. The squeezed space, seemingly small, but is in fact gravitational. A beam of light foreshadows the vastness outside the “space capsule”, where “force” has gained its weight and tangible form. Via the de-formalized approach, Ma Yansong challenges the “Forma Fantasia”.
Many moments or ancient rituals in history, in the ever-changing time and space, will always be presented with sacred meanings. “Forma Fantasia” here implies an eternal law, the light and shadow, the dynamic and trend in the long river of history and in all the triviality of the past. The dynamic and static, openness and intensity, verticality and falling, flying and sinking in these illustrated objects may originate from still life in the Cubist or Futuristic paintings, which may indicate the breakage of branches and trees in spring, a midnight torrential rain in the 19th century, a stone tablet lost in a space odyssey, or the magnificent ripples deriving from tens of thousands of years in just a blink of eyes.
In the poster created by Designer Guang Yu, the form itself conveys such an imagination, where all information is arranged in a tower. The line represents the horizon and the circle hangs high like a moon rising over the ancient tower erecting against the sky. “Forma Fantasia” is also the fantasy of the “Nine-Tiered Pagoda”. It hopes that people can get out of the shackles and imagine a future without boundaries with broad perception. We fantasize and fight in the spring of hope and the winter of despair, until everything goes silent.
Curator: Cui Cancan
Artist
●Liu Wei
Liu Wei (b.1972) was born and presently resides in Beijing, China. He was trained as a painter at the China Academy of Art, Hangzhou in 1996. He is heavily influenced by the instability and fluctuation peculiar to twenty-first century China, in particular with respect to its physical and intellectual landscape. Initially Liu belongs to the generation of artists known as the Post-Sensibility group; in the years since, with his paintings, videos and large-scale installations Liu has become a singular presence on the global art stage.
Liu Wei’s recent solo exhibitions include “散场／OVER” (Long Museum West Bund, Shanghai, 2020); “Invisible Cities” (moCa Cleveland and the Cleveland Museum of Art, Cleveland, 2019) among others. Recent group exhibitions include: “Art and China after 1989 Theater of the World” (Guggenheim Museum, New York, 2017); “Adventures of the Black Square - Abstract Art and Society 1915-2015” (Whitechapel Gallery, London, 2015); He has participated in the 58th and 51st Venice Biennale (2019, 2005); the 11th, 8th and 5th Shanghai Biennale (2016, 2010, 2004); the 13th and 9th Biennale de Lyon (2015, 2007) among others. He was nominated for the Award of Art China 2015 and received the Award in 2016; He was the Artnet Artist of the Year and the Ambassador of Sino-Australia Cultural Exchange in 2016; He received the Chinese Contemporary Art Award for Best Artist in 2008.
Spatial Design
●Ma Yansong
Born in Beijing, China, in 1975. Currently lives and works in Beijing, China and LA, USA.
Ma Yansong is the Principle Architect and Founder of MAD Architects. Through his work, Ma is committed to creating a vision for the city of the future that is inspired by the spiritual and emotional needs of its residents. Over the past 16 years, Ma has gained worldwide attention in the architecture field for his international practices with cultural consciousness. Signature projects include: Harbin Opera House, the Lucas Museum of Narrative Art in Los Angelas and the Absolute Towers in Mississauga.
Recent exhibitions include: “Mad X”, Centre Pompidou, Paris, France (2019); “Tunnel of Light”, Echigo Tsumari Art Field Triennial, Japan (2018); “Fifth Ring”, Milan Design Week, Milan, Italy (2018); “Micro Garden”, 15th Venice Architecture Biennale, Venice, Italy (2016); “Verso Est: Chinese Architectural Landscape”, MAXXI, Rome (2011); “Living”, the Louisiana Museum of Modern Art, Copenhagen, Denmark (2011); “Feelings Are Facts, Olafur Eliasson + Ma Yansong”, Ullens Center for Contemporary Art (UCCA), Beijing (2010); “China Design Now”, the Victoria and Albert Museum, London (2008).
In 2019, Ma was invited as a special speaker in “In Our Time: A Year of Architecture in A Day” conference held by the Metropolitan Museum of Art.
Ma’s works are part of numerous public collections, such as Centre Pompidou, Paris.
Graphic Design
●Guang Yu
A Graphic Designer who lives and works in Beijing , China. Founder and art director of A Black Cover Design studio.
In 2004 and 2008, He won the TDC Prize twice of the Tokyo Type Directors Club; “Design 2007”, Participated in V&A Design Museum, London, UK. In 2010, Judge of the Tokyo Type Directors Club; In 2016, he participated in the“Chinesisches Plakat-und Buchdesign Heute” in Essen, Germany Design Exhibition; In 2009 and 2018, He won gold, silver, and bronze awards of HKDA Global Design Awards twice; In 2020, Judge of New York, USA of ADC Young Guns Design Award.
Curator
●Cui Cancan
Cui Cancan, an active Chinese curator and writer, has curated nearly 100 major solo and group exhibitions for the most representative Chinese artists of different generations since 2012. His group exhibitions include Hei Qiao Night Way, Rural Wash, Cut and Blow-dry, Unlived by What is Seen, Between the 5th & 6th Ring Road in Beijing, The Decameron, Spring Festival Projects (2015-2019), The Curation Workshop and Nine-Tiered Pagoda.
About PAM
Situated in the north district of Pingshan Culture Quarter, The Pingshan Art Museum (PAM) is an important public cultural institution in Shenzhen. It is a major force for resource fusion from conventional public art museums and private art institutions, fueled by its institutional innovation. Aiming to build an art museum that is “positive and cool”, PAM actively explores professional development with high-quality in an international scope. The Pingshan Art Museum dedicates to be a new landmark in our time by bringing fresh and diverse cultural enjoyment and experiences to its citizens and celebrating vitality, inclusion, creativity, and interaction.
翻译｜叶可非
编辑｜李超群
审校｜郭琳 李耀