开    幕：2010年10月24日（周日）15：00
展    场：北京朝阳区草场地红一号F座荔空间
展    期：2010年10月24日至2010年11月16日
开放时间：星期二至星期日 10：30 - 18：00

艺术家：陈彧凡、刁伟、高磊、高伟刚、顾凯军、何翔宇、李青、卢征远、仇晓飞、石玩玩、王思顺、吴秋龑、张洁白
策展人：顾振清
艺术总监：杨荔
执行策展：胡志亮、万舒
策展助理：解星
公共推广：姜天娇、苏芳芳

联系：www.li-space.com; lispace2008@163.com; +86-10-51273272

WASABI: AN EXHIBITION OF YCA (YOUNG CONTEMPORARY ARTIST)

OPENING: SUNDAY, OCT. 24TH 2010 15: 00
VENUE: LI - SPACE, RED NO.1-F BUILDING, CAOCHANGDI, CHAOYANG DIST., 100015, BEIJING, CHINA.
DATES: FROM OCT. 24TH 2010 TO NOV. 16TH 2010
GALLERY OPENING HOURS: TUESDAY – SUNDAY 10: 30 – 18: 00

ARTISTS: CHEN YUFAN, DIAO WEI, GAO LEI, GAO WEIGANG, GU KAIJUN, HE XIANGYU, LI QING, LU ZHENGYUAN, QIU XIAOFEI, SHI WANWAN, WANG SISHUN, WU QIUYAN, ZHANG JIEBAI

CURATOR: GU ZHENQING
ART DIRECTOR: YANG LI
EXECUTIVE CURATOR: HU ZHILIANG, WAN SHU
ASSISTANT CURATOR: XIE XING
PUBLIC PROMOTION: JIANG TIANJIAO, SU FANGFANG

CONTACT US: www.li-space.com; lispace2008@163.com; +86-10-51273272 
 

谁是YCA？

顾振清      

     YCA是年轻当代艺术家YOUNG CONTEMPORARY ARTIST的英译简写。在中国语境中，YCA特指近年来脱颖而出的一拨70后、80后艺术家。他们大多于1970-1989这二十年出生，有学院教育背景。他们大多是独生子女，在中国现代性进程和全球化的文化条件下长大成人。他们所承受的压力主要不是来自政治和社会层面，而是来自经济和市场层面。他们没有冷战思维和意识形态壁垒所创造的捷径可走，却面临着商业利益的巨大诱惑和干扰。他们的共同特点是经过方法论和价值观、规则和标准等问题讨论的洗礼，具有对当代艺术经验的认知和对当代文化逻辑的认同。
     他们不拘泥于传统文化领域，也不束缚于学院主义的框架，甚至能够逃脱现代主义的审美惯性和思维定势。他们的思想、观念和方法论是经过磨砺的，是开放的、面向未来的。他们强调理性而思辨，但他们也强调感性和直觉。他们善于学习，在创作实践中巧施各种挪用、借鉴、移植、转换、改良之法，也善于自主创新。他们善于作现实批判和文化反省，也善于作自我批判，在自我否定、放空和重新塑造中确立个性。他们不但重视当下社会现实对艺术的刺激和影响，也重视艺术对当下社会现实的介入和干预。他们更重视的是当代艺术自身文化逻辑的推进和当代艺术之中国特性的打造。他们习惯于跨界和超限，打破经典、打破条条框框。他们擅长打破前人的成见，也勇于超越自己的成见。在他们眼中，所有的既有经验和游戏规则都可以归为批判、颠覆或改造、扬弃的对象，进行重新梳理。他们不拘风格，更不局限具体材料、方法、形式、观念及其具体问题。他们拥有美术史立场，更拥有针对当代艺术现场的审视和把控。他们有大格局，尊重全球化条件下的交流语境，尊重国际性，更尊重自身艺术的主体性。
     YCA应该是继往开来的一拨艺术家。他们既可以是中国的年轻当代艺术家，也可以是亚洲和全球的年轻当代艺术家。他们站在同一个起跑线上、同一个弹跳点上，关键是：谁会出类拔萃？
     在中国当代艺术迅速跨入资本化时代的当口，他们更应该是披荆斩棘、打造中国当代艺术主体性的一拨艺术家。他们面对的是中国当代艺术的决胜局。

Who are YCA?
GU ZHENQING

    YCA stands for young contemporary artists, but in Chinese style, we mainly infer to the artists who were born during the 70s-80s.(most of them were born around 1970-1989 about 20years of time). A great margin of those artists was able to have a decent academic art education, and of course, most of them are the only child of their family (due to the one child policy). Influence by the culture globalization, their main pressure is not from the political powers or the society itself, it is actually from the economy. There are not shortcuts for those artists (From the cold war ideology and the barrier of ideology) but on the other hand, they were facing a great disturbance of commercial interests and the temptations of it. They are the generations baptized by the methodology and values, regulations and standards. They had their own logics of understanding contemporary culture and contemporary art.
    For this generation of artists, they are not stickled to the traditional culture nor to the traditional academic art structures, even a break through to the contemporary aesthetic inertia, their thoughts, views, ideas and methods are all been through a lot of experiences, open out, and futuristic. They emphasize the idea of rational and speculate, but also suggest the idea of sensibility with intuition. They are keen at learning new things; during their practical creations, they would use the method s of misappropriation, borrowing, transplantation, conversation and improvisation. In addition, they love to create new things by themselves, enjoy making critics about the reality the culture, and about themselves. Through the criticisms and “empty out” their own selves, they create a brand new personality. Not only they are trying to emphasize the stimulation and influence that the society brings, but also emphasize the interference and disturbance that our society brings to the art industry. However, they believe that the most important thing is to identify our own culture’s logistics and work hard to create the “Chinese characteristics”. They are keen to cross the boarder, break through the limits, tare down the classics, crush the regulations and break down the prejudice. From their point of view, every “experiences” and “regulations” can be criticize, overturn, abandon and reconstructed. They are not tied up with a regulated “style”, materials, methods, form of art, or specific issues. They had their own views on the history of art and a special vision (or control) of contemporary art, they had their own configurations, respectful to the globalize context respectful to the globalize culture and most important of all respectful to our own culture.
    YCA is a bunch of promising young artists, not only they are the youngest generation of contemporary artists in China, but also, they are the youngest artist of Asia and the world. They are all standing on the same balk line and jumping point, but the problem is “who will be the best?”
   Now we are standing on the phase of capitalistic age, we should break through every obstacle in front of us, and create a bunch of promising Chinese contemporary artists. What’s in front of them, is the “deciding game” for the Chinese contemporary art industry.
 

                                    给力——YCA年轻当代艺术家展

 时至当下，艺术圈的活跃气氛正被一股股热浪般的“鲜血”——年轻艺术家调动至于谷峰。
 
 YCA是年轻当代艺术家YOUNG CONTEMPORARY ARTIST的英译简写。此次YCA展览中，材料、媒介，方法，形式已经不再构成艺术家作品原创性的捆绳，更为新颖和突出的亮点在于作品的艺术语言从不拘泥于传统艺术语言的限制出发，跳出学院化的条框，连带着观念的原始性，感同身受的拿出自己思想的现实“模板”。在艺术家将自己彻底的放空后，一个起身，清晰般的掏出了纯正的自我。WASABI！十三位艺术家的作品就像芥末的味道一样让你在第一次的尝试中立即品尝到它带来的超出心理承受能力的刺激性和创新性。
 
  2010年10月24日，“给力——YCA年轻当代艺术家展”于荔空间正式开幕。荔空间给来自于70、80后中具有代表性的中国当代年轻艺术家另一股热浪般的后劲，以挖掘更深层的潜能为目的，以摆擂台的形式在参展的十三位艺术家的智慧和创造力中与观者一起分享艺术更多的内在活力和快乐。
 
   在荔空间这样一个国际氛围浓重的空间“擂场”中，无限的自由度和强大的后备“武装力量”是“擂台”的最大优势；观者叫好的态度是给参展艺术家最具中国特色的“面子捧场”；十三位艺术家以多元化的思维模式，自由的玩转艺术是给“擂场”内外所有观者的空间想象力和创造力无限放大的推动器。
  
 擂台、观者、艺术家，三者相互给力，荔空间以国际化的方式推动着，观者的以虔诚的热情呼喊着，艺术家以动人的作品准备着，氛围浓重，比赛即将开始，过程与结果并重？谁是群雄?敬请期待！