展览｜山水剧场——高世强个人艺术展

27 Dec 展览｜山水剧场——高世强个人艺术展

活动 / Event
山水剧场——高世强个人艺术展 庆祝澳门回归祖国二十五周年

Shanshui Theatre – Solo Art Exhibition by Gao Shiqiang: Celebrating the 25th Anniversary of Macau’s Handover to China

开幕日期 / Opening Ceremony
2024.12.11

展期 / Exhibition Period
2024.12.11— 2025.1.5

地点 / Venue
婆仔屋文创空间A2展览厅Albergue SCM – A2 Gallery澳门望德堂区疯堂斜巷8号

开放时间 / Opening Hours
每日开放（中午十二时至晚上八时）Opens every day, from 12:00pm to 08:00pm 星期一（下午三时至晚上八时）Monday, from 03:00pm to 08:00pm

免费入场 / Free Admission

由澳门文化体主办、澳门特别行政区政府文化发展基金资助的“山水剧场——高世强个人艺术展 庆祝澳门回归祖国二十五周年”于2024年12月11日在婆仔屋文创空间盛大开幕。此次开幕式邀请了多位嘉宾为活动主礼。当中包括葡萄牙驻澳门及香港总领事馆雷德生总领事代表，教育及文化副领事Patrícia Ribeiro、市政署管理委员会主席戴祖义代表，市政署管理委员会委员关施敏、澳门特别行政区政府文化发展基金行政委员会主席张建洪代表，澳门特别行政区政府文化发展基金资助管理处处长欧阳凯明、澳门基金会行政委员会代主席钟怡、澳门特别行政区政府文化局局长梁惠敏代表，文化创意产业促进厅厅长何鸿斌、澳门颐园书画会会长李俊鸣、澳门文化体会长马若龙、东方基金会中国澳门办事处主席柯天玲、官乐怡基金会主席及创立人官乐怡、澳门理工大学艺术及设计学院代院长黎美琪、方澳门城市大学创新设计学院助理教授王子微、澳门文化艺术学会会长赵维富、策展人吴方洲、策展人吴穹以及是次展览艺术家高世强。

Organized by CAC – Círculo dos Amigos da Cultura de Macau, funded by the Cultural Development Fund of the Macau Special Administrative Region Government, “Shanshui Theatre – Solo Art Exhibition by Gao Shiqiang: Celebrating the 25th Anniversary of Macau’s Handover to China” kicked off with the opening ceremony in Albergue SCM on December 11th, 2024. Ribbon cutting guests included Patrícia Ribeiro, Vice-Consul for Education and Culture, representing Ambassador Alexandre Leitão,Consul General of Portugal in Macau and Hong Kong, Isabel Celeste Jorge, Member of the Administrative Committee of IAM, representing José Tavares, Chairman of the Administrative Committee of the Municipal Affairs Bureau (IAM), Ao Ieong Hoi Meng, Head of Funding Management Division of Cultural Development Fund, representing Cheong Kin Hong, President of the Administrative Committee of Cultural Development Fund of Macau SAR, Zhong Seabra de Mascarenhas Yi, Acting President of the Administrative Committee of Macau Foundation, Ho Hong Pan, Head of the Department for Promoting Cultural and Creative Industries, representing Leong Wai Man, President of the Cultural Affairs Bureau of Macau SAR, Alberto Lei, President of Yu Un Chinese Calligraphers and Painters Association of Macau, Carlos Marreiros, President of Círculo dos Amigos da Cultura de Macau, Catarina Cottinelli, Director of the Orient Foundation in Macau, Rui Cunha, Chairman and Founder of Rui Cunha Foundation, Lai Mei Kei, Acting Dean of Faculty of Arts and Design of the Macau Polytechnic University, Wang Zi Wei, Associate Professor, Faculty of Innovation and Design, City University of Maca, Chio Wai Fu, President of Macau Culture and Art Association, Noah Ng, Curator of the Exhibition, Wu Qiong, Curator of the Exhibition, Gao Shiqiang, Artist of the Exhibition.

山水剧场——高世强个人艺术展

庆祝澳门回归祖国二十五周年

澳门文化体荣幸呈献“山水剧场——高世强个人艺术展”。这次展览展出了常驻杭州的著名艺术家兼教授高世强的创作。这些与“山水”主题相关的录像作品来自不同的创作时期。

本次展览是与内地文化交流合作计划的一部分，旨在将澳门的艺术创作带到中国内地，介绍予不同城市的观众。同时亦邀请内地当代艺术家来澳门展出作品，进行健康且丰富的互动。自上世纪八十年代末以来，澳门文化体在内地的主要城市，如北京、上海、广州等地举办了许多展览和讲座，以推动中国内地与澳门之间的交流。近年我们举办了多个交流展，例如“左正尧作品展”（澳门，2018年），“我的中国十二生肖”——拉奎尔·格拉里路南京作品展（2019年），“弯曲的风景”——张正民作品展（澳门，2020年）、两届“ARTFEM国际女艺术家澳门双年展”（澳门，2018年和2020年）及“U38澳门青年女性艺术家广州作品展”（广州，2021）。2024年9月，“澳门当代艺术家作品联展2024”在南通美术馆举行，汇聚了十九位澳门艺术家，展现本澳艺术的多重面貌。来到2024年年尾，我们荣幸呈献“山水剧场——高世强个人艺术展”。

在传统文化中，“山水”不仅仅指自然景观；它还承载着深厚的文化和哲学意义。山水代表了人与自然之间的和谐关系，反映了中国人民对自然的敬畏和向往，以及他们对宇宙、生命、历史和道德的深刻理解。

至于高世强的作品，他将山水作为背景或主角，反映了各种人际关系，比如夫妻之间的关系以及发展与自然之间的联系。高世强的创作实践体现了山水的精神，这与西方对“风景”或“自然”的看法不同。相反，它寻求一种世界观和自然观，强调自我与物件的统一，一种非本质主义的存在观。他的作品将山水文化转化为文化领域，解码文化基因，将自然景观转化为文化表达。

在此，我谨代表澳门文化体并以我个人的名义，感谢一直以来支持我们的人士及机构，特别是澳门特别行政区文化发展基金及澳门基金会，以及所有参展艺术家和直接或间接使我们的年度活动计划得以实现的公私机构，这些活动展现了文化的多样性和无可否认的质量。此外，借着本次展览，我们欢庆中华人民共和国成立75周年和澳门特别行政区成立25周年，向所有人致以最诚挚的祝贺。

马若龙

会长

澳门文化体

Shanshui Theatre, Solo Art Exhibition by Gao Shiqiang

On the Occasion of the Celebration of the 25th Anniversary of Macau Handover to China

CAC – Círculo dos Amigos da Cultura de Macau gladly presents the exhibition “Shanshui Theatre, Solo Art Exhibition by Gao Shiqiang”. This exhibition showcases video works related to “Shanshui”, from various periods of Gao Shiqiang, who is a renowned artist and professor based in Hangzhou.

This initiative is part of the Cultural Cooperation and Exchange Programme with Mainland, which goal is to introduce Macau artists to audiences in different cities of China, and reciprocally invite contemporary Mainland Artist to exhibit in Macau, for a healthy and enriching interaction and exchange.

Since the late eighties of the last century, CAC has been organizing many exhibitions and talks in Mainland’s most important cites, namely Beijing, Shanghai, Guangzhou, and more, to foster exchanges between China and Macau. Lately we have interchanged exhibitions such as “Exhibition by Zuo Zheng Yao” (Macau, 2018), “My Chinese Zodiac”, an Exhibition by Raquel Gralheiro in Nanjing (2019), “Twisted Landscapes, Exhibition by Zhang Zhengmin” (Macau, 2020) and also the two editions of “ARTFEM Women Artists International Biennial of Macau” (Macau, 2018 and 2020), “U38 Macau Young Female Artists Exhibition in Guangzhou” (2021). In September 2024, CAC held “Macau Contemporary Artists Group Exhibition” in Nantong Art Museum, bringing together nineteen Macau artists, showcasing the multifaceted form of art from Macau. Coming to the end of 2024, we are honoured and excited to hold the exhibition “Shanshui Theatre, Solo Art Exhibition by Gao Shiqiang”.

In traditional Chinese culture, “山水” (shanshui) doesn’t refer only to a natural landscape; it also carries profound cultural and philosophical significance. Shanshui represents the harmonious relationship between humans and nature, reflecting the Chinese people’s reverence for and yearning toward nature, as well as their deep understanding of the universe, life, history, and morality.

As for the works of Gao Shiqiang, he uses shanshui as a backdrop or protagonist, reflecting various human relationships, such as those between couples and the connection between development and nature. Gao Shiqiang’s creative practice embodies the spirit of shanshui, which differs from the Western views of “landscape” or “nature.” Instead, it seeks a worldview and perspective on nature that emphasizes the unity of self and object, a non-essentialist view of existence. His works transform shanshui culture into a cultural domain, decoding cultural genes and turning physical landscapes into cultural expressions.

I would like to thank, on behalf of the CAC – Círculo dos Amigos da Cultura de Macau and on my own behalf, the continued sponsorship of the people and institutions of Macau, highlighting here the Culture Development Fund of the Government of the Macau SAR and the Macau Foundation, and public and private institutions that have made, directly or indirectly, our annual activities programme possible, with its cultural diversity and indisputable quality. Moreover, with this exhibition we joyfully commemorate the 75th Anniversary of the PRC and the 25th Anniversary of the Macau Special Administrative Region of PRC. To all we address our warmest congratulations.

Carlos Marreiros
President
CAC – Círculo dos Amigos da Cultura de Macau

写在《山水剧场》之前

2017年末，中国美术学院跨媒体艺术学院发起了长期研创计划——“山水宣言”。彼时至今，发起者高世强带领山水影像创作集体，开展了十余次集行走、创作、研究等活动为一体的“山水行动”，行动的创作产出“山水系列”成为了高世强在该阶段的代表性作品，而本次展览的题目  “山水剧场”这一概念，也正是从这数年的山水行动中孕育而出。

我们可以简单地将“山水剧场”理解为创作集体在真山真水的“山水现场”之间，通过创造性的劳动，将“山水现场”移置于都市、移置于展厅而再现出的展演化的“山水现场”；但抛却行动层面来看，“山水剧场”更似一种包含着明确态度的宣誓与方法论形态：以“齐物”思想作为认知奠基；以“山水精神”蕴含的世界观与方法论对抗本质主义带来的异化；以展演勾联当代人群与“远”处的寂然实存，最终达成某种程度上对现代症候群消解和淡化的愿景。

本次展览虽以“山水剧场”为题，其作品来源却并非仅局限于“山水”这一更为“直接”、更为切题的艺术家近期代表作系列。展览冀通过艺术家不同阶段作品的并置，呈现“山水”在艺术家创作历程中由“隐”至“显”的完整发展脉络。脱胎于道家哲学传统的“山水精神”，早已印刻于古今国人的文化基因內里，并外化为国人独有的整全式地体察、认知与联接世界的方式。在当代艺术的语境之中，“山水”之于绝大部分中国艺术家，总殊途同归地经历了“出走–归来”的历程，本次展览亦可视为对此现象的切片式印证。

展览挑选了艺术家2007年至2022年的六件作品：《十八相送》来源于中国凄美的民间爱情传说“梁祝”，两个实际上不存在于同一时空的历史人物，在特殊的叙述情境中被拼合，而艺术家借三对情侣的相互映射，对传说中的爱情和历史进行了某种还原；《地点上的时间》以一种绝对冷静的目光无差别地凝视了中俄边境的村落、牡丹江的工厂以及杭州的都市景观，对现代化、消费主义等流行问题的探讨似乎只是作品的表象，艺术家试图借作品追索另一种“目光”，而这种“目光”是跳脱于“目的论”主导的因果逻辑之外的。“山水”在当时以“潜影”的方式隐匿于作品之中，而艺术家当时对于“目光”的追问似乎也在若干年后的“山水行动”中得到回应；《春天里》与《青浜》均拍摄于浙江的沿海城市舟山，亦是同一时间创作的两件作品，艺术家总半开玩笑似的将《青浜》称为《春天里》的“套拍”作品。《青浜》以两位年轻人若即若离的爱情梦境搅动起观者的思乡愁绪，作者对于“目光”的思考也在这一部作品中进一步体现。而《春天里》则是来源于一次名为“最前线”展览的主题创作，艺术家以诗意的方式呈现了舟山这个地理上处于东南沿海前线、亦是改革开放前线阵地的岛群城市的发展面貌；《山水：一份宣言》与《拂晓》均出自艺术家近年的代表创作“山水系列”，《山水：一份宣言》是该系列的首件作品，以立轴形式呼应了范宽的《溪山行旅图》，《拂晓》则用一个长镜头以长卷的形式为我们呈现了一幅太行的“千里江山”图景。“山水系列”希望通过对山水经验及其背后世界观的分享，以活化传统的方式为当下塑造一种全新“通路”，使得我们重新开启对世界的想象。

我们能在本次展览的作品中观察到诸多层次的线索或对照：时间–空间、叙事–非叙事、传统–现代、庙堂–山林、自然–文明……与其说对照，我们更应将其归置于一个“共构”的关系之中，以“无我”之状态进行一种更为开放整全的体悟，“相对”消弭之时，“山水”便得以在“山水剧场”间显现。

吴方洲

澳门文化体理事会委员

吴穹

中国美术学院跨媒体艺术学院实验艺术系副系主任
展览策展人

二零二四年十二月二日

Written Before “Shanshui Theatre”

At the end of 2017, the School of Intermedia Art at the China Academy of Art initiated a long-term creative research project titled “Shanshui a Cosmotechnic.” Since then, the initiator, Gao Shiqiang, has led a collective of Shanshui image creators to carry out more than ten integrated activities of walking, creating, and researching known as “Shanshui Mission.” The creative outputs from these actions, termed the “Shanshui Series,” have become representative works for Gao during this phase, while the title of this exhibition – “Shanshui Theatre” – is derived from the past few years of these actions.

We can simply understand “Shanshui Theatre” as the creative collective’s effort to recreate a performative “Shanshui scene” by relocating the real “Shanshui scene” into urban settings and exhibition spaces through creative labour. However, beyond the action-oriented perspective, “Shanshui Theatre” embodies a form of declaration and methodology with a clear attitude: it is grounded in the “Equality of Things” (“Qi Wu”) philosophy; it counters the alienation brought by essentialism using the worldview and methodology inherent in the “Shanshui Spirit”; and it connects contemporary people with the quiet existence of the “far” through performance, ultimately aiming to alleviate and diminish the modern syndrome to some extent.

Although this exhibition is titled “Shanshui Theatre,” the works are not limited to the more “direct” and relevant recent representative works of the artists. The exhibition aims to present a complete developmental context of “Shanshui” that transitions from “hidden” to “visible” through juxtaposing the artists’ works from different stages. The “Shanshui Spirit,” rooted in Daoist philosophical traditions, has long been imprinted in the cultural genes of the Chinese people, manifesting as a unique holistic way of perceiving, understanding, and connecting with the world. In the context of contemporary art, “Shanshui” has consistently undergone a journey of “departure – return” for the majority of Chinese artists, and this exhibition can be viewed as a slice of evidence for this phenomenon.

The exhibition features six works by the artist created between 2007 and 2022: “Butterfly Lovers” – Inspired by the poignant Chinese folk love story of “Liang Zhu,” two historical figures who do not exist in the same time-space are fused in a special narrative context. The artist uses the mutual reflection of three couples to restore the love and history depicted in the legend. “The Other There” coolly observes the villages along the China-Russia border, factories in Mudanjiang, and urban landscapes in Hangzhou. The exploration of popular issues such as modernization and consumerism seem to be merely superficial; the artist seeks another “gaze” that transcends the teleological causal logic. “Spring” and “QingBang” – Both shot in Zhoushan, a coastal city in Zhejiang, these works were created simultaneously. The artist humorously refers to “QingBang” as the “set shot” of “Spring.” “QingBang” stirs feelings of nostalgia through the love dream of two young people, further reflecting the artist’s contemplation of “gaze.” Meanwhile, “Spring” presents the development of Zhoushan, a city located at the forefront of the southeastern coast and the reform and opening front. “Shanshui a Cosmotechnic” and “Dawn” – Both are from the artist’s recent representative “Shanshui Series.” “Shanshui a Cosmotechnic” is the first work in the series, responding to Fan Kuan’s “Travelers Among Mountains and Streams” in a vertical scroll format, while “Dawn” presents a panoramic view of the “thousand-mile landscape” of the Taihang Mountains through a single long take in the form of a long scroll. The “Shanshui Series” aims to revitalize tradition by sharing the experience of Shanshui and the worldview behind it, creating a new “pathway” for contemporary understanding of the world.

In the works exhibited, we can observe multiple layers of connections or contrasts: time – space, narrative – non-narrative, tradition – modernity, temple – mountain forest, nature – civilization… Rather than mere contrasts, we should place them within a “co-constructed” relationship, engaging in an open and holistic understanding from a state of “no-self.” When “relative” distinctions dissolve, “Shanshui” can manifest in the “Shanshui Theatre.”

Noah Ng Fong Chao

Member of Board of Directors of CAC – Círculo dos Amigos da Cultura de Macau

Wu Qiong

Vice-Chair of the Experimental Art Department of the School of Intermedia Art, China Academy of Art

Curators of the exhibition
December 2^nd, 2024

关于艺术家 About the artist

高世强 Gao Shiqiang

1971年出生于山东省潍坊市。

现为中国美术学院媒体城市研发中心主任，中国美术学院跨媒体学院博士研究生导师，教授，浙江省摄影家协会副主席。

自上世纪90年代中期开始，从事情境雕塑、装置及实验影像创作和研究。本世纪初，研创及教学方向逐渐聚焦于活动影像领域，近年来致力于空间影像叙事研究和创作。

Born in Shandong in1971.

He is currently a Center Director and Doctoral advisor of the Media City R&D Center of China Academy of Fine Arts, the Vice-chairman of the Zhejiang Photographers Association.

Since the mid-1990s, he has been engaged in the creation and research of situational sculpture, installation art, and experimental video. In the early 21st century, his research and teaching focus gradually shifted to the field of moving images, and in recent years, he has dedicated himself to the study and creation of spatial narrative in video.

主办  Organizer

澳门文化体  CAC – Círculo dos Amigos da Cultura de Macau 

资助  Sponsor

澳门特别行政区政府文化发展基金  Cultural Development Fund of the Macau Special Administrative Region Government 

支持机构  Institutional Support

婆仔屋文创空间  Albergue SCM