脉络：UCCA早春艺术周

2018.2.2 – 2018.2.4

UCCA悦廊 甬道 报告厅 沙龙 大客厅 

2018年，UCCA策划与举办一系列跨界文化节，使观众有机会集中体验和探索涵盖当代艺术、表演与银幕艺术、历史、文学、流行文化、科学与科技等不同领域的多种主题。作为UCCA文化节系列的开始，2018年2月2日至2月4日于春节前夕举办活动“脉络：UCCA早春艺术周”，探索当代的艺术家们是如何从传统文化中汲取灵感并进一步推进其发展的。参与活动的艺术家呈现传统艺术的当代新形态，试图改变并加深观众对传统艺术与文化的理解，并继续为不断增长的公众群体提供近距离感受艺术的机会。

犹如叶脉经络、河流山川，传统艺术与文化在洪浩与绵延流变的精神气质之外，不乏错综微妙的纹理。此次活动邀请公众以全新的方式对传统艺术媒介进行浸入式体验。在持续三天的文化节中，形式各异的活动和作品得以开展与呈现，我们藉此重新审视传统艺术的观念、技法在当代语境中的意义与应用，一同探索历经数世纪的古老艺术在地理和当代背景之上的发展进化脉络。

摄影：范烨

在艺术周的开幕之夜，UCCA带来著名编舞家赵梁先生的最新作品《舞术》，呈现艺术家继“东方灵欲三部曲”之后的又一全新尝试。通过太极、查拳和刀枪棍剑等冷兵器的交锋，身体的即兴接触与相互交融，舞者在刚与柔、阴与阳、离与合、起与止之间找到舞蹈与武术的契悟。《舞术》是第十九届中国上海国际艺术节(2017)委约的唯一舞蹈作品，此次演出也是《舞术》在北京的首演。开幕之夜上，由日本书道家万美和乐师坂田淳（东京月桃三味线）共同出演的《三味书》也将在UCCA进行北京首演。他们把日本书道、涂鸦艺术、传统三味线的音乐韵律以及现代音乐融合在一场表演之中，将传统和当代的艺术形式天衣无缝地编织在一起，重构并庆祝二者蜕变带来的全新可能性。

摄影：relaxmax

艺术周的第二天，书法家万美、三味线乐手将与远飏室内乐团的青年演奏者们共同为观众带来公共表演《弦与墨》。演出将中日传统器乐与书道艺术相融合，探索使东方传统器乐演奏与书法表演相得益彰的全新可能。在同源异流的地理发展线索脉络之外，观众也会在现场见证中日传统艺术在当代媒介与审美价值方面的重构张力。同天下午，艺术节放映凯文·麦克唐纳导演的纪录片作品《天梯：蔡国强的艺术》。影片耗时两年，从数千小时的珍贵历史影像素材中撷取精华，是对艺术家蔡国强30年来在五大洲不同文化间工作和生活的深度记录，也展现了艺术家壮观艺术背后的另一个真实——内心的脆弱、挣扎、妥协，和对家人、故乡、祖国土地深厚内敛的家国情怀。 

艺术周的最后一天，UCCA带来由书道家万美主持的公开工作坊和有来自不同创意领域的重要嘉宾出席的对谈活动。在工作坊中，万美从由中文逐渐演变形成的平假名出发，探讨比照书法艺术在中日之间的发展；参与者与万美一同书写汉字，然后学习将这些汉字转变成平假名字符。作为艺术周的最后一个活动，UCCA邀请舞蹈家兼编舞家侯萤、艺术家胡晓媛、建筑师青山周平以及诗人西川，一同探讨传统艺术媒介在他们作品中的运用。这些艺术家、建筑师、编舞家和诗人如何赋予传统艺术形式以新的概念，又如何去融合中国传统艺术与当代艺术的技法和内容？他们对传统媒介的运用与过去世代的艺术家又有何不同？我们将对这一系列问题进行深入探讨。

In 2018, UCCA is developing and hosting a series of multidisciplinary cultural festivals, giving visitors the chance to collectively explore themes from contemporary art, theater, film, history, literature, popular culture, and science and technology, beginning in February with “Meridian: UCCA Spring Festival.” Held between February 2-4, 2018, on the verge of the Lunar New Year celebrations, Meridian looks at how artists today are inspired by, and contributing to, traditional cultures.

“Meridian” takes its title from Traditional Chinese Medicine’s model—an alternative to Western anatomy—of a body crisscrossed by channels that transport qi and blood. Rather than understanding traditional art mediums as relics, we might view them as a network of intersecting past, present and future concerns. For this three-day festival, members of the public are invited to join artists and performers to explore new possibilities for traditional mediums, reexamining their assumptions about these mediums, learning about the ways in which traditional techniques are used in contemporary art, and mapping out the development of these art forms within varying spatial and temporal contexts.

“Meridian: UCCA Spring Festival” at UCCA will kick off with the Beijing premiere of “Martial Art in Dance: WUShu.” Choreographed and produced by independent dance studio ZhaoLiang ART, “WUShu” is director Zhao Liang’s newest production, and the only dance piece commissioned by the 19th China Shanghai International Arts Festival. It explores the relationship between Tai Chi and Cha Quan with a performance involving weapons like swords, broadswords, spears, and staves, moving between martial arts and dance, rigidity and placidity, harmony and dissonance. The premiere will coincide with Mami and Sakata Atsushi aka Tokyo Ghetto Shamisen’s Beijing performance of Plucked Ink, in which the two combine Japanese calligraphy, graffiti, traditional shamisen compositions, and contemporary music, reimagining the possibilities for these various media.

On second day of the festival, Mami and Sakata are joined by the Far Wind Chamber Music Ensemble to present Brush and Strings, hinting at the new possibilities emerging from the fusion of East Asian stringed instruments and calligraphy, and allowing audience members to discover how they have evolved both in and beyond China. Later that day, the festival will screen Kevin Macdonald’s documentary Sky Ladder: The Art of Cai Guo-Qiang. Told through the artist's own words and those of family, friends and observers, Sky Ladder captures the work and life of the Cai Guo-Qiang, whose ambitious, monumental artworks transcend physical permanence, and whose frequent use of gunpowder serves as both an ancestral homage and an acknowledgement of humanity's fleeting nature. Sky Ladder sheds light on Cai’s meteoric rise to fame and the widespread appeal of his art.

The third and final day of the festival includes a workshop led by artists and creators from various fields. Mami’s workshop will compare and contrast the development of calligraphy in China and Japan, with a focus on how Chinese characters are the foundation for hiragana, a Japanese alphabet. Participants will join Mami in writing Chinese calligraphy, then transforming the hanzi into hiragana. For the final event in the festival, UCCA welcomes dancer and choreographer Hou Ying, artist Hu Xiaoyuan, architect Shuhei Aoyama, and poet Xi Chuan, to discuss how they reinterpret traditional Chinese media, how their creative practices fuse the traditional with the contemporary, and what it means to preserve tradition in an ever-shifting world.

“Meridian” continues UCCA’s commitment to make art available to a wider public. Further installments of the Cultural Festival Series will be announced at a later date.

 《水+墨：亚洲视野下的水墨现代性转化》

正式开始发售 

• 一本以亚洲范围为核心的当代水墨文献图书

• 400多页彩色高清特种纸印刷，带来全新阅读感

• 收录亚洲最富代表性的17位批评家与30位艺术家

• 本书以独立视角重新解读“水墨现代性转化”

• 采用繁体中文呈现，中国内地,港台地区同步发售

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