广角°青年实验项目空间 | 玉·见广角——钱亮玉质媒材艺术研究展 CAFA Art Museum

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: "Jade · See Wide Angle - Qian Liang's Art Research Exhibition of Jade Media Materials" opened as scheduled.

2024-09-17

Wide Angle ° Youth Experimental Project Space Organizer: CAFA Art Museum The "Wide Angle ° Youth Experimental Project Space" was launched in early 2022. Adhering to the concept of promoting multi-dimensional exploration in curating and creation by young teachers of the Central Academy of Fine Arts, our museum has turned the independent space on the second and a half floors of the art museum into an experimental field for the creation, research and exhibition planning of young teachers. At present, the collection and selection of the three-phase plans have been completed (eighteen exhibition plans have been selected).On September 14th, the opening ceremony of the sixth exhibition of the second phase of the Wide Angle ° Youth Experimental Project Space: "Jade · See Wide Angle - Qian Liang's Art Research Exhibition of Jade Media Materials" was held as scheduled in Exhibition Hall C on the second floor of the art museum. Through the artist's polishing and construction of jade materials, the exhibition uses works to connect the spatial logical relationship of encountering jade, respecting jade, carving jade and even finally emptying and healing. And through this, it launches exploration and thinking in different dimensions such as history, culture, social life, science and technology.Guests attending the opening ceremony included: Wang Shaojun, former deputy secretary of the Party Committee of the Central Academy of Fine Arts; Qin Pu and Sun Wei, old professors of the Sculpture Department; Yu Yang, director of the Scientific Research Department; Ge Yujun, secretary of the Party Branch directly under the Graduate School; Yu Runsheng, secretary of the Party General Branch of the School of Humanities; Lu Zhengyuan, deputy director of the Basic Department of Plastic Arts Disciplines; Zheng Taokai, director of the Creative City Department of the School of Urban Design; Zhang Yibo, professor of the Oil Painting Department; Zhang Junming, professor of the School of Urban Design; Chen Mingqiang, deputy secretary of the Party Branch directly under the School of Experimental Art and Technological Art; Li Feng, deputy director of the Scientific Research Department. There were also teachers such as Zhang Fan, Zhao Yan, Zhang Chen, Xiao Jin, Ji Yujie, Liu Xiyan, Wang Hongzhou, Zhang Xiaoxue, Huang Shan, Yi Yue, Li Jie, Wu Jingying, Du Yingqi, Liu Shiying, Liu Lu, and He Pengqi from the Oil Painting Department, Sculpture Department, Mural Painting Department, School of Chinese Painting, School of Design, School of Humanities, High School Affiliated to CAFA, Art Museum, Scientific Research Department and the National Thematic Art Creation and Research Center; Qian Buhui, professor of Hebei Academy of Fine Arts; Cao Zhiyong, a national first-class artist; and doctoral students in reading such as Zhao Qin, Song Furi, and Shi Ziyuan. Representatives of the organizing committee members of the Wide Angle ° Youth Project Space: Jin Jun, director of the art museum, and Han Wenchao, secretary of the Party branch directly under it; Song Weiguang, academic chair of the exhibition, artist Qian Liang and curator Zeng Xiaofeng. Gao Gao, deputy director of the art museum, served as the host.Han Wenchao, secretary of the Party branch directly under the art museum, delivered a speech.Han Wenchao, secretary of the Party branch directly under the art museum, briefly introduced the main purpose and original intention of setting up the "Wide Angle ° Youth Experimental Project Space", and said that the opening of Qian Liang's exhibition drew a perfect full stop to the second phase of the wide-angle project space. Teacher Qian Liang himself is gentle and simple in character, and has a deep understanding of the exploration of sculpture theory and art. Using jade as a medium language to make sculptures, his exhibition is the first thematic exhibition on jade in the art museum, adding a new dimension to the exhibition structure of the art museum.Speech by Wang Shaojun, former deputy secretary of the Party Committee and professor of the Central Academy of Fine Arts.Wang Shaojun, former deputy secretary of the Party Committee and professor of the Central Academy of Fine Arts, said that Qian Liang, as a young person, is wholeheartedly engaged in the study of jade carving art. Whether at the theoretical level or in creative practice, it has aroused his great interest. Jade is different from ordinary sculpture materials and media. It is permeated with thousands of years of Chinese jade culture. In contemporary sculpture, taking jade as the medium and injecting contemporary people's new aesthetic cognition, emotional imagination and value concepts into it promotes the establishment of new symbols and cultures at the spiritual level of jade carving art. Through the exhibition, we can see Qian Liang's promotion of this. His deconstruction and reuse of contemporary art concepts, including the ontological language of materials, have set a good example for jade media creation.Speech by Yu Yang, director and professor of the Scientific Research Department of the Central Academy of Fine Arts.Yu Yang, director and professor of the Scientific Research Department of the Central Academy of Fine Arts, mentioned that this exhibition enters the research of jade media art from the perspective of the "wide angle" of the project space of the art museum. The works continuously transform between "hard" and "soft", "virtual" and "real", and "whole" and "broken", forming an internal tension. On the one hand, it enlarges the category of contemporary jade culture. On the other hand, jade is used as a sculpture medium and applied to a broader concept, forming a new medium branch of contemporary art and academic art.Speech by Zheng Taokai, director and associate professor of the Creative City Department of the School of Urban Design of the Central Academy of Fine Arts.Zheng Taokai, director and associate professor of the Creative City Department of the School of Urban Design of the Central Academy of Fine Arts, on behalf of the School of Urban Design, congratulated the opening of Qian Liang's exhibition and introduced that Teacher Qian Liang's works actually made a very good demonstration and presentation of the spiritual outlook of the Department of Arts and Crafts starting from materials, focusing on aesthetics, craftsmanship and the present, and then realizing the combination of art with contemporary technology and new-quality productive forces.Speech by Professor Song Weiguang, academic chair of the exhibition and executive editor-in-chief of "Chinese Sculpture".Professor Song Weiguang, the academic chair of the exhibition and executive editor-in-chief of "Chinese Sculpture", introduced his perception of Qian Liang's new works from the relationship between the exhibition works and the space. Although the project space is small, seeing the "wide angle" through "jade" shows us the rich changing dimensions of jade from material to culture and concept. It is not only a re-recognition of contemporary culture, but also a regeneration, application and promotion of Chinese traditional culture.Speech by curator Zeng Xiaofeng.Curator Zeng Xiaofeng first thanked the art museum for providing a platform for planning and exhibitions. She said that Teacher Qian Liang's creations gave her great inspiration for writing. The exhibition discusses Qian Liang's creative method of exploring contemporary sculpture concepts and languages using jade as a medium. The three sets of keywords "reduction and creation", "jade realm and self-object", and "jade encounter and superposition" constitute the academic context and theoretical dimension of Qian Liang's jade sculpture creation in nearly ten years.
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: Seminar Review | “Jade · Encounter” as a Sculptural Method

2024-10-24

“广角°青年实验项目空间”第二期第六个展览：“玉·见广角——钱亮玉质媒材艺术研究展”把富于历史和文化意义的“玉”，引入广角空间，形成中央美术学院美术馆第一个关于玉石的专题性展览。艺术家钱亮借助对玉材的琢磨构造，用作品串联起遇玉、礼玉、琢玉乃至最后放空治愈的空间逻辑关系，以此展开对历史文化、社会生活、科学技术等方面的不同维度的探索与思考。玉，从美石到琢而成器后具有美德、美意，继以载道、藏礼，其独特性在于伴随着中华民族五千年文明的发展而生长，是中华民族独特的、从未间断的一种文化。如何更多地从文化、艺术层面去挖掘玉雕语言，并赋予玉新的时代性，是值得进一步思考和探索的。为此，策展团队精心策划了以“‘玉·见’作为一种雕塑方式”为主题的学术研讨会，从多个维度展开以“玉·见”为主题的学术探索与研讨。▲ ▲ ▲“‘玉·见’作为一种雕塑方式”学术研讨会研讨会现场2024年9月25日，“广角°青年实验项目空间”第二期第六个展览“玉·见广角——钱亮玉质媒材艺术研究展”学术研讨会如期举行。出席本次研讨会的专家学者有：清华大学美术学院长聘教授许正龙，清华大学美术学院长聘教授、雕塑系主任陈辉，中央美术学院教授秦璞、萧立，中央美术学院副研究员初枢昊，河北美术学院教授钱步辉，北京农学院副教授、园林学院艺术设计系主任李玉仓，北京服装学院副教授熊芏芏，汉泽西品牌创始人本心，安徽师范大学副教授郭兵要，中央美术学院讲师段牛斗，清华大学美术学院博士后柴鑫萌，清华大学美术学博士孟祥轲、张巧伶，清华大学美术学在读博士刘烽、赵毅伟、潘曦，巴基斯坦拉合尔教育大学在读博士赵覃，德国科布伦茨大学硕士薛仲泽，四川美术学院硕士王然，北京林业大学研究生李彦炅，北京农学院研究生张哲铭，本次展览的策展人中央美术学院副研究员曾小凤、策展助理付廷栋等。研讨会共分四场，由著名美术史论家、景德镇陶瓷大学教授宋伟光担任学术主持。研讨会学术主持宋伟光教授致辞艺术家钱亮首先介绍了与会的嘉宾学者，并对大家的莅临指导表示由衷的感谢。学术主持宋伟光教授开场阐述了“玉·见广角”的主旨不仅是一个聚焦，同时也是一个无限度的广角，指出钱亮玉质媒材创作的视角在传统与当代、中国与国际之间拉开了一场序幕。※ 第一场场与合 ※▍许正龙（清华大学美术学院长聘教授）许正龙教授从“合”和“场”两个核心精神，对钱亮的创作进行了重要评述。他讲到钱亮从小在玉文化的氛围中长大，早早就跟艺术、跟玉结下不解之缘。“合”意味着把东方和西方、传统和现代融合起来，以玉为媒材进行串联，用玉散落的碎片或者边角料进行组合、构造，将传统文化中的“物尽其用”“化腐朽为神奇”等理念融入其中，创造一种新的、当代的，具有探索性、实验性和观念性的作品。在这个意义上，“玉·见广角”所展现的就不是一个聚焦点，它是一个扩散的、开放的文化场域。“场”蕴含着空间场域的概念，在某些方面有点像磁场，两块磁铁放在一起，要么相吸，要么相斥，这种场的力量是看不见摸不着的。雕塑是有形的物，艺术家所要反映的理念在某些方面是我们看不见的磁场。钱亮的作品注重用可见之形去反映那些看不见的无形的力，这种无形的力将艺术家和观众、作品串联在一起。这里既包涵了中国传统文化的理念，也有我们当代人面对全球化、国际化的一种视野，这是中国当代年轻艺术家的角色和使命。▍陈辉（清华大学美术学院长聘教授、雕塑系主任）陈辉教授从“广角”发散的广度、宽度和深度三个层面解读了钱亮作品的“物性”。他认为钱亮是以一种平等心在对待物，贯穿了对于物的尊敬和对物的爱惜，以及对于物的一种观念的认识。在创作中，钱亮凭借他在西安美术学院、中央美术学院、清华大学美术学院三所高校的学习经历，将自己对空间的把握，以及空间和文化之间交替的东西，以“场域”的方式体现出来。《道德经》中对世界的描述，一种是固态的，一种是发散的，世界上的物质其实是聚则显、散则隐。钱亮创作的《再生之环》以圆融的形式以及光影的聚散，将文化和空间表达契合把握；《和光同尘》给人感觉很神圣，粉末往下飘，一束光打在上面的时候，有种宇宙起源创始的感觉。当代的玉，也就是钱亮手下的玉质媒材艺术，不是玩玉，是观玉，是品鉴玉的物性。▍秦璞（中央美术学院教授）秦璞教授从“时间与转换”“范式与当代”的关系上，认为钱亮使用玉的边角料进行创作是一种意识转变，他将融入我们中国人文化基因中的玉以一种别样和意想不到的方式展示出来。比如，解构和重构的方式，让我们看到钱亮手中的玉可以在空中像雪花一样飘舞，这和我们对于传统玉的理解完全不同。中国自古是一个农业国家，注重天、地、人三者的关系，玉在中国传统文化五千年的发展过程中，和中国人的“德”联系起来，比德于玉。从造型学上来讲，这就是质感。玉材料的质既决定了品质，也决定了它的精神性。钱亮的作品和当代场域发生关联，他是在综合性的把玩和感悟中，得到了一种精神的升华。▍萧立（中央美术学院教授）萧立教授从自己做雕塑的感受出发，认为钱亮对玉的探索已经回归到了对玉的本源的一种思考，提出“玉与生存”概念。在中国古代，一个玉璧能够引发一场战争，它牵涉到人的生存。玉从远古具有礼仪和国之重器的“器”，逐步成为中国人日常生活中喜爱的物件，“器”和“物”是两个极端。钱亮在器和物两个层面进行“合”的创作，如《叠翠》系列，玉的边角料和现代金属螺栓的结合，具有一种现代的古朴之感，引发人的思考和情感共鸣。▍初枢昊（中央美术学院学报编辑部副研究员）初枢昊副研究员谈到钱亮玉雕创作的独特性——“玉·见广角”体现了一种非常典型的展厅文化，展览将远古的巫玉、神玉、王玉的观念和历史较短、具有宫廷化、贵族化且价格昂贵的翡翠结合起来，而走向一条抽象化的具有现代性的艺术道路。在玉的形而下的材料层面，《和光同尘》让人联想到每一种玉材，不管是翡翠，还是青玉、岫玉、玛瑙等，不论价值高低，最后都化为粉末，带给人一种新的关于玉的价值和物性的思考。同时对钱亮的创作提出期待：翡翠大可不必遮蔽其美的奢华性，而完全可以张扬这一特征，彰显其美感的不可替代性，达到审美价值与经济价值在高点的统一。▍钱步辉（河北美术学院教授）钱步辉教授作为钱亮的父亲，他回顾了自己做雕塑和中央美术学院雕塑系老先生夏乙乔、史美英夫妇的历史因缘，从20世纪七、八十年代，他跟随夏乙乔先生学习雕塑和蚌埠玉雕厂的工作经历，以及去鲁迅美术学院雕塑系研究生班进修后的雕塑之路和如今复归玉雕创作，一直在雕塑和玉雕之间切换琢磨。钱亮受父亲的影响走上雕塑之路并进行玉质媒材艺术创作，又在西安美术学院、中央美术学院和清华大学美术学院诸位先生的指导下完成学业，最后回到中央美院任教，这是一种特殊的缘分。希望再接再厉，再出好成绩。※ 第二场破与立 ※▎李玉仓（北京农学院副教授、园林学院艺术设计系主任）李玉仓副教授从《说文解字》的角度谈起“玉”跟“王”的字型字义比较，引出传统文化中“玉”与政治、社会、国家的关系，指出中国的玉文化具有从传统的礼器到文人士大夫的把玩之物，再走进当下大众日常生活的过程。结合钱亮“玉·见广角”展览，玉从礼器到实用，从实用到欣赏，从欣赏到关注生活的情态，形成了对日常性的干预，这种干预带有批判性。钱亮玉质媒材作品的这种批判性是通过对日常生活题材的选取、雕塑构造方法的多元、展览方式的综合等手段来实现的，作为传统工艺美术属性的玉雕也因此打开了通向当代艺术的大门。整体而言，钱亮的玉质媒材艺术探索呈现出文化的自觉性。▍熊芏芏（北京服装学院珠宝首饰设计专业副教授）熊芏芏副教授从自身教学出发，认为钱亮对于玉质媒材的研究和艺术创作思维，让她在玉石首饰教学中深受启发和思考。钱亮一直致力于探索玉石材料的内涵与外延，由此及彼、由表及里地对玉石材质进行探索，深入玉文化内核并提炼其精华，深入传统，继而又走出传统。受其影响，熊芏芏在授课中鼓励学生从研究玉石材料质感的多维度出发，设立“玉问工作营”，引导学生围绕玉石进行提问式的辩证思考，通过“材料驱动”与“观念引导”的双重线索挖掘玉石在首饰设计中的多元化表现与人文价值。总的来说，钱亮以玉质媒材为驱动的当代艺术创作思维对当代首饰艺术教育的影响是积极而深远的。▍本心（【汉泽西】品牌创始人，独立设计师）设计师本心认为从玉行业的发展历程来看，钱亮是一位非常难得的当代玉文化传承的使者。钱亮的作品是润含深刻思考和人文精神在其中的，这完全是他学识阅历积淀后的输出呈现，也贴合他站位学院“教与授”这样师者兼创作者的身份。古语讲：“玉不琢，不成器”，她觉得钱亮的琢玉方法是“师琢”和“心琢”的合一。授业于道，载物于道，把玉材质和优秀文化相连，传播知学，反映当代情感与时代精神。钱亮的玉质媒材艺术创作及其策划的展览意义深远，正在弥补现代学院对玉雕艺术传承的缺失，这个过程是需要力量和担当的。如果说当代艺术如日中天，那么玉文化其实挺像月亮的，是我们民族精神里的诗歌与故乡。希望大家一起努力，创造出最美的“日全食”，中国玉文化的绝美奇境，也是我们共同期待的玉雕艺术的未来。▍曾小凤（中央美术学院国家主题性美术创作研究中心副研究员）曾小凤副研究员从破与不破、破与立的关系上，讲到钱亮玉质媒材艺术创作的三层含义：第一是形态，玉的边角料本身展现了一种独特的“破”的审美形态。第二是姿态，钱亮从早期做《物非物系列之破竹》以“不破”展现破竹，到《玉石·遇时》的一摔即成，彰显了一种不破不立、敢破敢立的姿态。第三是作为雕塑创作的方法论，如《再生之环》将那些破碎的、被机器切割的玉石边角料，形成“合”这一概念的具身化。“合”在这里既是艺术构成的形态和样式，还表现了艺术家在“破”和“立”方向上形成的“和合”的雕塑方法论。▍郭兵要（安徽师范大学副教授、雕塑专业负责人）郭兵要副教授从中国传统文化的当代转化角度，认为钱亮选点很巧。中国传统文化是一个浩瀚海洋，只有部分人能在这个浩瀚的海洋里取一瓢水，而钱亮很快找到了这个营养之源。他从早期的作品到现在的玉石，从选材到工艺，再到创作思维，都体现了一个“巧”字。另外他的作品又很“拙”，从传统工艺到玉文化，做到了大巧若拙。钱亮从传统的玉工艺而来，通过三大美院的科班培养，将当代艺术和传统玉文化结合，从中找到自己的语言，做到玉言玉语。▍柴鑫萌（清华大学美术学院博士后）博士后柴鑫萌认为钱亮的玉文化研究不仅系统全面，而且深具学术价值，他将理论研究与创作实践紧密结合，展现了坚实的学术功底。钱亮的作品巧妙地融合了传统与现代的元素，通过出人意料的重构、转折、和合，揭示了材料本身所蕴含的人文精神。他的作品在形式与内容上都体现出对传统美学的深刻理解和对现代审美的敏锐把握，他以富有哲思、诗性、柔和的创作手法，传达了玉材料“置之死地而后生”的韧性和品质。钱亮的艺术实践无疑为玉雕艺术的未来发展提供了新的可能性，也为美术学的研究提供了新的视角和思考。※ 第三场此与彼 ※▍孟祥轲（清华大学美术学博士）孟祥轲博士从“中式物语”理念延伸到对“诗性”的探讨，认为钱亮的作品中充满了由此及彼、关联想象的隐喻思维，关联着人文内涵、情感语义和观念语义，以“构造”（包括形式构造、材料构造和内涵构造）的方式形成语言，隐喻其语义内涵。同时，也以“存在”的方式体现出主体对自身环境和对象本身的存在性感知，作品中的观念性思辨常传递出一种不刻意为之的状态，以悖常凸显日常，带来新异感、陌生化、偶然性的诗性体验。▍段牛斗（中央美术学院人文学院非物质文化遗产研究中心讲师）段牛斗老师从事文化遗产的教学和研究，对工艺美术很有兴趣，他对钱亮艺术创作的理解主要有三点：第一，历史维度。中国玉雕有悠久传统，是民间美术和工艺美术领域的重要门类。很多人认为民间美术、工艺美术很难创新，而钱亮的创作既源于历史影响，也有个人经历，与活态的非物质文化遗产建立起关系并不容易。第二，空间维度。古代玉雕通常从属于贵族、女性、祭司等阶层或人群，或者在丧葬等特定场合使用，艺术功能其实是受限的。钱亮的玉雕需要突破社会功能限制，进入更广阔的空间当中，于是艺术语言也发生了变化。第三，技法与风格的统一。艺术史的基础是文献学、风格学，文献的定义容易理解，而风格必须有技术、经济等社会因素作为基础。钱亮玉雕风格直接源于技法，去掉了工艺美术原有的装饰意味，具备独特、多元的内涵。▍刘烽（清华大学美术学在读博士）作为连续两届担任“玉·见”系列展览策展助理的刘烽，认为钱亮的展览独具匠心，不仅是对作品的展示，更是通过材料与空间传达内在力量，以作品传递策展人与艺术家的深刻理念。钱亮对玉材的爱和坚持打动人心，通过与他的长期共事，体会到材料与人之间的深厚缘分。玉是一种灵石，万物有灵，不是人选择了材料，而是材料选择了人。钱亮爱玉、惜玉，注重对传统玉文化与当代艺术转化的思考，作品展现了对文化传承的深入探索，以及在现当代视域下多样的可能性。“玉·见广角”展览引领观众在俯仰之间感悟生命和艺术的深层联系，感受精神的净化与共鸣。▍赵覃（巴基斯坦拉合尔教育大学在读博士）赵覃主要从两个方面来谈，第一是“功夫在诗外”。他觉得钱亮作品背后的知识结构是非常丰富和立体的，从作品的多样性和不同的切入角度能感觉到钱亮有一种思维跳跃性。第二是“陌生化”的问题，可从钱亮近期的作品里体会到这种趋势。钱亮能够从线条、肌理、俏色这些点上跳出来，从其它的角度去处理玉石材料。有时候想从自己固有的一套思维模式和工作流程当中跳出来，是非常困难和痛苦的，但钱亮可以做的很轻松。同时这种陌生化让人产生了一种期待，很想知道他下一件作品是什么样。▍张巧伶（清华大学美术学博士）钱亮的展览包含着多重维度的“关联”。其一，凭借一种具有引导性的观看逻辑，将作品与作品、作品与场域、作品与人相互联结。其二，作品材质与物象之间存在基于日常经验的串联，具备形式的合理性。其三，在观念层面，如“物非物”系列，从竹子到筷子，再回归竹子，其中蕴含着东方哲思式的内在联系。其四，通过这种东方哲思，搭建起传统文化与当代艺术的关联。正是这四重关联，使他的作品与人紧密相连，构成了一个有机的整体。▍张哲铭（北京农学院研究生）张哲铭从艺术疗愈的视角出发，提出“玉与愈”的关联，认为钱亮的作品回归了玉文化的本质。玉者，中华民族所钟爱之物，根植于自然，归属于文化。“和合之道”强调人与物、人与自然之间的和谐关系，此乃平衡之道，钱亮于“时与物”两个层面进行“合”的创作，彰显个体与社会、自然之间的和谐之道，体现一种平衡与宁静的艺术生活状态。※ 第四场玉与遇 ※▍潘曦（清华大学美术学在读博士）潘曦从玉质媒材与陶瓷材料类比以及展场角度，提出“玉的无感”概念。首先钱亮作品对良渚、红山、宫廷、文人等传统玉仿物、抽象构造的玉质造物方式有传承。其次谈到玉与陶瓷都是传统中的有“包袱”的“强材料”，因其巨大的内容创造，需进行大量的学习去“知道”，比较难进行当代转化创作。钱亮的“玉展场”与其人一致都带给人轻松无距离感，如《心灵皂》《玉时·遇时》皆是生活中常用之物，“大香皂”立于地下，让人不自觉地想去触碰，这些都带来去文人性、阶级感的“无感”。再次是“空缺”的构成方式，如作品《叠翠系列》，“大缺”是取玉镯之后的余料位，“小缺”是作品边缘的粗糙和锯齿感，在构造具有明确指向性的文人山石过程中带来了弹性和节奏。这些点启发重新思考“好”的问题，神性、精致性、文人性是一种好，弱秩序、弹性、坍塌或许也可显现“好“的部分，这是艺术带来的解放与自由。▍赵毅伟（清华大学美术学在读博士）赵毅伟很赞同钱亮在传承与创新中国材料艺术、物质文化方面所做的贡献，特别是其在玉器领域的尝试，不仅推动了文化符号的建设，还促进了文化产业的升级。钱亮通过引入现代审美与工艺创新，使传统玉器更贴近大众，展现了深厚的文化底蕴与地域特色。同时，钱亮的实践为文化产业从业者提供了新思路，强调在保留传统精髓的基础上，结合现代设计理念，拓展应用场景，以满足当代审美需求，为文化产业转型升级树立了典范。▍薛仲泽（德国科布伦茨大学硕士）薛仲泽根据自己在德国十年间接触西方当代艺术的经验，结合本次展览，从玉与人、时间、空间的关系以及场域方面进行了交流。钱亮巧妙的场域排布将空间中人与作品的关系环环相扣、步步融合，让情感再一次升华。墙壁、灯光、作品……每件事物的“Aura（物体自身发散的灵魂）”都是“合”为场域、气氛的关键，将玉的品德与温度借助情感、观念在空间中放大，用属于今天的语言将玉的灵魂重新描述。因“和”而“合”便是此次观展最大的收获。▍李彦炅（北京林业大学研究生）李彦炅从玉的文化属性和人的美德精神出发将玉与钱亮的品格相联系，“玉”自古就引于词句当中来形容人的品质。借此次展览中的部分作品，如《心灵皂》衍生了“香培玉琢”一词，香料造就，美玉雕琢。借此阐述人与作品的关联，用贴合自我、贴近生活的材料和理念赋予作品以恰切的语言，并对展品中玉材料多维度的表达方式进行评论，认为雕塑不仅塑造物，更塑造人，人与物统一铸就契合的艺术。▍付廷栋（展览策展助理）付廷栋首先对艺术家和策展人给予的这份策展助理和视觉设计工作的信任表示感谢！他目睹了“玉·见”系列从2017年以来，在发展中进行的整体性与有序性的渐变和迭变。该展览以广角为视角，不仅呈现出艺术家钱亮在中国传统玉文化的基础上，融合现代设计思维和当代艺术语言所进行的创造性转化与创新性发展的成果。更是对时代精神和艺术家主体精神的展现与彰显，也让我们遇见并预见了“玉·见”的无限可能性。最后，学术主持宋伟光教授就“玉·见广角——钱亮玉质媒材艺术研究展”学术研讨会作出总结。他指出以玉雕的方式在中央美院美术馆举办艺术家个展，这是“一个破天荒的事情”。钱亮虽然很年轻，却是身经百战，应当讲是新玉雕的“老人”，在当代玉雕学术前沿具有引导作用。在宋伟光教授看来：第一，这是一场带有观念性的玉质媒材艺术研究展，在中央美术学院应是一个文化事件，体现出中央美院学术的导向作用和学术胸怀。第二，钱亮的玉雕是雕塑的玉雕，而不是玉雕的玉雕，他把玉这个材料用雕塑的视角进行解读和重构。第三，钱亮的玉雕作品不仅具有所谓玉雕美学、雕塑艺术等价值，还应考量其图像学的意义。透过钱亮的作品，我们不仅感受到的是作品本身，更重要的是由玉雕艺术折射出来的关于文化传承和转型、社会心理以及情感思想等方面的内涵，因而具备图像学的意义。第四，钱亮试图建构新玉雕的新逻辑，通过玉质媒材来解决和建构一个新的文化符号。玉·见广角——钱亮玉质媒材艺术研究展主办：中央美术学院美术馆展览时间：2024年9月10日—2024年10月7日展览地点：中央美术学院美术馆2层C展厅主编 / 何一沙责编 / 杜隐珠
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Child Public Education Reservation Form

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Group Public Education Event Reservation Form

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Group Visit Agreement
and Statement

CAFA Art Museum Publication Authorization Agreement

I fully agree to CAFA Art Museum (CAFAM) submitting to CAFA for publication the images, pictures, texts, writings, and event products (such as works created during participation in workshops) related to me from my participation in public events (including museum member events) organized by the CAFA Art Museum Public Education Department. CAFA can publish these materials by electronic, web, or other digital means, and I hereby agree to be included in the China Knowledge Resource Bank, the CAFA Database, the CAFA Art Museum Database, and related data, documentation, and filing institutions and platforms. Regarding their use in CAFA and dissemination on the internet, I agree to make use of these rights according to the stated Rules.

CAFA Art Museum Event Safety Disclaimer

Article I

This event was organized on the principles of fairness, impartiality, and voluntary participation and withdrawal. Participants undertake all risk and liability for themselves. All events have risks, and participants must be aware of the risks related to their chosen event.

Article II

Event participants must abide by the laws and regulations of the People’s Republic of China, as well as moral and ethical norms. All participants must demonstrate good character, respect for others, friendship, and a willingness to help others.

Article III

Event participants should be adults (people 18 years or older with full civil legal capacity). Underage persons must be accompanied by an adult.

Article IV

Event participants undertake all liability for their personal safety during the event, and event participants are encouraged to purchase personal safety insurance. Should an accident occur during an event, persons not involved in the accident and the museum do not undertake any liability for the accident, but both have the obligation to provide assistance. Event participants should actively organize and implement rescue efforts, but do not undertake any legal or economic liability for the accident itself. The museum does not undertake civil or joint liability for the personal safety of event participants.

Article V

During the event, event participants should respect the order of the museum event and ensure the safety of the museum site, the artworks in displays, exhibitions, and collections, and the derived products. If an event causes any degree of loss or damage to the museum site, space, artworks, or derived products due to an individual, persons not involved in the accident and the museum do not undertake any liability for losses. The event participant must negotiate and provide compensation according to the relevant legal statutes and museum rules. The museum may sue for legal and financial liability.

Article VI

Event participants will participate in the event under the guidance of museum staff and event leaders or instructors and must correctly use the painting tools, materials, equipment, and/or facilities provided for the event. If a participant causes injury or harm to him/herself or others while using the painting tools, materials, equipment, and/or facilities, or causes the damage or destruction of the tools, materials, equipment, and/or facilities, the event participant must undertake all related liability and provide compensation for the financial losses. Persons not involved in the accident and the museum do not undertake any liability for personal accidents.

CAFA Art Museum Portraiture Rights Licensing Agreement

According to The Advertising Law of the People’s Republic of China, The General Principles of the Civil Law of the People’s Republic of China, and The Provisional Opinions of the Supreme People’s Court on Some Issues Related to the Full Implementation of the General Principles of the Civil Law of the People’s Republic of China, and upon friendly negotiation, Party A and Party B have arrived at the following agreement regarding the use of works bearing Party A’s image in order to clarify the rights and obligations of the portrait licenser (Party A) and the user (Party B):

I. General Provisions

(1) Party A is the portraiture rights holder in this agreement. Party A voluntarily licenses its portraiture rights to Party B for the purposes stipulated in this agreement and permitted by law.

(2) Party B (CAFA Art Museum) is a specialized, international modern art museum. CAFA Art Museum keeps pace with the times, and works to create an open, free, and academic space and atmosphere for positive interaction with groups, corporations, institutions, artists, and visitors. With CAFA’s academic research as a foundation, the museum plans multi-disciplinary exhibitions, conferences, and public education events with participants from around the world, providing a platform for exchange, learning, and exhibition for CAFA’s students and instructors, artists from around the world, and the general public. As a public institution, the primary purposes of CAFA Art Museum’s public education events are academic and beneficial to society.

(3) Party B will photograph all CAFA Public Education Department events for Party A.

II. Content, Forms of Use, and Geographical Scope of Use

(1) Content. The content of images taken by Party B bearing Party A’s likeness include: ① CAFA Art Museum ② CAFA campus ③ All events planned or executed by the CAFAM Public Education Department.

(2) Forms of Use. For use in CAFA’s publications, products with CDs, and promotional materials.

(3) Geographical Scope of Use

The applicable geographic scope is global.

The media in which the portraiture may be used encompasses any media that does not infringe upon Party A’s portraiture rights (e.g., magazines and the internet).

III. Term of Portraiture Rights Use

Use in perpetuity.

IV. Licensing Fees

The fees for images bearing Party A’s likeness will be undertaken by Party B.

After completion, Party B does not need to pay any fees to Party A for images bearing Party A’s likeness.

Additional Terms

(1) All matters not discussed in this agreement shall be resolved through friendly negotiation between both parties. Both parties may then sign a supplementary agreement, provided it does not violate any laws or regulations.

(2) This agreement comes into effect on the date that it is signed (sealed) and the relevant boxes are selected by Party A and Party B.

(3) This agreement exists in paper and electronic forms. The paper form is made in duplicate, with Party A and Party B each retaining one copy with the same legal efficacy.

Event participants implicitly accept and undertake all the obligations stated in this agreement. Those who do not consent will be seen as abandoning the right to participate in this event. Before participating in this event, please speak to your family members to obtain their consent and inform them of this disclaimer. After participants sign/check the required box, participants and their families will be seen as having read and agreed to these terms.

I have carefully read and agree to the above provisions.

Group Visit Agreement
and Statement

CAFA Art Museum Publication Authorization Agreement

CAFA Art Museum Event Safety Disclaimer

Article I

Article II

Article III

Event participants should be adults (people 18 years or older with full civil legal capacity). Underage persons must be accompanied by an adult.

Article IV

Article V

Article VI

CAFA Art Museum Portraiture Rights Licensing Agreement

I. General Provisions

(1) Party A is the portraiture rights holder in this agreement. Party A voluntarily licenses its portraiture rights to Party B for the purposes stipulated in this agreement and permitted by law.

(3) Party B will photograph all CAFA Public Education Department events for Party A.

II. Content, Forms of Use, and Geographical Scope of Use

(2) Forms of Use. For use in CAFA’s publications, products with CDs, and promotional materials.

(3) Geographical Scope of Use

The applicable geographic scope is global.

The media in which the portraiture may be used encompasses any media that does not infringe upon Party A’s portraiture rights (e.g., magazines and the internet).

III. Term of Portraiture Rights Use

Use in perpetuity.

IV. Licensing Fees

The fees for images bearing Party A’s likeness will be undertaken by Party B.

After completion, Party B does not need to pay any fees to Party A for images bearing Party A’s likeness.

Additional Terms

(2) This agreement comes into effect on the date that it is signed (sealed) and the relevant boxes are selected by Party A and Party B.

(3) This agreement exists in paper and electronic forms. The paper form is made in duplicate, with Party A and Party B each retaining one copy with the same legal efficacy.

I have carefully read and agree to the above provisions.

Group Visit Agreement
and Statement

CAFA Art Museum Publication Authorization Agreement

CAFA Art Museum Event Safety Disclaimer

Article I

Article II

Article III

Event participants should be adults (people 18 years or older with full civil legal capacity). Underage persons must be accompanied by an adult.

Article IV

Article V

Article VI

CAFA Art Museum Portraiture Rights Licensing Agreement

I. General Provisions

(1) Party A is the portraiture rights holder in this agreement. Party A voluntarily licenses its portraiture rights to Party B for the purposes stipulated in this agreement and permitted by law.

(3) Party B will photograph all CAFA Public Education Department events for Party A.

II. Content, Forms of Use, and Geographical Scope of Use

(2) Forms of Use. For use in CAFA’s publications, products with CDs, and promotional materials.

(3) Geographical Scope of Use

The applicable geographic scope is global.

The media in which the portraiture may be used encompasses any media that does not infringe upon Party A’s portraiture rights (e.g., magazines and the internet).

III. Term of Portraiture Rights Use

Use in perpetuity.

IV. Licensing Fees

The fees for images bearing Party A’s likeness will be undertaken by Party B.

After completion, Party B does not need to pay any fees to Party A for images bearing Party A’s likeness.

Additional Terms

(2) This agreement comes into effect on the date that it is signed (sealed) and the relevant boxes are selected by Party A and Party B.

(3) This agreement exists in paper and electronic forms. The paper form is made in duplicate, with Party A and Party B each retaining one copy with the same legal efficacy.

I have carefully read and agree to the above provisions.