回忆的拼贴——韩国当代艺术展

在我们的生活中，拼贴无处不在。从电视节目到因特网、从报纸到智能手机、从留言板到媒体立面、我们能够看到的每样物品都是由具有各种观点的片段拼贴起来的。现在信息流正以一种非线性的方式流动传播，人们已经习惯了从多个视角来看待问题，任何没有新意的陈旧观点都会受到藐视。你可以说现代生活本身就是一幅拼贴画。但是，这并不代表当今社会是一个没有规律的存在，正相反这是一个见微知著的时代。没有什么会永远高高在上或者匍匐在地。许多微小的价值体系平行存在，它们之间相互移行共同发展，它们蕴含的意义相互交错在全球范围内的新平台上共生共存。

此次在北京索卡艺术中心举办的“拼贴的记忆”当代韩国艺术展通过10位对媒体、历史、个人记忆、文化以及全球化和个性化有独特见解的艺术的作品对“拼贴”的概念进行更精准的定义。他们利用方法学知识揭示出这个不断变化的社会的本质并对其进行解释。这意味着我们需要了解的不仅是一套实用技术，或是从展会上收集到的混合资料；更重要的是可以在所有具有表现力的媒体上进行推介的哲学观点。从美学角度讲，这10位艺术家都有一定的艺术地位，他们的作品不仅在美术、小说、诗歌、建筑和动画等艺术形式间架起联系的桥梁，还将过去、现在和未来串成一片。观赏拼贴画时需要注意的不是它们的形式而是作者所秉承的开放、联系、融合的态度，他们创作出无数无法比拟的组合。

CHOI WoolGa-2009.XP series-black,I don‘‘t say for you-oil on canvas-259.1x193.9cm-2009-崔蔚家-2009XP系列-我不为你说话-布面油画-259.1x193.

Collage is virtually omnipresent in our lives. From TV to internet, newspaper to smartphone, signboard to media facade, everything we see is an assemblage of fragments with varying points of views.  Now, the flow of information moves in a non-linear way and people use multiple windows to see the world that defies any unifying system of perspective. You can say that the world of contemporary life is a collage per se. However, this does not necessarily mean that there is no ruling perspective, but rather the value of many smaller viewpoints can win a bigger one.  Nothing is more superior or inferior to something else forever. Smaller value systems exist in parallel and moreover, they are growingly mobile and their meanings are in transition to survive in the new platform of the globalized world. 

In this context  , “Collage of Memories,” the exhibition of contemporary Korean art , redefines the concept of ‘collage’ through 10 artists who have unique understanding of media, history, private memories, culture, and globalism&identity.  Their interpretation of the methodology unmasks the very natures of the changed society. This means we need to see more than a physical technique or a marriage of heterogeneous materials from the exhibition.  What becomes more important is a philosophical attitude that can spread over any expressive medium.  Those 10 artists commonly arrive at an aesthetic position that makes not only a methodological bridge between art, novel, poetry, architecture, and motion picture, but also a chronological link between the present and the past and even to the future.  We need to see collage as not a form but an attitude to open, link, and mix the seemingly incomparable multitude. I subdivided the attitude of 10 collage artists into five categories.

CHO DuckHyun_Collage of memories- installation-370cmx315cm x150cm-2009-2010-曺德鉉-回忆的拼贴-装置-外框尺寸高370cm，宽315cm，深150cm-2009-2010.

策展人：李大衡