dì‘er 地二

with Erica Sklenars, Luo Qiang 罗蔷, Jia Xiaoding 贾小丁

Date: Nov 28, 2015---Jan 23, 2016
Location: I: projects space

Site-specific art should maintain a critical presenceor difference in relation to its context and not be co-opted either asdecoration or as reinforcement of any institutional purpose.
(Richard Serra)
With its second edition of dì’er地二 I: project space continues to search for artistic formats reacting to the physical limitations of the exhibition space. The three artists Erica Sklenar, Luo Qiang and Jia Xiaoding were invited to create work in relation to the exhibition space. Through various interventions, they will repeatedly comment on and reshape the exhibition space and invite the spectators to actively and playfully consider the expectations they have towards an art venue.
The relationship between the institution and site-specific art has been complexsince its beginnings in the late 1960s when site-specific art emerged on thescene as a form of rejection of the gallery space. Artists working with site-specific installations have often rejected the principles of the museum, created work that becomes self-referential, and experimented with notions of entropy and permanence. Site-specific art represents an ongoing critique of the institution and the limits and meanings imposed by them onto the art they contain.
Site-specify in art occurs when the artist is engaged in an investigation of the site as part of the process in making the work. The investigation will take in to account geography, locality, topography, community (local global), history (local, private and national).
No matter which approach an artist takes, site-specific art is meant to rethink space as a platform, a reference point or even just a possibility. As Miwon Kwon notes, “the definition of site-specificityis being reconfigured to imply not the permanence or immobility of a work butits impermanence an

日期:2015年11月28日-2016年1月23日
地点: I: projects space

站点特定的艺术应该保持一个审慎的存在或与其内容存有区别差异的关系而不是一致的选择,无论是作为装饰或加强任何机构的目的。
(Richard Serra)

第二次的dì’er地二,I: project space将会继续寻找艺术形式对展览空间的物理限制做出反应。Erica Sklenar,罗蔷和贾小丁这三位艺术家被邀请来对展览空间进行创作。通过各种形式的干涉介入,他们会反复评论和重塑的展览空间并邀请观众积极、游戏式地考虑他们对艺术场馆的期望。
站点特定艺术起源于上个世纪60年代末,自那时起其与机构之间的关系一直是复杂的,站点特定艺术一直以一种拒绝画廊空间的形式发展着。在特定地点的工作的艺术家往往摒弃博物馆的原则,自指性的创作,并尝试了熵和永久的概念。站点特定的艺术代表着时下正在进行的对机构的批评和他们强加给艺术的限制和意义。
实际上,在艺术家进行现场调查的过程中,站点特定艺术就有了的具体位置。调查需要考虑到地理,地点,地形,社区(地方,全球),历史(地方,个人和国家)。
无论艺术家采用哪种方法,空间作为一个平台,一个参考点,甚至只是一个可能性,站点特定艺术都意味着对其的重新思考。正如Miwon Kwon所说,“对站点特定艺术定义的重新配置意味的不是恒久不动的作品而是短暂而无常的。”(Miwon Kwon, One Place After Another. Cambridge 2002, p. 4.))

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