Earth Angel at the Queens Museum New York - Saturday March 1st, 2014

From Marcel Duchamp –to Asian Contemperary Art 從杜象到亞洲當代藝術

From Marcel Duchamp –to Asian Contemporary Art

從杜象到亞洲當代藝術

Luchia Meihua Lee

Duchamp is one of the most influential artists of the 20 century. It is clear that what he valued most was neither art itself nor the creation of masterpieces, but life itself. Not the creation of masterpieces but the free play of the intelligence.

In 1902, Duchamp started painting; in 1923, he abandoned painting for good. Towards the end of his life, he spent much of his time playing chess. Many discussions and essays discussed his chess philosophy, and the idea of opposites, motivated in part by the fact that his reputation is firmly rooted in paradox. In fact, he co-wrote a book proving the identity of the idea of the reconciled opposite (for example, yin and yang) and the theory of “sister squares” in chess.

Some say that another of Duchamp’s ideas - “Anti- Art” - tried to hide his failures as an artist.  In fact, Duchamp did not make any effort to advance his reputation or to gain fame.

In 1915, he moved to United States, taking American citizenship in 1955, and becoming a patron saint of art, and a legendary figure.

He was 6 years younger than Picasso; the “Nude Descending a Stair Case” in 1913 appeared at the Armory show, and demonstrated the way to fusion of factorism, futurism, and cubism. The creation procedure taken place a still painting idea. From 1920 to 1930, he shifted from Dadaism to surrealism.

His concept of “Ready Made” works broke the exhibition definition and the relationship of art work to museum or gallery. Enrolled spectator’s interpretation in a important part. In object in motion pieces, such as rotary machine, revolving disk and abstract cinema foreshadowed the current fascination with kinetic sculpture and film making.

The cover of magazine piece” Cahiers d”Art” in 1936, was found 25 later became the first “Op Art”

“The Mise-en-Scene” is the surrealist and happenings and environments in 1950-60s

“Cartesian Mind” he refused to accept anything on faith, and like he mentioned in his idea” had to find in my work something that had not existed before.”

His attitude to the life, and unique ideas in art drawled many of alternative thinking way in the art world. A deep influential to western art history, it also gives Asian contemporary artists many of inspirations.
（to be continued)

杜象(Marcel Duchamp)無疑是二十世紀藝術史上最具影響力的藝術家之一, 早在普普藝術、觀念藝術、甚至於動力雕塑出現以前，他已經清楚的為藝術提出全新的解釋，藝術不是他所珍貴, 生活才是真正的價值 , 藝術不是在於大師的創作, 而是在於無所限制的、必須邀請觀眾一同參予的創作智慧。

1902 年後 ,杜象開始以繪畫為主的藝術家生涯, 1923 年他宣佈放棄繪畫, 開始全時間的下棋生活, 他花上所有的時間下棋, 在許多論述及作品中出現這樣的下棋文學及對立主題的觀念,因此棋藝自然成為杜象一生作品中的核心主題或是概念之一如”Sister Square”； 另有某種傳說杜象所提出的 ”Anti-Art” 是用來掩飾他在藝術上的失敗, 事實上他並未以任何方式去讓他自己成名，他以低調的姿態卸去藝術家的光環，唯有如此才能夠更加自在地在創作的領域中運籌。1915杜象移居美國,  1955成為美國公民,  並且在以紐約為主的當代藝術圈扮演類似「教父」般的傳奇角色, 他與畢卡索相去6歲 , 1911-12顯出他投注在立體主義及空間結構的興趣, “下樓梯的裸女”(Nude Descending a Staircase, No. 2) 在1913年出現在軍械庫展(Armory Show )成為集工業未來主義及立體派的經典作品, 該作創作的過程表現取代了停滯的繪畫觀念，當時造成騷動，每天數以萬計的民眾湧進展場大多是為了一睹這件驚世駭俗之作。

從1920-1930他從達達主義者轉成為超現實表現, 並自1914年起開始提出「現成品」藝術，隨機選擇大量製造的工業物品，經過簽名或是稍加修飾的行為，現成物品變成藝術品的等身，他的現成品藝術觀念打破了展出藝術品的定義, 藝術收藏與展覽場所-美術館或畫廊中的關係，杜象一生共製造約20個「現成品」，幾乎所有原作都已經「遺失」，目前美術館和私人收藏的都是杜象根據原作複製的「現成品」，因此「現成品」是否純如杜象所言只是藝術家簽過名的物件，在西方學者提出質疑之後已經成為目前杜象研究的核心議題；1930起，杜象對運動產生的視覺幻象產生興趣，一系列在移動物體的創作中──如旋轉機器、迴旋的圓盤、抽象的劇場等 提供了動力雕塑、影片動畫製作的新意，其中他為雜誌封面設計的“Cahiers D’Art”起動了 25年後的歐普藝術。

杜象拒絕了任何存在教條信仰, 只創作以往不曾存在的作品。他獨幟一格的生活態度及對藝術的創見引發了許多另類的思考,也影響了其後西洋藝術及亞洲當代藝術作品型態。

我想根據研究論述去探討他的現成品, 手稿  ,海報 ,繪畫,  裝置品 , 以及取得當年相似工業產品進行比對 ,以了解是否其作品, 真為現成工業產品直接放置展示 , 或是其中另有蹊翹,  並將依據論述逐一實例舉證。

另在許多不為人知的小作品中, 檢視一般未見的隱藏影像, 及視覺錯覺的運用。研究將打破一般人僅以杜象為達達大師之礙, 從更為寬廣的角度去研究他的生活態度及自時代與社會背景去研究了解這些表現。

而以研究列舉當代亞洲藝術家受到的影響者, 如一位居住在法國的華裔藝術家黄永平、旅美華裔藝術家張宏圖（Material Mao、門等）、席非的畫、或張力山（棋盤）、在北京的艾未未、在台灣的 梅丁衍等等，作品明顯的出現杜象作品中觀念及蹤跡 ,而其他的藝術家在想法或是觀念上以及形式上的又在何處受其影響，也是我想關注的。另外將杜象在他的作品中出現與光學上, 動力藝術上, 以及超現實, 精神領域 玄學,神學,童話, 女性意識 ,以及數學及哲學 社會有關的議題,來檢視這一位綜合創作的傳奇生活藝術家的一生及影響。

許多當代藝術作品的出現違背了藝術的美學原則, 被視為是驚世駭俗, 或是我們所認為是極度科技性新發明及創作, 卻在十九世紀初已經在杜象的作品中出現, 當深入了解及研究調查, 發現這些所謂具有新意的作早已被隱指出 或是直接表現 ,當杜象將蒙那麗莎的微笑作品加上鬍鬚, 是以在1903的時候已經出現, 在探究動力藝術作品, 在他的作品中已經使用動力馬達及觀眾參與探究視覺的錯覺印象, 另外在他的可見的素描作品中試圖隱藏不可見的負像, 也值得經由現象學來的探究 , “盲人”(Blind Man) 刊物中引出了抽水馬桶與佛像及聖母像的觀眾會心一笑及專家與業餘之疑. 經由深入淺出的引導了解杜象的時代意義。(待續）

Xi Fei's "There is No Ideology"

There is No Ideology - Only Collective Forms of Desire System and Organization of Power, 2012
 60 x 48 inches, Acrylic on Canvas

you can enjoy this Xi Fei  image when you watch it more, as the bulls and rushing traders that symbolize Wall Street. The bulls line up walking down the stairs just as in Duchamp's "Nude Descending a Staircase" and the hanging sides of beef echo Francis Bacon's “Figure and Meat." Xi Fei is making a sarcastic comment on capitalism's sacred evils. Xi Fei likes to pick fragments from historical masters. An upside-down helicopter reflection appears in this piece, just as it is found in many of Xi Fei's works – for example, with the zebra in another of his pieces at the museum exhibition. Also from the English title and artist’s name, you will know there are more art works to be seen.

The US China Press (Qiaobao) has reviewed the Raising the Temperature exhibition at the Queens Museum. Although you might not be able to read the Chinese in this coverage, you can enjoy the image. 

the link to NY China Press    http://ny.usqiaobao.com/news/community/42241-2014-02-04-06-46-58.html?tmpl=component&print=1&page=

2002 April Translated from NY Times:展現文化外交的旗幟（要或不要）

Appreciation and Admiration, don't miss the exhibition

Raising the Temperature: Art in Environmental Reactions

Luchia Meihua Lee

I had a wonderful experience working with 9 talented artists in Raising the Temperature, they are 

Sarah Walko, Jeremiah Teipen, Miya Ando, Hai Zhang, Marlene Tseng Yu, Kay H Lin, Todd Gavin, Pey Chwen Lin, and Xi Fei, who contributed to make this fabulous exhibition happen despite the shortage of time and resources. Also thanks to Tom Finkelpearl, Prerana Reddy, Arnie, Daniel, Marco, Eneida, Desmond, Jonas, and others I may have forgotten, who provided timely help from the beginning to the installation. Victoria Xu and Anton Chan's support made this exhibition catalogue possible, while Ken Howell's and Edward's endless volunteer work provided the editing and design. and Fuchiawen Lien contributed an essay. I thank you who came to the opening last night, such as Patrick Huang, a long term supporter, Judy Esterow, Emily Chang, Ming Fay, Josiane Lai, Lucky, Lisa, Joanne, Maochung Lee, Carle Shi, Jimin, Ethan, Eun Young Choi, Victoria Zhang, Yixin and many others whom I do not have room to list, despite the warm temperature:) For those who have not yet been to view the work, don't miss it; you might found some surprising things there. Happy Year of the Horse!
 — at Queens Museum.

Miya Ando, Obon placed on the Hudson River

Kay H Lin, Bridge

Kay H Lin, Sunset time 

Kay H Lin, Balloon and Shimenawa ( wall piece)

Kay H Lin, Miya Ando, Sarah Walko, Jeremiah Teipen (from front to the back)

Miya Ando, Shimenawa

Hai Zhang (Left), Marlene Tseng Yu (Right)

Xi Fei, "The Skin is What is Deepest-To Post-Impressionist Artist, Mr. Paul Gauguin: Where are we from? Who are we? Where are we going?"

Xi Fei, Hai Zhang, Marlen Tseng Yu (front to the back) 

view from below the bridge

Pey Chwen Lin, Revelation of Eve Clone No. 4
video

http://www.youtube.com/watch?v=ybZhjCmNkfw&list=PL3BD686F3D0CD83C8&index=13

Todd Gavin, Carbon Statera(Carbon Balance) This is how 800 pound wall piece was hung

Xi Fei, "Is Change Progress?-Pray! This is the Question" and more

Miya Ando, "Falling Leaves"

photo by Nalat Phanit, http://nalatphanit.wordpress.com/2014/02/04/raising-the-temperature/

Jeremiah Teipen, photo by Nalat Phanit, http://nalatphanit.wordpress.com/2014/02/04/raising-the-temperature/

 Jeremiah Teipen, "Ice Cubes Melting in a Plastic Cup"，2014

photo by Nalat Phanit, http://nalatphanit.wordpress.com/2014/02/04/raising-the-temperature/

Sarah Walko, Supersymmetry and Superpartners (another kind of rotational motion that simply would not exist in a purely classical universal)