藝術與教育 - 四川美術學院|Art and Education - Sichuan Fine Arts Institution

2015年中旬,四川美術學院提出全面本科個性化教學改革計劃——特色工作室計劃應運而生,作為本項教學改革計劃的重要組成部分,曾途跨媒體特色工作室計劃旨在面對新的時代語境,基於中國的開放社會為藝術在地重生的場域,進行藝術研究、創作、教育的轉型與實驗。

2016年,四川美術學院實驗藝術學院開設「藝術與社會」專業教研室,這是繼四川美術學院個性化特色工作室計劃後,正式將美術學實驗藝術學科的本科教育方向引領進入以中國當代社會為語境的全新專業現場。

以上兩個事件,是中國社會新時代語境下,藝術高等教育所面臨的巨大時代變遷縮影,如何將藝術教育與社會生態交融,離開象牙塔與白盒子的舒適區,藝術生態如何真正扎根於中國的社會生態?十方作為一家以藝術在地為宗旨的民辦非企業社會組織,也在高校教育與社會現場間漸漸尋找到自己的位置,成為二者的紐帶和橋梁。

如下為十方助力以四川美術學院為代表的高校藝術教育實踐工作的表現:

1、人力與專業支持。十方通過專題講座、專業工作坊、客聘教師授課等方式,將藝術與社會方向上的實踐經驗,分享給高校課程;

2、兼職與志願者體系。十方為有興趣的川美學員個人和項目(如:四川美術學院拔尖人才班)提供開放式的社會實踐機會;

3、配合高校社會實踐項目落地構建教學實踐基地。

4、藝術與社會項目作為實踐載體,拓展學科建設和學員實踐。

 

In mid-2015, Sichuan Fine Arts Institute proposed a comprehensive undergraduate personalized teaching reform plan—the specialized studio project came into being. As an essential part of this teaching reform plan, the Zengtu Cross Media Studio aims to face the new context of the times, based on China’s open society as a field for the rebirth of art, conducts the transformation and experimentation of art research, creation, and education.

In 2016, the School of Experimental Art of Sichuan Fine Arts Institute opened the “Art and Society” professional teaching and research section. This is to formally lead the undergraduate education of the experimental art subject of fine arts into a new professional scene in the context of contemporary Chinese society following the specialized studio project of the Sichuan Fine Arts Institute. 

The above two events are the epitome of the significant changes that art education faces in the new era of Chinese society. How to integrate art education with society, leaving the comfort zone of ivory towers and white boxes of the gallery, and how art ecology truly takes root in China’s social ecology? As a private non-corporate social organization with local art, Dimensions Art Center has gradually found its place between art education and society and becoming a link and bridge between the two.

The following is the support of Dimensions Art Center assisting the art education practice work of colleges and universities represented by the Sichuan Fine Arts Institute:

1. Human Resource and professional support. Dimensions Art Center shares experience in the direction of art and society to college courses through special lectures, professional workshops, and guest teachers’ lectures;

2. Part-time and volunteer system. Dimensions Art Center provides open social practice opportunities for individuals and projects (such as the Talent Project of Sichuan Fine Arts Institute).

3. Cooperate with college social practice projects to build a teaching practice base.

4. Art and society projects serve as practical carriers to expand discipline exploration and student practice.

曾途跨媒體特色工作室|Cross Media Studio

四川美術學院跨媒體藝術工作室(CMS)是四川美術學院「個性化培養特色工作室」的首批成立工作室之一,以「藝術與社會」作為工作室的主要實踐方向,以獨立人格、自由思想、時代精神、並作共生為一切探索之始終。工作室導師為曾途先生,助教成員包含:張羅娜女士、胡燕子女士、何京先生、張靜女士。現有十餘名來自四川美術學院本科的各個系科及專業的工作室成員。

跨媒體藝術工作室旨在探索與構建藝術於跨媒介、跨學科、跨領域的研究、創作、教育的方法論,兼顧其藝術媒介、社會現象的多元性與其本體性。工作室成員通過經歷各種獨具特色的「藝術與社會」現場以積累豐富的現場實踐經驗。

【跨】

工作室成立初期時的實踐定位為「新媒體藝術」,早期成員與導師一同創作了以四川美術學院在重慶的整體藝術發展為主體的紀錄片《致未來者》,成員多以新媒體藝術家身份為主。在革新到「跨媒體藝術工作室」後,隨著工作室本身的不斷發展,其對所有成員培養方向逐漸包括了知識研究者、專業教育者、職業藝術家以及社會工作者,而這四個方向對應的便是在跨媒體藝術研究下的「起」「承」「轉」「合」。由起到合的過程,是工作室包括導師在內的全員作為一個共同體必定會經歷的過程,也是每一個成員在面對跨媒體藝術學習時作為個體都需要歷經的不同身份階段。工作室的所有成員皆來自學校不同的系科專業。跨,在橫向空間上強調了工作室成員在作為藝術家時並不局限在單一媒介中,並且在面對現場時會時刻動用著其他專業的知識支持;同時在縱向空間上,成員會跨越維度,前往不同的領域回答藝術的追問。

【藝術與社會】

截止至2019年,工作室已招新至第六代成員,實踐探索的主要方向逐漸落腳在「藝術與社會」的學術命題上,著重反思當代藝術的各種現象,並強調藝術復歸社會現場的必要性與必然性。工作室所有成員秉持著跨媒介、跨學科、跨領域的實踐方法論來面對產生藝術、而藝術又將復歸的那些社會現場。在這樣一個維度豐富、語境多樣的命題之下,工作室成員的「身份多樣性」得到了極大程度的展現。「藝術與社會」的命題性由工作室週期性參與的多個長線系列性項目與非項目時期的成員對該命題的自主探索共同體現。在項目時期,實踐內容以現場藝術策劃、整體性策展、參與大型展覽與藝術節的多個工作&創作位置組成,一般由工作室導師牽線資源搭建實踐平台。在非項目時期,實踐內容由工作室獨立藝術項目組策展、工作室邀請制工作坊等探索性內容組成,一般由學員自主策劃並申請項目實施。

【在地的現場】

在對「藝術與社會」的學術命題追問過程中,「現場性」一直都是跨媒體藝術工作室建立探討可能性的邏輯基點,工作室各種類型實踐的根本屬性都離不開在地性、現場性。工作室的各種展覽策劃、在地創作都會深入到現場之中,圍繞現場展開討論,生發創作,與現場本身產生強關聯。並且,回到基本的現場之中,不單單是指藝術家要前往社會現場之中的這一行為,還指的是復歸於中國的基本現場、時代的基本現場、「藝術」的基本現場、人的基本現場…回到基本是一種狀態,也是跨媒體藝術工作室在地化實踐的本質要求。當基本的現場發生轉變,它所體現出的各類形式也將牽一髮而動全身,如何透過這些現象把握住本質,同時不斷對「把握本質」的過程進行反思,是工作室教學活動非常顯著的特點。

——跨媒體特色工作室 2019年 文獻組

 

Cross Media Studio (CMS) of Sichuan Fine Arts Institute is one of the first studios established in the “Specialized Studio Project” Sichuan Fine Arts Institute. The studio takes “Art and Society” as its primary academic direction, with an independent personality, free-thinking, spirit of the times, and symbiosis are the end of all exploration. The studio instructor is Mr. Tu Zeng, and the teaching assistants include Ms. Luona Zhang, Ms. Yanzi Hu, Mr. Jing He, and Mrs. Jing Zhang. There are more than ten studio members from various departments and professions of the Sichuan Fine Arts Institute.

Cross Media Studio (CMS) aims to explore the methodology of cross-media, cross-discipline, cross-field research, creation, and education, taking into account the diversity and ontology of its artistic media and social phenomena. The studio members accumulate a wealth of practical experience through various unique “art and society” practices.

[ Cross ]

When the studio was established, the studio’s primary goal is to practice “new media art.” The early members and mentors jointly created the documentary “The Future” that focused on Sichuan Fine Arts Institute’s overall artistic contribution in Chongqing. The members were mostly new media artists. After changing the name to the “Cross Media Studio,” with the continuous development of the studio itself, all members’ direction has gradually included researchers, educators, artists, and social workers. These four directions Corresponding to the “Inspire,” “Educate,” “Transform,” and “Connect” under the cross-media art research. Forming a community is a process that all studio members, including the mentor, must go through. It is also a different identity stage that each member needs to go through as an individual when facing cross-media art learning. All members of the studio come from various departments and majors of the school. On the one hand, Cross emphasizes that the studio members are not limited to a single medium when they are artists. They will always use diverse professional knowledge when facing the complicated situation of social practices; simultaneously, on the other hand, the members will cross boundaries and go to different fields to seek answers to the art.

[ Art and Society ]

As of 2019, the studio has recruited new members to the sixth generation. The main direction of practical exploration has gradually settled on the theoretical proposition of “Art and Society,” focusing on reflecting on various contemporary art phenomena and emphasizing the return of art to Society. Necessity and inevitability, all studio members uphold the cross-media, cross-discipline, and cross-field practical methodology to face the Society where art is made. Under such a proposition with rich dimensions and diverse contexts, the “identity diversity” has been demonstrated to a great extent. The request of “Art and Society” is embodied by the studio’s periodic participation in multiple long-term projects and the independent exploration of the proposition by members of non-project periods. During the project period, the practice content comprises on-site art planning, overall curation, participation in large-scale exhibitions and art festivals, and multiple work & creative positions. Generally, the practice platform is built by studio instructors and resources. In the non-project period, the applicable content is composed of exploratory content such as the studio’s independent art project team curation, the studio invitation-based workshop, and other experimental content. Generally, the students plan independently and apply for project implementation.

[ On-site ]

In the process of pursuing the theoretical propositions of “art and society,” “On-site” has always been the logical basis for cross-media art studios to establish and explore possibilities. The fundamental attributes of various types of studio practices are inseparable from on-site courses. The studio’s different exhibition planning and on-site creations will go deep into the Society and having a strong connection with the location itself. Moreover, returning to the introductory scene not only refers to the behavior of the artist to go to the social scene but also refers to the initial set returning to the primary setting of the times, the introductory scene of “art,” returning to the basics is a state. It is also the essential requirement of the localized practice of Cross Media Studio. When the fundamental scene changes, the various forms it embodies will also affect the whole body. How to grasp the essence through these phenomena and, at the same time, always reflect on the process of “grasping the essence” is a significant feature of the studio. 

——Cross Media Studio, Document Group, 2019