女权2.0时代FEMINISM 2.0

Vantage Shanghai - - 目录 CONTENTS - 作者Author/编辑Editor:陈溪 Cecilia Chan

近日,杭州城内的四场连续性展览将当代女性身份的议题抬上了学术平台,作为一场艺术界关于“女性”与“女权”的集体思考,这场由策展人宋振熙提出并策划的大型展览,意在发现与讨论女性问题所引申的后现代文化内容。

Recently, four consecutive exhibitions in Hangzhou have drawn the contemporary female identity into the public eye, conducting a discourse on femininity and women’s rights. The series of exhibitions, proposed and organised by curator Song Zhenxi, is meant to uncover and discuss the postmodern culture of feministic issues.

Feministic issues are unquestionably a hot topic of late – from the worldwide #MeToo movement to the popular Chinese soap Story Of Yanxi Palace, and countless articles and exhibitions and even our daily discourse, gender narratives have penetrated every corner in our life. What’s the meaning of these iconic cultural movements?

Cast your eyes over contemporary art exhibitions in China, works by women artists are plenty, and those related to feminism are as well. Yet established and prestigious women artists are the generation who thrived after Second Wave Feminism back in the 20th century. The stigmatised feministic

女性问题在近两年持续被热络地讨论着——大到一场全球的“Me Too”运动,小到“宫斗”电视剧《延禧攻略》,以及各式各样的社交媒体文章与学术展览,甚至在我们的日常生活的表述中,都被一波又一波的性别叙事所包围。这些特征明显的文化运动,意味着什么呢?

放眼近些年来的中国当代艺术展览,绝不乏女性艺术家的作品,讨论“女性主义”的艺术家群展更是层出不穷——只不过,那些已经取得地位与声望的著名女性艺术家们,大多都活跃于

art is still based on Simone de Beauvoir’s The Second Sex, or as some call it “Feminism 1.0”.

In fact, self-inserted pressure and entanglements are often ignored among Chinese women. The vagueness of self-identification and lack of confidence as a result of patriarchal society remain a prevalent issue among women, despite the popularity of #MeToo movement. Women’s rights are wrongly emphasised in commercialism and relationships, and thus fall in the loophole of pseudo-prosperity caused by consumerism and liberalism.

Today, when we see the feministic movement on a new rise, the commercial world is busying interpreting it to their own interest, while gender specialists are focusing 上世纪第二波女性主义浪潮汹涌之时。而大量的女性艺术家群展,同样将女性艺术家的性别身份标签化地呈现,其仍然是以波伏娃的《第二性》“女性艺术1.0时代”作为文本基底。

实际上,对于中国女性来说,来自自我的压力与禁锢经常被人们所忽视,长期男权压迫中生长出的对于自我定位的模糊与不自信,在“Me Too”旗帜飘扬的今日,依然未得到真正的重视或解决。女性的个人选择权利在消费和两性关系中被过分强调,以至于使得“女权”成为了一种景观式的无效循环,一种被自由主义和消费主义裹挟的虚妄丰盛。

on the structural deprivation of gender inequality while ignoring the subjectivity of women. #MeToo is mentioned from time to time, yet the public opinion is flooded with a kind of victimised female image. Women in the public eye, are fundamentally covered under consumerism and entertainment industrialism. Feminism has never been so popular – or so pale. Women are living in a much different world than before, and they belong to a complicated era: Feminism 2.0.

The exhibition tries to create a vacuum space amid the mist of consumerism and feministic movements. A clear structure is presented through the axes of changing power, social gender and sex, and finally focused on the long-neglected corporeal body. The exhibition is divided into four parts, “Equipment of Goddess”, “Beyond ‘Woman’ Component”, “Her Achilles Heel” and “The Offline Goddess”. Among which the “Equipment of Goddess” features tweleve works by nice young women artists in creating tweleve different discourse scopes. They abandon traces of typical women artists and no longer view the relationships between self and outside world with a stereotyped identity.

The importance of the exhibition is that it offers a possibility for women to get rid of the image of a victim when rebelling against the patriarchal society. The direction, however, is drawn to the evolution of self-consciousness and corporeal experience. In the era of Feminism 2.0, women are not tamed or consumed, but they emerge as a more experienced, positive, relaxed and powerful image.

女性的个人选择权利在消费和两性关系中被过分强调,以至于使得“女权”成为了一种景观式的无效循环,一种被自由主义和消费主义裹挟的虚妄丰盛。

在“女权”再次作为“运动”的今天,商业世界紧紧抓住这一历史在进行咬文嚼字,性别研究者往往一味强调其中性别不平等的结构性压迫,而忽视了女性作为主体的能动性,召唤着“Me Too”式的情感联结,流水线式的性故事生产使社会大众沉溺于某种强大的性受害叙事结构,女性身份在身心、精神、肉体、生理到文化、个人与社会、父权与女权等诸多二元对立关系之间被来回推搡,而更广大的女性则被笼罩于消费主义和娱乐工业化制造的“生活方式女权”幻境之中,关于女性问题的研究从未显得如此气势磅礴,却也显得有些苍白无力——现如今,女性面对的早已不是上世纪的历史境况,当代女性精神面貌早已进入更为多元繁复的“2.0时代”。

本次展览试图在消费主义与女权运动的迷雾中构建一个真空场域,在人类文明进程中不断变化的权力、社会性别和性三者之间,梳理其中的关系结构,将目光投射于被长期忽略的物质性身体之上。此次展览分四场,分别以“女神的装备”“翻越‘女’字旁”“女神的逆鳞”“离线的女神”为主题。其中,主展览“女神的装备”以九位青年女性艺术家的角度出发,用十二件作品,营造出了十二个不同的絮语空间,抛却了强烈的女性艺术家创作痕迹,不再带着固化的身份去观察自身与外界之关系。

此次展览的意义在于,它给出了一个女性放弃将自己处于一种受害者的姿态去试图驳斥男权社会的可能性。将目光转移到自我意识与物质性具身经验的演变。在“女权2.0”时代中,当女性不再被动地被规训或被消费,一个更经验性的、积极、轻松、更具力量的女性本体才将得以现身。

本跨页起顺时针CLOCKWISE FROM SPREAD PAGE展览手册 Exhibition Handbook女神的装备展览作品 Artwork at Goddess in the Shell翻越“女”字旁展览作品 Artwork at Post-Goddess女神的装备展览作品 Artwork at Goddess in the Shell

本跨页起顺时针CLOCKWISE FROM SPREAD PAGE 第一到第四张图为展览手册Pictures No.1- No.4 are Exhibition Handbook 翻越“女”字旁展览作品Artwork at Post-Goddess

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