新山海经 III The New Book of Mountains and Seas Part 3

新山海经 III The New Book of Mountains and Seas Part 3 邱岸雄/ 2017 / 中国

制片/导演/摄影/剪辑：

剧情简介

邱岸雄创作的《新山海经》动画三部曲是基于古代的中国经典著作《山海经》，该动画三部曲质问社会与科技高速发展的同时，环境、传统价值及整个人类文明为此付出的代价。三部作品从2005年到2017年完成。《新山海经三》描绘的是一种末世般的未来：现实环境的急剧恶化，空旷无人的城市被动物和植物占领，面带章鱼面具的人从高楼坠落，监视器鸟监控着空无一人的街道，所有人沉醉于网络的虚拟现实，桃花源一般的自然传统也仅仅是虚拟的景观。作品描绘的场景如预言一般展示出疫情后的世界图景。邱岸雄被公认为是将动画视频创作引入中国当代艺术语境的先锋代表人物。他的非线性叙事手法在《新山海经三》中尤为凸显。该动画作品中现实与虚拟图像的交替影射当代社会本身于两者之间界限的日益模糊，甚至于虚构的现实加剧着我们对于真实的感知。在《新山海经3》中，我们的视野在一个基于现实虚构的世界里漫游，可以见到诸如对抗雾霾用的口罩，体验虚拟现实用的装备，以及与环境、城市改造、社会监控等问题相关的因今日的社会困境和科技发展而产生的工具和景观。但是这些工具和景观被改造为类似于赛博格一样与奇怪的生物结合的产物。就像《山海经》原著中对动物的描述，其中有符号化的隐喻，同时他们也被赋予了一种超自然的力量，而所有被赋予超自然力量的叙述都可以是神话的，无论是古代还是今天。《新山海经3》中用一种神话的叙事描绘今天的世界，自然会把现代科技的产物，诸如汽车、飞机、生产工具进行神话的诠释。但反过来看，科技在今天，实际上本身是神话的“替代品”，它们是某种“魔力”或者超自然力量的投射物。在《新山海经3》中有我对于神话和今日科技之间关系的思考：神话指向一个过去的时间，科幻则指向未来，但是他们的内核都有超自然力量的神话元素。 Based on Chinese traditional classic book,The animation trilogy questions the onrushing progress of social and technological development and their cost to the environment, to traditional values, and to human culture as a whole. In Part III, the artist depicts an apocalyptic future in the post-information age, where the deteriorating environment turns humankind itself into virtual reality. A man with mask fell from skyscraper, fish eyes serve as surveillance cameras installed throughout the empty street without human. The urban landscape is projected onto circuit boards transported on a production line housed in a dark factory. while the once-existent mountains and seas of nature have become a lost utopia in virtual spectacle world. Scenes' depiction reveal the worldview like a prophecy for the city after pandemic. QiuAnxiong is considered a pioneer in deepening the resonance of animation by introducing the aesthetics of ink painting. This approach serves his non-linear narrative which, in Part III, is most evident. Interlacing imagery of the real with the virtual, the animation reflects on the contemporary world where the delineation between the virtual and the real has become increasingly blurred, and the fictional can augment our sense of what is real. In The New Book of Mountains and Seas Part 3, we navigate through a fictional world alienated from our reality. Along the way, we see anti-air-pollution masks, virtual reality gadgets, and equipments and spectacles birthed out of social concerns, such as environmental problems, urbanisation and gentrification, and civil surveillance, as well as technological advancement. In the film, such equipments and spectacles were modified and presented as bizarre and cybernetic creatures. In the original Book of Mountains and Seas, the strange creatures were symbolic and metaphorical, and they were also enabled with supernatural powers. In my opinion, all supernatural narratives could be considered as mythological, regardless of being ancient or modern. In the New Book 3, our world was viewed via a mythological lens, and the products of technology were given an mythological interpretation. From another perspective, today’s technologies are “alternatives” to mythology, they are the projection of certain “magical” or supernatural power. The New Book 3 reflected my thoughts and ideas on the relation between mythology and modern technology: as mythology reviews the past, science fiction extends to the future, nevertheless, at the core of the both genre, there are mythological elements bound with supernatural power.

邱岸雄

导演简介

1972年出生于四川，1994年毕业于四川美术学院，2003年毕业于德国卡塞尔艺术学院，现任教于华东师范大学设计学院。作品涉及动画、绘画、装置、录像等不同媒介。其作品以中国传统人文精神结合新媒体形式表达其对当代社会批判以及对历史文化的思考，代表作品有动画片《新山海经》、《民国风景》、《山河梦影》，影像装置《为了忘却的记忆》。于2007年创立 “未知博物馆”，是近年当代艺术生态建设中的活跃力量。

他的最新作品包括大幅的绘画、动画，以及录像装置。2006年的作品《新山海经》是由千余张水墨画联接而成的动画作品。这件作品的名字本身就取自中国的传统神化《山海经》。除了研究中国传统文化与现代文化间的相互影响，整个作品同时具有梦幻的色彩：细致明确的图像加上让人难以置信的叙述，忠实地描绘了我们所生活的荒谬的周遭世界。

Qiu Anxiong was born in 1972 in Sichuan province. He graduated from Sichuan Academy of Fine Arts in 1994. In 2003 he graduated from the University Kassel’s College of Art in Germany after six years of studying both contemporary international art and traditional Chinese culture. Now he is teaching in East China Normal University. His works employs different kinds of mediums including animation, painting, installation and video, etc. Representative works are animation film New Classic of Mountains and Seas, Temptation of the Land, Minguo Landscape, video installation Staring into Amnesia. He founded “Museum of Unkown” in 2007, which is an active power in the ecological construction of contemporary arts in recent years.

Qiu Anxiong’s recent work consists largely of paintings, animations, and video installations. In the 2006 piece The New Classic of Mountains and Seas, for example, Qiu employs multitudes of ink drawings and links them together in an animated form. The title itself refers to the ancient Chinese mythology Classic of the Mountains and Seas. Besides investigating the interaction between ancient and modern Chinese culture, this work and others like it have a dreamlike quality: the clearly delineated images framed by unbelievable narratives faithfully depict the absurdity of the world around us. This link to the everyday further enhances the political value of the work, which engages in a damning criticism of environmental degradation, social breakdown, and massive urbanization. Unlike younger artists, Qiu Anxiong does not indulge in the personal pleasures of the everyday, but rather takes the undifferentiated mass of history as his raw material.

部分个展：

2020 “人间世-鲜卑利亚” 马刺画廊，北京

2018 “是山海”博而励画廊，纽约

“山海异兽” 现代传播艺术中心，上海

2017 “山海蜃楼”，复星艺术中心，上海

“新山海经”博而励画廊，北京

2014 “E-Motion”Enrico Navarra Gallery,巴黎，法国

邱黯雄个展， Wooson Gallery，大邱，韩国

2013 “邱黯雄－新山海经2“，哥本哈根Arken现代美术馆，

2012 “历史的风景”， Marabini 画廊，博洛尼亚，意大利

2011“动物园”, 何香凝美术馆OCAT当代艺术中心深圳

2011《动态的绘画》美国达拉斯Crow 亚洲美术馆

2010《新山海经》堪萨斯大学Spencer Museum

2009《Utopia》哥本哈根Aken现代美术馆

2007《Qiu Anxiong》东京现代美术馆

部分群展：纽约大都会美术馆《水墨艺术－传统在当代中国》，圣保罗双年展，悉尼双年展，开罗双年展，塞萨罗尼奇双年展，亚太三年展，釜山双年展，上海双年展，广州三年展，等国际国内展览。

获奖： 于2006年获CCAA中国当代艺术奖，2007年获雅昌艺术年度青年艺术家奖，连州国际摄影节媒体评论奖，亚洲当代艺术奖提名，《东方早报》年度艺术家提名。2009年中国批评家协会年度青年艺术家奖, 2010年获《改造历史》文献奖。2017年新加坡Signature Art Prize提名，2018年《国家美术》金星奖年度奖。

Qiu Anxiong，1972 Born in Sichuan, China. graduated in Sichuan Fine Art College in 1994. Graduated in Kassel Art College Germany in 2003. Living and Working in Shanghai now.

Solo Exhibitions

2018 "Of Mountains and Sea", Boers-Li Gallery, New York

2017 “Jiang Nan Cuo” MEM-Arts Bank

The Mirage of Mountains and Seas, Fosun Foundation, Shanghai

The New Classic of Mountains and Seas, Bores-Li Gallery, Beijing

2016 “Return”,July Art Space, Shanghai

2014 “E-Motion”，Enrico Navarra Gallery, Paris；“Qiu Anxiong” Wooson Gallery, Daegu, Korea

2013“Qiu Anxiong-New Book of Mountains and Seas Part2”Aken Museum of Modern Art, Copenhagen, Denmark

2012“Historical Landscape”, Marabini Gallery ，Bologna，Italy

2011“Animated Narrative“Crow Collection of Asian Art Museum，Dallas,

Texas, U.S.A；“Zoo”, OCAT Contemporary Art Museum, Shenzhen；“Protrait – Cover and Clean”, Marabini Gallery ，Bologna，Italy

2010 “Zoo”, Boers-Li Gallery, Beijing

Qiu Anxiong: New Book of Mountains and Seas - Spencer Museum of Art, Lawrence, KS,U.S.A

2009 “Ｕtopia”, Arken Museum of Modern Art, Copenhagen, Denmark；“Nostalgia”, 4A Gallery, Sydney, Australia；“ About,Boers-Li Gallery, Beijing；“ Temptation of The Land”, Barbara Gross Gallery, Munich, Germany

2008“Nostalgia”, Bund18 creative Centre, Shanghai

2007“Staring into Amnesia” Universal Studio, Beijing；Qiu Anxiong Exhibition, Museum of Contemporary Art Tokyo. Japan

“Minguo Landscape”, Grace Li Gallery, Zurich, Switzerland

Select Group Exhibition

2016 Show and Tell: Stories in Chinese Painting, Metropolitan Museum of Art

2013“Ink Art, Past as Present in Contemporary China”, Metropolitan Museum of Art

2010 29th Sao Paulo Biennale；Living in Evolution, Busan Biennale

2009 The 6th Asia Pacific Triennial of Contemporary Art；2nd Biennale Thessaloniki, Greece

2008“11th Cairo Biennale,“3 Triennial of Guangzhou；“16 Biennale of Sydney

“Still&Motion”, National Musem of Modern Art Osaka,；“China Power Station Part3”, Museum d’art modern Grand-duc Jean , Luxembourg

2007 3rd Lianzhou International Photo Festival；“Video Lounge”, Kunsthaus Zurich；“China Power Station Part2”, Arstrup Fearnleys Museum of Modern Art, Oslo；“Animation Painting” San Diego Museum of Art

2006 6th biennial Shanghai, Shanghai Art Museum

Selected Public Collection

Metropolitan Museum of Art, New York,

Museum of Modern Art New York.

Art Museum of Brooklyn, New York

Spenser Museum, Kansas University

Museum of University Oxford,

Kunst Halle Zurich,

Museum of Contemporary Art Tokyo,

Art Museum Hongkong，

Astrup Fearnley Musum of Modern Art,

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