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AN ART SPACE
Art and artists Exhibitions and events Artist interview 
THE GREEN CHAIR
Experimental art project
綠 椅 子 Curator：Cui Fuli Artist：Tian Buye Assistant：Li Yuting Exhibition time：August 15, 2018 - August 20, 2018 Exhibition site：Chengdu tianfu new district wang yaoba tea shop Exhibition host：Dongshan experimental art field 策 展 人 ：崔付利 藝 術(shù) 家 ：田不野 項目助理 ：李玉婷 展覽時間 ：2018年8月15日-2018年8月20日 展覽地點 ：成都市天府新區(qū)王幺爸茶鋪 展覽主辦 ：東山實驗藝術(shù)田
" Sit down",fixtures,chairs, aluminum sheets, brackets, blankets,2018,Tian Buye Tian buye's latest art experimental project, "green chair", is an extension of a green chair by the roadside of kaiyuan village, wan 'an street, tianfu new district. The green chair was originally put by the owner of the "tea shop of wang yao's father" for the convenience of passers-by. Due to various accidents, the green chair experienced the process of damage and disappearance. 
Green chair scene，2018.3.31，?Tian Buye
綠椅子現(xiàn)場，2018.3.31，田不野 According to this clue, baino launched a series of field investigation and artistic creation. Nowadays, with the rapid development of art villages, contemporary art seems to have a wealth of effects, either to retain nostalgia or to activate new possibilities of villages. Do our curators and artists overestimate the value of contemporary art by overreaching themselves? 
Green chair scene，2018.4.5，?Tian Buye
綠椅子現(xiàn)場，2018.4.5，田不野 On what level can contemporary art change the country or what level can it change when it goes to the countryside to deliver surprise and commercial operations? And who gave us the power and the will to change them. In my opinion, contemporary art cannot bring any change to the countryside, and I am deeply skeptical of the concept of "intervention". If there is a change, it is a change of the artist's experience and problem awareness in the process. 
Green chair scene，2018.4.6，?Tian Buye
綠椅子現(xiàn)場，2018.4.6，田不野
田不野最新的藝術(shù)實驗項目“綠椅子”，由天府新區(qū)萬安街道開元村路邊的一把綠椅子延伸而來。綠椅子最初是“王幺爸茶鋪”老板為方便路人而放置的，由于各種意外綠椅子經(jīng)歷了損壞、消失的過程。不野根據(jù)這一線索，展開了系列田野調(diào)查和藝術(shù)創(chuàng)作。在藝術(shù)鄉(xiāng)建如火如荼的今天，當(dāng)代藝術(shù)好像有著萬金油般的功效，不是留住鄉(xiāng)愁就是激活了鄉(xiāng)村新的可能性。 
Green chair scene，2018.4.10，?Tian Buye
綠椅子現(xiàn)場，2018.4.10，田不野 我們的策展人、藝術(shù)家是否不自量力的高估了當(dāng)代藝術(shù)的價值，當(dāng)代藝術(shù)在下鄉(xiāng)送驚奇和商業(yè)運作的背后，它究竟能夠在哪些層面改變鄉(xiāng)村或改變鄉(xiāng)村的哪個層面？何況，是誰賦予了我們要去改變他們的權(quán)利和意志。在我看來，當(dāng)代藝術(shù)帶給不了鄉(xiāng)村任何的改變，我也對“介入”的概念深存懷疑。如果有所改變，那也是在這個過程中給藝術(shù)家既有經(jīng)驗和問題意識的改變。 
Exhibition video records -01- Listen to the green chair 聽綠椅子 Video source:Tian Buye
The director：Tian Buye ● Clip：Li Yuting
When art enters the countryside, artists have to face personal subjectivity and identity. With too much emphasis on the artist's subjectivity and identity, the artist is in an unequal state of imbalance. The symbiotic relationship between artists and the countryside has subtly changed the aesthetic and spatial attributes of artworks. 
Green chair scene，2018.4.12，?Tian Buye
綠椅子現(xiàn)場，2018.4.12，田不野 Once the artist's aesthetic logic and the resident's life logic are separated, it is bound to cause the loss of the art in place. The intervention of art into the countryside is not to move the exhibition site of art works from art galleries and galleries into the countryside, but to shift the space of art works. The local nature of art works is the fundamental guarantee for art to get involved in rural projects.
Green chair scene，2018.5.8，?Tian Buye
綠椅子現(xiàn)場，2018.5.8，田不野 Of course, art should be involved in the reconstruction of rural culture, but art is also the premise for the reconstruction of rural culture. Art is involved in life. In addition to the aesthetic property and visual significance of art, how should the practical value of art be reflected in daily life? Art is involved in daily life, thus changing the transformation of the country from residential space to artistic space. Discussions on the relationship between artworks and ready-made products in this context can be more targeted, and also have new possibilities. 
"The Green Chair"120×150cm,Acrylic on canvas,2018,Tian Buye 《綠椅子》,120×150cm,布面丙烯,2018,田不野 藝術(shù)介入鄉(xiāng)村，藝術(shù)家不得不面對個人主體性和身份問題。過于強調(diào)藝術(shù)家主體性和身份，藝術(shù)家本身就處于一種不對等的失衡狀態(tài)。藝術(shù)家和鄉(xiāng)村的共生合作關(guān)系，潛移默化地改變著藝術(shù)品的審美屬性和空間屬性。藝術(shù)家的審美邏輯和居民的生活邏輯一旦脫離，勢必會造成藝術(shù)品在地性的缺失。藝術(shù)介入鄉(xiāng)村，并不是將藝術(shù)作品的展覽地點從美術(shù)館、畫廊搬進鄉(xiāng)村，那只是藝術(shù)作品的空間位移。 
Green chair scene，2018.5.9，?Tian Buye
綠椅子現(xiàn)場，2018.5.9，田不野 藝術(shù)作品的在地性是藝術(shù)介入鄉(xiāng)村項目的根本保障，藝術(shù)當(dāng)然要介入鄉(xiāng)村文化的重建之中，但藝術(shù)介入村民的日常生活更是藝術(shù)介入鄉(xiāng)土文化重建的前提。藝術(shù)介入生活，在藝術(shù)的審美屬性和視覺意義之外，藝術(shù)品的實用價值在日常生活中應(yīng)該何以體現(xiàn)，這是藝術(shù)家和當(dāng)?shù)鼐用袼餐伎嫉?。藝術(shù)介入日常生活，從而也在改變著鄉(xiāng)村從居住空間向藝術(shù)空間的轉(zhuǎn)換，藝術(shù)品、現(xiàn)成品的關(guān)系放在這種語境中展開討論也能更具針對性，同樣也具有了新的可能性。
Exhibition video records -02- Said green chair 說綠椅子 Video source:Tian Buye
The director：Tian Buye ● Clip：Li Yuting
Green chair scene，2018.6.12，?Tian Buye
綠椅子現(xiàn)場，2018.6.12，田不野
Exhibition video records -03- Look at thegreen chair 看綠椅子 Video source:Tian Buye
The director：Tian Buye ● Clip：Li Yuting
If from the perspective of grand narrative and meaning pursuit, the green chair art project is doomed to fail. But why should we emphasize its significance and value? It is the microscopic perspective and meaningless practice of PI that make "green chair" unique.
Green chair scene，2018.6.20，?Tian Buye
綠椅子現(xiàn)場，2018.6.20，田不野 Green chairs are in and out, the villagers still live the sunrise, sunset life. But what it brought to him was another approach to art and problems, and as he mentioned to me, the green chair project gave him a new perspective on painting. Let us not expect that art can change anything, but let us have to face some problems. I think that's probably what tomoko and the green chair mean. Article-Cui Fuli
Green chair scene，2018.6.3，?Tian Buye
綠椅子現(xiàn)場，2018.6.3，田不野 如果從宏大敘事和意義追求的角度出發(fā)，不野的“綠椅子”藝術(shù)項目注定是失敗的。但我們?yōu)槭裁匆娬{(diào)它的意義和價值呢，正是不野的微觀視角和無意義的做法才讓“綠椅子”有了其獨特性。綠椅子在與不在，村民還是過著日出而作、日落而息的生活。但它帶給田不野的卻是另外一種對待藝術(shù)和問題的途徑、方法，就如同他給我提到的，綠椅子項目讓他對待繪畫有了新的認(rèn)識。我們不要奢望藝術(shù)能夠改變什么，而是讓我們不得不面對一些問題。我想這可能就是田不野和“綠椅子”所謂的意義吧。 文/崔付利
綠椅子本身就是關(guān)于空間再造的一條線索，綠椅子周邊的現(xiàn)場是綠椅子存在的支撐點。也是我展開工作的場域，在這個場域所生成的種種線索是我追索的路徑，而其中有關(guān)經(jīng)驗之外的創(chuàng)造是其核心，圍繞核心的城鄉(xiāng)結(jié)合部的自然生態(tài)呈現(xiàn)使這個核心更具現(xiàn)實溫度，有溫度的現(xiàn)實空間是我所感興趣的。 --田不野
About Artist 關(guān)于藝術(shù)家
Tian buye (Tianxinliang) /Tianxinliang Born in shandong province in 1983,Graduated from linyi normal school in 2005,Graduated from art college of southwest university for nationalities in 2009,Head of dongshan art experimental field,Lives and works in chengdu 田不野（田新亮）/Tianxinliang 1983生于山東,2005畢業(yè)于臨邑師范學(xué)校,2009畢業(yè)于西南民族大學(xué)藝術(shù)學(xué)院,東山藝術(shù)實驗田負(fù)責(zé)人,生活工作于成都 ○ 上 下 滑 動 查 看 藝 術(shù) 家 展 覽 ○ Slide up and down Artist EI 2017 “夢馬”田不野油畫藝術(shù)作品展 麓山當(dāng)代藝術(shù)館 2016 不規(guī)則的裝置繪畫-田新亮個展 藍頂藝術(shù)中心 2015 重圍之境—田新亮 班魯雙個展 知白藝術(shù)中心 回歸鄉(xiāng)野-田新亮風(fēng)景繪畫品鑒展 知白藝術(shù)中心 2018 獵質(zhì)國際當(dāng)代藝術(shù)巡回展 鄭州 廣東 深圳 珠海 “九戶村落”在地實驗藝術(shù)展 東山藝術(shù)實驗田 成都 2017 “象外”六人當(dāng)代藝術(shù)展 麓山國際 “尋找桃花源”青年藝術(shù)春季沙龍 巢藝術(shù)中心 2016 中國新水墨畫暨名家邀請展 麓山當(dāng)代藝術(shù)館 鉑雅藝術(shù)-文心基金慈善拍賣 成都明宇尚雅飯店 成都詩婢家2016春季藝術(shù)品拍賣（油畫專場） 成都香格里拉大酒店 中國油畫家柴達木寫生之旅邀請展 青海美術(shù)館 “創(chuàng)想桃花源”寫生邀請展 巢藝術(shù)中心 高地藝術(shù)區(qū)年度開放展 高地畫廊 風(fēng)景的協(xié)奏-二酉山房年度油畫展 華僑城·創(chuàng)想中心 藝術(shù)蜥蜴暨青年藝術(shù)家邀請展 藝家國際畫廊 第三屆亞洲青年藝術(shù)家提名展 今日美術(shù)館 2015 自在，自為-何多苓版畫展暨青年藝術(shù)家作品邀請展 黑匣子藝術(shù)館 “源于塵土”關(guān)于12片瓷磚觀念藝術(shù)展 泥邦陶瓷藝術(shù)博物館 “畫意成都”美術(shù)作品年展 四川美術(shù)館 “寫意湄江”百位當(dāng)代畫家寫生展 湄潭茶工業(yè)博物館 “公司”藝術(shù)項目2.0：被接受權(quán) 像素藝術(shù)空間 約而不同八人藝術(shù)展 像素藝術(shù)空間 務(wù)虛—慢成長藝術(shù)展 大為美術(shù)館 未知意象—實驗風(fēng)景油畫展 航利藝術(shù)館 2013 自在—高地當(dāng)代藝術(shù)生態(tài)群落展 高地藝術(shù)區(qū) 2010 首屆西南地區(qū)高等院校青年教師美術(shù)作品聯(lián)展 西村藝術(shù)品空間 2008 與三同道人舉辦“實驗的精神”當(dāng)代藝術(shù)展 西南民族大學(xué)藝術(shù)學(xué)院 2007當(dāng)代藝術(shù)院校大學(xué)生年度提名展 今日美術(shù)館 作品收藏：麓山當(dāng)代藝術(shù)館 航利藝術(shù)館 西南民族大學(xué)藝術(shù)學(xué)院 西村藝術(shù)品空間 《上層》藝術(shù)雜志 湄潭茶工業(yè)博物館 寬云藝術(shù)館 泥邦陶瓷藝術(shù)博物館 另有多幅作品被國內(nèi)外友人收藏 專訪:《上層》藝術(shù)雜志2014年5月 《寬云藝術(shù)》2016年1月
因為一場雨讓這個展覽抹上一層神秘的面紗，據(jù)說沒來的人都在等雨……
“出格的盒子”當(dāng)代藝術(shù)展第一回參展藝術(shù)家作品（一）
“出格的盒子”當(dāng)代藝術(shù)展第一回參展藝術(shù)家作品（二）
“出格的盒子”當(dāng)代藝術(shù)展第一回參展藝術(shù)家作品（三）
彩虹盒子·虹計劃@“出格的盒子”當(dāng)代藝術(shù)展參展藝術(shù)家名單公示
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