验阈是LAB47的第一个长期展览项目。验阈从2014年11月至2016年3月，其中包括十次展览与一次艺术家谈话。艺术家包括：何情；王楠；曹小羊；王要；任波；Andrew Crooks；任瀚；Thierry Liegeois；于海元；张丽丹；Michael Bodenmann；Bit-Tuner；Charlie Tweed；Christian Melz。
五、 将“经验”作为一种mise en action，一种自为或他为的呈现。
Expérience is the inaugural long-lasting project of LAB 47. In this project, there are 10 exhibitions and 1 artist talk from November 2014 to March 2016. The artists included are He Qing, Wang Nan, Cao Xiaoyang, Wang Yao, Andrew Crooks, Ren Han, Thierry Liegeois, Yu Haiyuan, Zhang Lidan, Michael Bodenmann, Bit-Tuner, Charlie Tweed, Christian Melz.
Expérience: French word from Latin experientia, de experti make an attempt.
- Practice of something, of someone, a test of something of which ensuing knowledge or habit.
- Fact of doing something one time, live an event, which considered from the point of view of its instructive aspect.
- Action of trying something, to put a system, a doctrine to the test: attempt.
- Test, which the object is to verify a hypothesis by the study of natural or induced phenomenon.
(French dictionary www.larousse.fr
The “expérience”(experience) consists of an active attempt approach, in the order to attain some knowledge or to master something new for us; but, when it become the thing as experienced, it also consists of the result, the success of this kind of attempting system.
One to the conclusion there is a paradox: on the one hand, the “expérience” is an attempted approach, so that is the reason why it has been included in a repetitive practice and that also included it in a certain time temporal dimension; in English it’s close to the term “experiment”; but on the other hand, it comes out of the thing as experienced, that happens only one time, and in this case, it takes the instantaneous sign of its “incident”.
In that dualistic reflexion, what art is about?/what is the deal for art?
Art, in its relation to “praxis”, is a repetitive action, whose is rooted in the temporality of its elaboration; art is a creative process, an attempt practice with every part of its composition: errors, “accidents”, tests, discovers and innovations; besides, this practice of attempt will make sense from the moment on its objects become significations.
However, if we consider art from the point of view of the thing as experienced (one is the artist when he is creating something, the other is the spectator who is confronted with the artwork), it becomes a sensitive experience; art is not included in the temporal schema of the repetition, but it belongs in the instantaneous of its appearance; then, art becomes experience not for its form yet, but for the presence whose is emerging from it and have some effects on who will confront with it.
So, in those complex relations of significations, we propose to the artists to explore the possibilities of a reflexion around the French notion of “expériences”;
- Attempt practice and creative process
- Innovation and “accident”: which values?
- Experience of art: between an experimentation and the research of result
- Experience of art or the creator/spectator ‘s dialectic
- Experience as “mise en action”