# 约瑟夫·博伊斯：7000个梦想 

JOSEPH BEUYS: 7000 DREAMS 

《约瑟夫·博伊斯：7000个梦想》是新成立的博伊斯研究中心（中国）的开幕展览。该展览新绎美术馆、天津美术学院与凤凰艺术联合举办，旨在拓展及焕新人们对当代艺术史上最杰出的艺术家之一约瑟夫·博伊斯的艺术理念的理解，即人类的意义及其建构是重中之重。

7000 Dreams marks the beginning of the new Joseph Beuys Research Center China, inaugurated by the Ennova Art Museum in collaboration with the Tianjin Academy of Fine Arts and Phoenix Art. It aims to expand and reactivate our understanding of one of the most outstanding artists in the history of contemporary art, Joseph Beuys, for whom human signification, the construction of meaning, was paramount.

Joseph Beuys, © bpk, Ernst von Siemens Kunststiftung, Stiftung Museum Schloss Moyland and Ute Klophaus, courtesy of Zero One Film and Kino Lorber

本次展览策展人乔纳斯·斯坦普和肖戈提到策划本次展览的动因有很多，其一是因为当下人们日渐青睐具有个人和社会意义的原创艺术作品，其二是因为想以此诠释如何区分艺术品的创作、接受和欣赏，即法国哲学家、诗人保罗·瓦莱里提出的“创制（poiesis）”和“审美（aesthesis）”概念。瓦莱里的主张在博伊斯的理念和实践中得到了深刻体现，对使创作行为本身成为偶发艺术和行为艺术至关重要。

There are many curatorial inspirations. One is the growing demand in society for art with a personal and social meaning, for authenticity.  Another is how we view the act of creation, the notion of poiesis, to use a term of the French philosopher and poet Paul Valéry - as distinct from the process of reception and perception of the artwork, its aesthesis.  A notion that finds a profound echo in Beuys's own thought and practice and was crucial to the emergence of happenings and performances in which the creative act itself became the work of art.

Joseph Beuys, I Like America And America Likes Me, 1974, Video film scans

当然，真正的创作行为不仅呈现在博伊斯的表演中，也可从其手稿中窥见一斑。此次展出的系列石版画和雕版画就重现了他的创作行为，如《时光流转组曲》、《莱昂纳多·达·芬奇的<马德里手稿>》，以及《美国野兔糖》。这种同时以绘画和表演形式对“创制”作出的双重诠释，也是《如何向死兔子解释绘画》（1965年，艺术家最具象征意义且最重要的行为艺术）的原创能指和出发点。

The authentic act is, of course, embodied in Beuys' performances, but it is also visible and tangible in his drawings, which he reproduced in lithographs and engravings in series presented in the exhibition, such as Suite: Circulation Time, Drawings for Codices Madrid by Leonardo da Vinci or, for that matter, American Hare Sugar. This juxtaposition of a double articulation of the creative act, of poiesis, in the form of drawings and performances, was also the authentic signifier and point of departure for the artist's most emblematic and fundamental action, How to Explain Pictures to a Dead Hare (1965).  

Joseph Beuys, Wie man dem toten Hasen die Bilder erklärt, 1965, Video film scans

在博伊斯看来，姿态、行为和过程对于艺术构思和欣赏，与最终结果一样重要。思想和行动，物质和精神，人物和物体，以及教育，融合为不可分割的整体，于无常中以不断变化的姿态受到重视和欣赏。博伊斯深刻理解每个个体的创造潜力，也就是瓦莱里所说的“潜意识（implex）”，即擦干净的空白黑板可以和写满的黑板一样有意义。重要的是可能性，是人人都拥有的潜力。

With Beuys, the gesture, the act, the process, became as essential to artistic conception and appreciation as the end result. Thought and action, matter and spirit, persona and object, as well as education, merged into an inseparable whole, to be valued and appreciated in impermanence and movement, as exchange and change. Beuys profoundly understood the creative potential of each individual, what Valéry defined as implex, that an empty, erased blackboard could be as meaningful as a filled one. That what mattered was the possibility, a potential that everyone possessed.

Joseph Beuys, ERNTERNTER SCHAUPLATZ, 1973/1981, Video film scans

如今，神经网络机器和海量数据正深刻改变艺术创作和人类思想，在这样的背景下，《约瑟夫·博伊斯：7000个梦想》旨在探索真实人类创作的共同基础。展览通过这位毕生致力于赋予和创造新意义的艺术家的作品发声，能够识别和表达最微末形式的不朽之物。同时试图探索既亲密又普遍、既短暂又持久的新意义，就像双重真实性的反复。

In a contemporary historical context in which neural network machines and mass data are profoundly transforming artistic creation and human thought, Joseph Beuys: 7000 Dreams aims to explore a common ground of authentic human creation.  Articulated in the work of an artist whose entire existence was focused on giving and creating new meaning, capable of identifying and articulating the monumental in the smallest of forms. It seeks to explore new meanings that are at once intimate, universal, ephemeral and enduring, like ricochets of a double authenticity.

Joseph Beuys, (Aktion "…und in uns, unter uns, landunter..."，  Video film scans

当然，本次展览影射博伊斯最重要的传世之作《7000棵橡树》（1982-1987），即首个看似天方夜谭，却通过乌托邦式愿景和坚定努力最终实现的项目。作为历史上首件能直接保护自然环境的艺术品，《7000棵橡树》本身的存在就能保护自然，因为它具备植树造林的实用功能。7000种不同的姿态，个个短暂，却共同铸成永恒，并产生了实际的改变。这种具有社会责任感的艺术模式以诗意的生活形式发声，使公众直接参与其中，触动心灵与思想。这件艺术作品告诉我们：如果没有梦想，那么人类就失去了存在的意义，也将一无所有——没有文明，没有目标，没有愿景，没有乌托邦，也没有未来。正是梦想驱使我们成就超凡之事，超越可能，最终超越我们自己。

7000 Dreams, of course, alludes to Beuys's most important monumental work, 7000 Oaks (1982-1987), as an example of a seemingly impossible project made possible through utopian vision and determined effort. As the first work of art in history with a direct practical environmental purpose, 7000 Oaks defends nature by its very existence through its practical function of reforestation. Each of its 7000 individual gestures, ephemeral in themselves, collectively forged permanence and instigated tangible change.  It is a model of art with social responsibility, poetically articulated in a living form that directly engages citizens to touch their hearts  and minds. It is also a work of art that tells us that without dreams we are nothing, we have nothing, no civilisation, no goals, no vision, no utopia, no future. That it is the dream that drives us to achieve the extraordinary, to go beyond the possible and ultimately beyond ourselves.

Joseph Beuys, 7000 Oaks, Video film scans

作为博伊斯研究中心（中国）的开幕展览，《约瑟夫·博伊斯：7000个梦想》旨在引人思考：博伊斯的思想和作品如何深化我们对艺术及其变革潜力的理解。博伊斯革命化、民主化的前卫思想开启了树立社会性雕塑和实现平等的梦想。在他的梦想里，艺术、知识，以及人与人间的对话是真正的人力资本。他用一句简短的革命性话语表达了社会信念：“人人都是艺术家”。这句话充分彰显了艺术创造和人类的潜力。

If Joseph Beuys: 7000 Dreams is a modest exhibition to mark the beginning of the Joseph Beuys Research Center China, its purpose is to provoke reflection on how Beuys' thought and work continue to deepen our understanding of art and its transformative potential. Beuys' revolutionised and democratised avant-garde thought, opening up dreams of a social sculpture, and of equality, where art, knowledge and dialogue between people are the true human capital. A social conviction that he articulated in a single, simple but revolutionary phrase, full of artistic and human potential: "Everyone is an artist".

 # 艺术家：约瑟夫·博伊斯 

Artist: Joseph Beuys 

约瑟夫·博伊斯，德国，1921-1986。博伊斯的众多作品是建立在人道主义、社会哲学和人类学概念之上的，它们在博伊斯将“艺术的扩展定义(extended definition of art)”和社会雕塑(social sculpture)作为整体艺术(gesamtkunstwerk)的思想理念中达到高潮，为此博伊斯声称这些作品在塑造社会和政治方面具有创造性及参与性作用。博伊斯使用了多种高度符号性的材料，例如毛毡、油脂或蜂蜜，这些材料与他创作内容中萨满教义方面密切相关(包括表演、演讲和教育行动)。他的目标是将通常只存在于艺术家群体中的创造能力注入生活的各个领域。

Joseph Beuys, Germany, 1921-1986. Many of Joseph Beuys' works are based on humanist, social philosophy, and anthropological concepts, reaching a climax in his idea of the "extended definition of art" and social sculpture as a total artwork, for which Beuys claimed that these works had creative and participatory roles in shaping society and politics. Beuys used a variety of highly symbolic materials, such as felt, fat or honey, which were closely related to the shamanic aspects of his creative content (including performances, speeches, and educational actions). His goal was to infuse the creative ability that usually exists only within the artist community into all areas of life.

 # 策展人：乔纳斯·斯坦普、肖戈 

Curators: Jonas Stampe, Xiao Ge

艺术史学家、策展人和艺术评论家，1965年出生于瑞典哥德堡。自从2000年起，乔纳斯·斯坦普发起并策划了超过65场国际活动和艺术节，包括来自60多个国家的480多位艺术家。2017年，他加入红砖美术馆，担任高级策展人和高级研究员。2019年，他与妻子肖戈在CHAO艺术中心共同策划了获奖展览“观看之道”（Ways of Seeing），并获得《罗博报告》年度策展人奖。后续两人再度共同策划了“从屏幕到心灵--50年历史”“当速度成为形式--活在你的屏幕里”“美，由经验创造”等展览。最近，他在2024年第60届威尼斯双年展的独立展览“VIVAAR VENEZIA”中，策划了全球首个行为艺术全息影像展；2024年9月策划在北京凤凰中心开幕的贝纳·维内大型回顾展，庆祝中法建交60周年。

Jonas Stampe, art historian, curator and art critic, born in 1965 in Gothenburg, Sweden. Since 2000, he has worked as a curator and project manager, initiating and curating more than 65 international events and festivals, including more than 480 artists from more than 60 countries. In 2017, he joined the Red Brick Art Museum in Beijing as Senior curator and Senior Researcher. In 2019, he co-curated with his wife Xiao Ge the award winning exhibition "Ways of Seeing". Later，they also curated the exhibitions "From Screen To Mind – A 50 Year History", "When Speed Becomes Form – Live in Your Screen", "Beauty, Created by Experience", etc.. Recently, he curated the world's first exhibition of performance art holograms called "VIVAAR VENEZIA" in an independent exhibition for the 60th Venice Biennale 2024. He is currently co-curating with Xiao Ge a major retrospective exhibition of Bernar Venet, at Phoenix Center in Beijing, to celebrate the 60th anniversary of diplomatic relations between China and France.

策展人、媒体人‍，现任凤凰艺术总编辑、副总裁、凤凰中心馆长。出生于艺术世家，毕业于中央美术学院、法国巴黎国立高等美术学院等多所高校，2009年归国定居北京‍。作为策展人，曾任第九届上海双年展“中山公园计划”策展人；2013年第55届威尼斯双年展平行展“大运河”策展人，以艺术之举推动中国大运河成功申遗；2019年，与丈夫乔纳斯·斯坦普（Jonas Stampe）成立策展组合，策划CHAO艺术中心年度大展“观看之道”等。2014年加盟凤凰卫视集团，作为联合创始人，与团队一起将“凤凰艺术”打造成为国内最具影响力的艺术媒体之一，并策划了很多极具影响力的展览与活动，如“中英文化交流年伦敦闭幕艺术庆典 ”“凤凰卫视20周年台庆巨献大展”“了不起的‘她们’——福布斯中国致敬卓越女性艺术家邀请展”“贝纳·维内：超越观念与物质”等。

Xiao Ge, curator, media professional, editor-in-chief of Phoenix Art and director of Phoenix Center. Born in an artistic family, she graduated from many universities such as Central Academy of Fine Arts and Ecole Nationale Superieure des Beaux Arts in Paris, returned to China and settled in Beijing in 2009. She was the curator of the 9th Shanghai Biennale "Zhongshan Park Project". In 2013, she curated the 55th Venice Biennale Parallel Exhibition "The Grand Canal". In 2014, she joined Phoenix TV, as the co-founder of Phoenix Art, led the team to build it into one of the most influential art media in China, and planned many influential exhibitions and activities such as "Phoenix TV 20th Anniversary Celebration Grand Exhibition", "Amazing women – A Tribute Exhibition to Outstanding Female Artists by Forbes China", etc.. In 2019, she founded a curatorial group with her husband Jonas Stampe, they curated the award winning exhibition "Ways of Seeing", a major retrospective exhibition "Bernar Venet: Beyond Concept and Matter" , etc..

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