ARANYA POSTER FESTIVAL
Curator Zhu Sha
2020
前言
文/朱砂
EXHIBITION FOREWORD
Text/Zhu Sha
而社会设计，这个新晋的后来者，带着更大的野心试图以另一个的角度囊括和收拢设计工作。我们谈论社会责任，谈论公众福祉，我们仿佛是一种更系统的，善的化身。而在此之外还有技术的革新，生产方式的改变，我们还没谈完社会的平庸化，还没有声讨完同质化吸干了诗意的源泉，就要面临其他文化领域的倾轧和融合。
社会设计会带来新的方向和公理吗？下这样的判断还为时过早，我们的观察也远不足以抵达核心。这些问题既无法回避，却也无法作答。在这个新的领域里，是否会像我们宣称的那样，构成这个新名词。鉴于这样的状况，我愿意相信社会设计是真诚的，却是不够真实的。所以只能是个例，是局部，是细节，甚至是例外。这些细节不足以代表这个纷杂的世界，更不足以改变外部庸碌平凡的特质，却是迷雾之下，象征想象力的光芒。
这次展览集中展出了十几位平面设计师的工作，从产品包装，书籍装帧，海报设计到商业形象，涵盖了这个领域和社会互动的方方面面。同时也并行展出了几位艺术家更原发性的创作。不同性质的工作在这里和衷共济，所形成的互文性也构成我们对一些问题的回应。社会细节是我们阶段性的回应，他无关道德，立场和身份。我们把一切诉诸于创作性的工作里，以期应对这个复杂多变的外部环境。所以也不存在结论，更不是结果的展示，我倾向把这里的展品称之为生产资料，在社会主义国家里，这个名字无比的正确。
而对于我们遭遇的问题，这些工作或许能找到局部真理，局部正确，最终积小胜为大胜。我乐观的认为，这是一个被历史验证过的方法，所以叫社会细节。好像鱼落在了岸边的污泥里，努力挣扎，最后避开了资本的渔网和权利的钓钩，却也早就游过了那条界限。而我总是相信，我们最终将横渡大海。
金鹰美术馆荣幸地分享展览“社会细节”，包括A Black Cover Design、冯梦波、何见平（hesign）、立入禁止、马仕睿、梅数植&702 design、庞宽、彭磊、宋拓、孙晓曦（PAY2PLAY）、烟囱、一千遍、赵清(瀚清堂)等设计师和工作室、艺术家、音乐人的作品将在展览中呈现。展览由朱砂策划，金鹰美术馆团队协同策展，空间设计由“一千遍”设计完成。
Social design, a relative newcomer to the industry, has an even greater ambition to embrace and include another kind of design work. When we talk about social responsibility and the public good, we seem to see a more systematic, kinder incarnation. There have also been technological innovations and changes in production methods; we have not finished discussing the increasing mediocrity of society and we have not finished condemning homogenization for sucking the wellspring of poetry dry. We simply need to confront competition and fusion with other cultural realms.
What new directions and axioms can come from social design? It may still be premature to make any kind of judgment, and our observations cannot approach the core of the issue. These questions are both unavoidable and unanswerable. This new domain, whether it is as we claim or not, is part of this new term. I want to believe that social design is sincere, but I find it a bit unrealistic. It can only be a single case, a part, a detail, or even an exception. These details are inadequate to represent this chaotic world, and they are certainly insufficient to alter the mediocrity and ordinariness outside. However, they symbolize the light of imagination through the fog.
Covering all aspects of graphic design and social interaction, this exhibition presents the work of a dozen graphic designers, ranging from product packaging and book layout and binding to poster design and branding. At the same time, we are also showing the more original creations of several artists. Here, different types of works harmonize with one another, and the context that is formed shapes our responses to certain questions. “Social Details” is our response at this moment; it is indifferent to morals, positions, and identities. We have focused everything on the creative work, hoping to respond to this complex and variable external environment. There is no conclusion or presentation of some kind of result; we call the exhibits “means of production,” which seems entirely appropriate in a socialist country.
With regard to the issues we are confronting, these works may be able to unearth partial truth or partial correctness, eventually achieving a larger victory through an accumulation of small ones. I optimistically believe that this method will be borne out by history, so we decided to call the show “Social Details.” It’s like a fish flopping onto the muddy riverbank. It struggles, but in the end, it avoids the fishing nets of money and the fishhooks of power. It swam past that boundary long ago. I have always believed that we will finally make it across the ocean.
G museum is honored to present the exhibition Social Details that represents the works of designers, artists and musicians including A Black Cover Design, Feng Mengbo, Jumping He (hesign), Studio NA.EO, Ma Shirui, Mei Shuzhi&702design, Pang Kuan, Peng Lei, Song Ta, Sun Xiaoxi (PAY2PLAY), Yan Cong, One Thousand Times and Zhaoqing (HanQingTang). The exhibition is curated by Zhu Sha and designed by One Thousand Times, in cooperation with the G Museum team.