展览题目：万曼的耕耘
策展人：阿萨杜尔·马克洛夫
策展总监：施慧
主办单位：中国美术学院
承办单位：中国美术学院美术馆、雕塑与公共艺术学院纤维艺术系
展览开幕：2017年11月28日上午10点
展览时间：2017年11月28日至12月7日
展览地点：杭州中国美术学院美术馆（南山路218号）
研讨会时间：2017年11月28日下午——2017年11月29日上午
研讨会地点：中国美术学院象山校区，水岸山居101会议室
研讨会主题：“万曼与纤维艺术教育”
“For me the creative process is solely – striving for perfection! All that related to the practical realization of the piece is the routine necessary for any type of creative work. One piece conceives another. One idea conceives the next idea and so on. I wouldn’t say that everything is so simple and unhindered.”
——Maryn Varbanov
“对我来说，创作过程仅仅是追求完美！任何一种创作必须经历的，是作品实际的实现。从一件作品构想出另一件，从一个想法孕育下一个想法，等等。我不会说一切都是那么简单和顺畅。”
——万曼（马林·瓦尔班诺夫）
本次展览探索万曼（原名Maryn Varbanov）的作品，包括二十世纪七八十年代他在欧洲创作的“unrealised”系列和粘土模型，以及壁挂和纤维作品的素描稿。一些较大的壁挂和纤维艺术作品得以实现，而另一些则仅仅是模型。在这些神秘的草图中，我们看到的是他重叠的情感，既现代又传统，既有组织又成体系，这些也已经渗透到中国年轻艺术家的作品之中。
万曼，原名马林·瓦尔班诺夫（Maryn Varbanov），保加利亚人。1953年毕业于索菲亚艺术学院，又留学中国，在中央美术学院、中央工艺美术学院学习，获硕士学位。
万曼促进、丰富和发展了现代壁挂艺术，他所倡导的现代壁挂创造活动，带来了对于新艺术材料和形态研究的突破。万曼是中国现代纤维艺术的开拓者，他生命最后3年在中国美术学院度过，培养了中国第一批从事现代壁挂创作的年轻艺术家。
万曼语录：
1. Teaching and education:
“The artist should be not interfering the educator, but to be in help. And the educator also has to help the educator, to be not an obstacle. I cannot divide an educator from the artist; because/since the two entities essentially contain total creativity character.
In the creative work we are creating an art works, and in the education we are creating an artists. Students believed to the educator much more when he/she is a good artist.”
教学与教育：
“艺术家不应该干涉教育者，而应该帮助他。教育家必须互相帮助，而不是成为相互间的屏障。我不能把教育者与艺术家分开，因为这两个实体都包含着创造性特征。在创作中我们创造艺术作品，在教育中我们在创造艺术家。当教育家同时是一位优秀艺术家时，学生更相信他。”
2. About tapestry and architecture:
“Art tapestry is a part of architectural space, and counts as one of the warmest components of modern architecture capable of creating a warm and endearing atmosphere.
In order to solve the problem of the integration of Modern tapestry with architecture, one needs to figure out the relations between man and space, or in other words, the quantifiable relations between ideas, aesthetics, art and emotions!”
关于壁挂与建筑：
“壁挂是建筑环境的组成部分。壁挂是现代建筑中最温暖的组成部分之一，她使建筑环境变得温暖并创造一种亲切的氛围。
要解决现代壁挂与建筑的融合问题，就必须弄清楚人与空间的关系，或者说是思想、美学、艺术、情感之间的量化关系。”
3. About ‘the perfection’ in art:
“The perfection with which the interpreter-executors may achieve this lies not alone in the technique that they master, but principally in the synchronicity between their work and the artist’s dominant ideas. The opposite of course will lead to disruption and decline.
Since the processes of creativity may vary for the artist and the direction of the main ideas constantly changes, artists obviously prefer that their work would simply spring from their own hands. But, for the artist, perfection in art is unreachable and such an unreal dream. Yet, his/her desire to make this dream a reality lies within the basics of the creative spirit of the artist's daily work.
The creative energy hidden behind this chain reaction needs the artist to have: continuity, persistence, consistency and faith.
That is why, in the foundation of the much sought after ideological and aesthetical processes of unknown inventions that the artist may be fortunate enough to discover its self and improve on the path of his/her artistic ideas and development. “
关于艺术中的“完美”：
“艺术家所能达到的完美，并不在于他们掌握的技巧，而在于艺术家作品与主导思想之间的同步性。当然，相反的情况会导致破裂和衰落。
由于创作的过程可能因艺术家的不同而变化，而且主要思想的方向也在不断变化，艺术家们显然倾向于作品从他们自己手中诞生。但是对于艺术家来说，艺术的完美是遥不可及的，像是一个虚幻的梦想。然而，他/她实现这个梦想的渴望基于艺术家日常工作中的创造精神。
隐藏在连锁反应背后的创造性能量需要艺术家拥有：连续性、持久性、一致性和信念。
正因为如此，在思想和美学过程中所追求的未知创新的基础上，艺术家才有幸发现了自己，并在自己的艺术思想和发展道路上进行提升。”
4. About harmony between ideas and realization – a material piece of art:
“In the processes of historic development, humanity has always searched for and found harmony between ideas and their realization in order to obtain the perfect balance of their understanding of the material and spiritual world.”
关于思想与现实的和谐——一件艺术品：
在历史发展的过程中，人类一直在探求与寻找思想与现实的和谐，以达到对物质和精神世界理解的完美平衡。
5. About craft, traditions and artistic realization.
In my practice I’ve put aside not a short period of time in mastering the technical means of expression or like they’re commonly called the laws of the craft. At that period I had fascinating encounters with settled truths of the folk art and that was very entertaining. But I cannot overlook the disappointments who accompanied me in the process of work, because there I discovered the other, more essential truths. The disappointment often came from the conflict of the settled in the tradition regularities with the real problems and the spirit of our time.
I understood well that to master the craft and to practice according the laws of tradition is necessary bur for solving the problems of the contemporary tapestry art in our country, it is not the most important part. It is necessary to cross the border from inspiration to artistic continuation of the laws, the traditions. The inspiration in mastering the tradition needs grow into qualitatively new energy of the individual artistic realization. The tradition must find the author’s insight and must connect with the artist’s, individual-creative position of search and discovery.
关于工艺、传统和艺术的实现
在实践中，我用了一段时间来掌握表达的技术手段，或者说它们通常被称为工艺法则。在那个时期，我接触了民间艺术的定理，这是非常有趣的。但我不能忽视在工作过程中陪伴我的失望，因为我发现了另外一些更本质的真理。这种失望往往来自于现实问题中的传统规律和时代精神的冲突。
我深知，掌握传统工艺和按照传统规律进行实践，是解决当代纤维艺术在我们国家存在问题的必要手段，这不是最重要的部分。从灵感到艺术的延续中，跨越规律和传统是有必要的。掌握传统需要成为个人艺术实现的新能量。传统必须契合作者的洞察力，并且必须与艺术家个人探索与发现的创作立场相联系。
6. About the creative process:
For me the creative process is solely – striving for perfection! All that related to the practical realization of the piece is the routine necessary for any type of creative work. One piece conceives another. One idea conceives the next idea and so on. I wouldn’t say that everything is so simple and unhindered. On the contrary! The tapestry and the creative work in that area are bound with hard and long-drawn-out process of realization. A lot of physical and moral efforts, energy and perseverance are necessary. But if tapestry becomes your destiny, it demands the whole of your existence.
关于创作过程：
“对我来说，创作过程仅仅是追求完美！任何一种创作必须经历的，是作品实际的实现。从一件作品构想出另一件，从一个想法孕育下一个想法，等等。我不会说一切都是那么简单和顺畅。相反，这个领域中壁挂和创作是一个漫长而艰难的过程。需要体力和精力，能量和毅力。但是，如果壁挂成为你的命运，它需要你存在的全部。”
研讨会主题：“万曼与纤维艺术教育”
研讨会“万曼与纤维艺术教育”将探索关于艺术教育的一些问题，特别是当代纺织和纤维艺术的教育学。
直到最近，在艺术实践中使用手工艺和纤维相当于把自己定位在主流艺术世界之外，并处于一个性别化艺术、工艺层次的底层。通过对纤维艺术作品（工作室实践）和纤维艺术文献（艺术史、视觉文化、女性主义、人类学、历史和技术）的展览、演出、出版物和新的对话，这些状况改变了吗？ 如果是的话这给人什么启示？
纤维在今天仍然处于边缘地位吗？为什么是？为什么不是？对新兴从业者意味着什么？我们如何将边缘化历史与边缘化现状以及主流艺术中纤维和手工艺的成分不断增加并相协调？
新兴艺术家如何在概念上、实际中理解纤维以及跨学科纤维艺术的构成、分类和演绎？基于实质的档案在这方面有多重要？它们对教育学有影响吗？
有一个与当代艺术的跨学科现象有关的问题，在欧洲，亚洲，美国和加拿大的当代纤维艺术课程中，强调技术和概念方法相结合，纤维在表演、新媒体中被广泛使用。鉴于这种跨学科性与开放性——为什么保持纤维艺术的纪律性很重要？
“艺术家不应该干涉教育者，而应该帮助他。教育家必须互相帮助，而不是成为相互间的屏障。我不能把教育者与艺术家分开，因为这两个实体都包含着创造性特征。在创作中我们创造艺术作品，在教育中我们在创造艺术家。当教育家同时是一位优秀艺术家时，学生更相信他。”
马林·瓦尔班诺夫
Symposium “Education on fiberart, view and new perspectives”:
The symposium “Education onfiber art, development and new perspectives” will explores someof the questions who address the art education in general and specially thepedagogy in textiles and fiber art.
Until recently the use of craft and fibresin art practice was tantamount to positioning oneself firmly outside of themainstream art world and at the bottom of a gendered art/craft hierarchy. Hasthis now changed through exhibitions, performances, publications and a renewedconversation between those working with textiles in the studiopractice, and those studying textiles as art history, visual culture, feminism,anthropology, history and new technology? If so what are theimplications of this?
Is fiber still marginalized today? How andhow not? What are the implications for emerging practitioners, how do wereconcile histories of marginalization with current paradigms of bothmarginalization and the increasing presence of fiber and craft withinmainstream art?
How do emerging artists conceptually andpractically understand the context in which textiles and interdisciplinarytextile arts are made, distributed and interpreted? How significant arematerially based archives in this respect? Do they have an impact on pedagogy?
One has to do with interdisciplinary incontemporary art in general, and within contemporary fiber art programs inEurope, Asia, USA and Canada, where there is an emphasis on technical skill incombination with conceptual approaches, and the expanded use of performance,new media within fibers. Given this interdisciplinarity and openness - Why isit important to maintain the disciplinary specificity of Fiber/Textilestoday?
“The artist should be not interfering the educator, but to be inhelp. And the educator also has to help the educator, to be not an obstacle. Icannot divide an educator from the artist; because/since the two entitiesessentially contain total creativity character.
In the creative work we are creating an artworks, and in the education we are creating an artists. Students believed tothe educator much more when he/she is a good artist.”
Maryn Varbanov
部分参展作品欣赏
“永动机”系列
“永动机”系列（2）
窗户
蓝色的报告
洛多皮的绿色的枞树
万曼工作照
万曼工作照
1980万曼与保加利亚学生工作照
万曼于万曼壁挂艺术研究所，杭州，1986
