The first part of this exhibition will open to the public on December 28， 2017 at the Shenzhen Museum of Contemporary Art and Museum of Urban Planning。 Two exhibitions in this series will open that day： “Forty Years of Sculpture： Part I （2008-2017）” and “Forty Years of Sculpture： A Case Study of Tian Shixin。”

　　“Forty Years of Sculpture： A Case Study of Tian Shixin” focuses on reviewing， summarizing， organizing， and studying the creative experiences and artworks of the sculptor Tian Shixin。 The themes and content of Tian Shixin’s work are very broad， and he had an important and profound influence on the art world， the academic community， and all of society。 The exhibition primarily presents these works across four sections based on historical themes and subject matter。 The first section “No Sooner Said Than Done” showcases Tian Shixin’s early work， and references from the artist and his family。 The second section “Distant Lands Are Not So Far” presents Tian Shixin’s work on ethnic minority themes from his time in Guizhou。 The third section “The Way of the Body” shows Tian’s figural works， bringing together his ideas on the relationship between body and spirit。 The fourth section “Sorrowful Antiquity” shows the artist’s ideas and works related to historical figures。 The exhibition is a full presentation of more than 80 works， as well as documents and drafts。

　　该系列展的第一个部分将于2017年12月28日在深圳市当代艺术与城市规划馆开幕，正式面向公众开放。当日开放的展览包括“雕塑四十年·第一回展（2008-2017）”、“雕塑四十年·田世信个案研究”两个子项目：

　　“Forty Years of Sculpture： Part I （2008-2017）” examines the sites and accomplishments of Chinese sculpture from 2008 to 2017， while also focusing on the connections to the history of sculpture and the explorations of the future through the work of 44 important young contemporary sculptors。 The exhibition is divided into three sections， in order to discuss and present the themes of the show： “What is Sculpture Today？” “The Boundary Between the Everyday and the Aesthetic，” and “Conceptual Legacies and Media Visions。” In addition to traditional sculptures， the exhibition will showcase new media， new technologies， and new materials in sculpture。 The first section “What is Sculpture Today？” focuses on how sculpture has become a concept and a category with philosophical meaning to be explored by contemporary artists。 The second section “The Boundary Between the Everyday and the Aesthetic” primarily presents how sculpture has come to waver between the everyday and the aesthetic。 The third section “Conceptual Legacies and Media Visions” shows how contemporary Chinese sculpture has been directly influenced by the legacy of conceptual art from the international avant-garde art movements in the 1960s and 1970s。 It also reflects how the development of technology and media， particularly the methods of video and the internet， has changed the work of young sculptors。

　　第一部分将集中展现1978年至1992年中国雕塑的创作成果。1978年以后，随着改革开放的潮流，整个艺术界呈现出几代同堂，竞相创造的局面。雕塑创作开始突破单一领袖像的模式，重新开启了现代化的进程。第二部分将集中展现1992年至2000年中国雕塑的创作成果。这一时期是改革开放的深化期，一方面城市化进程大大加速，城市公共雕塑大规模出现，另一方面，对外开放和全球化又使得雕塑的探索开始吸收包括海外雕塑在内的新成果。第三部分将集中展现2000年至2008年中国雕塑的创作成果。千禧年以后，新的理念和手段不断涌现，使得这一时期的雕塑创作呈现出极其多元的态势。加入WTO、北京奥运会的举办等重大事件，也为雕塑探索提供了必要的支持。第四部分将集中展现2008年至2017年中国雕塑的创作成果。在这个后奥运时代，互联网+、移动终端的普及、电子商务的繁荣成为大趋势，当代雕塑家与世界的互动呈现出更加明显的趋势。突破雕塑即有本体观念，从观念艺术的角度重思雕塑成为新的探索方向。

陆垒 《佯装自大狂》 2015 铝、莫尔斯码控制器、白炽灯、腐蚀铸铝雕塑表面、莫尔斯码控制白炽灯泡闪烁 尺寸可变

1988年 《秋瑾》之二（大头像） 铜 62x70x120cm

2016《吴昌硕》74x16x12 阴沉木

　　“雕塑四十年·田世信个案研究”聚焦于对雕塑家田世信创作经历和创作成果的回顾、总结、梳理与研究。田世信的创作题材和内容非常广泛，在艺术界、学术界和全社会都有重要深刻的影响。展览将主要根据历史线索和题材分类交叉的方式分为4个单元进行展示。第一个单元“坐言起行”主要关注田世信早期的创作历程、对自我和家庭的观照。第二个单元“殊方未远”主要呈现田世信在贵州工作期间对少数民族题材的创作。第三个单元“道成肉身”主要是人体类作品，集中体现艺术家对身体与精神关系的思考。第四个部分“悲怆古风”主要呈现艺术家对历史人物题材的思考和创作。展览将以80余件作品，结合文献和手稿进行立体展示。

《大躯干》 大漆 68x66x163 1993年

　　The first part presents Chinese sculpture from 1978 to 1992。 After Reform and Opening began in 1978， the art world entered a new era of competition between multiple generations of artists。 Work in sculpture began to break with monotonous depictions of the leadership， and Chinese sculpture once again began to modernize。 The second part presents Chinese sculpture from 1992 to 2000。 This period saw the deepening of Reform and Opening， which greatly accelerated urbanization and led to a surge in urban public sculpture。 At the same time， globalization and opening to the rest of the world meant that Chinese sculpture began to absorb new modes， including those from abroad。 The third part presents Chinese sculpture from 2000 to 2008。 After 2000， new ideas and methods appeared， which gave the sculpture of this era an immense diversity。 Major events such as China joining the WTO and the Beijing Olympics also provided support for the exploration of sculpture。 The fourth part presents Chinese sculpture from 2008 to 2017。 In the post-Olympic era， Internet plus， mobile devices， and thriving e-commerce became part of everyday life， and Chinese sculptors began interacting more with the rest of the world。 Artists broke with existing concepts of sculpture， or came to see sculpture as a new exploratory avenue within conceptual art。 

(责任编辑：武汉三度艺术机构)