发现意义
Finding Meaning
本次南京大学艺术展览由 Andrea Baldini，Pietro Rivasi 和艺术学院的学生参与策划。本展览由南京大学国际合作与交流处慷慨赞助。
A Nanjing University art exhibition curated by Andrea Baldini, Pietro Rivasi, and the students of the School of Arts. Generously sponsored by the Office of International Cooperation & Exchanges of Nanjing University.
这个世界已经发生了变化。我们可以感知、呼吸、看到这种变化。一个看不见的敌人和它的军队狂风骤雨般无声的侵袭了这个世界，向人类宣战，宣告 COVID-19 对 世界的统治。这次疫情夺走了我们很多东西：无数的生命，我们与所爱之人的联系，我们的自由，公共活动的快乐，我们的学校，我们的酒吧，我们的工作和我们的城市。我们失去了正常的生活，我们失去了联系。面对 这些失去的东西，我们悲痛万分。
“六/6：发现意义”就是一种用来记住、思考和应对我们这种创伤性流行病经历的工具。Elisabeth Kübler-Ross 指出了悲伤的 5 个阶段：“否认”、“愤怒”、“讨价还价”、“沮丧”和“接受”。我们已经看到这个世界在这些不同的阶段中来回穿梭——我们自己也经历过它们。许多国家无视现实，直到为时已晚。关于那些限制，我们感到愤怒，试图通过讨价还价求得快速逃离的路径。我们一直在悲伤的深渊里，但是“接受”本身就蕴含着力量。我们无法挽回已经发生的一切：我们现在能做什么？
David Kessler 在悲伤之外增加了第六个阶段：意义，据此回答了这个问题。这个虚拟展览的名字源于 Kessler 的洞见：实际上，“六”是 six 的中文。“六/6：寻找意义”就是按照其字面的意义：这个展览想利用艺术带来的可能性帮助我们去认识、命名和接受我们的悲伤，同时提出和引入新的方式去思考未来。在寻找意义的过程中，我们治愈了我们的灵魂。
The world has changed. We feel it. We breath it. We see it. An invisible oppressor and its silent army have taken the world by storm, declaring war to the human kind and proclaiming the reign of the COVID-19. The pandemic took away many things from us: Way too many lives, the touch of our loved ones, our freedom, the joy of being in public, our schools, our bars, ours jobs, and our cities. We have lost our normalcy. We have lost our connections. We are grieving those losses. The exhibition is a journey through our grief, in search of meaning.
六/6 : Finding Meaning is a tool for remembering, pondering, and coping with our traumatic pandemic experiences. Elisabeth Kübler-Ross identifies 5 stages of grief: Denial, anger, bargaining, depression, and acceptance. We have seen the world going back and forth through these different stages: We have experienced them ourselves. Many countries have ignored reality until it was too late. We got angry about the restrictions, trying to bargain a quick way out. We have been in the darkest hole of sadness. But it is in the acceptance where the power lies. We can’t undo what happened: What can we do now?
David Kessler answers the question by adding a sixth stage to grief: Meaning. This virtual exhibition takes its name from Kessler’s insight: 六 is, in effect, the Chinese word for six. 六/6 : Finding Meaning sets forth to do just what it says: It wants to exploit the possibilities of the arts to help us recognize, name, and accept our grief, while suggesting and inviting new ways to think about tomorrow. And in finding meaning, we heal our souls.
情绪时间轴
Emotional Timeline
第一个房间名为“情绪时间轴”，艺术化地展示了此次流行病的时间发展。自病毒传播以来，数据弯曲技术可操纵股市波动。我们的情绪会影响我们对时间的感知方式，从而将股票市场的客观时间序列转化为个人的事物，这种事物无法计算，只能通过感觉得到。
The first room, entitled “Emotional Timeline,” artistically interprets the time development of the pandemic. The data bending technique manipulates stock market fluctuations since the spreading of the virus. Our emotions influence how we perceive time, thus transforming the objective temporal sequence of capital exchange into something personal, which can’t be counted but only felt through.
DABDA
第二个房间名为 DABDA，是一个情绪化的房间。它通过学生个人选择的词语和图像分别探讨悲伤的前五个阶段。每个部分均包含6件物品——其中“6”是意义的最后阶段，在学生的经验中，这些物品与“否认”；“愤怒”；“讨价还价”；“沮丧”和“接受”（DABDA）有关。
The second room, entitled DABDA, is an emotional room. It explores individually the first 5 stages of grief through the words and images selected by students. Each section includes 6 artifacts – as 6 is the final stage of meaning – that, in students’ experiences, are associated with Denial; Anger; Bargaining; Depression; and Acceptance: DABDA.
六 / 6
第三个房间名为“6”，是展览的主要空间，展示了一个国际艺术家小组针对此次疫情创作的作品。在这里，我们通过隐喻和转喻的方式寻找到了意义，也就是说，我们找到了使我们的损失具有意义的途径，这种损失可以带来全新的重要意义。
The third room, entitled “6,” is the key environment of the exhibition, hosting the works of an international group of artists dedicated to the pandemic. This is where, metaphorically and metonymically, we find meaning, that is, we find ways to make sense of our losses that can lead somewhere new and significant.
策展人Curators
Andrea Baldini
Pietro Rivasi
Andrea Baldini:
白龙（Andrea Baldini）是南京大学艺术学院艺术理论与美学副教授，兼任南京大学中意文化研究中心主任。他在美国费城天普大学哲学系以富布莱特交换生的身份获得博士学位。其研究领域是美学、艺术哲学及视觉文化。自2015年始，白龙作为“金陵艺术家驻地计划”协调人，促进了中意文化交流。同时，他也是一位具有国际经验的独立策展人。
Andrea Baldini is Associate Professor of Aesthetics and Art Theory at the School of Arts of Nanjing University and Director of NJU Center for Sino-Italian Cultural Studies. He holds a Ph.D. in Philosophy from Temple University (Philadelphia, USA), where he studied as a Fulbright Fellow. His research interests are in aesthetics, philosophy of art, and visual culture. Since 2015, he is the coordinator of the Jinling Artist-in-Residence Program of Nanjing University. He also an independent curator who has worked internationally.
Pietro Rivasi:
彼得罗·里瓦西（Pietro Rivasi）被国际公认为城市艺术最杰出的策展人之一。
在90年代中期开始他的涂鸦创作生涯时，他在2002年通过组织开拓性的涂鸦和与街头艺术相关的活动（例如Icone和Quadricromie），对策展活动产生了兴趣。
同时，他开始与该领域一些最有影响力的杂志进行长期合作，包括Garage Magazine和Graff Zoo。自2005年以来，他一直负责在公共建筑和艺术图书馆“ Luigi Poletti”中收集城市艺术书籍的展览策划。2009年标志着他在美术馆和博物馆的策展历程的开始（Spazio Avia Pervia，D406）。2015年，他作为策展人参加了与第56届威尼斯双年展有关的展览“涂鸦桥”。
Pietro Rivasi is internationally recognized as one of the most prominent curators of urban arts. While starting his career as a graffiti writer in the mid 90s, he became interested in curatorial practices in 2002 by organizing pioneering graffiti and street art related events such as Icone and Quadricromie. At that same time, he began his longstanding collaboration with some of the most influential magazines in the field, including Garage Magazine and Graff Zoo. Since 2005, he has been responsible for curating the collection of urban arts books at the public architecture and art library “Luigi Poletti.” The year 2009 signals the beginning of his curatorial trajectory in galleries and museums (Spazio Avia Pervia, D406). In 2015, he participated as a curator in the exhibition “The Bridges of Graffiti,” an event related to the 56th Venice Biennale.