ArtSlant - Recently added en-us 40 Tu Shaohui - Today Art Museum (TAM) - December 6th - December 15th <div class="text" style="height: auto;"> <div class="inner"> <div style="text-align: justify;">The exhibition composed of series &ldquo;Paradox&rdquo;, &ldquo;The Journey of a Spider&rdquo; , and &ldquo;The Rosy Clouds Rising&rdquo;. Works will be displayed in different forms including scroll and album, which reflects the breath relations between works and space.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">The new works focus on painting language, and observe the world with different variants: point, line, and surface elements. They built a new language concept space which is paradoxical, and with a contemplative temperament of the visual association. Tu paints indistinct shapes in faint color gradation, catches space that is far and close. With a unique painting language, he creates a new way to observe the world.</div> <div style="text-align: justify;">&nbsp;</div> <div>This is not only a visual feast, but also a sublimation of the. Let us walk into painting world of Tu Shaohui with the doubts of " paradox ", and &ldquo;decodes&rdquo; his intent of painting.<hr />展览的作品以《似是而非》、《蛛丝游记》、《云蒸霞蔚》几个系列作品组成,包括手卷、册页等形式。作品将以不同展示形态体现作品与空间的呼吸关系。&nbsp; <p style="text-align: justify;">&nbsp; &nbsp; &nbsp; 新作品关注绘画语言,用点、线、面元素的不同变体观察万物,建立物象间似是而非的,带有禅意气质的视觉联想,从而触及到语言观念的新空间。他在微弱的色阶中塑造如隐如现的形体、扑捉似远似近的空间,以自己独特的绘画语言形成了一种新的观看世界的方式。</p> <p style="text-align: justify;">&nbsp; &nbsp; &nbsp; 这不仅仅是视觉上的盛宴,更是学理中的梳理与升华。让我们带着&ldquo;似&rdquo;的疑惑一起走进涂少辉的工笔视界,用我们的疑惑进行一次画面&ldquo;意图的解码&rdquo;。</p> </div> </div> </div> Sun, 16 Nov 2014 17:07:22 +0000 qu guangci - Today Art Museum (TAM) - November 22nd - December 13th <div class="text" style="height: auto;"> <div class="inner"> <div style="text-align: justify;">The sculptures of Qu Guangci are like words that tell a tale. It is not only narrative but also filled ingeniously with obscure allegories.The ambiguous attitude in the opposing state between the subject and the space of the sculpture become more direct and explicit.Besides the rearranging and parody of existing works such as art works, political figures, iconic figures, posters and public events, included in this exhibition are completely new works that expand to the visualized re-presentation of the mass behavior in the current society.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">In the Chinese literature classic Liezi - Tang Wen was a mystic country "Northernmost Country",where the land is flat but sterile, the climate mild but no living creatures nor wind, rain, frost or snow. People there are soft at heart and weak in body. They do not work, do not think,nor do they have emotions. They do not ail,or have disasters. They do not starve, nor do they feel full. They do not think, nor do they miss anything. The just wander leisurely and sing beautifully all day long. This country in the utmost north might be the state the little fat figures in the works wished to build. When we are doomed to fight for our life and strain to write down our so-called thoughts and spirits,we get tired in the end and the illusive dream is then to think not, miss nothing and live in ultimate joy.&nbsp;<hr />瞿广慈的雕塑作品如同文字般,具有很强的叙事性,同时巧妙地加入晦涩的隐喻,使得语言不详的态度在雕塑作品的本体与空间的相持状态中表现得更为直接、具 体。除了以往对既定作品的改写与戏拟,如艺术作品,政治人物,经典造型,形象海报和公众事件,此次加入展览的全新作品还将扩展出艺术家对当下社会大众行为 的形体化表述。 <p>&nbsp; &nbsp; &nbsp; <列子.&nbsp;汤问>中提到一个国都叫"终北国",其土平整却不生草木,气候温顺,无鸟兽无风雨霜雪。那里的人"柔心而弱骨",不劳作不思考更无喜怒哀乐,不 饥不饱无病无灾无思不想,每日悠悠的走着,唱好听的歌而终日不缀音。这个终北国,或许就是艺术家那些小胖人希望建立的国度。当人们不得不在生命里拼命奔 跑,努力谱写些所谓的精神和思想,疲倦之后最后的妄想也许就是:无思无想,极尽快乐!</p> </div> </div> </div> Sun, 16 Nov 2014 17:03:56 +0000 Rabindra Bhavana, Pan Tianshou, Kaii Higashiyama - Today Art Museum (TAM) - November 18th - December 27th <div class="ap-whitebox-body description"> <div class="text" style="height: 315px;"> <div class="inner"> <div style="text-align: justify;">The exhibition Modernity: Transmission and Alternation:Three Asian Cases is part of the joint research project MGA (Modernization, Globalization, Art) between CAFA(Central Academy of Fine Arts) and ZKM (Center for Art and Media Technologies). The exhibition focuses on three cultural icons in the Modernization process in Asia----Rabinaranath Tagore from India, Pan Tianshou from China, Kaii Higashiyama from Japan, to explore how Modernity is transmitted, reacted and altered when it was firstly introduced into these Asian countries, through a study of their inspirations from local cultures, reflections on Western Modernity and judgments on the Modernization of their own traditions.&nbsp;</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">Kaii Higashiyama said he was born on the cross of East and West. In his case, we may see how the Japanese Painting, which may not seem directly relevant to Western Modernism art, was closely intermingled with the transmission of Western Modernity into Japanese context in late 19th and early 20th century, and how this Japanese Painting format emerged as a complicated reaction between Modernity and local traditions. Rabinaranath Tagore acknowledged both Indian tradition and Western Modern culture in a more profound way comparing to his Indian colleagues. Thereon he can hardly satisfy the Indian art practices at his time---either rigid mimic of Victoria Art or mincement play of Oriental patterns. He takes a radical way to abandon all his cultural ancestors to activate Indian art. Pan Tianshou was originally optimistic on the hybrid of Chinese and Western cultures. However, with happenings of &ldquo;Chinese Painting Department Cancelled&rdquo; and &ldquo;Chinese Painting renamed as Color Ink&rdquo;, he realized the Self-elimination of Chinese painting as a possible result of this hybrid. Thus he has adjusted his proposition to &ldquo;Keep a Distance between Chinese and Western Paintings&rdquo;, as a way to reflect and re-balance with the dominant attitude of Complete Westernization and Complete Hybrid at his time.&nbsp;</div> <div>The exhibition will show 6 original works of Pan Tianshou&rsquo;s masterpieces, lasting from Nov 18th &nbsp;to Dec 27th, 2014.<hr /> <p style="text-align: justify;">《现 代性的传递与变异:三个亚洲案例》文献展作为作为中国中央美术学院与德国ZKM媒体与艺术中心合作研究项目《从现代化到全球化》在亚洲巡展的第 一站,该展览着眼于三位在亚洲艺术现代性进程中标杆杆性文化人物&mdash;&mdash;印度的泰戈尔、中国的潘天寿、日本的东山魁夷,考察其最初的民族文化启蒙、对西方现代 文化的思考、以及对民族传统现代化之路的不同判断。</p> <p style="text-align: justify;">东山魁夷曾说,&lsquo;我一生下来就成长在&ldquo;东&rdquo;和&ldquo;西&rdquo;的联接点中。从东山魁夷的个案,或可体现&ldquo;日本画&rdquo;这一看似与欧美现代主义流派不大有直接关联的东方绘 画形式,在19世纪末20世纪初的日本文化环境中,与西方现代性的传递有多么密切的联系。它的生成创意,正是现代性传递过程中与本土传统产生复杂反应的结 果。&nbsp;泰戈尔比他的同辈人对于印度文化有着更深刻热烈的感情,也对西方的传统与现代文化更深入广泛的了解,由此不能满意当时印度艺术对于西方的僵化因袭与 对传统皮毛的矫饰呈现,而试图以&ldquo;大破坏&rdquo;来激活印度艺术。潘天寿对于中西&ldquo;混交&rdquo;,原本乐见其成,然而经历过杭州艺专取消&ldquo;中国画科&rdquo;事件以及中央美术 学院华东分院&ldquo;国画系改彩墨系&rdquo;事件,他显然体会到中西&ldquo;混交&rdquo;在当时给中国画带来的&ldquo;自我取消&rdquo;之压力,遂提出&ldquo;中西绘画,拉开距离&rdquo;的主张,作为对同 代文化人的&ldquo;全盘西化&rdquo;与&ldquo;中西融合&rdquo;主张的反思与再平衡。</p> <p style="text-align: justify;">该项目试图以此呈现西方现代性在传入亚洲继发现代性国家后的多元变异,而这,恰恰是当下所谓&ldquo;全球当代&rdquo;艺术形态的源头。</p> <p style="text-align: justify;">该展览将包括六件潘天寿代表作原作,展览展期为2014年11月18日至12月27日。</p> </div> </div> </div> </div> Sun, 16 Nov 2014 17:11:24 +0000 Maria Paz - Today Art Museum (TAM) - November 7th - November 22nd <div class="text" style="height: 273px;"> <div class="inner"> <div style="text-align: justify;">&mdash;&mdash;A pure soul is not hard to find in Hermes but difficult to meet in you.</div> <div style="text-align: justify;">ZERO: The Divine Order of the Universal Language</div> <div style="text-align: justify;">We know nothing about ourselves. We need a language to tell about the world and its secrets.</div> <div style="text-align: justify;">It should be a universal language, from the unknown divine order, from us and our bodies.</div> <div style="text-align: justify;">Contradiction is everywhere, which creates the divine creativity. That&rsquo;s the rules of Kybalion.</div> <div style="text-align: justify;">The Divinity emerges from the violent contradiction. When its universal language rings in our ears, we can hear a distant voice, and ourselves.</div> <div style="text-align: justify;">He/she, also starts to listen to you.</div> <div style="text-align: justify;">You wake up in this violence only to find everything in peace. But at the same time, you are not still in the mighty storm?</div> <div style="text-align: justify;">This is the paradox. Contradiction is everywhere. Conflict is everywhere.</div> <div style="text-align: justify;">As far as we know that all contradictions will vanish in contradictions. Contradiction is +/-. It&rsquo;s Zero. Zero: the divine order of universal language.</div> <div style="text-align: justify;">The language is from the divine order and the unknown world, which allows us, irrespective of race, sexuality or color, to share the tranquility, soul&rsquo;s mutual understanding and ecstasy. &nbsp; &nbsp;<br />&mdash;&mdash;Curator&nbsp;Clarity Wang <h3 id="preface" class="title">展览前言</h3> <div class="text" style="height: 315px;"> <div class="inner"> <p>&mdash;&mdash;题记&nbsp;一颗原初的纯洁的心,在赫尔墨斯那里并不稀奇,在现世却属罕见。</p> <p>&nbsp;</p> <p>神圣秩序的宇宙语言</p> <p>我们对自己知之甚少。我们需要一种语言,来告知我们这一切。</p> <p>它是一种宇宙的语言,来自神圣的未知世界,来自我们自己的身体。</p> <p>矛盾的激烈冲突无处不在,神圣的创造力恰在矛盾中产生。这就是赫尔墨斯未知世界的秘密。当神圣的宇宙语言在我们耳边喃喃自语,我们听到了一种隔世的声音,我们听到了我们自己。</p> <p>他/她,也在聆听着你。</p> <p>你在巨大的争夺中被唤醒,你发现,这里,除了宁静,还是宁静。可是你一直在暴风骤雨里。</p> <p>这是巨大的悖论。争夺无处不在。矛盾无处不在。</p> <p>我们需要,一种神圣的宇宙的语言,让我们了解这一切。</p> <p>我们知道,一切的争夺,都将为争夺所熄灭。这就是+与-的组合,争夺的结果是:零。</p> <p>零:神圣秩序的宇宙语言。</p> <p>神圣秩序与未知世界,给予我们一种宇宙语言,让我们不分种族、性别、肤色,都获得一种宁静,一种相知,一种喜悦。<br /> &mdash;&mdash;策展人&nbsp;王艳华</p> </div> </div> <hr /></div> </div> </div> Sun, 16 Nov 2014 16:53:18 +0000 Paik Nam June, Kim Hyun Jung, Lee Wal Chong - Today Art Museum (TAM) - November 9th - November 19th <div class="text" style="height: auto;"> <div class="inner"> <div style="text-align: justify;">As the grand narration in art history goes, modern art took the place of classic art; contemporary art then replaced modern art. But this is far from what really happened. This threefold division of art is not consecutive, but concurrent. Classic, modern and contemporary art defined, rather than replaced one another. Such co-existence and dividing into three is clearly visible in the art scene in Korea. We selected three artists from each respective genre and thereby try to demonstrate the well-preserved ecology of Korean art scene.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">Paik Nam June is an internationally recognized contemporary artist from Korea. His video installation enjoys a tremendous influence in international contemporary art world. B is regarded a groundbreaking maestro. Lee Wal Chong's painting is remarkable in its modernistic characteristics. His inspiration comes from experience of life in the Jeju Island, full of childlike candidness and well-contained humor. Kim Hyun Jung is an heir of the Korean painting heritage. She created a neo-classic style incorporating realistic fine techniques with pop art. It is worthwhile to note that the ages of these three artists lie in reversed order of the progress of the grand narration in art history. This in fact enhances the huge contradiction between the narration of art history and the reality in art world.&mdash;&mdash;Curator Peng&nbsp;Feng<hr /> <h3 id="preface" class="title" style="text-align: justify;">展览前言</h3> <div class="text" style="height: auto;"> <div class="inner"> <p style="text-align: justify;">&nbsp; &nbsp; &nbsp; 根据艺术史的宏大叙事,现代艺术取代了古典艺术,当代艺术又取代了现代艺术。但是,实际情况远非如此。艺术界的一分为三,不是历时的,而是共时的。古典、 现代和当代艺术并没有相互取代,而是相互规定。这种共时的一分为三,在韩国艺术界也可以看到。这次展览我们从三种不同类型的艺术中各选取了一名艺术家,力 图展示韩国艺术界的良好生态。</p> <p style="text-align: justify;">&nbsp; &nbsp; &nbsp; 白南准是享有国际盛誉的韩国当代艺术家,他创作的影像装置艺术,在国际当代艺术界产生了极大的影响,可以说是一位开风气之先的大师。李曰钟的绘画具有明显 的现代主义特征,他的作品基于他在济州岛的生活感受,充满了童真和雅趣。金贤静则继承韩国画的传统,创造了一种融合工笔技法与波普风格的绘画,具有新古典 绘画的气质。值得注意的是,这三位艺术家的年龄与艺术史的宏大叙事的进程相反,由此强化了艺术史叙事与艺术界实际之间的巨大冲突。&mdash;&mdash;策展人 彭锋</p> </div> </div> </div> </div> </div> Sun, 16 Nov 2014 16:51:19 +0000 Group Show - Power Station of Art - November 23rd - March 31st, 2015 <div style="text-align: justify;"><em>[Fiction] is the one and only way to transcend worldly life...Since we are in contact with fiction everyday, its quality affects us just as the air we breathe and the food we eat; if the air is polluted or the food contaminated, those who live in this environment will certainly languish, fall sick, meet with tragic death, or fall into moral degeneration.</em></div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;"><em>Liang Qichao, On the Relationship between Fiction and the Governance of the People (1902)</em></div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">&nbsp;</div> <div> <div style="text-align: justify;">In 2014, for the second time, China&rsquo;s foremost state-run institution of contemporary art &ndash; Power Station of Art &ndash; hosts the Shanghai Biennale, in its converted power plant space.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">Entitled &ldquo;Social Factory&rdquo;, the 10th Biennale asks what characterizes the production of the social, and how &ldquo;social facts&rdquo; are constituted. A recurring point of reference is the year 1978, acknowledged as a turning point in the recent history of modernity. 1978 was also the year in which Deng Xiaoping, who was to become China&rsquo;s most influential Leader in the following decades, initiated his landmark socio-economic Reform and Opening, re-invoking Mao Zedong&rsquo;s 1938 exhortation to &ldquo;seek truth from facts&rdquo;&ndash; a practice that sought to separate accounts of objective reality from subjective imagination. &ldquo;Social Factory&rdquo; contrasts this principle with the call to use fiction as a means of social reform, made by earlier seminal Chinese modernizers, like scholar and journalist Liang Qichao, and China&rsquo;s seminal social critic and writer Lu Xun, who wrote The Story of <em>Ah Q, Diary of a Madman</em>, among others.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">In this vein, the Biennale explores an interlocking set of questions: What is the relationship between the social and the fictive in the construction and re-construction of society? How has the production of the social changed throughout 20th century modernity? Has the production of the social entered a new phase with the massive influx of &ldquo;sociometric&rdquo; technologies, the extraction of data and digital profiling, and the increasing automatization of social processes in algorithms? And does China's pre-modern history of social systematization through unparalleled bureaucratic machinery and archiving capabilities echo in the country&rsquo;s current processes of social fabrication? How can we grasp the simultaneous impact of history and that of technology on subjectification today? And how does the general process of acceleration and diversification of subjectification play out in the case of China and its current era of social reconstruction?</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">The &ldquo;social&rdquo; is produced by developing the human capacity to relate, through care, affection and education. The process encompasses the creation of symbols, abstract images and conceptual generalizations, which goes hand in hand with the formation of institutions and material culture. It also includes the constitution of a particular economy of signs, their &ldquo;animated&rdquo; and ambiguous relations to functions, meanings and things. Due to this complex genealogy, &ldquo;social facts&rdquo; can never be entirely known; they remain partially implicit, situated between the actual and the potential.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">In modernity, this ambiguity of the social, and the possibility to plan and engineer society that hinges on it, has been a matter of ongoing contestation. Bureaucratic procedures, surveys, statistics, and concepts of identity have variously sought to reduce the complexity of the &ldquo;social hieroglyph&rdquo; (James C. Scott), in order to separate the meaningful from the meaningless or legible &ldquo;signals&rdquo; from &ldquo;noise&rdquo;. Drawing on both contemporary and historical works, as well as music and cinema, the 10th Shanghai Biennale presents art works that call such separation, and its historical productivity, into question.</div> <div style="text-align: justify;">&nbsp;</div> <div> <div style="text-align: justify;"><strong>Chief curator: Anselm Franke</strong></div> <div style="text-align: justify;"><strong>Co-curators: Freya Chou, Cosmin Costinas, Liu Xiao</strong></div> <div style="text-align: justify;"><strong>Curator for the Film program: Hila peleg</strong></div> <div><strong>Curator for the Music Program: Nicholas Bussmann</strong><hr /> <div style="text-align: justify;"><em>&ldquo;其(小说)为用之易感人也又如此&hellip;&hellip;既已如空气如菽粟,欲避不得避,欲屏不得屏,而日日相与呼吸之餐嚼之矣。于此其空气而苟含有秽质也,其菽粟而苟含有毒性也,则其人之食息于此间者,必憔悴,必萎病,必惨死,必堕落。&rdquo;</em></div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;"><em>&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;&mdash;&mdash;梁启超,《论小说与群治之关系》(1902)</em></div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;"> <div>2014年,上海当代艺术博物馆&mdash;&mdash;中国最重要的公立当代美术馆,前身为南市发电厂&mdash;&mdash;即将第二次举办上海双年展。</div> <div>&nbsp;</div> <div>本届双年展的主题为&ldquo;社会工厂&rdquo;,旨在探究&ldquo;社会性的生产&rdquo;特点和&ldquo;社会事实&rdquo;的组成要素。展览将回溯1978年这一历史参照点,这同时也是中 国步入现代化的转折点。1978年,即将担任中国最高国家领导人的邓小平(1904-1997)宣布实行改革开放政策,重新确立&ldquo;实事求是&rdquo;的思想指导原 则。此前毛泽东曾告诫党内,要以&ldquo;实事求是&rdquo;的态度区分对待客观事实与主观想象。&ldquo;社会工厂&rdquo;将响应中国一些先驱级、重量级现代改革家的号召,以文学虚构 手法作为社会改革的手段,代表人物包括政治评论家梁启超及中国最著名的社会批评家&mdash;&mdash;着有《阿Q正传》和《狂人日记》的作家鲁迅。</div> <div>&nbsp;</div> <div>在此脉络下,本届双年展将探讨一系列相互关联的问题:在构建和重构社会的过程中,社会性与文学虚构之间存在何种关系?随着20世纪的现代化进 程,社会性的生产发生了什么变化?随着&ldquo;社会测量&rdquo;技术的大范围使用、数据抽取和数码分析的盛行、以及社会进程日趋像电脑算法一般自动推演,社会性的生产 是否进入了一个全新的阶段?近现代之前,中国建立起无以类比的管理体系和档案管理制度,实现了社会的系统化;而这种历史遗产是否会影响当下社会的构建进 程?我们该如何解读历史和技术对主体化产生的双重冲击?在社会重构的大背景下,中国是否也会像其他国家一样,迎来主体化的加速和多元化发展?</div> <div>&nbsp;</div> <div>所谓&ldquo;社会性的生产&rdquo;,就是要通过关爱、情感和教育来培养人们感同身受的能力。&ldquo;社会性的生产&rdquo;包括生产各种符号、抽象图像和概念性泛化结论, 它与体系构建及物质文化的创造同步进行。此外,它还包括由生产出的各种符号组成的一种特殊经济体、符号与功能、意义及事物其间&ldquo;鲜活&rdquo;而又模糊的关系。正 是因为这种复杂交错的渊源,&ldquo;社会事实&rdquo;处在实际与可能性之间的灰色地带,总是若隐若现,永远不可能被人们完全参透。</div> <div>&nbsp;</div> <div>在现代性之中,社会性模棱两可的特点,以及我们能否规划并改造、建立在这种模糊性中的社会,成了人们争论不休的话题。人们通过建立管理体系、展 开调查和统计数据提出各种身份概念,试图多管齐下地减少&ldquo;社会象形符号&rdquo;(James C. Scott)的复杂性,并试图将有意义的符号与无意义的符号区分开,把可读的&ldquo;信号&rdquo;从&ldquo;噪音&rdquo;中剥离出来。第十届上海双年展便是在此脉络下展开,重点呈 现当代和历史作品及音乐和电影艺术,质疑这种分离的表现及其历史性的生产力。</div> </div> </div> </div> </div> Sun, 16 Nov 2014 16:45:40 +0000 Xie Fan - WHITE SPACE BEIJING - October 26th - December 7th <div class="content" style="text-align: justify;"> <p><em>Back to the Footlights Tomorrow </em>is Xie Fan&rsquo;s second solo exhibition at WHITE SPACE BEIJING since <em>The Layers</em>, showcasing his latest works.</p> <p>The exhibition title <em>Back to the Footlights Tomorrow</em> appropriately describes Xie Fan&rsquo;s creative process and state of being. Xie Fan chooses to work and live between Beijing and Jiang You, Sichuan Province, away from a centralized geography so that he maintains a relatively independent mode of thinking and creating. In his recent works, Xie Fan is cautious about ideas established by the system. He intentionally keeps a distance from the familiar methods of painting, renouncing the traceable empiricism and weakening the subjectivity and significance of techniques. Such escape from conventions originates from Xie Fan&rsquo;s reflection on painting itself. When the body and the mind have developed a reflex to process then produce images, the artist would much rather reach a poised and calm state and retreat to the inner self, letting go of the so-called painting techniques to be close to the heart again and to explore images in a primitive way.</p> Unlike the previous landscape works, animals and human figures have returned to Xie Fan&rsquo;s paintings. The addition of life into the broad and blank backdrop reduces the desolate distance. Void of any context, the forward movement of a deer or the old man looking back accentuates the stagnant movement. In the mind of a young artist, old men are equivalent to ancient history, and with this recognition, the old man implies the passing of time. The overlap of emotions and imagery adds complexity to the painting. <p>The dissemination of emotions is not only apparent in the change in presentation but also in the continuation of the past subject matters. In this exhibition, there are two sets of polyptychs, <em>Winter </em>and <em>Summer</em>. They inherit the ubiquity of plant details in the previous works but disintegrate their overwhelming dominance of the canvas, which allows the meticulous details to strengthen the chaos. In his narrative of nature, Xie Fan uses the bodily sensation of time and climate as the source of his images. Relatively conservative with the range of colors, Xie Fan uses black and green to depict the unbearably long and monotonous winter and summer at the face of short but lively spring and autumn. Behind such choice is Xie Fan&rsquo;s own appreciation and understanding of time. Consistent with his focus in the visual world, Xie Fan creates a parallel between the continuous imagery and the interrupted blankness, infused and saturated with emotions.</p> Perhaps, one can never completely get rid of old habits. Therefore, in Xie Fan&rsquo;s new works, the details of colors and imagery are still visible, but the artist&rsquo;s introspection has added complexity and strength to them. Perhaps, this is akin to people&rsquo;s common misreading of Xie Fan&rsquo;s landscape on silk. &ldquo;Mountains may be mountains, but mountains are not just mountains.&rdquo; This question without a concrete answer might be resolved when back to the footlights tomorrow.&nbsp;&nbsp; <p>Xie Fan was born in 1983 in Jiangyou, Sichuan Province and graduated from Sichuan Academy of Fine Arts in 2005. Currently lives and works in Beijing and Jiangyou.</p> <hr /> <div class="content"> <p>&ldquo;明日出山&rdquo; 是谢帆继 &ldquo;景深&rdquo; 之后在空白空间北京的第二回个展,展出了他最新的作品。</p> 展览以 &ldquo;明日出山&rdquo;为题,恰如其分的描述了谢帆创作与生活的状态。谢帆选择在北京和四川江油两地创作生活,在一种远离中心化的场域中保持相对独立的思考与创作。 而在近期的创作中,谢帆面对被知识系统所总结的方法,保持警惕,他有意与过往对绘画的亲密熟练保持距离,告别有迹可循的经验主义,弱化技法在创作过程中的 主观性与重要性。这种对于固化思维的逃离,源自谢帆对于绘画本身的反思,当身体与思想都已经形成绘画与图像的双重惯性之时,艺术家反而希望通过一种愈发冷 静的状态,以回归本我的方式,遗忘过往的所谓&ldquo;绘画招术&rdquo;,重新接近内心,通过几乎本能的&ldquo;涂鸦&rdquo;牵引对于图像的追寻。 <p>与过往对 于场景化的描述不同,动物、人物等形象,重新出现在谢帆的绘画表达之中。生命的加入继承了原本片段化似留白山水的图像形式,无疑缩短了清冷的距离感。鹿、 老人的回首或前行,在与背景的剥离中,加强了动作的停滞感。&ldquo;老年人&rdquo;,在艺术家少时的印象中就是&ldquo;古代人&rdquo;,这种认知上的指向使得老人形象对于其而言暗 示着时间的消失。情感与图像上的相映增加了绘画本身之中复杂性。</p> <p>&nbsp;</p> <p>&nbsp;</p> <p>情感的蔓 延不单单体现在图象的变化,同样体现在对于过往创作题材的延续之中。这次展出中的两组四联画则分别于《冬》、《夏》为题,绘画继承了早先对于植物细节的刻 画而形成的弥漫感,但打破了过往对于图像在整体空间中的部分占有的控制,以对于细节刻画的加强支撑了原有的混沌。而在对于自然的讲述中,谢帆将身体对于时 间及气候的感知作为图像选择的源头,以在色彩的相对节制中,以黑与绿分别写冬、夏,在面对炫丽却短暂的春秋之时,面对漫长煎熬却又最为日常的冬夏。在这种 选择背后,无疑加入了谢帆本身对于时间的体味,在其对于视觉一贯至之的研究之中,图像的蔓延与戛然而止的空白始终并行,情感的渗透与缠绕无疑增加了其中的 丰厚。</p> 或许,对 于创作习惯本身的有意避离无法完成绝对,所以,在新作中,依旧可见其从色彩、图像等诸多细节之处的延续之意,但谢帆自身的反思增加了内向的复杂与角力。或 许,这与大众对于谢帆以绢写看似山水之物的习惯性误读相似,&ldquo;看山是山,看山不是山&rdquo;,这一本无答案的命题,在出山后方见回答。 <p>谢帆1983年生于四川江油,2005年毕业于四川美术学院,现在生活和工作在北京、江油两地。</p> </div> </div> Sun, 16 Nov 2014 16:36:45 +0000 He Xiangyu - WHITE SPACE BEIJING - October 26th - December 7th <p style="text-align: justify;">The third Solo exhibition of He Xiangyu <em>Dotted Line</em> at WHITE SPACE BEIJING, opening on Oct 26<sup>th</sup>, showcasing his latest works.</p> <p style="text-align: justify;">Since <em>Everything We Create is Not Ourselves</em> in 2013, He Xiangyu has begun to explore and further his artistic experiments from a different perspective and dimension. He turns from the production of symbols in the visual world to the sensation and inspection of the inner world, emphasizing the universality of art based on the body and the imagination born of it.</p> <p style="text-align: justify;">He Xiangyu&rsquo;s soloexhibition <em>Dotted Line</em> reiterates the artist&rsquo;s aesthetic interest in the experimental quality of objects; on the other hand, the works leave room for the audience to investigate. As the title suggests, <em>Dotted Line</em> is a continuous but disconnected two-dimensional trace, but it is also an intermittently visible space in which the audience must project their own readings.</p> <p style="text-align: justify;">He Xiangyu was born in Dandong, Liaoning Province in 1986, currently lives and works in Beijing. His recent major exhibitions include <em>Future Generation Art Prize</em><em> - Finalists Exhibition,</em> Pinchuk Art Centre, Kiev, Ukraine; <em>The 10<sup>th</sup> Shanghai Biennale</em>, Power Station of Art, Shanghai, China.</p> <hr /> <div class="content"> <p style="text-align: justify;">何翔宇在空白空间北京的第三回个展&ldquo;虚线&rdquo;于10月26日开幕。展出他了最新的作品。</p> 自&ldquo;口腔计划&rdquo;(2013-至今)之后,何翔宇开始尝试对其另一兴趣维度艺术实践的拓展与深化,即从景观世界的符号生产转向对其身体内部的感受与回溯,强调艺术基于身体的某种普遍性,以及由此而生的想象力。</div> <div class="content">&nbsp;</div> <div class="content">何翔宇&ldquo;虚线&rdquo;个展所展出的作品,一方面在美学形态上呈现出艺术家一贯的物性实践原则,另一方面,又为观众的入场留下适度的回应余地。正如展题所示,&ldquo;虚线&rdquo;既可能是一条时断时续的二维轨迹,也可能转化为一种时隐时现的空间状态,而观众必须在其中投射自己的解读。 <p style="text-align: justify;">何翔宇1986年出生于辽宁丹东,现在生活和工作在北京。近期重要展览包括&ldquo;未来世代艺术奖&rdquo;,平丘克艺术中心,基辅,乌克兰;&ldquo;第十届上海双年展&rdquo;,上海当代艺术博物馆,上海,中国。</p> </div> Sun, 16 Nov 2014 16:34:24 +0000 Polit-Sheer-Form - Ullens Center for Contemporary Art - November 24th - January 4th, 2015 <div class="ea21 tleft wordg"> <p style="text-align: justify;"><strong>Polit-Sheer-Form transforms the UCCA Gala and Benefit Auction 2014 into a state banquet in blue as a preface to their largest exhibition in China to date.</strong></p> <p style="text-align: justify;">&ldquo;Polit-Sheer-Form: Fitness for All&rdquo; is the largest survey by any Chinese art institution of the groundbreaking, five-member collective&rsquo;s decade-long career. An expansive yet concise exhibition comprised of eleven works, its focus falls on several of the group&rsquo;s installations and includes the premiere of the performance piece Whip It. The show occupies the Central Gallery, Nave, and Long Gallery from November 21, 2014, until January 4, 2015. The night preceding the opening, guests of the UCCA Gala and Benefit Auction 2014 bear witness to a unique on-site project designed by Polit-Sheer-Form to mirror the familiar pomp of official gatherings. &nbsp;The two events promise to bring blue&mdash;Polit-Sheer-Blue&mdash;back to the grey capital.</p> <p style="text-align: justify;">Polit-Sheer-Form was founded in 2005 by artists Hong Hao, Xiao Yu, Song Dong, Liu Jianhua, and curator/critic Leng Lin. The group&rsquo;s multi-disciplinary projects address the idea of &ldquo;we&rdquo; in a &ldquo;me&rdquo; world, and their activities of talking, traveling, eating, reading, and playing together form the basis of their commentary on political, cultural, and spiritual life in twenty-first century China.&ldquo;Polit-Sheer-Form&rsquo;s five members were born in the 1960s&mdash;a lost generation with memories, albeit only childhood memories, of High Socialism. As a result they have sought to reconstitute the visuality and affect of the socialist moment, distilling its political imperatives into pure (sheer) forms, devoid of content,&rdquo; says UCCA Director Philip Tinari who organized the exhibition together with UCCA Assistant Curator Guo Xi.</p> <p style="text-align: justify;">&ldquo;Polit-Sheer-Form: Fitness for All&rdquo; alludes to a Chinese slogan encouraging physical exercise among citizens and is the starting point for their installation Fitness for All, which appropriates the publicly funded workout equipment found in city squares and residential compounds throughout China, treating it as sculpture for the betterment of museum visitors. In their signature tongue-in-cheek style, politicized aesthetic forms from a bygone era are repurposed as in Mr. Zheng, a &ldquo;leader portrait&rdquo; formed by combining their individual likenesses into a single figure wearing their blue insignia.</p> <p style="text-align: justify;">Guests are greeted in the lobby by Flower Bed, an installation reminiscent of floral topiaries popular during China&rsquo;s National Holiday season. Other pieces in the show include a video installation of the performance Do the Same Good Deed in which they host a mass cleaning of city buses in Guangzhou. Manifestos from 2005, 2007, 2008, 2009 and 2014 lend context to the group&rsquo;s paradoxical conception. Polit-Sheer-Form Chronology: 2005-2014records the group&rsquo;s activities through an astounding collection of hundreds of official invoices [<em>fapiao</em>] documenting their endeavors and encounters, scanned and printed as wallpaper. &ldquo;Polit-Sheer-Form: Fitness for All&rdquo; is a mental exercise engaging viewers with a diverse body of work produced by a uniquely conceived and positioned collective.</p> <p style="text-align: justify;">CP and WTi Group are the new media art production partner. Chronus Art Center is the new media art partner. Special thanks to MABSOCIETY and Catherine Lee for their support.</p> <p style="text-align: justify;"><a href=""><img class="alignnone wp-image-62704" src="" alt="Polit-Sheer-Form-logo" width="566" height="47" /></a></p> <p style="text-align: justify;"><strong>About Polit-Sheer-Form</strong></p> <p style="text-align: justify;">Polit-Sheer-Form is a China-based art collective founded in 2005 by artists Hong Hao, Xiao Yu, Song Dong, Liu Jianhua, and curator/critic Leng Lin. Through their work they reconstitute the visuality and affect of the socialist moment, articulating politics as pure (sheer) forms.</p> <p style="text-align: justify;">This November Polit-Sheer-Form has an exhibition &ldquo;Polit Sheer Form!&rdquo; at the Queens Museum, New York, with accompanying performance <em>Do the Same Good Deed</em> held in Times Square. Polit-Sheer-Form has participated in several major exhibitions internationally, including: &ldquo;Duchamp and/or/in China&rdquo; (UCCA, Beijing 2013); &ldquo;We are Polit-Sheer-Form&rdquo; (Shanghai Gallery of Art, Shanghai, 2011); &ldquo;Tofu, Kungfu, Polit-Sheer-Form&rdquo; (Beijing Commune, Beijing, 2009); and &ldquo;Only One Wall&rdquo; (Artspace, Sydney, 2006). The group&rsquo;s piece &ldquo;Fitness for All&rdquo; was featured in &ldquo;Focus: China&rdquo; section of The Armory Show, New York, in March 2014.</p> <hr /> <div class="ea21 tleft wordg"> <p style="text-align: justify;"><strong>政纯办将2014尤伦斯庆典暨义拍的晚宴现场转换成了一场盛大的蓝色国宴,作为此次在国内的最大规模个展的前奏。</strong></p> <p style="text-align: justify;">尤伦斯当代艺术中心(UCCA)即将于2014年11月21日至2015年1月4日期 间推出展览&ldquo;政纯办:全民健身&rdquo;,覆盖UCCA大堂、长廊、甬道、中展厅,是这一五人艺术小组在国内的最大规模个展,亦是其九年创作生涯的首次回顾展。本 展全面而简洁,由11件作品构成,以若干组装置为重心,现场还包括行为作品《抽相》的首演。本展开幕前夜,出席2014尤伦斯庆典暨义拍的嘉宾还将见证一 个由政纯办特别策划的在地项目:晚宴现场被转换为一场翻版的国宴盛况。政纯办通过这两个项目将&ldquo;政纯蓝&rdquo;带回霾都。</p> <p style="text-align: justify;">政纯办为政治纯形式办公室的简称,由洪浩、萧昱、宋冬、刘建华、策展人和批评家冷林共 同创立于2005年。小组致力于以一系列的跨学科实践探讨&ldquo;&lsquo;我们&rsquo;在&lsquo;我&rsquo;的世界中&rdquo;这一母题;通过讨论、旅行、饮食、阅读和玩乐等集体行为,构成了诠 释21世纪中国的政治、文化和精神生活的基础形式。UCCA馆长田霏宇指出,&ldquo;政纯办的五位成员均出生于1960年代的中国&mdash;&mdash;那是迷惘的一代,尚且留存 着&lsquo;社会主义好&rsquo;的记忆,尽管只是童年记忆。基于此,他们尝试去重构社会主义在特殊历史时期的可视性和影响力,并将历史的政治意味转换为没有内容的、纯粹 的形式(政治纯形式)。&rdquo;本展由田霏宇和助理策展人郭希共同策划。</p> <p style="text-align: justify;">&ldquo;政纯办:全民健身&rdquo;影射了一句曾号召、鼓励全体人民健身的中国式口号,同名装置作品 《全民健身》即来源于这句口号&mdash;&mdash;利用政府在全国范围内的公共广场和住宅小区安置的健身器材,作为现成品雕塑供美术馆观众进行锻炼。《政先生》则是他们标 志性的半开玩笑式风格的典型之作,以那个逝去时代的政治审美为标准,将五位小组成员的相貌组合成一个佩戴蓝色徽章的&ldquo;领袖像&rdquo;。</p> <p style="text-align: justify;">在UCCA大堂迎接观众的装置作品《政纯花坛》,令人联想起中国国庆节的标志性的花 坛;展览还包括记录行为作品&ldquo;做同一件好事&rdquo;的影像装置,内容是他们在广州发起的一次大规模集体清扫公交车的活动;《宣言》(2005/2007 /2008/2009/2014)以文本的形式,为政纯办提出的一系列吊诡概念提供了可讨论的语境;《大事记》(2005-2014)则以数量惊人的发票 拼贴,记录了政纯办的一次次集体活动。概言之,&ldquo;政纯办:全民健身&rdquo;是一次精神锻炼,邀请观众全面了解这个具有独特构思和定位的艺术小组,以及他们共同制 造的多样化的集体创作。</p> <p style="text-align: justify;">新媒体艺术制作伙伴为CP和网庭影音机构。新媒体艺术合作伙伴为新时线媒体艺术中心。特别鸣谢MABSOCIETY和李昱绮为展览制作提供支持。</p> <p style="text-align: justify;"><a href=""><img class="alignnone wp-image-62704" src="" alt="Polit-Sheer-Form-logo" width="566" height="47" /></a></p> <p style="text-align: justify;"><strong>关于艺术家</strong></p> <p style="text-align: justify;">政纯办为政治纯形式办公室的简称,由洪浩、萧昱、宋冬、刘建华、策展人和批评家冷林共同创立于2005年。他们通过集体创作实践, 尝试去重构社会主义在特殊历史时期的可视性和影响力,并将历史的政治意味转换为没有内容的、纯粹的形式&mdash;&mdash;即&ldquo;政治纯形式&rdquo;。</p> <p style="text-align: justify;">2014年11月,政纯办在纽约皇后美术馆举办《政治纯形式》作品展,同期在时代广场 发起大型行为作品&ldquo;做同一件好事&rdquo;。重要展览还包括:&ldquo;杜尚 与/或/在 中国&rdquo;(UCCA,北京,2013)、&ldquo;我们是政纯办&rdquo;(沪申画廊,上海,2011)、&ldquo;豆腐、功夫、Polit-Sheer-Form&rdquo;(北京公社,北 京,2009)以及&ldquo;只有一面墙&rdquo;(Artspace,悉尼,2006)。《全民健身》作为重要部分被选入2014纽约军械库艺术展&ldquo;聚焦:中国&rdquo;单元。</p> </div> </div> Sun, 16 Nov 2014 16:28:14 +0000 Group Show - Tang Contemporary Art Beijing - October 25th - November 25th <div style="text-align: justify;">TANG Contemporary Art is pleased to present a new group exhibition<em>, Conscious: 12 Views on Painting</em> curated by <a name="OLE_LINK3"></a>Dai Zhuoqun.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">Opening on October 25<sup>th</sup>, the exhibition will present 12 artists&rsquo; individual thinking and practice of painting as well as the construction of their painting languages in order to trace the silently changing intrinsic lineages in local traditions and contemporary painting with the discussion of imagery. Dai also attempt to capture nearly thirty years of complex trends within Chinese contemporary painting; draw the progressive roadmap of gradual recovery of the essence of painting in the new era after the lifting of political ban through the multitude of individual painting practices that lie along this historical meridian; avoid the previous interpretive framework of historical determinism, return to the ever-changing, complex, diverse, and individual creativity and reveal the truth of painting with painting itself. &nbsp;&nbsp;</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">With the carding carried out by this exhibition, Dai Zhuoqun will first talk about imagery as a response to the relationship between current painting practices and the Chinese painting tradition. As a self-sufficient painting system that has lasted for one thousand years, ancient Chinese painting has no tradition of realism or abstraction. Instead, the spirit is written in form and the way is carried in objects, all of which comes from figuration and imagery and develops into the spaces of imagery and form. The essence of painting has never been shaken by outside elements. Secondly, Dai will discuss the unprecedented crisis that painting has faced for nearly one hundred years, focusing on the Eastern adoption of Western ideas and painting&rsquo;s descent into utilitarianism. The intersecting discussion of these two issues is intended to break through artificial barriers between traditional and contemporary painting. Imagery is the point of incision for directly confronting the essence of painting.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">Chinese painting takes the image as a basic starting point, but the focus is not the representation of nature. Instead, emphasis was placed on internal nature, not the exterior form. &ldquo;Learn appearances from nature, and draw the interior from your heart.&rdquo; For example, Chinese landscape paintings only depicted ideal landscapes, and not specific vistas. In explaining the difference between real and painted landscapes, Dong Qichang said, &ldquo;Painting cannot equal nature for the marvels of mountains and water, but nature cannot equal painting for the marvels of brush and ink.&rdquo; The painting and the painted subject are two independent yet interrelated entities. As philosopher Jean-Paul Sartre described in The Imaginary, &ldquo;A description of the image is one thing, and induction about its nature another.&rdquo;</div> <div style="text-align: justify;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</div> <div style="text-align: justify;">Since the 1990s, with the emergence of the New Generation, Cynical Realism, and Political Pop Art, artists often left behind idealistic social passions, and began to focus on their own existences and spiritual states. During this time, painting still relied on the direct reflection of political and social reality. New Generation and Cynical Realism had not yet completed painting&rsquo;s descent into utilitarianism, but they were the source for numerous derivative, vulgar images. During the same period, artists such as Yu Youhan, Wang Xingwei, and Wang Yin silently chose a decidedly different path. One after another, they began to engage with an introverted review of painting sources on a conscious, linguistic, and formal level. They began to experiment, focusing on the autonomy of painting languages and their own existences. After this happened, paintings about paintings and investigations of conceptions of painting became very important, and painting began to be used like language. Precisely because their paintings did not meet a utilitarian fate, their work was truly free and liberated, opening unlimited possibilities. The blending of international politics, economics, and culture have made Chinese art more diverse and open in the last decade, such that independent and individual creation is the norm.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">Since 2000, the painting practice of the new generation of artists has gradually become freer and more diverse. In terms of the concept and language of painting, artists born in the 1970s and 1980s appear especially suited to this environment. Duan Jianyu, Xie Nanxing, Wang Guangle, Ji Lei, Qiu Xiaofei, Jia Aili, Qin Qi, Xu Xiaoguo, Gong Jian, Song Yuanyuan, and Liao Guohe represent a new generation of power in painting. Through the construction their own unique images and languages, they worked hard to bring the new era of Chinese painting back to its essence and establish its own subjectivity. These artists avoided the misfortunes of the Cultural Revolution and they grew up during the gradual collapse of the Cold War mentality. They are less likely to shoulder social and historical burdens, and they are very well-suited to our increasingly globalized world. The movement and sharing of knowledge and information makes them better able to understand the global art scene, both past and present, and they have reflected and responded to it, while staying rooted in the local context. They are actively enjoying the benefits of unprecedented economic and social development, and showing new creative tendencies.</div> <div style="text-align: justify;">&nbsp;</div> <div>In her essay &ldquo;Contemporaneity as Points of Connection,&rdquo; Zdenka Badovinac brilliantly explains contemporaneity as a cultural entity. &ldquo;No single place can claim exclusive rights to emancipatory knowledge, which is important to the entire planet. It is true, however, that certain spaces have more potential to instrumentalize knowledge than others. Those that are in a better position in this regard also, therefore, contribute more to the positive or negative development of global society. Spaces with a weaker infrastructure, which might otherwise serve the ongoing structuring and distribution of local knowledge, are here in a disadvantaged position. The most these spaces can do is seek connections with other, similar conditions in the struggle for greater participation in the global exchange.&rdquo; After a long transitional period, we can see the future direction of Chinese contemporary painting, which has emerged from a mixed, closed, and relatively weak position.<hr /> <div style="text-align: justify;">当代唐人艺术中心非常荣幸的宣布我们将在2014年10月25日推出由戴卓群策划的群展&ldquo;自觉:绘画十二观&rdquo;。</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">本次展览将呈现十二位艺术家各自关于绘画的思考与创作实践以及他们对于绘画语言的构建,以期从形象的讨论出发,溯源与同构本土传统与当下绘画潜 默嬗变的内在脉络。同时试图管窥和捕捉近三十年来中国当代绘画的错综轨迹,通过历史经线中多面向的个体绘画实践,描画出政治解禁后中国新时期绘画本体复归 的渐进路线图,规避以往历史决定论的阐释思路,回到不断变化中的复杂、多元和个体的创造本身,借图画以去魅。</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">藉由&ldquo;自觉:绘画十二观&rdquo;的梳理,策展人戴卓群将立足两个论题展开铺陈,第一个是借对形象的讨论来回应当下绘画实践与中国绘画传统的关系,作为 延续千年的一种自给自足的绘画体系,中国古代绘画史一没有写实传统,二没有抽象传统,总在以形写神,以物载道,都是从具象和形象出发,发展出意象和形式的 空间,绘画的本体自始至终从未曾因外部因素而被撼动。第二个问题是,近一百年来绘画所面临亘古未见的大变局,尤其是西学东进和沦为工具化的双重冲击对今日 绘画面貌的影响。之所以将两个问题交错讨论,目的在于打破所谓传统绘画与当下绘画的人造藩篱,以形象作为切入口,直面绘画本体问题。</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">中国绘画以&ldquo;形象&rdquo;做为根本出发点,但关注的却又并非自然的再现,重视内在本质,而非外在形式,即所谓&ldquo;外师造化,中得心源&rdquo;,譬如中国山水画 只描写理想山水,而不表现特定实景。董其昌在揭示有关真山水与山水画之区别时如此表述,&ldquo;以境之奇怪论,则画不如山水。以笔墨精妙论,则山水绝不如 画。&rdquo;,绘画与其对象物之间是两种各自独立又相互依存的主体。亦正如晚近西方哲学家萨特在《想象》一书中的描述:&ldquo;把形象当做形象来直接理解是一回事儿, 而就形象的一般性质建构思想则是另一回事儿。&rdquo;</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">一九九零年代之后,随着新生代绘画群体、玩世和政治波普艺术的出现,艺术家们普遍消褪了理想主义的社会热情,开始关注自身的存在和精神状态,但 此一时期的绘画依旧直接地投射在政治与社会现实的主题之上,新生代、玩世现实主义等思潮并没有彻底终结绘画沦为工具的宿命,并演变而派生出大量庸俗社会学 图像的滥觞。也就在此同一时期,如余友涵、王兴伟、王音等艺术家却默默选择了与时流决然不同的道路,相继投入一种针对绘画母体自觉的、语言和形式层面的内 向性反观,开始关注绘画语言的自足和自身的存在,并不断做出尝试。在此后的时间里,关于绘画的绘画和探求对绘画本身的认识变得重要,绘画开始被当成语言般 使用,而正是因为脱离了工具化的宿命,绘画才真正获得自由和解放,打开了无边的可能。政治、经济和文化领域的全球化融合,令新世纪的中国艺术更加走向多元 和开放,独立和个体的创作成为艺术的正常状态。</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">进入二千年之后,中国新一代艺术家的绘画实践也益发呈现自由而多元的面貌,出生于一九七零、八零年代的艺术家们在绘画实践的观念与语言体系中显 得尤为如鱼得水,以段建宇、谢南星、王光乐、吉磊、仇晓飞、贾霭力、秦琦、徐小国、龚剑、宋元元、廖国核等为代表的新一代绘画力量,通过各自独特不可替代 的形象与语言建构,为新时期中国绘画回归本体和确立自身主体性的努力做出了积极的尝试。他们既是免于文革劫难的一代,又是伴随后冷战意识形态逐步瓦解而成 长起来的一代,他们更少背负社会与历史的包袱,却能游刃有余地适应当下日趋复杂的全球化环境,知识与信息的畅通和共享使得他们更加清晰地勾画出过去与现在 艺术世界的完整面貌,并立足本土语境做出独立自主的思考与回应,他们以积极的姿态享受中国经济社会空前发展的时代红利,展露出全新的创造力与气象。</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">&ldquo;没有一个单独的地方可以宣称其对于解放性的知识享有排他性的权力,这一点对于整个世界而言是很重要的。然而,一些地方的确具有更多的能力来使 其知识体制化,这些在这个方面比较有优势的地方也因此能够对于全球社会的发展做出更多积极或消极的贡献。而那些基础设施发展不完善的区域&mdash;&mdash;这些设施同时 服务于本土知识的持续建构和传播&mdash;&mdash;在这个方面处于相对弱势地位。这些地方所能做的是寻找彼此的关联性,认识相同的境遇,从而在全球性的交换中争取更多的 参与性。&rdquo; 泽丹卡&middot;鲍多维娜克在题为《做为不同连接点的当代性》一文中关于当代性之文化主体的这一段精辟陈述,似乎可借以指明在经历了漫长的过渡时期以后,做为一种 东西混杂、封闭后发且相对弱势的中国当代绘画的未来方向与宿命。</div> </div> Sun, 16 Nov 2014 16:23:45 +0000 Xu Zhen - ShanghART Gallery (main gallery) - November 11th - December 26th <p style="text-align: justify;">&ldquo;My work is to find a new perspective on different cultures.&nbsp;&nbsp;When you, as a human being, are confident enough to look at these ready-mades, what you need to do is to constantly break the notion of stereotypes and achieve a new ego.&rdquo;<br />XU Zhen</p> <hr /> <p style="text-align: justify;">&ldquo;我的工作是怎么找到一种新的角度去理解这些文明。当你有足够的信心作为人类的一员去看待这些现成品的时候,你需要做的就是不断地破除成见,成就新的自我。&rdquo;<br />&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; &mdash;&mdash;徐震</p> Sun, 16 Nov 2014 16:17:44 +0000 Xu Zhen - ShanghART H-space - November 11th - December 26th <p style="text-align: justify;">&ldquo;My work is to find a new perspective on different cultures.&nbsp; When you, as a human being, are confident enough to look at these ready-mades, what you need to do is to constantly break the notion of stereotypes and achieve a new ego.&rdquo;<br />&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;XU Zhen<br /><br />Xu Zhen: Blissful As Gods produced by MadeIn Company&nbsp;is opening on November 11th at ShangART Shanghai. This solo exhibition will bring Xu Zhen&rsquo;s latest works including installation, sculpture and visual art.</p> <p style="text-align: justify;">Xu Zhen&rsquo;s practice incorporates a wide range of media, including painting, sculpture, installation, video, photography and performance, often within a single piece. He has strong thirst for knowledge and distinctive integration ability towards the extremely multifarious and interacted information from worldwide. Widely absorbing the knowledge, he creates multi-media and cross-platform works upon.&nbsp;</p> <p style="text-align: justify;">For example in Xu Zhen's early video work&nbsp;Shouting&nbsp;(1998), a moving crowd faces away from the camera until, the artist startled by screams behind them and they spin around (a reaction that elicits laughs from whomever is behind the camera). This work marks Xu Zhen's name as the youngest Chinese to participate in the Venice Biennale so far.&nbsp;<br />In 2007, Xu Zhen's installation project&nbsp;ShangART SUPERMARKET&nbsp;(2007) created a full-scale 1:1 replica of a proto-typical Chinese convenient store at Art Basel Miami Beach. This store is filled with packages and wrappings containing, literally, nothing. The false appearance of the shop, or of the ghostly merchandise as such, trigger an extensive debate over the illusory booming of art market is about to burst.&nbsp;<br />Eternity&nbsp;is another important new collection&nbsp;created by Xu Zhen in 2014. It consists in sculptural compositions created from Western and Asian headless statues displayed in museums throughout the world. These originally beheaded works are grafted and assembled together. Which might be the most accurate expression resembled the cliche of enormous amount of Chinese art.<br /><br />Along with its celestial nature, XU Zhen: Blissful as Gods will further challenge the concept of &ldquo;recombination&rdquo;, it will reconstruct commonly known traditional Buddhist statues, using materials beyond&nbsp;all&nbsp;expectations according to a hidden logic. A new visual&nbsp;perception will be born and quaintly coincide&nbsp;with the world around, thus initiating a dialogue with each other. This dialogue between one ideology and another, will involve culture, history, art, religion, tradition, political space... Through this re-composition, all the materials&rsquo; inherent tradition and meaning will be rejected, presenting an intense estrangement and irritation. All these works will be gathered in one exhibition space. Subversions of cultural clashes will create a great impact on viewers. The effrontery and provocation that emanate from MadeIn/Xu Zhen&rsquo;s art creation as a response to reality will all contribute to the abrupt and chaotic atmosphere of this exhibition.</p> <hr /> <p style="text-align: justify;">&ldquo;我的工作是怎么找到一种新的角度去理解这些文明。当你有足够的信心作为人类的一员去看待这些现成品的时候,你需要做的就是不断地破除成见,成就新的自我。&rdquo;<br />&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; &mdash;&mdash;徐震<br />&nbsp;&nbsp;&nbsp;&nbsp;11月11日,由没顶公司出品的《徐震:快乐似神仙》将在上海香格纳画廊隆重开幕,展览将展出徐震创作的最新装置、雕塑和平面作品。<br />&nbsp;&nbsp;&nbsp;&nbsp;徐 震的艺术实践涉及众多媒介,包括绘画、雕塑、装置、录像、摄影和行为等,且经常糅杂于一件作品中。他对今天极尽庞杂交汇的全球信息有着强烈求知欲和独特的 整合能力,广泛地吸收知识并从中生产跨平台和跨媒介的作品。比如创作于1998年的录像《喊》,徐震在拥挤的城市街头突发性地喊叫,只是为了捕捉数百名路 人在瞬间的惊望回头和各种反应,这件作品使他成为迄今为止参加威尼斯双年展主题展的最年轻的中国艺术家。2007年的装置《香格纳超市》则按照原比例在迈 阿密巴塞尔艺术博览会的现场复制了一个上海便利商店,货架上摆满了被抽空的包装、标价售卖的只是徒有其表的外壳,在艺术市场泡沫即将破灭的当时引发了大规 模的争辩。徐震在2014年的另一件重要新作是将&ldquo;东方&rdquo;和&ldquo;西方&rdquo;简单粗暴地并置&mdash;&mdash;将希腊风格和佛教的无头经典塑像,颈对颈地组装在一起,对于数量庞 大的中国艺术来说这无疑是最正确的陈词滥调。 <br />&nbsp;&nbsp;&nbsp;&nbsp;仿佛是如神仙般地兴之所至,《徐震:快乐似神仙》展览进一步挑战&ldquo;重组&rdquo;的概念,重新组装 人们熟识的佛像雕塑,将出人意料的材料以隐秘的逻辑整合拼装,由此诞生新的视觉感受,并离奇地与周遭的世界保持某种吻合,构成了一种对话关系。这是意识与 意识的对话,涉及文化、历史、艺术、宗教、传统、政治空间&hellip;&hellip;而经过重组之后,所有的材料都颠覆了其固有的传统与涵义,呈现出强烈的陌生化和刺激性。而这 些作品又被组装在一个展览空间里,触目所及,是被颠覆的文化习惯冲撞着观者的视觉,展场由此呈现出一种强烈的分裂与错乱的气息,这正是没顶/徐震以艺术的 创造对现实进行的一种放肆的撩拨。</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;"><strong>相关艺术家:</strong> XU ZHEN - PRODUCED BY MADEIN COMPANY 徐震 - 没顶公司出品</p> <p style="text-align: justify;"><strong>相关展览:</strong></p> <div style="text-align: justify;"><strong> 徐震 - 没顶公司出品: 快乐似神仙 </strong> <em> 十一月-11, 2014 </em></div> Sun, 16 Nov 2014 16:16:01 +0000 Han Feng, Hu Liu, Zhao Yang - ShanghART Gallery Beijing - November 8th - December 7th <p style="text-align: justify;">ShanghART Gallery is please to present the second exhibition in the Semi-automatic Mode series, the canvas works from artist Han Feng, Hu Liu and Zhao Yang will be displayed. The exhibition will last till 7th December.<br /><br />Semi-automatic Mode is a random choice made from accident and causality, contradiction and complement. In the state of semi-conscious, examing the fast and efficient developing method and progress from distance, refuse to be superficial. After the first exhibition of &ldquo;Semi-automatic Mode&rdquo;, ShanghART Beijing space is now on the second round of this program.<br /><br />The exhibition will focus on canvas works. Similar alignment and material provide different feelings and distributes different qualities, which bring about a very different texture. The tension formed by deviation will aggregate and ferment in the exhibition constantly. It&rsquo;s surprising that all of that become logical under the semi-automatic mode. <br /><br /><br />Han Feng was born in Harbin in 1972, now works and lives in Shanghai. In 2008, he received the&ldquo;Creative M50 Jury Award&rdquo;and in 2010, Han Feng won the first prize of &ldquo;John Moores Painting Prize (China)&rdquo;. His recent exhibitions include: Aichi Triennale 2013, Japan (2013); Paper, Saatchi Gallery, London, U.K. (2013); Han Feng Solo Show, Centre for Chinese Contemporary Art, Manchester, U.K.(2012); Han Feng Works Exhibition, Aroundspace Gallery, Shanghai (2011); +follow, MoCA, Shanghai (2011); 3rd Biennial at the End of the World, Atropoceno, Tierra del Fuego, Ushuaia, Argentina (2011); The Wronger, the Prettier, Han Feng Solo Show, Don Gallery, Shanghai (2009); Smptomy, Zhu Qizhan Art Museum, Shanghai (2008); Chinese Fine Arts Exhibition, Museo Della Permanente, Milan, Italy (2008).<br /><br />Hu Liu was born in Henan in 1982, she has graduated from Xi&rsquo;an Academy of Fine Arts in 2004, now works an lives in Beijing. Her recent exhibitions include: The 10th Shanghai biennale, Shanghai Contemporary Art Museum, Shanghai (2014); 2013 New Youth Art Character of the Year, K11, Shanghai (2013); Hu Liu Solo Exhibition - Daytime, Magician Space, Beijing (2012); ON/OFF,Collective Practice in China, UCCA, Beijing (2012); Shanshui, Museum of Art Lucerne, Luzern, Switzerlang (2010); The Boundary of Utopia, Today Art Museum, Beijing (2008).<br /><br />Zhao Yang was born in Jilin in 1970, he has graduated from the Middle School Affiliated to Zhejiang Academy of Fine Art in 1990, and graduated from China Academy of&nbsp;&nbsp;Fine Art in 1995. His recent exhibitions include: Broken Stand, Long Museum, shanghai (2014); Lost Portrait, Long Museum, shanghai (2014); A Mirags Similar Truth,Galerie Eigenheim, Weimar, German (2013); The Bottomless Pit, Zhao Yang Solo Exhibition,Up to Art Space, Shanghai (2013); Lgnition Point, Shanghai Duolun Museum Of Modern Art, Shanghai (2013); Science isn't an Existence of time, Guangzhou (2012); Crea Tive China-I Believe I Can Fil, German (2012); Chengdu Biennale Special Invitation Exhibitions &ldquo;Emory Suture&rdquo;, L-Art Gallery, Chendu (2011); New Lay-Out &mdash; 09 Contemporary Art Selection, Shanghai (2009); Blackboard, ShanghART H Space, Shanghai (2009); Another Way-Hangzhou Experimental Art Exhibition, the Quartet Art Museum, Nanjing(2008).</p> <hr /> <p style="text-align: justify;">2014年11月8日,香格纳画廊北京空间将再度为您呈现《半自动方式》系列展之二,艺术家韩锋,胡柳,赵洋的架上作品展。展览持续至12月7日。<br /><br />半自动方式是偶然和必然,矛盾与互补的随机选择。是在半开半合的状态下,疏远和审视着快速与&ldquo;有效&rdquo;的发展方式与进程,并拒绝浅尝辄止。在经历了去年第一次&ldquo;半自动方式&rdquo;的展览,香格纳北京空间的这个群展项目,进行到了第二回。<br /><br />此次展览将展出的作品都是架上作品。相同的陈列方式,相同的材质,不同的画面感受和散发的气质,带来了迥异的作品质感。互相间背道而驰所形成的张力,在展览中不断聚合发酵。却在半自动的状态下,变得顺理成章。<br /><br /><br />韩 锋,1972年生于中国哈尔滨,现工作和生活于上海。2008年,获得M50创意园2008年度创意新锐评选的评委会大奖。2010年,韩锋获得了约翰&bull; 莫尔绘画大赛(中国)的一等奖。近期参加的部分展览包括:爱知三年展2013,日本(2013);PAPER,萨奇画廊,英国(2013);韩锋个展,华 人艺术中心,曼彻斯特,英国(2012);韩锋作品展,周围艺术画廊,上海(2011);中国当代艺术,WANDESFORD QUAY 画廊,科克,爱尔兰共和国(2011);+关注:年轻艺术家群展,上海当代艺术馆,上海(2011);南美USHUAIA-世界的尽头双年展,乌斯怀亚, 阿根廷(2011); 越错越美,韩锋个展, 东画廊,上海(2009);症候:当代艺术展,朱屺瞻艺术馆,上海(2008);中国绘画艺术展, MUSEO DELLA PERMANENTE 博物馆,米兰,意大利(2008)。<br /><br />胡柳,1982年出生于河南信阳,2004年毕业于 西安美术学院,现工作和生活于北京。近期参加的部分展览包括:第十届上海双年展,上海当代艺术博物馆,上海(2014);2013 新青年年度艺术人物评选,K11,上海(2013);胡柳个展- 白天,磨金石空间,北京(2012);ON/OFF,中国当代艺术自我组织,尤伦斯当代艺术中心,北京(2012);山水,卢塞恩艺术博物馆,卢塞恩,瑞 士(2010);乌托邦的边界,今日美术馆,北京(2008)。<br /><br />赵洋,1970年生于中国吉林,1990年毕业于浙江美院(现中国美术学 院)附中,1995年毕业于中国美术学院国画系,现工作和生活于北京。近期参加的部分展览包括:破立,龙美术馆,上海(2014);遗失的肖像,龙美术 馆,上海(2014);赵洋个展-蜃景般的真相,Galerie Eigenheim,Weimar,德国(2013);无底洞-赵洋作品展,优上艺术空间,上海(2013);燃点多伦美术馆,上海(2013);科学在 时间中没有-赵洋绘画作品展,水井艺术空间,广州(2012);创意中国-我相信我能飞,德国(2012);成都双年展特别邀请展之记忆缝合,那特画廊, 成都(2011);新格局 -09当代艺术展,上海展览中心,上海(2009);黑板,香格纳H空间,上海(2009);另一种方式-杭州实验艺术展,四方当代美术馆,南京 (2008)。</p> Sun, 16 Nov 2014 16:09:44 +0000 Zhang Xigeng - National Art Museum of China - November 19th - November 27th <p style="text-align: justify;">This is an uncommon calligraphy exhibition but the works on show cannot be created by common people. It is a miracle of life and art. </p> <p style="text-align: justify;">Mr. Zhang Xigeng, from Jiangyin of Jiangsu province, is high paraplegia due to a car accident. However, he takes calligraphy as his life and awakens the feeling of his hands with persistence to arts. After 4 years of unimaginable hard training, he finally finds his way on calligraphy creation and completes a large number of relaxing, unadorned, elegant works with new life imagery and motivational significance. </p> <p style="text-align: justify;">This exhibition will present the best works that are full of Zhang Xigeng&rsquo;s reflections on life. Characters and ink reveal his innermost thinking, life pursuit and ardently wish to life. Like Phoenix Nirvana&rsquo;s rebirth of fire, Zhang Xigeng&rsquo;s works show a great momentum, primitive simplicity and grandeur that never had before. It is a potential and courage motivated in adverse situation, revealing a kind of dignity and an unyielding spirit of Chinese people.</p> Sun, 16 Nov 2014 15:59:51 +0000 - National Art Museum of China - November 19th - November 27th <p style="text-align: justify;">Launched in 2010, Beijing Image series painting exhibition is a large artistic creation program of Beijing. By cooperating with one suburbs district or county each year, the program, which will make a comprehensive and in-depth exploration, analysis and creation to this region, is another important production, exhibition and publish project series that publicize and present Environment-friendly Beijing, Culture-enriched Beijing and Technology-empowered Beijing&rsquo;s cultural and artistic image as in international metropolis. </p> <p style="text-align: justify;">This year, cooperating with Fengtai District, Beijing Federation of Literary and Art Circles invites painters and teachers &amp; students from art academies to make a complete and deep exploration and summary to natural landscape, history, historical relics, culture and custom within area of Fengtai and create excellent art works themed on cityscape, human landscape, natural environment, story &amp; legend and typical characters </p> <p style="text-align: justify;">This art exhibition has made a systematic argumentation and planning to each link, including theme planning, historical data study, artistic creation, work selections, big exhibitions, translation &amp; publication, propaganda as well as work collections. The program, which consists of holding a high-level painting exhibition and publishing an album, is a large-scale, high-class journey of art. Through art works that reflect spirituality of Fengtai District, the program will propagandize the image of Beijing as an international culture city in an all-rounded way and boost prosperity and development of art creation of Fengtai and even Beijing at large.</p> Sun, 16 Nov 2014 15:59:27 +0000 Pedro Meyer - National Art Museum of China - November 19th - November 27th <p style="text-align: justify;">The Mexican photographer Pedro Meyer is one of very representative pioneers in contemporary photography. During his over 40 years of photography career, the expression form of Pedro Meyer&rsquo;s works covers a wide range from social documentary photography to digital image. With Jewish blood, Pedro Meyer was born in Spain and then immigrated to Mexico. He completed his university education before returning to Mexico. Collision and integration among Indian culture, European culture and colonial culture gives birth to Mexican cultural aroma -, which also supports Pedro Meyer to build his own photographic style. </p> <p style="text-align: justify;">In 2006, Mr. Pedro Meyer donated 110 pieces of his photographic works created since 1950s to National Art Museum of China(NAMOC). For this exhibition, NAMOC selects 40 representative works of different phases from it to present to the public so as to pay tribute to the donation of Mr. Pedro Meyer</p> Sun, 16 Nov 2014 15:57:42 +0000