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We are delighted to announce t he opening of Liu Xinyi&rsquo\;s third solo exhibition at White Space Beiji ng\, &ldquo\;Hundred Thousand Miles Away&rdquo\; will open on June 11\, 4pm \, and presenting his most recent works of installation and sculptures. For this exhibition\, Liu Xinyi surveyed news and information that are theoret ically interactive\, especially social commentaries concerning &ldquo\;fore ign&rdquo\; information. With the dialectical cues of &ldquo\;circulation&r dquo\; and &ldquo\;boundary&rdquo\;\, the artist explores a path of knowled ge built in his circumvention between personal experiences and knowledge ba ckground. The exhibition will continue until July 31st.

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When the appearance of the matter tries to depart from its essence\, the vocabulary for its expression is often the first to encou nter obstacles. The dispersed contexts cause the meanings to skew\, like th e Chinese adage\, &ldquo\;They are hundred thousand miles away from each ot her&rdquo\;. It is also due to our helplessness towards language that force s us to be suspend the ontological meaning of the objects we are familiar w ith\, by which opens up their sensory boundaries. If we take a closer look at the &ldquo\;hundred thousand miles away&rdquo\;\, we may also discover a layered site. It can be both the distance between two concepts\, or the co ncept of distance between two points. The difference in concepts overlaps w ith the concept of distance\, like the mutual entanglement underneath one&r squo\;s linguistic instinct. Moreover\, certain advertisement lingo and ico ns undergo semantic translations in the course of its dissemination without changing its appearance that transform through their differences. On this account\, we have to make the best out of relating drastically different ob jects in our general knowledge\, or find an opportunity to abolish preconce ption. \;

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Liu Xinyi (b.1982\, Ha ngzhou\, China)\, received his BA in sculpture at the China Academy of Arts in 2007\, and MFA degree at Goldsmiths College in London in 2010\, current ly living and working in Beijing. His recent exhibitions include "Hybriding Earth-Discussing Multitude"\, Busan Biennale\, Busan(2016)\; "Scenarios of Time: Inter-Subjectivity"\, Fourth Art-Sanya\, Sanya\, China(2015)\; "Expa nded Senses"\, B3 Biennial of Moving Image at the Museum Angewandte Kunst\, Frankfurt\, Germany(2015)\; &ldquo\;Chaoyang Qunzhong"\, A307 Space\, Beij ing\, China(2015).

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我 们很荣幸地宣布, 刘辛夷在空白空间北京的第三回个展&ldquo\;十万八千里&rdquo\;将于6月11日下午4时开幕,将展出他最新的装置和雕塑作品。在此次展览中,刘辛 夷考察 了理论上具有交互特质的新闻通讯,特别是国内舆论中有关&ldquo\;域外&rdquo\;的信息景观。通过&ldquo\;流通&rdquo\;和 &ldquo\;边界&rdquo\;这对辩证性的线索,探讨他在现实经历与知识经验的交织 辗转中建立起的认知回路。展览将持续到7月31日。

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当事物的样貌试图背离其实质时,用于表述的语汇最先遭遇了困境。离散的结构导致了意义的偏 移,常言道:相去十万八千里。正因为语言无可奈何,才迫使 我们对概念进行悬置,以便打开熟悉事物的知觉边界。查验一番&ldquo\;十万八千里&rdquo \;,也能发现一个层叠的现场。它既可以是两个概念之间的距离,也可以是两点之间距 离的概念。概念的距离叠加着距离的概念,像是语言直觉下的自相缠绕。更有某 些宣传语汇和符号可以在不改变外在形式的情况下,令其内涵在传播中转译,在歧义 中腾挪。有鉴于此,因势利导地关联起常识中相距甚远的事物,或是破除定见的契机 。

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刘辛夷1982年出生于杭州,2007年毕业于中国美术学院雕塑系,20 10年毕业于伦敦大学Goldsmiths学院艺术系,现生活工作于北京。 近期的展览包括:&ldquo\;混血的地球&mdash\;&mdash\;多众 知性公论场&rdquo\;\,釜山双年展,釜山(2016);&ldquo\;时间的图景:青年的尺度&rdquo\;,第四届三亚艺术季,三亚 (2015 );&ldquo\;Expanded Senses&rdquo\;,B3 动态影像双年展,应用艺术博物馆,法兰克福(2015);&ldquo\;朝阳群 众&rdquo\;,A307空间,北京(2015)。

DTEND:20160731 DTSTAMP:20160724T084616 DTSTART:20160611 GEO:39.9896188;116.4681231 LOCATION:White Space Beijing\,255 Cao Changdi\, Airport Service Road Chaoya ng District\nBeijing\, 100015 SEQUENCE:0 SUMMARY:Solo Exhibition\, Liu Xinyi UID:423930 END:VEVENT BEGIN:VEVENT DESCRIPTION:

袁媛的绘画有着80后艺术家共同的艺术特征,这就是抛弃创作主题 上的宏大叙事、英 雄叙事和社会叙事,追求艺术表达上的微观叙事、日常叙事和个人叙事。出生于改革开放时期,并且作为独生子女一代,80后艺术家成长在一个物质 生活比较富 足、社会环境相对自由的时期,他们不再关心宏大的政治和历史问题,也无意通过艺术直接介入现实社会的改造;他们将长期压在中国艺术家肩上的社会责任 感以及 附加在艺术上的教化功能彻底抛弃,真正将艺术变成了表现自我的工具。应该说,这一现象的出现标志着中国艺术深刻的变化。

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 \;  \;  \; 袁媛的绘画更有着自己的个性特征,她描绘的是她自己的个人 生活,但又不是日常生活的客观记录,确切地说,她的作品呈现的是经过她心灵过滤的现实生活。袁媛 将绘画当成是图像化的日记,她自己几乎是每一幅作品的主角。没 有宁静、愉悦和快乐,她的绘画所表达的只有孤独、焦虑和躁动。实际上,她绘画中的群像大多是 她个人形象的重复出现。尽管她画中的人物具有可辨认的真实感,但是 经过她心灵镜子的反射真实的形象就会出现强烈的变形而让人感到怪异和奇特。变形的人物、 骚动的场景和非再现性的强烈色彩,使得袁媛的绘画具有强烈的表现主义特 征,作品所宣泄的情感给人以烈焰般的炽热感受。袁媛的绘画是自己与自己的对话,在她 创作时,她意识不到别人的存在。她是为自己,而不是为他人进行她的创作。袁 媛将绘画作为心理世界的出口,因此,我将她的绘画风格称为&ldquo\;心理表现主义&rdquo\; (Psychological Expression ism)。

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 \;  \;  \; 袁媛有着敏锐的 直觉和出色的天赋,面对画布,她不仅知道自己要画什么,而且懂得怎样画,因此,在绘画的世界里她是得心应手、自由自在的主人公。袁媛将画笔 锁定在自我心理世界 的表现上,进而通过富有表现力的艺术语言将自己个人的心理感受升华为带有人类普遍性的情感体验。她将自己隐秘的心理体验凝结成一幅幅生 动的画面,让不可见的心 理世界外化为可以感知、令人感动的视觉图像,使那些有着同样体验的观众产生心灵上的共鸣。

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 \;&mdash\;&mdash\;王端廷  \;中国艺术研究院美术研究所  \;研究员

DTEND:20160803 DTSTAMP:20160724T084616 DTSTART:20160720 GEO:39.890204;116.4828227 LOCATION:Today Art Museum (TAM)\,32 Baiziwan Road Pingod Community\, Chaoya ng District\nBeijing\, 100022 SEQUENCE:0 SUMMARY:Roaring Flame\, Yuan Yuan UID:423927 END:VEVENT BEGIN:VEVENT DESCRIPTION:
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Fu Zenan is one of representative arti sts of 85&rsquo\; New Wave Art Movement . As early as 1985\, he has drawn w ide attention and become famous in the field of art. The reason why he beca me the hot topic at that time is that his art concept of New Wildness attac hes the phenomena of  \;the whole society at that time\, and delivers s ome  \;kind of message of personality liberation and emancipation of mi nd. These are the spirits of  \;New Wave Movement and the value pursuit in the new society. New Wildness  \;is the origin of the logic of new age\, which  \;owns pioneer spirit\, therefore it has become one of the most representative art symbols.
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However\, after 90's\, w ith the fall of idealism and the rise of commercial society\, New Wave Art Movement thoroughly faded out. There appeared a transition in the Art Movem ent because artists tended to be clam and rational rather than mad and radi cal. Fu Zenan also had to face this change of society and suffered the pain s due to this transition. However\, unlike other artists\, he didn&rsquo\;t abandon his original intention of art. He is always insisting his creation principle of non-rationality. Therefore he stepped on a road not taken whi ch was rebellious and far away from the art tide of that age. Therefore\, h is works of  \;that period express the feelings of painful\, gloomy\, d eep and tragical\, while the tone of his works in 80s&rsquo\; is wild\, bol d\, and hot.
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Apparently\, at the beginning of the new cent ury\, his style changed slightly. The bold strokes and thick texture were g radually taken place by flat strokes. At the same time\, some contemporary visual symbols representing rational construction\, for example\, modern bu ildings with angular appearance\,mighty machines used in industrial manufac turing\, and some imaginary objects constitute his image and produce a visu al effect of the confusion of sense and sensibility. These changes indicate his spirit of  \;participating in social activities and concerning abo ut current social issues. After a period of  \;exploration of rationali ty\, he returned to his nature\, and to the state of non-rationality intent ionally or unintentionally. Therefore\, his works regain the power of wildn ess.
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In recen t works\, his spirit of wildness and the unrestrained character have been r evealed obviously .The texture and disorder of his paintings are even highl ighted. It is his unique art language. In terms of theme\, it can be divide d into two categories: one is  \;the portrait of people\; the other is chaotic abstract painting. They are connected to each other. As for the lat er\,  \;the figure of ghost haunts in the chaotic image\; as for the fo rmer\,  \;portraits of  \;people are tangled and chaotic. Obviously \, these images reflect  \;this world in a mess. Although\, in current society\, science and rationality are highly praised. However\, when confro nting non-rationality\, they are fragile. To reveal the non-rational world in a non-rational way is more powerful and vivid than in a realistic way. D ue to these reasons\, Fu Zenan sets up the flag of New Wildness and devotes himself into it.
傅泽南是&ldquo\;85美术新潮&rdquo\;的代表艺术家之一,早在1985年就因发起组织&ldq uo\;江苏新野性画派&rdquo\;, \;而蜚声艺坛,受到业界的广泛关注。那时候的傅泽南,之所以 能够成为热点人物,是因为他倡导和追求的& ldquo\;新野性&rdquo\;,与当时整体的社会氛围相吻合,传递出了某种个性张扬与思想解放的内涵。而这些内涵,正是新潮美术的人 文起点,也是整个 社会再度开放以后,所呈现出的一种价值诉求。&ldquo\;新野性&rdquo\;站在新时期的逻辑起点上,领一时之风,自然也就成为了那个时代最具代表性的 艺术标 志之一。\n

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 \;  \;  \; 然而,九十年代以后,随着理想主义的式微,以及商品社会的到来,新潮美术开始全 面退潮。艺术家也大都由原来的狂热与激进,而逐渐趋于冷静和理性,由此使得 艺术潮流出现了一次大的转型。傅泽南当然也经历了这个转型,感受了转型带来的阵痛。 但与许多新潮艺术家顺势而为不同,傅泽南在时代的裂变中,并没有放弃自 己原来的艺术初衷,而是始终坚持自己的&ldquo\;非理性&rdquo\;创作原则 ,走上了一条疏远于艺术潮流、自我反叛的痛苦之路。这也使得傅泽南那一时期的作品,相比八十年代 的狂野、奔放和热烈,而更加苦涩、晦暗与深沉,带有某种悲剧的 意识。

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 \;  \;  \; 大概是从世纪之交开始,傅泽南的艺术出现了一些微妙的变化,原本粗砺的笔触,厚重 的肌理,逐渐被平涂手法所取代。与此同时,一些象征理性结构,又具某种当 代性的视觉符号,如棱角分明的现代建筑,如用于工业制造的重型机器等等,开始与他虚构 的一些物体,同时映入到画面之中,构成了理性和感性相交织的视觉形 态。应该说,这些变化象征了傅泽南的某种入世精神,也表明了他对当代社会的关注。不过,也许 是性格使然,也许是思想所好,傅泽南经过了一段时间的理性沉淀 之后,还是去蔽存真,回到了自己的真性情,以及非理性的探索轨迹上。他手中的画笔,也因为这种自 我回归,而再度获得了野性的力量。

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 \;  \;  \; 近期作品中,傅泽南恢复了原来的野性精神与狂放性格, 甚至进一步强化了画面的肌理感与紊乱感,并以此铸成自己的艺术语言。就题材而言,则基本是由两部分构 成,一是具体的人像,一是抽象的乱象。但无论是乱象,还是 人像,都彼此相关联,于乱象中闪烁着魍魉般人的身影,于人像的面部又往往暴露出乱象与纠结&hellip\;&hellip\;显 然,傅泽南是以此来隐喻这个 乱象丛生的世界。虽然今天的世界,推崇科学和理性,但这些因素在面对非理性时,往往不堪一击。所以,以非理性的艺术方式,来揭 示这个非理性的世界,远要比表面 的审美方式真切得多,也有力量得多。大概正是基于此,傅泽南在创作之余,才又重新树起&ldquo\;新野性&rdquo\;的大旗,并为此而奔走疾 呼。\n

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DTEND:20160803 DTSTAMP:20160724T084616 DTSTART:20160720 GEO:39.890204;116.4828227 LOCATION:Today Art Museum (TAM)\,32 Baiziwan Road Pingod Community\, Chaoya ng District\nBeijing\, 100022 SEQUENCE:0 SUMMARY:Roar\, Fu Zenan UID:423926 END:VEVENT BEGIN:VEVENT DESCRIPTION:
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Bai Di is labelled in many ways\, such as female\, young blood and staying in Germany. And Bai Di has combined th ese labels perfectly. \;
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Bai Di&rsquo\;s artwork conta ins hormones that represent youth\; restlessness\, confusion\, and even sad ness\, are all hallmarks of youth. Such keen emotions seem quite natural\, coming from a woman's hand. This is an era full of art\, as only in an era full of uncertainty can provide space for art. The perspective of gender is not only sensitive\, but also comes from a different standpoint as compare d to those of male artists. When representing different gender perspectives \, true expression coming from a female is a rarity. The lack of freedom an d confinement of women in traditional societies make the self-liberation an d exploration of women artists more difficult. However\, precisely because of this\, female artists can often capture deeper and more subtle problems in this day and age. From a female's perspective\, there are subjects that have long been ignored by men.
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Graffiti-style emotional re leases\, represented by distorted shapes\, thick and deep strokes\, and col ors with strong visual stimulation\, are revealed upon the face of unprepar ed audience\, with everything seeming out of pattern. Bai Di has clearly fo und her own way. Her artwork is simple and sincere. Behind the thick and de ep paint\, there are simple shapes\, layout\, blurry figures and the expres sion of zero plot\, which\, taken together\, express a tension that is impo ssible to be overlooked. She is confident and simplifies the complexities. The more she wants to express\, the more she shall stay away from noises an d interruption. Such confidence originated from the local culture and the o pportunity for expression at the time. She captured the nostalgia of youth and the sense of helplessness of the crowd\, the dullness of society and th e decadent confusion. These inner emotions\, in simple forms as if they wer e being released on paper\, appear particularly dazzling\, giving her artwo rks sharp strength. Such power is rarely seen in such a feeble fair lady. T his kind of contradiction itself is especially attractive.


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&mdash\;&mdash\;Alex Gao\, Director of Today Art Museum
白蒂身上 有很多的标签,比如女性,青年,旅德。诚然,白蒂将这些巧妙的融合在了一处。 \;\n

 \;  \;  \;白蒂的作品带着一种青春的荷尔蒙,躁动、迷茫,包括忧伤,这些正如同青春。这样敏锐的触觉出自一位女性之 手就显得理所应当。这是一个充满了艺术的时代, 因为充满了不确定才能有艺术的空间。而性的视角不但敏锐,更与男性艺术家来自不同的出发点。代表不同性别的视角 ,属于女性的真实表达本身就是难得一见的。 女性在中国传统地位上的不自由与束缚让女性艺术家的自我解放与探究更加困难。但也正因为如此,女性艺术家往往能在这 个时代捕捉到更深层、更隐晦的问题,因 为在她们的视野里有一些长期被男性忽略的地方。 \;

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 \;  \;  \; 扭曲的形体、厚重的笔触、强烈刺激视觉的配色这种看似涂鸦的混乱宣泄,就这样赤裸裸 的将情绪抛在毫无准备的观者面前,一切看似毫无规矩可言。白蒂显然已经 找到了自己的道路,她的作品其实是简单而真诚的。在厚重的油彩背后,简单的形态,布局, 模糊的人物,零剧情的表达,却有着令人无法忽视的张力。她是自信 的,化繁为简,越是要表现越应该排除喧扰。这种自信,源于本土境遇和时代表达的契机。她捕捉到 的是青春的伤感,是人群间的无助,是沉闷的社会与颓废的迷 茫。而这些内在的情绪,在简单到几乎宣泄的画纸上显得格外刺眼,赋予她的作品一股尖锐的力量。这种力 量,鲜少在柔弱的女子手下展现,这种矛盾本身便是分外 迷人的。

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&mdash \;&mdash\; 今日美术馆馆长 高鹏
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DTEND:20160802 DTSTAMP:20160724T084616 DTSTART:20160717 GEO:39.890204;116.4828227 LOCATION:Today Art Museum (TAM)\,32 Baiziwan Road Pingod Community\, Chaoya ng District\nBeijing\, 100022 SEQUENCE:0 SUMMARY:More Than This\, Bai Di UID:423925 END:VEVENT BEGIN:VEVENT DESCRIPTION:
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Today Art Museum is based on the practi cal principle that the collection should be freely accessible for public us e. It is also grounded in the Enlightenment idea that human cultures can\, despite their differences\, understand one another through mutual engagemen t. TAM was intended to be a place where this kind of humane cross-cultural investigation could happen. \;
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Today Art Museum Collec tion has recently begun focusing on a current media trend in the developmen t of Chinese contemporary art: digital arts\, which play a vital role in co ntemporary art. They not only reflect the creative features\, but also repr esent in a sense the avant-garde characteristics during the time of creatio n. Digital arts represents the structure of the modern world\, and how it h as been changed dramatically because of the development of technology. Toda y Art Museum Digital Arts Collection Display selects artists representing f our different decades of time during which technology&mdash\;and subsequent ly digital arts&mdash\;have evolved.
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今日美术馆馆藏本着 收藏且满足公众使用的大原则,把植艺术品中的人文启蒙与艺术思想传播给广大观众。通过相互啮合,人性化的跨文化调查在美术馆空间得以释放,艺术被最大价值化并终 回报社会。

今日美术馆近来把收藏的分支转向中国乃至世界当代艺术的新媒体发展方向,以数字艺术为代 表,作为承担当代艺术中前卫精 神的部分,它们不仅反映了当下的创作特色,也代表了当下先锋艺术主体的思辨。通过精选数字馆藏展折射了数字技术的发展为艺术 创造了更广阔的表现空间\,也反映 当代科技进步对艺术的影响。本次展览选择不同年代出生的艺术家,跨度从60后到90后,通过展示他们代表性的作品,给数字 艺术研究提供一个索引。

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DTEND:20160802 DTSTAMP:20160724T084616 DTSTART:20160715 GEO:39.890204;116.4828227 LOCATION:Today Art Museum (TAM)\,32 Baiziwan Road Pingod Community\, Chaoya ng District\nBeijing\, 100022 SEQUENCE:0 SUMMARY:Today Art Museum Digital Art Collection Display (Selected)\, Miao X iaochun\, Zhang Xiaotao\, Sun Xun\, Hu Weiyi UID:423924 END:VEVENT BEGIN:VEVENT DESCRIPTION:

He Yunchang&rsquo\;s solo exhi bition &ndash\; A CHANG will open at Today Art Museum from July\, 8th\,2016 to August\,1st\,2016.This exhibition will display about 20 pieces of He&rs quo\;s artworks during the past years\,with various artistic forms\,includi ng performance art\,photography\,installation\,etc. Apart from his previous artworks\,the exhibition will also present a new artwork of He Yunchang&rs quo\;s performance art.

This exhibition follows the creation track\, the current situation and the artist changes of He Yunchang\, illus trating his creation with different narrative techniques like backtracking\ , capture and dislocation\, to display his impeccable logic and broad horiz on in art.

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此次展览《啊昌》,是何云昌在美术馆第 一次全面文献性的学术大展,横跨何云昌长达20年的创作历程。这近20件作品中,涉及行为艺术、摄影、装置等多种方 式,全面展示了艺术家最具代表性的思想框架 和比较完整的创作生命线索,同时陈列的还有创作背后的实物、文献档案、视频资料等等。除此之外\,艺术家还将为观 众带来一件全新的现场行为作品。可以说此次展 览是艺术家个体首次完整、全面的梳理和呈现。作为一直致力于建设当代艺术学术系统的今日美术馆,也希望以此展 为契机,将中国行为艺术发展的30年从艺术语言, 文化状态与艺术变化等层面进行学术的整理纪录。

DTEND:20160801 DTSTAMP:20160724T084616 DTSTART:20160708 GEO:39.890204;116.4828227 LOCATION:Today Art Museum (TAM)\,32 Baiziwan Road Pingod Community\, Chaoya ng District\nBeijing\, 100022 SEQUENCE:0 SUMMARY:A Chang\, He Yunchang UID:423923 END:VEVENT BEGIN:VEVENT DESCRIPTION:

2016年6月24日,第二波&ldquo\;引力波&mdas h\;&mdash\;找朋友2016&rdquo\;在今日美术馆2号馆今日艺术橱窗开幕。作为今日美术馆青年艺术家扶持项目之一,该项目已经成功进入第三年 。2016年度主题为&ldquo\;引力波 Playful Wave&rdquo\;。

&ldquo\;引力波 Playfu l Wave&rdquo\;是由今日美术馆展览部年轻团队和往年&ldquo\;找朋友&rdquo\;艺术家们一起讨论的结果,是从&ldquo\;找朋友 &rdquo\;的价值和工作方式中自然生长出的。它的出现也是为强调不同艺术形态去形式化的自然融合,为展览形式争取更大自由空间的努力和尝试。

引力波第二波继续采用击鼓传花的形式,由戏剧线牵引出了现代舞表演。而橱窗艺术家的艺术风格与表现形式与上一期亦是风格迥异。艺术和舞台所引起 的引力波于盛夏夜再一次释放他的能量。

DTEND:20160815 DTSTAMP:20160724T084616 DTSTART:20160624 GEO:39.890204;116.4828227 LOCATION:Today Art Museum (TAM)\,32 Baiziwan Road Pingod Community\, Chaoya ng District\nBeijing\, 100022 SEQUENCE:0 SUMMARY:【Playful Wave】Finding Friends 2016 Act 2 UID:423922 END:VEVENT BEGIN:VEVENT DESCRIPTION:

She is the very first exhibiti on in China that features women artists from such a vast region and long hi story\, with the artworks from 13 countries spanning over 10 centuries by 1 05 artists.

She is divided into four chapters: self-annihilation \, self-liberation\, self-introspection and self-expression\, as the exhibi tion narrates the rise of women from a macro perspective. \;

I hope She can attract more attention to the achievements of women in art\ , and to women&rsquo\;s emotional world. Women often bear more pressure tha n men\, as the former has to deal with both family responsibilities and soc ial challenges. The world will be a better place if women can receive educa tion and respect. Thus\, how much a society concerns about women's living a nd mental conditions symbolizes the level of civilization. I believe that i n the contemporary society\, humanity has come to the center of the stage. I consider this exhibition as a reminder to the visitor---learn what "she" has achieved\, care about what "she" is pursuing\, and support what "she" i s longing for.
&mdash\;&mdash\;Wang Wei

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The Annihilation of Self

\n

Th ere were not many women artists in the early periods\, and those whose art survived till today are rare as morning stars. Their talents were anonymous just like their lives\, gone with the current of history in a male-dominat ed art system. During this period\, the subject matters of women artists&rs quo\; works were limited\, and the forms of art depended on their family tr aditions.

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The Liberation of Self

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In the early 20th century\, under the i nfluence of Western culture\, some women were liberated from oppression and discrimination. As the new generation of women\, they advanced from househ old to the society\, and actively participated in political and cultural ev ents. The team of women artists soon expanded. Some even taught at higher e ducational institutions. Their pursuits of freedom and art left a mark in a rt history.

The establishment of the People&rsquo\;s Republic of China in 1949 announced the total liberation of women. Consequently\, the slogan of "Women Can Hold Up Half the Sky" came to the mainstream. They use d art as a tool of political propaganda\, and devoted themselves to the vig orous socialist revolution and construction.

\n

The Introspection of Self

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A fter the awakening of self-consciousness\, women artists began to explore t heir own mode of expression from personal experience. Life\, nature\, or ev en trifling details of everyday life became the primary subject matters of their art. They obscured the boundary between subject and object\, went acr oss the divisions between ethnic groups or nations\, traveled through time and space\, and finally met here.

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Th e Expression of Self

\n

From the 18th c entury to today\, together with the development of post-structuralism\, the unified subject consciousness and grand narrative of feminism were deconst ructed. In stead\, feminism surpasses the binary opposition of biological g ender and social gender. It turns to women&rsquo\;s specific life experienc es to explore the gender difference as well as commonality. "There is no ab stract\, universal type of woman in the world"\, the same for women artists . Their pluralistic expressions are originated from the distinctive subject ive experience. But such diversity does not equal to individualism. Open di scussions of "self" will deepen our understanding of it\, and the expressio ns of "self" will eventually connect everyone.

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&ldquo\;她们:国际女性艺术特展&rdquo\;作为国内首次以古今中外优秀女性艺术家为主题的、具有历史回顾意 义的展览,将呈现来自13个国家和地区的104位女性艺术家,跨越十个世纪的优秀作品。

展览将她们视为一个整体,讲述女性崛起的故事, 历经古代的自我湮没,近现代的自我解放,当代的自我观照与自我表达,展现女性艺术家丰富细腻的内心世界与薄发于外的创造力。展览分为四个部分:湮没的自我;解放 的自我;观照的自我;表达的自我。

我希望通过&ldquo\;她们:国际女性艺术特展&rdquo\;让更多的人关注女性的艺术成就, 理解女性的情感世界。女性远比男性承受更多的社会压力,她们不仅要担负家庭的重担,还要迎接时代的竞争。一个社会的进步与否,往往体现在女性是否接受教育,是否 得到尊重。女性的生存境遇和精神价值,是衡量一个社会文明程度的标杆。我相信在人文主义色彩愈加浓郁的当今社会,本次展览会是对所有人的一次提醒&mdash\ ;&mdash\;了解她们已经实现的,关注她们正在实现的,推动她们希望实现的。
&mdash\;&mdash\;王薇

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湮没的自我

\n

早期 的女性艺术家较少,有存世作品的女性艺术家更是寥寥无几。她们的艺术才华如同她们的生活一样长期被隐蔽,湮灭于历史夹缝中,湮没于男性主导的艺术体系之下。在以 男权意识为主体的画坛中,她们的创作题材单一,创作手法受制于家学传统。

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解 放的自我

\n

20世纪初,西方文化对中国产生了强烈的冲击。一些女性在思想启蒙 运动影响下从受压迫、受歧视的群体中解放出来,从家庭走向社会,积极参与到政治、文化活动中去,成为新一代女性。这一时期女性艺术家人数大为增长,并有部分女性 艺术家授课于高等艺术院校。她们追求自由,追求艺术,在当时的画坛洒下了浓墨重彩。
1949年新中国诞生,广大女性彻底翻身解放,妇女能顶半边天的 思想成为主流。女性艺术家队伍迅速扩大,以艺术宣传的方式,自觉投身到轰轰烈烈的社会主义革命和建设大潮中。

\n

 \;

\n

观照的自我

\n< p style="text-align: justify\;">随着女性自我意识的觉醒,女性艺术家开始从个人的经验出发,探索符合自身的表达方式,关注生 命,领悟自然,表现凡人琐事及生活点滴。通过她们的艺术触觉去体悟生命、情感和人生意味。她们跨越主体与客体的界限,跨越民族与国家的分野,甚至跨越时空的长河 ,在这里相遇。

\n

表达的自我

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从18世纪到今天,伴随着后现代结构主义的发展,女权主义得以拆解一统化的主体意识和宏大叙述,去超越生理性别和社会性别的 二元对立,转向女性具体的生活经验,挖掘其中的差异与共性。&ldquo\;世上没有抽象的女性&rdquo\;,世上也没有抽象的女性艺术家。多元的表达脱胎 于多元的主观经验,但不等于狭隘的个人主义。自我终将在开放的讨论中不断深化,表达终将成为连接每一个自我的通路。

DTEND:20161030 DTSTAMP:20160724T084616 DTSTART:20160723 GEO:31.1710525;121.4627918 LOCATION:Long Museum - West Bund\,3398 Longteng Avenue Xuhui District\nShan ghai\, SEQUENCE:0 SUMMARY:SHE: International Women Artists Exhibition\, Group Show UID:423915 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Tang Contemporary Art is pleas ed to announce the opening of Yang Yong&rsquo\;s solo exhibition &ldquo\;Ya ng Yong 2016&rdquo\; on July 2\, 2016. For this exhibition\, the artist wil l simultaneously show his painting and photography works\, providing insigh t into his reflections\, interests\, and practices in the timespan between 2008 and 2016. \; \; \; \;

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Yang is known for his calm depictionof the outside world\, while reve aling very little of his own subjectivity and artistic approach where singl es out images from various media upon which he collects forfurther processi ng. Takinghis workInternational Passage-5for example\, the artist selected a clipping from a fashion magazine where he preserved only a petty bourgeoi sie tone of a background after removing the original image of a decadent no blewoman on the chair. His many other motifs include handbags\, skulls\, an F1 pipeline\, and a piled courier container\,in which intricate\, coherent ideasgive way tocasual enjoyment.Inmodern-day culture wheresensory pleasur es cater at large to viewers&rsquo\; tastes\, and whenpicture-reading has i ncreasingly become an all-too-common reading habit\,everything that comes i nto our sight may disappear all at once\, leaving timelessnessorimmortality a faded collective memory. Political\, religious\, news-specific\, or comme rcial affairs seem to be stripped oftheir solemn appearance to deliveracasu al\, entertaining\, and invigatoring world to us.These selections\, which c apture theephemeral moments\, showcase Yang&rsquo\;s comprehension of such a modern world. \; \; \; \;

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In contrast to how he shows care for the outside world through his p aintings\, Yang Yong&rsquo\;s photographical works rather demonstrate his o bservance ofinner emotions. Through his camera&rsquo\;s aperture is the ear ly series\,The Cruel Diary of Youth\, and later worksincludingAnonymous Sti ll Photoand On Edge\, mostly featuring girls who acted as his peers deeply rooted in the city of Shenzhen. A highly-concentrated miniature model of gl obal urbanization\, Shenzhen has rapidly grown over the past three decades into an open\, all-embracing city\; young and free of cultural burden with its fast-paced economy. However\, loneliness is all the more intensified am ong the local residents because of it. In his photographical works\, the ar tist displays exactly what noted British art critic and curator Karen Smith has described\,&ldquo\;Yang Yong photographs them as they wander the city in search of fun\, hang out at home\, dress up and dress down\, in what is an almost cinematic sequence as they pretend to be the models they dream of becoming.&rdquo\; \; \; \; \;

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Yang Yong&rsquo\;s practice of two mediums\, painting and photogr aphy\, merges at this exhibition where the two different channels of his ar talso both originated from his own experience and city life. Irrespective o f the style\, theme\, and practice\, it would be no easy feat to classify Y ang Yong&rsquo\;s works\, the very nature of their ambiguity is their artis tic value.

DTEND:20160818 DTSTAMP:20160724T084616 DTSTART:20160702 GEO:39.90403;116.407526 LOCATION:Tang Contemporary Art Beijing\,Gate No.2\, 798 factory\, Jiuxianqi ao Road Chaoyang Dst\nBeijing\, SEQUENCE:0 SUMMARY:Yang Yong 2016\, Yang Yong UID:423913 END:VEVENT BEGIN:VEVENT DESCRIPTION:
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&lsquo\;Jiang Pengyi: Grace&rsquo\; is the third solo exhibit ion of the artist Jiang Pengyi (b.1977) held by ShanghART Gallery. A totall y new silver-gelatin-print series &lsquo\;Grace&rsquo\; and a 8x10 Polaroid series &lsquo\;Trace&rsquo\; will be presented to public.

JIAN G Pengyi was born in Yuanjiang\, Hunan Province in 1977\, graduated from Ch ina Academy of Art\, and currently lives and works in Beijing. He creates a kind of surreal spectacle and delicate narration of the scene\, mostly\, b y photo and video\, to reveal the barriers and confusions of the individual s.

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蒋鹏奕:给予》是艺术家蒋鹏奕(b.1977)在香格纳 画廊的第三次个展,将展出手工银盐(明胶卤化银)冲印的最新系列黑白摄影作品《给予》,以及另一新系列8x10英寸宝丽来作品《自迹》。

艺术家蒋鹏奕1977 年生于湖南省沅江市,毕业于中国美术学院,现工作生活于北京。目前作品主要以摄影、录像为媒介,通过制造超现实的景观以及对景物的微妙 叙述,呈现出个体生命的内外障碍与疑惑。

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DTEND:20161023 DTSTAMP:20160724T084616 DTSTART:20160910 GEO:31.2487514;121.4466722 LOCATION:ShanghART H-space\,50 Moganshan Rd.\, Bldg 18 \nShanghai\, 200060 SEQUENCE:0 SUMMARY:Grace \, Jiang Pengyi UID:423907 END:VEVENT BEGIN:VEVENT DTEND:20160909T190000 DTSTAMP:20160724T084616 DTSTART:20160909T160000 GEO:31.2487514;121.4466722 LOCATION:ShanghART H-space\,50 Moganshan Rd.\, Bldg 18 \nShanghai\, 200060 SEQUENCE:0 SUMMARY:Grace \, Jiang Pengyi UID:423908 END:VEVENT BEGIN:VEVENT DESCRIPTION:
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The uncertain\, or the shelved... is showcased in ShanghART G allery both Main and H Space from 16th July. The diversified perspectives h ave been finalised after sourcing through numerous artists&rsquo\; studios. Works are exhibited in various media ranging from paintings\, installation s\, sculptures and manuscripts etc. . The exhibition is on view through 31s t August.

The uncertain\, or the shelved... &ldquo\;The uncertai n&rdquo\; is the hesitation\, exploration or experimentation of the concept \, thoughts\, creativity etc. in the extent of thinking logic\; &ldquo\;the shelved&rdquo\; is the statement of behaviour positioned in pause\, reserv e\, lingering etc.. Both scenarios are connected as well as mutually influe nced each other. This exhibition aims at revealing that those works or idea s are initiated due to momentary inspirations but temporarily/permanently h alted because of self-struggling with distracted clues or directions. The m ysterious circumstances that how works are conceived and why they&rsquo\;re suspended have become flowing riddles between artists and audiences. Not o nly does the exhibition challenge the viewers&rsquo\; cognition by presenti ng the seemingly divergent creation clues which enrich the possibilities of artists creative contexts\, but also reflects the extended associations wh ich are hidden beneath the differentiated creation practices.

&ldquo\;The unfinished is an interesting beginning or a recurrent idea after repetitious recording then forgetting it.&rdquo\;

&ldquo\; I&rsquo\;ve always liked woodcarving\, but never followed through... One da y sculpting out the rough shape but was difficult in further detailing it\, I helplessly left it there...around 2012\, had several attempts in carving it again but still ended in a meltdown...now\, just look back again\, it a ppears more perfectly after shifting through time\, and has become my cheri shed object.&rdquo\;

&ldquo\;Problems like many traditional craf tsmen in churches or temples might confront\, how to create an intangible s pirit by deploying tangible materials. I wanted to exercise some tactile pa inting sometimes\, I&rsquo\;m sensitive about the surface texture of painti ngs\, therefore\, I have processed several experiments violently on some mo st simple materials. &rdquo\;

Above narratives excerpted from Ar tists&rsquo\; oral statement


Art works included in this ex hibition are drifting away from artists&rsquo\; usual practices\, which are parallel presented in both spaces anonymously in order to allow public to immerse in the non-empirical scenario. More than thirty artists are involve d in this exhibition which will be comprehensively delivered with artists&r squo\; narrative texts\, video\, animation etc. novelty and interactive pre sentations.

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香格纳画廊于2016年7月16日在 主空间与H空间推出群展&ldquo\;不确定的,或者被搁置的&hellip\;&hellip\;&rdquo\;。继拜访数十位艺术家工作室最终形成此次 群展丰富多样的视角。该展览从绘画,装置,雕塑,手稿,多媒体等多种媒介的方式展出。展览持续至8月31日。

&ldquo\;不 确定 的,或者被搁置的&hellip\;&hellip\;&rdquo\;不确定的是概念,思路,创意等思想方面的踟蹰,探索以及实验;被搁置的是暂停,储存,徘 徊等行为的状态;二者彼此关联又相互影 响。在艺术家的创作过程中,那些曾经因灵感突至而开始,又因为线索,方向,自我迟疑种种挣扎而暂时搁置的作品或思路是这 次展览的主旨所在。此次展出的作品 在何种情境下萌发,又因何种瓶颈而暂停成为艺术家与每一位观者的一场互动的谜题。该展览不仅挑战性地展现艺术家看似大相径庭 的创作线索,丰富艺术家创作脉 络的多种可能性,更在趣味之余反思差异性创作下隐藏的引申关联。


&ldquo\;还没完成 是一个有意思的开始或者记录下来又遗忘后的再一次显现&rdquo\;

&ldquo\;一直喜欢木雕,但一直也没有实施&helli p\;大型出来后,往细部走的时候,还弄不了,后来也就放那了&hellip\;后来12年左右,没事也会拿锉锉几下,然后也是很崩溃&hellip\;现在, 再回头看去,随着时间的推移,它也越加完美了,俨然它已成了我的爱物。&rdquo\;

&ldquo\;就像教堂寺庙里无数传统的手 工艺工匠面临的问题,怎样利用有形的物质创造无形的精神。当时也想做些有触感绘画,我一直对绘画的表面质感敏感。所以就买了最简单的材料来进行粗暴试验。&rd quo\;

以上摘自艺术家口述备忘录


此次展览囊括这些游离于艺术家创作主线之外的作品,并在两个 空间中平行展出。主空间以及H空间皆以匿名的方式使大众在&ldquo\;零经验&rdquo\;的情境下观赏艺术家创作之外的创作。此次展览涉及艺术家三十余 名,以艺术家口述文本,影像,动画等新颖,互动的综合方式呈现所有作品。

\n
DTEND:20160831 DTSTAMP:20160724T084616 DTSTART:20160716 GEO:31.2487514;121.4466722 LOCATION:ShanghART H-space\,50 Moganshan Rd.\, Bldg 18 \nShanghai\, 200060 SEQUENCE:0 SUMMARY:The Uncertain\, or the Shelved...\, Birdhead\, Ouyang Chun\, Zhang Ding\, Zhang Enli\, Shen Fan\, Han Feng\, Yang Fudong\, WEI Guangqing\, Tan g Guo\, Zhu Jia\, Geng Jianyi\, Pu Jie\, Hu Jieming\, Huang Kui\, Lu Lei\, Xiang Liqing\, Tang Maohong\, Jiang Pengyi\, Shi Qing\, Zhang Qing\, Robert Zhao Renhui\, Liang Shaoji\, Xue Song\, Liu Weijian\, Ji Wenyu\, Sun Xun\, Zhao Yang\, Ding Yi\, Shao Yi\, Wu Yiming\, Wang Youshen\, Yuan Yuan\, Lia ng Yue\, Liu Yue\, Xu Zhen (MadeIn Company)\, Yang Zhenzhong\, Zhou Zixi UID:423906 END:VEVENT BEGIN:VEVENT DESCRIPTION:

&lsquo\;Jiang Pengyi: Grace&rs quo\; is the third solo exhibition of the artist Jiang Pengyi (b.1977) held by ShanghART Gallery. A totally new silver-gelatin-print series &lsquo\;Gr ace&rsquo\; and a 8x10 Polaroid series &lsquo\;Trace&rsquo\; will be presen ted to public.

JIANG Pengyi was born in Yuanjiang\, Hunan Provi nce in 1977\, graduated from China Academy of Art\, and currently lives and works in Beijing. He creates a kind of surreal spectacle and delicate narr ation of the scene\, mostly\, by photo and video\, to reveal the barriers a nd confusions of the individuals.

\n
\n

蒋鹏奕:给予》是艺术家蒋鹏奕(b.1977)在香格纳画廊的第三次个展,将展出手工银盐(明胶卤化银)冲印的最新系列黑白摄影作品《给予》,以及另 一新系列8x10英寸宝丽来作品《自迹》。

艺术家蒋鹏奕1977 年生于湖南省沅江市,毕业于中国美术学院,现工作生活于北京。目前作 品主要以摄影、录像为媒介,通过制造超现实的景观以及对景物的微妙叙述,呈现出个体生命的内外障碍与疑惑。

DTEND:20161023 DTSTAMP:20160724T084616 DTSTART:20160910 GEO:31.2487514;121.4466722 LOCATION:ShanghART Gallery (main gallery)\,50 Moganshan Rd.\, Bldg 16 \nSha nghai\, 200060 SEQUENCE:0 SUMMARY:Grace\, Jiang Pengyi UID:423904 END:VEVENT BEGIN:VEVENT DTEND:20160909T190000 DTSTAMP:20160724T084616 DTSTART:20160909T160000 GEO:31.2487514;121.4466722 LOCATION:ShanghART Gallery (main gallery)\,50 Moganshan Rd.\, Bldg 16 \nSha nghai\, 200060 SEQUENCE:0 SUMMARY:Grace\, Jiang Pengyi UID:423905 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The uncertain\, or the shelved ... is showcased in ShanghART Gallery both Main and H Space from 16th July. The diversified perspectives have been finalised after sourcing through nu merous artists&rsquo\; studios. Works are exhibited in various media rangin g from paintings\, installations\, sculptures and manuscripts etc. . The ex hibition is on view through 31st August.

The uncertain\, or the shelved... &ldquo\;The uncertain&rdquo\; is the hesitation\, exploration or experimentation of the concept\, thoughts\, creativity etc. in the extent of thinking logic\; &ldquo\;the shelved&rdquo\; is the statement of behavio ur positioned in pause\, reserve\, lingering etc.. Both scenarios are conne cted as well as mutually influenced each other. This exhibition aims at rev ealing that those works or ideas are initiated due to momentary inspiration s but temporarily/permanently halted because of self-struggling with distra cted clues or directions. The mysterious circumstances that how works are c onceived and why they&rsquo\;re suspended have become flowing riddles betwe en artists and audiences. Not only does the exhibition challenge the viewer s&rsquo\; cognition by presenting the seemingly divergent creation clues wh ich enrich the possibilities of artists creative contexts\, but also reflec ts the extended associations which are hidden beneath the differentiated cr eation practices.


&ldquo\;The unfinished is an interesting beginning or a recurrent idea after repetitious recording then forgetting it.&rdquo\;

&ldquo\;I&rsquo\;ve always liked woodcarving\, but n ever followed through... One day sculpting out the rough shape but was diff icult in further detailing it\, I helplessly left it there...around 2012\, had several attempts in carving it again but still ended in a meltdown...no w\, just look back again\, it appears more perfectly after shifting through time\, and has become my cherished object.&rdquo\;

&ldquo\;Prob lems like many traditional craftsmen in churches or temples might confront\ , how to create an intangible spirit by deploying tangible materials. I wan ted to exercise some tactile painting sometimes\, I&rsquo\;m sensitive abou t the surface texture of paintings\, therefore\, I have processed several e xperiments violently on some most simple materials. &rdquo\;

Abo ve narratives excerpted from Artists&rsquo\; oral statement


Art works included in this exhibition are drifting away from artists&rsqu o\; usual practices\, which are parallel presented in both spaces anonymous ly in order to allow public to immerse in the non-empirical scenario. More than thirty artists are involved in this exhibition which will be comprehen sively delivered with artists&rsquo\; narrative texts\, video\, animation e tc. novelty and interactive presentations.

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香格纳画廊于2016年7月16日在主空间与H空间推出群展&ldquo\;不确定的,或者被搁置的&hellip\;&hell ip\;&rdquo\;。继拜访数十位艺术家工作室最终形成此次群展丰富多样的视角。该展览从绘画,装置,雕塑,手稿,多媒体等多种媒介的方式展出。展览持续 至8月31日。

&ldquo\;不 确定的,或者被搁置的&hellip\;&hellip\;&rdquo\;不确定的是概念,思路 ,创意等思想方面的踟蹰,探索以及实验;被搁置的是暂停,储存,徘徊等行为的状态;二者彼此关联又相互影 响。在艺术家的创作过程中,那些曾经因灵感突至而开始 ,又因为线索,方向,自我迟疑种种挣扎而暂时搁置的作品或思路是这次展览的主旨所在。此次展出的作品 在何种情境下萌发,又因何种瓶颈而暂停成为艺术家与每一位 观者的一场互动的谜题。该展览不仅挑战性地展现艺术家看似大相径庭的创作线索,丰富艺术家创作脉 络的多种可能性,更在趣味之余反思差异性创作下隐藏的引申关联 。


&ldquo\;还没完成是一个有意思的开始或者记录下来又遗忘后的再一次显现&rdquo\;

&ldquo\;一直喜欢木雕,但一直也没有实施&hellip\;大型出来后,往细部走的时候,还弄不了,后来也就放那了&hellip\;后来12年左 右,没事也会拿锉锉几下,然后也是很崩溃&hellip\;现在,再回头看去,随着时间的推移,它也越加完美了,俨然它已成了我的爱物。&rdquo\;
&ldquo\;就像教堂寺庙里无数传统的手工艺工匠面临的问题,怎样利用有形的物质创造无形的精神。当时也想做些有触感绘画,我一直对绘 画的表面质感敏感。所以就买了最简单的材料来进行粗暴试验。&rdquo\;

以上摘自艺术家口述备忘录


此次展览囊括这些游离于艺术家创作主线之外的作品,并在两个空间中平行展出。主空间以及H空间皆以匿名的方式使大众在&ldquo\;零经验&rdquo \;的情境下观赏艺术家创作之外的创作。此次展览涉及艺术家三十余名,以艺术家口述文本,影像,动画等新颖,互动的综合方式呈现所有作品。

DTEND:20160831 DTSTAMP:20160724T084616 DTSTART:20160716 GEO:31.2487514;121.4466722 LOCATION:ShanghART Gallery (main gallery)\,50 Moganshan Rd.\, Bldg 16 \nSha nghai\, 200060 SEQUENCE:0 SUMMARY:The Uncertain\, or the Shelved...\, Xu Zhen (MadeIn Company)\, Bird head\, Ding Yi\, Geng Jianyi\, Han Feng\, Hu Jieming\, Huang Kui\, Jiang Pe ngyi\, Ji Wenyu\, Lu Lei\, Liang Shaoji\, Liu Weijian\, Liang Yue\, Liu Yue \, Ouyang Chun\, Pu Jie\, Shen Fan\, Shao Yi\, Shi Qing\, Sun Xun\, Tang Gu o\, Tang Maohong\, WEI Guangqing\, Wu Yiming\, Wang Youshen\, Xiang Liqing\ , Xue Song\, Yang Fudong\, Yuan Yuan\, Yang Zhenzhong\, Zhang Ding\, Zhang Enli\, Zhu Jia\, Zhang Qing\, Robert Zhao Renhui\, Zhao Yang\, Zhou Zixi UID:423903 END:VEVENT BEGIN:VEVENT DESCRIPTION:

'TIME Capsule: Allegories of Shanghai' \;emanates \;from our proposition of 'cult ure' as one of the most \;complicated forms of ecology \;that exist s. Culture itself is not easily defined by words alone\, because it is a&nb sp\;constantly \;evolving state of mind \;that is as organic as our use \;of language. Therefore there is no \;such thing asa \;de fining \;moment for \;culture. To that end \;for over a century anthropologists have been trying to understand culture\, and \;its abs olute definition still remains unanswered. \;As an evolving phenomena c ulture \;is \;currently \;effecting and effected by \;peopl e living through the epochs of \;post-globalization\; \;mass mobili ty and digital modernity. \;

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Individuals \;are \;now \;connected \;to the&nb sp\;horizontal zone\, and all of the diverse cultures within that \;zon e are effortlessly influencing each other through \;their \;social interactions. Specifically through exchanges between the \;macro \; and the \;micro\, the global and the local\; \;we can see that new& nbsp\;cultural codes are constantly \;evolving. Therefore \;when it comes to discussing contemporary culture\, it \;requires we consider i t \;in the 'present continuous' \;tense\; \;in order to acknowl edge \;its constant state of flux. \; \;

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This exhibition also \;explores \;t he term 'allegory'\, \;as a trigger \;for cultivating a wealth of v ery \;diverse perspectives \;from which to \;interpret \;cu ltures. \;Specifically in the context of this show\, \;allegory&nbs p\;is \;deconstructed \;of \;its original \;signification&n bsp\;as being \;'a symbolic generalization'. Here \;appearing \ ;in \;the \;plural \;tense\, \;allegories\; \;and \ ;not as \;the \;singular noun\, allegory. \;Which also cruciall y raises \;questions about \;the \;thoughtless \;cultural c liché\;s \;put upon otherness\; \;in such circumstances as de scribing \;Asian cultural \;elements as exotic. \; \;

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In context \;Shanghai& nbsp\;is defined as \;the first metropolitan city in Asia\, the third r ichest financial centre \;of the \;world\, a critical terrain \ ;for \;the \;Korean \;independence movement and \;centre of ideology \;and Chinese \;philosophy \;at \;the \;begin ning of the \;Modernism era. And against such historical and financial& nbsp\;gravitas\, \;the city \;has also emerged as \;one of the& nbsp\;leading \;creative centres in the world. \; \; \;

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Time Capsule: Allegories of Shanghai \;aims to draw attention to the city's \;culture\; and  \;of \;the vibrant sounds and sensations of its \;inhabitants. Whose individual lives become integral to the exhibition\, as they are inv ited to witness allegories of themselves as artworks. And by exploring Shan ghai through \;its people \;and their urban lives\, the exhibition& nbsp\;attempts to comprehend a measure \;of \;their thoughts\, feel ings\, and aspirations\; as they influence and are influenced \;by  \;culture's evolution. \;

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More \;specifically \;a leading component of \;the aud ience's \;participation involved \;a \;two week long on-line&nb sp\;and \;off-line survey \;of \;their \;choice of memorabl e \;songs. Which were collectively given to the eminent British music p roducer and composer Richie Fermie to correlate into a sound encyclopaedia of Shanghai's \;very eclectic \;culture. In detail for the first so und installation Fermie re-interprets five of a total of fifty songs chosen by participants in the city. All of which proved acoustically intriguing t o the producer. He then manipulated the collective sounds through a process of 'granular synthesis'. The archive of songs were selected between an on- line generation of music lovers\; and an older group of people\, who withou t the internet were invited to choose songs that were as memorable to them. Selecting only five songs Fermie deconstructed the elements of each of the songs\, and reassembled them by employing a method known as granular synth esis. Which led to the musicians Pan Daijing (electronic musician)\, and Mi ndy Wang (Guzheng Player)\, responding to Richie Fermie five sound pieces\, and also to the original fifty songs\, with collaborative musical performa nces and improvisations.

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The second audience participation lead by the Argentinian artist Paula Zuccotti involved her focusing on six individual lives in Shanghai through their utilitarian use of the objects that they come to use\, consume and to uch\, over the course of one day. Photographic work\, installation and vide o form the visual framework for which a selected audience become the matter and medium of the artwork. As Zuccotti's selected works are part of a more substantial long term project entitled 'Everything We Touch'\; soon to be published by Penguin Books\, in which she features sixty different people f rom all over the world.

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While MHP\, 'the son of Shanghai Techno'\, draws on the city's populatio n to create impressive interactive soundscapes based on his twenty-four hou r sensitive sensory experiences. Capturing twenty-four individual elements of sounds that are based on his own personal interpretations\, as a compila tion of sound allegories of Shanghai. For which MHP is using the frequency <\;90-15.1K Hz>\;\, which is outside normal human hearing\, presented a s 'visual images'.

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Fi nally Ghada Da seeks to divulge her spiritual experiences as a consequence of a direct exchange between the participants and the artist herself. Inspi red by French philosopher Pierre Teilhard de Chardin\, who said "we are not human beings having a spiritual experience\; but spiritual beings having a human experience." Ghada Da's collective 'wishes' translate beyond languag e\, race\, gender\, socio-cultural-political boundaries.

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Between March and July of 2015 the cura torial project will aim to present time-space specific works at the Shangha i Duolun MoMA\; where the exhibition will act as an active incubator for th e audio and visual evidence of the city's cultural practices\, extracted du ring the five months previously. And by reintroducing such electric sounds and sensations into a museum setting\, to an audience participating and to those observing\; Time Capsule: Allegories of Shanghai \;draws a visibl e light on the rich complexity and generative energy of belonging to one of the most richly diverse cities in the world.

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ABOUT ARTISTS

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Ghada Da

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Having studied Fine Arts at Central St. Martin's C ollege of Art and Design in London\, Ghada's multi-disciplinary fine art pr actice focuses mainly on performative sculpture and video installations. He r work is a journey of observation and exploration on disconnect\, the gend erless body\, finding home\, rebirth\, identity and the representation of t he sacred body.

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The m ain aim of her work is an investigation of the visible landscape presented by the body and the spatial area in which the body exists as well as its in visible counter part\; the psyche. Da tends to create images that become ps ychological portraits of the identity of the human condition by either an i ntentional mutation or an intersex by design\, in order to allow the sculpt ural body to live outside the gender system. Her works are shown internatio nally including\, Satellite (Dubai)\, Sharjah Art Foundation (Sharjah)\, Sa atchi Gallery (London)\, Mumford Fine Art Gallery (London) and Ductac Galle ry (Dubai). Da is currently participating in a residency at Seoul Art Space _Geumcheon and will produce an exhibition at Maraya Art Centre (Sharjah) as part of the residency partnership.

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Richie Fermie

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Richie Fermie is one of the finest sound ma nipulators in Europe. As a composer\, producer\, writer and remixer\, he ha s worked with some genre defining artistes such as Norman Cook (Fat Boy Sli m)\, \;Neneh Cherry\, \;U.N.K.L.E.\, All Saints \;and \;Por tishead. Richie's remixes have topped the DJ Magazine and Mix Magazine's Bu zz Charts. He has produced records that have been number one records in bot h the Album &\; Singles charts. At the age of 16 Richie produced and wro te the first Acid House hit with his band Adrenalin M.O.D.\, He produced so me of the early hip hop artistes such as Monie Love\, The Jungle Bothers an d Stetsasonic.

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Richie focuses on the spatial placement and exploring the texture and mass of sou nd. \;Richie is adept at creating unique sonic architecture. He is curr ently collaborating with the neuroscience specialists the Sonic Ray-gun loo king in detail at how sound enhances emotion. Richie is exploring the conce pts of silent sound and reverse analogue synthesis.

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MHP

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The 4th Abliu-Douban Music Award winn der (2015) and also known as 'Son of Shanghai techno' Ma Haiping (aka MHP) is the leading contemporary musician\, sonic artist and performer in China. During the last fourteen years\, his has worked across diverse musical gen re such as avant-garde\, experimental and electronic music. In collaboratio n with visual artists and contemporary dancers\, he also has composed and p roduced interdisciplinary art performances. Recently\, MHP is promoting cut ting-edge contemporary music culture of China through high-profile music fe stivals such as China Shanghai International Arts Festival(2014)\, 2014 F&e circ\;te de la musique\, Shanghai Strawberry Music Festival(2013). He also organized and lectured academic music symposium such as 'Avant-grade Music and Contemporary Art' (Shanghai Duolun Museum Of Modern Art\, 2012)\, 'Does not exist in the border-The avant-grade Music and Visual Art Form' (The Ch ina Academy of Art\, 2012).

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Paula Zuccotti

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Paula Zuccotti is the author of the forthcoming publicati on entitled Everything We Touch\; a unique visual collection of the stories of over 60 people around the world.
As an artist and storyteller wo rking across photography and film\, she is interested in documenting societ y and culture with her unique perspective and skills as an industrial desig ner\, ethnographer and trends forecaster. In the past fifteen years she has travelled the world studying the relationship between people and products\ ; those they use and those they do not even know exist yet. Her expertise i s to anticipate what future scenarios people may find themselves in and the products and services they may need and want. She is the founder of The Ov erworld\, a London based research and design observatory and was a keynote speaker at international events such as Power to the Pixel\, Learn Do Share \, Dubai Design Days and the Royal Academy of Arts on cross-media\, consump tion of art and entertainment\, design research and foresight. She has a Ba Hons degree in Industrial Design from the University of Buenos Aires and a MA in Design Strategy and Innovation from Brunel University. She lives and works in London.

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&nb sp\;

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ABOUT CU RATOR

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JW STELLA

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JW Stella is the founder of JW STELLA Arts Collectives\; a London based no n-profit curatorial research lab\, and recently has become the internationa l associate curator to Shanghai Duolun Museum of Modern Art.

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She has curated high-profile intern ational contemporary art exhibition and art festival projects\, focusing on socio-cultural contemporary anthropology in collaboration with internation al organisations. The most recent of which were \;'??[WOO:RI]: interrel ationship between you\, myself and us'- a site specific contemporary art pr oject in the national &\; UNESCO cultural heritages in Czech Republic (T INA B. Prague Contemporary Art Festival 2012 &\; Centre for Theology and Arts). 'Allegories of SEOUL'- a contemporary Korean cultural pop-up projec t (2011 London Design Festival\, UK). 'NABATT: a sense of being'- the Saudi Arabian contemporary art exhibition for 2010 Shanghai World Expo (Shanghai Duolun Museum of Modern Art\, China\, 2010)\, 'SU: MBISORI'- the inaugural international contemporary art exhibition for Jeju Museum of Modern Art (J eju Special Self &ndash\;governing province\, Korea\, 2009)\, \;'USB'- emerging Korean diaspora contemporary artists in the World' (Hangaram Art M useum\, Seoul Art Centre\, 2009). \;

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Her forthcoming curatorial project\, ' [ana]: Please ke ep your eyes closed for a moment' will talk place in Maraya Art Centre\, Sh arjah\, UAE\, from 21 October 2015 to 2 January 2016.

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JW served as an advisory for public art or ganisations such as Geumcheon Art Space (Seoul Foundation of Art and Cultur e) and Korean Art Management Service (Korean Ministry of Culture\, Sports a nd Tourism) for their international exchange programmes in ME NA region.

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As a regular contributo r to Seoul Art Guide she writes about the contemporary art from ME NA regio n and also wrote essays and reviews by Korean and international art journal s such as 'Art in Culture' (Korea)\, 'Art in Asia' (Korea/ Asia)\, 'Art Now ' (Korea/ China)\, 'Public Art (Korea)'\, 'SPACE (Korea)'\, 'The Artro (Kor ea)'\, Art and Antique' (Czech Republic) and 'Canvas' (UAE).

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JW received a Masters degree in Cur ating Contemporary Art at the department of Museum and Gallery Management f rom the City University\, London and a Bachelor's degree in Fine Art from E wha Woman's University\, Seoul\, South Korea.

DTEND:20160713 DTSTAMP:20160724T084616 DTSTART:20160620 GEO:31.2651702;121.481836 LOCATION:Shanghai Duolun Museum of Modern Art (Doland Art Museum)\,27 Duolu n Rd (near Sichuan North Road)\nShanghai\, 200081 SEQUENCE:0 SUMMARY:Time Capsule: Allegories of Shanghai\, Ghada Da\, Richeie Fermie\, MHP\, Paula Zuccotti UID:423902 END:VEVENT BEGIN:VEVENT DESCRIPTION:

This summer\, Pace Hong Kong w ill present the first Hong Kong solo exhibition of important contemporary C hinese photographer Hai Bo. The exhibition will feature his classic works\, known for uncovering the poetry in everyday scenes. These silent moments s tand as a force of resistance against the chaos and clamor of our rapidly c hanging era. The exhibition will open on July 29\, and on view through Sept ember 14. The opening reception on July 28 from 6 &ndash\; 8 p.m. will be o pen to the general public. The artist will be in attendance.

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Hai Bo focuses on the ordinary moments behind our c omplex reality\, concealing weighty narratives and perceptions within easil y overlooked rural scenes. Through the unique tension between the eternal a nd ephemeral in photography\, these ordinary people and things are able to convey the unavoidable changes in times\, history and the individual\, to g reat emotional impact.

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The Pace Hong Kong exhibition will present eight of Hai Bo&rsquo\;s works\, including sev en works from the Northern Series. A signature series in the artist&rsquo\; s oeuvre\, the Northern Series uses the theme of family to convey the vast\ , desolate northern wilderness he calls home\, and the people who pass over this yellow soil. Since 1982\, Hai Bo has created many photographic works in his native northeastern China\, expressing this stark beauty in his own unique way\, and bearing witness to this individualized history.

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Hai Bo&rsquo\;s maternal uncle features frequen tly in the Northern Series. Remembered as a strong and somewhat wild figure \, time has reshaped Hai Bo&rsquo\;s uncle into a quiet old man. On the rar e occasion the uncle has given accounts of the past\, Hai Bo has recorded i t\, giving it the title Northern Series&mdash\; End of Story. At the moment he pressed the shutter\, the artist sensed the end of an era. The once fam iliar scenes\, people and lives have all passed\, and China has gradually p rogressed from an agrarian civilization to a modern one. In this process\, the drastic change that has come to China has made it so that history is no longer an abstract concept but an intimate experience. More than individua l catharsis and nostalgia\, Hai Bo&rsquo\;s creations are a form of resista nce against change.

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Another work in T he Northern Series featured in the exhibition\, 2008-1\, also features the artist&rsquo\;s uncle. This now gentle old man gradually emerges from the s hadows. &ldquo\;Their today is our tomorrow\,&rdquo\; says Hai Bo\, &ldquo\ ;In the end\, we all belong to the dust.&rdquo\; This exhibition will also present the work Fable from the Photographic Diary series. This series is i nfused with Hai Bo&rsquo\;s signature poeticism\, using seemingly scattered fragments to document memories as they slip away\, effecting a recollectio n of memory with a light hand. &lsquo\;

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Hai Bo&rsquo\;s works are featured in numerous public collections includ ing the Metropolitan Museum of Art\, the J. Paul Getty Museum\, Museum of M odern Art(MoMA)\, Smithsonian's Arthur M. Sackler Gallery\, the Queensland Art Gallery. His selected solo exhibitions include Hai Bo at Pace Beijing\, Beijing (2012) and Pace/MacGill Gallery\, New York (2011)\; Perspectives: Hai Bo at Smithsonian's Arthur M. Sackler Gallery\, Washington DC (2010). R ecently\, he was included in the following exhibitions: The China Project a t Gallery of Modern Art and Queensland Art Gallery\, Queensland\, Australia (2009)\; Journeys: Mapping the Earth and Mind in Chinese Art at Metropolit an Museum of Art\, New York\, U.S.A (2007)\; Between Past and Future: New P hotography and Video from China at ICP and Asia Society\, New York\, U.S.A (2004) and The 49th Venice Biennale\, Venice\, Italy (2001).

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About Artist

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Hai Bo (b. 1962\, Changchun\, China) graduated from Printmaking Department of the Fine Art Institute of Jilin in 1984. His artistic ideals involve the restoration of the past through photography. Hai Bo&rsquo\;s work is less about what changes through time and more about what endures. His photograph y often depicts people shown in various stages of life as well as the passa ge of time. Hai Bo turns his gaze toward the stars\, rivers\, and mountains \, where he sees a durable natural rhythm that can affect all people and se rve as an inspiration to artists. He is a retiring solitary man\, who\, bes ides nature\, loves literature and poetry. He spends most of his time at hi s home in the far reaches of Beijing\, working in studio surrounded by high gray brick walls. There he immerses himself in his books\, his memories\, and the careful study of the photographs he has collected through years.

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佩斯香港將於今夏推出中國當代重要攝影藝術家海波在香港的首次個展 ,展覽將以海波的經典代表作呈現日常風景中的詩意,以無聲的瞬間抵抗時代的嘈雜紛 擾與飛速變化。展覽將從7月29日持續展出至9月14日,並於7月28日週四 晚間六至八時舉辦向公眾開放的開幕式,藝術家將出席開幕酒會。

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海波關注複雜現 實背後的平凡瞬間,將沉重的故事和感受隱藏在極易被人忽略的鄉野景物之中。而這些尋常之人、之物卻可以通過攝影所特有的存在於瞬間與永恆之間的張力,呈現時代、 歷史乃至個人內心不可迴避的變化,給人帶來更強烈的觀感與觸動。

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此次佩斯香港 個展將帶來海波的8件作品,其中包括7件《北方》系列作品。作為藝術家的重要代表作,該系列以家園為題材,展現出藝術家深深迷戀著的北 方故土遼闊蒼涼的原野, 以及廣袤土地上如匆匆過客般的人民。海波自1982年以來在故鄉東北拍攝並完成了大量影像創作,他以自己的方式来表现这种凄美,见 证这段個人化的历史。

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《北方系列》中拍攝的老人多為海波的舅舅,昔日藝術家記憶中高大、強壯甚至粗野的人 隨著歲月的流逝已變成一位安靜的老人,而少數正在述說陳年往事的 情景則被藝術家記錄下來並命名為《北方系列﹣故事的結束》。按下快門的瞬間,藝術家感受到一個 時代的結束:曾經熟悉的風景、熟悉的人、熟悉的生活都已悄然 遠去,中國也從漫長的農業文明開始了現代文明的進程。在此進程中,中國劇烈的變化使得歷史對人們來 說不再是觀念,而是真實的經歷和感受。海波的創作不僅是 自我情感的傾注和對過去的留戀,同時也是對變化的一種抵抗。

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而《北方系列》另一展出作品《2008-1》拍攝的同樣是藝術家的舅舅,《2008-1》拍攝的同樣是藝術家的舅舅,隨 著年老而變得溫順和藹的身影 從陰影下慢慢浮現出來,&ldquo\;他们的今天就是我们的明天,&rdquo\;海波说道,&ldquo\;我們的歸宿和終結 都是塵土。&rdquo\;此次香港首次個展將同時展出藝術家的《攝影日記》系列作 品《寓言》。《攝影日記》有著海波特有的詩意,以看似零落的片段記錄人們似 乎正在逐漸遺失的記憶,以一種輕鬆的手法來進行一次記憶的重拾。

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海波的作品曾 在國內外多個重要展覽中亮相,包括於2001年第49屆威尼斯雙年展展出《他們》系列作品,於2010年華盛頓史密森尼學會亚瑟·\;M&midd ot\; 萨克勒画廊舉辦個展「透視:海波」及於2007年紐約大都會藝術博物館「心靈和天地之旅程」群展中展出《北方系列》。他的作品被現代藝術博物館、紐約 大都 會博物館、華盛頓史密森尼學會亚瑟·\;M·\;萨克勒画廊、蓋蒂博物館、昆士蘭美術館、中國美術館、廣東美術館等知名機構收藏 。

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關於藝術家

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海波1962年出生於中國吉林長春,1984年畢業於吉林藝術學院美術系版畫專業。他的藝術理想是用照片來複製已經消逝的時光。在他充滿溫情 又具鄉 土氣息的照片裡,熟悉的人和景物在柔和的光線中成為永恆。海波會關注星辰、河流和山川。他認為這些事物蘊含一種永恆的節拍,人們可以去契合,也可以在藝 術 創作時參照。他是一個害羞的、喜歡獨處的人,熱愛自然、文學和詩歌。他大部分時間都在北京遠郊的工作室裡,被四周灰磚的高牆圍繞,沉浸在讀書、回憶和細細 品味多年來收藏的照片之中。

DTEND:20160914 DTSTAMP:20160724T084616 DTSTART:20160729 GEO:22.2814121;114.1564001 LOCATION:Pace Hong Kong\,15C Entertainment Building 30 Queens Road Central\ nHong Kong \, SEQUENCE:0 SUMMARY:Solo Exhibition\, Hai Bo UID:423900 END:VEVENT BEGIN:VEVENT DTEND:20160728T200000 DTSTAMP:20160724T084616 DTSTART:20160728T180000 GEO:22.2814121;114.1564001 LOCATION:Pace Hong Kong\,15C Entertainment Building 30 Queens Road Central\ nHong Kong \, SEQUENCE:0 SUMMARY:Solo Exhibition\, Hai Bo UID:423901 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Pace Beijing is honored to pre sent the Xiao Yu solo exhibition Cement Floor\, opening at 4pm on July 6. This\, the artist&rsquo\;s third exhibition at Pace Beijing\, once again presents the artist&rsquo\;s singular contemporary vision.

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In this exhibition\, the artist again utilizes bamboo\, a creative material uniquely imbued with Chinese traditional aesth etics. This material took center stage in the artist&rsquo\;s work in 2010 in a series with a powerful sense of strength that reflects the artist&rsqu o\;s deep thinking on contemporary society and the human condition.

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In this latest work\, a matrix of bamboo hol ds fast to a heavy cube of cast cement. The two materials\, with their vast ly opposed properties\, coexist in an unconventional manner\, their awkward connection seeming to allude to the state of a Chinese society in the mids t of rapid transformation. Here\, the bamboo conveys two forms of identity. As a sign\, it is a carrier of ancient cultural affinities and aesthetics. As a living thing\, its green body conveys vivid and concrete tenacity and strength. Under the great weight of the concrete\, these two forms\, one m aterial and one virtual\, come together to awaken the instinctual reverence for life that is rooted deep in the genes of the spectator. The concrete\, which serves here as a reference\, has had its surface forcefully imprinte d with the texture of split bamboo. Here\, the artist has utilized the inhe rent tenacity of life to wrap this symbol of modern society with the fibrou s texture of skin.

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This exhibition ca n be seen as a continuation of Xiao Yu&rsquo\;s previous solo exhibition. I n the third segment of the 2015 exhibition Oblivion\, the artist p resented a series of life-themed paintings that provided an individualized response to the dilemmas of contemporary society. Life has been a persisten t inner thread concealed within the artist&rsquo\;s oeuvre. In this latest creation\, the artist conceals his own insights into life within the highly expressive appearance of bamboo&mdash\;this primal living thing\, with its Eastern traditional aesthetic import\, seems to be an inevitable creative choice here. The repeating scene of external force and life&rsquo\;s resist ance to it also seems to reference a more deeply concealed emotional thread in the artist&rsquo\;s heart. The massive tension borne of this resistance grows from the sensory level to catalyze the most direct experience and em otional resonance in the viewer.

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Xiao Yu (b. 1965\, Inner Mongolia) graduated from the Mural Painting Department at the Central Academy of Fine Arts in 1989 and now lives and works in Bei jing. Since 1990s he has engaged in contemporary art creation and was award ed the Chinese Contemporary Art Award (CCAA) in 2000. In 2001\, he particip ated in the 49th Theme Exhibition of Venice Biennale &ldquo\;Plateau of Hum ankind&rdquo\;\, curated by Harald Szeemann\, presenting his most controver sial work. He was invited to participate in international exhibitions inclu ding Lyon Biennale of Contemporary Art\, Shanghai Biennale and Guangzhou Tr iennial and the Off Site Project at the Royal College of Art in London. His works have been exhibited at the Centre Pompidou\, the Groningen Museum\, Graz Art Museum\, Fukuoka Asian Art Museum\, Seoul Art Museum\, Bern Art Mu seum Switzerland\, the Museum Tinguely in Basel\, the Royal College of Art in London\, the National Art Museum of China\, Shanghai Art Museum\, Guangd ong Art Museum\, the Ullens Center for Contemporary Art\, and other eminent exhibition spaces. Xiao Yu joined the Pace Gallery in 2014.

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\n< p style="text-align: justify\;">萧昱最新个展&ldquo\;水泥楼板&rdquo\;将于2016年7月6日在佩斯北京开 幕。作为艺术家在佩斯北京举办的第三次个展,本次展览将再度呈现萧昱式的当代视觉景观。

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萧昱在此次展览中再次使用了竹子作为创作材料,这种有着东方传统美学意蕴的独特材料自2010年起成为了艺术家作品中的主角,并以极具力量感的形态出 现在了他一系列重要的作品之中,呈现出艺术家对于当代社会与人类处境的深刻思考。

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作品由两种直观的材料组成,由竹子组成的矩阵稳稳托起一块硕大而沉重的浇铸水泥立方体。两种特性相互对立的材料以异于常识的关系共处,这种颇为生硬 的衔接 似乎正暗喻了快速转型中的中国社会现状。而竹子在这里展现出了两种身份:作为符号的&ldquo\;竹&rdquo\;自古承载着文化趣味与美学意涵;而作为生 命体的竹子则以其 青绿色的躯体在重压之下展现出生动而具体的韧性与力量感。这一虚一实的两种形象在厚重水泥的压力下重合,唤起观者自身根植于生物基因之中的本 能敬畏。同 时,以参照系出现的水泥表面被艺术家强行拓印上了竹席纹理,以生命特有的执着将这个现代社会的象征物包裹以纤维质感的皮肤纹理。

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此次展览可以被视为萧昱上一次个展的延续:在其2015年的个展&ldquo\;遗忘&rdqu o\;中,艺术家在展览的第三章节以一组生命为主题的绘画给出了他对于当代社会艰 难处境的个人化回应&mdash\;&mdash\;而生命自始至终是萧昱作 品内在隐含的重要线索。在此次最新的创作中,艺术家将自身对于生命的体悟隐藏在竹子极富表现力的外表之下 &mdash\;&mdash\;这种有着东方传统美 学意义的原生生命体几乎是其创作的必然选择。而作品之中反复出现的外力与生命对抗的场景也似乎暗示了艺术家内心一条更加隐秘的情感 线索。由对抗之中诞生的巨大 张力因而从感官层面激发出观者最直接的体验与情感共振。

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萧昱1965年生于中 国内蒙古,1989年毕业于中央美术学院壁画系。萧昱自上世纪90年代中期开始当代艺术创作,并于2000年摘获第二届中国当 代艺术大奖(CCAA)。200 1年,以极具争议的作品参加了由瑞士著名策展人赫拉德 ·\; 泽曼策划的第49届威尼斯双年展主题展&mdash\;&mdash\;&ldqu o\;人类的剧场&rdquo\;,此后先后受邀参展法国里昂双年展,上海双年展,广东三年展和英国伦敦皇家艺术学院三年展场外项 目等国际展览。作品展出于法 国蓬皮杜文化中心、荷兰格罗宁根美术馆、奥地利格拉兹艺术宫、福冈亚洲美术馆、韩国汉城美术馆、瑞士伯尔尼美术馆、瑞士巴塞尔 丁格力美术馆、英国伦敦皇家艺术 学院画廊、中国美术馆、上海美术馆、广东美术馆、尤伦斯当代艺术中心等知名艺术场馆。佩斯北京自2014年起代理萧昱。

DTEND:20160820 DTSTAMP:20160724T084616 DTSTART:20160706 GEO:39.92147;116.443108 LOCATION:Pace Beijing\,798 Art District\, No. 2 Jiuxiangqiao Road Chaoyang District\nBeijing\, SEQUENCE:0 SUMMARY:Cement Floor\, Xiao Yu UID:423898 END:VEVENT BEGIN:VEVENT DTEND:20160706T180000 DTSTAMP:20160724T084616 DTSTART:20160706T160000 GEO:39.92147;116.443108 LOCATION:Pace Beijing\,798 Art District\, No. 2 Jiuxiangqiao Road Chaoyang District\nBeijing\, SEQUENCE:0 SUMMARY:Cement Floor\, Xiao Yu UID:423899 END:VEVENT END:VCALENDAR