本次展览以同电影相关的音乐、表演和体验作为概念的核心。美国艺术家Lucas Ajemian与其爵士音乐家、作曲家的兄弟Jason一 同用其演艺的经典摇滚乐作品重金属摇滚乐队Black Sabbath的《进入空无》的传统交响乐。《无题（来自远方）》（2006）摄制于芝加哥的一座教堂。整场演出是指涉精神性与玄妙的音乐实验。 Lucas Ajemian出演人声，Jason Ajemian指挥。Maya Deren的《下午的网 （1943）》长期以来都被认作是实验电影里具有突破性的里程碑。充满象征意味和心理暗示的图像，诸如，鲜花、坠落的钥匙、半掩的门、电话、宽广的海景以 及神秘的死亡的形象，均出现在电影中。延续着1930年代超现实主义电影的精神，Deren影片的剧情深入了个体体验的潜意识。Alex Prager的电影《绝望》（2010）同她的摄影作品一样，最近展出于纽约的现代美术馆。Prager的作品受到了时装摄影、通俗小说、以及好莱坞情节电影的影响。《绝望》以1948年的影片《红鞋子》为灵感，讲述了一位迷恋舞蹈芭蕾舞演员因爱生困，最终自缢的故事。
现居于伦敦的尼日利亚艺术家Yinka Shonibare的《假面舞会》曾得到了2004年的特纳奖提名。以威尔第 （Giuseppe Verdi）的经典意大利歌剧为原型，Shonibare的《假面舞会》是与瑞典电视台和斯德哥尔摩现代美术馆联合制作的作品。作品通过舞蹈再现了瑞典古 斯塔夫王三世遇刺的情形，展示了三十位Shonibare标识性的彩色蜡染服装。Shonibare的创作包括了雕塑、绘画、摄影和电影，其关于塑造历史 与身份的社会、文化、政治的讨论是其核心。挑战了关于叙事的传统、性别、个体身份和权利欲望（以及摧毁权利的欲望），这部影片就如同一个现实与梦境之间的 恒久如梦幻般的瞬间。
本次展览也包括了程然和Hiraki Sawa的摄影作品。因其录像而广为人所 知，程然这次展出了两件新的摄影作品，《冻土幽灵#1》与《冻土幽灵#2》，作品中好莱坞的标志以及周围的山形都被改造成了史前的丰碑。Hiraki Sawa的 五件一组的摄影《信步闲坐》出自2004艺术家的同名三频录像，唤起了对电影图像的记忆，如而是英式公寓里出现的摇摆木马，这部作品成了视觉的摇篮曲和对 一个幻想的世界的挽歌。
James Cohan Gallery Shanghai is pleased to present Intermission, a three-week program of international films and videos from February 19 to March 9, 2011. Featuring both emerging and established artists, the films and videos will be shown daily as continuous, rotating screenings during gallery hours.
The exhibition is grounded in ideas about music, performance, and the experience of cinema. American artist Lucas Ajemian, along with his brother Jason, a jazz musician and composer, assembled a ten-piece classical orchestra for their performance of the legendary rock song, “Into the Void” by the heavy metal band Black Sabbath. Untitled (From Beyond), 2006 is filmed inside a church in Chicago. The performance is a musical experiment that references spirituality and the occult. Vocals are performed by Lucas Ajemian and Jason Ajemian conducts. Maya Deren’s Meshes of the Afternoon (1943) is long considered a groundbreaking classic of experimental films. Symbolic and psychologically suggestive images—a flower, a falling key, an unlocked door, a telephone, a vast ocean view, and a mysterious death figure—appear throughout the film. In the spirit of surrealist films of the 1930s, Deren’s plot dwells into the subconscious experience of an individual. The films by Danish artist Jesper Just probe intimate relationships, sexuality, and can surprise viewers with unexpected twists on conventional notions of masculinity. A Vicious Undertow (2007) tells the story of a love-triangle between a middle-aged woman, a younger woman, and a man. Alex Prager’s film Despair (2010), along with her photographs, was recently exhibited at the Museum of Modern Art in New York. Prager’s work is informed by fashion photography, pulp fiction, and the melodramatic genre films of Hollywood. Despair, inspired by a 1948 film, The Red Shoes, is about a ballerina whose obsession with dance conflicts with her need for love, ultimately leading to her suicide. London-based Nigerian artist Yinka Shonibare’s Un Ballo in Maschera (A Masked Ball) was nominated for the Tate Britain Museum’s Turner Prize in 2004. Based on the classic Italian opera by Giuseppe Verdi, Shonibare’s Un Ballo in Maschera was a co-production by Swedish Television and the Moderna Museet in Stockholm. The film presents the assassination of King Gustav III of Sweden through the medium of dance and features thirty performers dressed in Shonibare’s colorful trademark batik costumes. Central to all of Shonibare’s work, which includes sculpture, painting, photography, and film-making, is the debate about social, cultural, and political issues that shape history and constructs identity. Challenging conventions of narrative, gender and identity, the desire for power—and the desire to destroy it—Shonibare conceived of the film as “a constant, dreamlike movement between reality and depiction of fantasy.”
The exhibition also includes photographic works by Cheng Ran and Hiraki Sawa. Already widely acclaimed for their video works, Cheng Ran will present two new photographs, Ghost of Tundra 1 and Ghost of Tundra 2 (2010) in which the iconic Hollywood billboard-landmark and its surrounding landscape is turned into a prehistoric monument. Hiraki Sawa’s, Going Places Sitting Down, a suite of five photographs (from Sawa’s 2004 three-channel video) calls to mind film stills where a child’s rocking horse inhabits the interior of an English house, becoming a visual lullaby and elegy to an imaginary world.