魔金石空间即将展出｜铁木尔·斯琴：东，南，西，北

铁木尔·斯琴个展

东，南，西，北

策展人：富源

开幕时间：11月23日下午4:00-6:30

展览时间：2018年11月23日-2019年3月9日

南风，巨蛇，感谢您的光临。

西风，捷豹，感谢您带来的教诲。

北风，押韵，节奏，图案，祖先和后代，感谢您与我们相伴。

东风，细节和宏伟的概述，感谢您的指引。

大地母亲，我们呼吸您的喘息，汲取您的脉流，茹享您的身躯，我们——您的孩子表示感激。

天穹父亲，我们敬畏和敬仰您的神秘。

—— Q’ero祷文

魔金石空间非常荣幸地呈现艺术家铁木尔·斯琴的第二次个展。在本次展览中，现驻纽约的德国艺术家铁木尔·斯琴延续发展关于二十一世纪世俗灵性的“新和平”（New Peace）运动，“新和平”指摘农业社会和宗教中的二元主义遗产对于当代世界的不良影响，并主张反魅物质，以抵抗今天物质世界中诸多问题。展览题目“东，南，西，北”中的四个方向源自于神圣循环，后者作为中亚和美洲地区农业/狩猎时代之前的主要精神性观念，传达了艺术家创作中对我们的精神取向的回归和必要性升级。

在“新和平”运动的白皮书《新协定》中，艺术家指出：宗教本身正是信仰的技术，是人与人、以及环境之间的协定。然而，在今天，农业社会和宗教中所固有的精神与物质二元论已经成为一种羁绊，妨碍我们充分认知自身与非人类世界之间的联系和影响。应运而生的是一种基于物质的新世俗灵性，以及一种关于非人类的差异性道德的阐释。

受到新唯物主义哲学潮流的影响，斯琴在艺术实践早期便挑战人类世中对人类主体的特权化，同时，试图在精神和智力层面上，寻求一种对物质内在活力和创造性特征的认可——动物、植物和其他生物可以与人类一样获得同等的本体论基础。在许多方面，这一观念类似于前农耕社会的宇宙论。

在这种“激进内在”中，唯一现实的整体相互关联性，物质的分形式样、运动和无限创造力被提升至神圣领域。在“无限差异”中，物质的不断变化和差异分化证明了不可缩减的开放宇宙。“新和平”不仅打破了人与自然分离的错觉，也为适当地反思并有效地干预现实世界——例如气候问题、倒退的政治生活等——提供了通道。

“新和平”运动的仪式性实践如同神圣循环一样，可以采取许多不同的形式，无论是艺术作品还是土地上的实体构造。展览中，一组全新雕塑作品由螃蟹、昆虫、贝壳、树木等生物和3D打印构成，这些艺术家曾经在现实中相遇过的生物，既是这一新仪式和礼拜空间的媒介，也是参与者。在此，艺术家试图唤起一种古老的动物权力，将人与动物的关系回溯至更为原始的精神性联结。与之呼应，数字化渲染的风景灯箱和VR进一步指出自然/文化分隔的消解。

艺术家与多样材料之间的对话，无论是岩石，广告灯牌，数字图像，或是机器，不仅局限于美学的形式和考量，而在更深刻的层面上，倡导独立、开放性的认知——将文化视为一种物质的涌现形式。面对各种过时的边界的消失，自然与文化、合成与有机、主体与客体二元主义的崩塌，艺术如何在材料中重建主体性、意识和道德？“新和平”试图提供一种潜在路径和个人资源，以便为我们在灾难性变化的时代中获得重新的定位。

关于艺术家

铁木尔·斯琴1984年出生于柏林，是德国和中国蒙古混血的艺术家，他成长于柏林、北京和美国西南的印第安人社区，毕业于美国亚利桑那州立大学，现居纽约。在多元文化环境下长大，塑造了他对自然和文化之间关系的独特的感知能力。铁木尔·斯琴是后网络时代艺术家中的领军人物，这一代艺术家借用发达的科技手段来挑战人类社会和自然界生物法则之间的分离。主要个展包括：魔金石空间，北京（2018/2015）；Spazio Maiocchi，米兰（2018）；Société画廊，柏林（2018/2015/2013/2011）；巴塞尔博览会香港展会，香港（2018）；孔子学院，柏林（2017）；Team画廊，洛杉矶（2016）；巴塞尔博览会“艺创宣言”单元，巴塞尔（2016）等，并于2016年参加第9届柏林双年展。

Timur Si-Qin Solo Exhibition

East, South, West, North

Curated by Yuan Fuca

Opening: 11.23   4:00-6:30

23rd November 2018 to 9th March 2019

Winds of the South, great serpent, thank you for your presence here. Winds of the West, Jaguar, thank you for the teachings you bring. Winds of the North, rhymes, rhythms, patterns, ancestors and descendants, thank you for being with us. Winds of the East, details and grand overview, thank you for the light to see by. Sweet Mother Earth, we inhale your breath, we drink your blood, we eat your flesh, we – your children give thanks. Father Sky, we stand in awe and reverence of your great mystery.

-- Q’ero prayer

Magician Space is proud to present a second solo exhibition for artist Timur Si-Qin. In this show, New York-based German artist Timur Si-Qin continues his development of New Peace, a secular spirituality for the 21st century. Identifying the dualistic legacy of agricultural society and religions as maladaptive for our contemporary world, New Peace argues for a re-enchantment with matter as the necessary basis for confronting the material problems of our times. The title East, South, West, North is a reference to the sacred circle of the four directions, a primary spiritual concept in pre-agrarian/hunter gatherer religions of Central Asia and Americas. With this Si-Qin signals both a return to and necessary upgrade of our spiritual orientation and dimensionality.

In the white paper for New Peace entitled A New Protocol, the artist points out that religions are themselves technologies of belief. Protocols for human behavior towards one another and their environments. However today the spiritual vs material dualism inherent to agricultural society and religion has become a maladaptive constraint that prevents us from adequately conceptualizing our connection to, and impact on, the non-human world. The response is a new secular spirituality of matter and an elucidation of a non-human ethics of difference.

Influenced by currents of New Materialist philosophy that challenge the anthropocentric privileging of the human subject since the beginning of his practice, Si-Qin seeks a spiritual and intellectual reconceptualization in which the material is recognized for its inherent dynamism and creative potentiality. A plane of immanence on which animals, plants and other organisms are recognized as being connected to and on equal ontological footing with the human. In many ways resembling the cosmologies of pre-agrarian cosmologies.

In this “radical immanence”, when the interconnected oneness of reality is recognized, the fractal patterning, movement, and infinite creativity of matter are elevated to the sacred. Within “infinite difference”, the ceaseless variation and differentiation of matter attests to an irreducible and open ended universe. New Peace breaks with the illusion of the separation between human and nature, but it also provides a new channel for appropriate reflection on and effective intervention in the reality of the world, such as climate change and retrogressive political life.

The ritual practice of New Peace, like a sacred circle, draws on many different patterns, whether artworks or physical architecture on the earth. In the exhibition, a group of all-new sculpture works made of crab, insect, shell, tree, and other beings the artist had encountered and 3d scanned become the agents and participants of a new ritual and space of worship. Here, the artist attempts to awaken an older animal power, tracing the relationship between human and animal back to a more primal connection. This move is echoed by digitally rendered landscapes in lightboxes and VR, which further point towards the dissolution of the nature/culture divide.

The dialogue between the artist and a diverse array of materials, whether stones, lighted advertisements, digital images, or machines, is not only limited to aesthetic forms and considerations, but on a deeper level, this dialogue advocates for the independent, open consideration of culture as an emergent manifestation of matter. As various outmoded boundaries wear away, a collapse of the dualities of nature and culture, synthetic and organic, subject and object precipitates the question of how should art reconstruct subjectivity, consciousness, and morality within the material? New Peace is Si-Qin’s attempt to provide a potential path and personal resources for humanity to re-orient itself in an age of cataclysmic change.

Notes to editors

Timur Si-Qin (b. 1984) is an artist of German and Mongolian-Chinese descent who grew up in Berlin, Beijing and in a Native Indian community in the American Southwest. Growing up in a multi-cultural environment helped inform Si-Qin’s unique sensitivity to the relationship between nature and culture. Now living in New York, Si-Qin has become a leading figure in a Post-internet generation of artists who reference new developments in science and technology to challenge the separation between the human world and the biological laws of the natural world. Exhibitions include major solo shows at: Magician Space, Beijing (2018/2015); Spazio Maiocchi, Milan (2018); Société, Berlin (2018/2015/2013/2011); Art Basel Hong Kong (2018); Konfuzius Institut, Berlin (2017); Team Gallery, Los Angeles (2016); Art Basel Statements, Basel (2016). He also participated in the 9th Berlin Biennale in 2016.

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开放时间：周二至周六 10:30 - 18:30

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北京市朝阳区酒仙桥路2号798艺术区798东街