aaajiao、胡昀参加昊美术馆5周年馆藏展“你和我，保持凝视”

昊美术馆5周年馆藏展：“你和我，保持凝视”

HOW Art Museum 5th Anniversary Collection Exhibition: “You as Me, Hold the Gaze”

2023.02.17 - 05.28

策展人 Curator

徐天仪(Xu Tianyi)

昊美术馆（上海）一楼，

上海市浦东新区祖冲之路 2277 弄 1 号

HOW Art Museum (Shanghai) F1,

No.1, 2277 Zuchongzhi Avenue, Pudong, Shanghai

Please Scroll Down for English

aaajiao与胡昀参加昊美术馆馆藏展“你和我，保持凝视”，分别展出作品《枯山水》 （aaajiao）、《无题》（胡昀）。本次展览作为昊美术馆 （上海） 开馆五周年举办的特别展览，精选20余位国内外艺术家的30余件馆藏装置和影像作品。

展览展出aaajiao作品《枯山水》。枯山水原指由细沙碎石铺地，再加上一些叠放有致的石组所构成的缩微式园林景观，没有水景，其中的“水”通常由砂石表现，而“山”通常用石块表现，创造一种宁静，而此刻的宁静，蕴含一种“趋势”，即一下刻的运动，这种“势”，是力量 ：一种生⻓的力量, 也是运动中静止的瞬间，以静制动。

aaajiao，《枯山水》，2014，海绵、金属结构，尺寸可变

aaajiao, Karesansui, 2014, Sponge, metal structure, Dimension variable

另一件展出作品《无题》来自于艺术家胡昀，是基于美国人罗伯特·斯特林·克拉克在1908年组织一次考察中国陕甘地区地理面貌的活动创作的。某天，在考察过程中，大家发现一名印度籍的队员失踪。随后噩耗传来，这名印度队员因为在当地居民面前练习瑜伽而被认为是异端，在冲突中丧生。考察活动也因为这一灾难性的意外宣告终止。一本名为《穿越陕甘1908-1909年克拉克考察队华北行纪》的书记录了这次考察活动的所有细节。胡昀在对上海亚洲社会自然历史博物馆(该博物馆现为外滩美术馆)馆长苏柯仁的研究中，遇到了这个故事。2013年，在AIKE的首次个展上，胡昀首次将这个考察旅行故事作为创作素材,后来它再次出现在他的其他作品中，包括在2014年广东时代美术馆的现场装置。

胡昀，《无题》，2016，古董马鞍、瑜伽垫，立体镜、立体照片，尺寸可变

Hu Yun, Untitled, 2016, Antique saddle, yoga mat, stereoscope, stereograph, Dimension variable

展览以“同时代的人是紧紧保持对自己时代的凝视”为线索，以“你和我”为名，在展厅中，“你和我”即与空间对话的直接核心，填补了主体与场景的缺席；对世纪悲剧的发生做出反思，于当代事件和过去参考之间取得联系；从社会学的角度定义时间，将“当下”作为过去与未来的划分点；从社会装置出发，在文化的层面瓦解和反转语言；再认识物质肉体之外的文化表征，对抗碎片化的数字世界；并在数字世界中，转变为无法注销的有机生命形式。展览已于2023年2月17日开幕，将持续至5月28日。

图文由昊美术馆惠允

aaajiao and Hu Yun participated in the exhibition "You as Me, Hold the Gaze" at the How Art Museum, exhibited the works Karesansui (aaajiao) and Untitled (Hu Yun). The exhibition on view, as celebration of the fifth anniversary of the HOW Art Museum (Shanghai), features over 30 pieces of installations and videos by more than 20 artists. 

aaajiao's work Karesansui is exhibited in the exhibition. karesansui or "dry landscape" garden, often called a zen garden, creates a miniature stylised landscape through carefully composed arrangements of rocks, water features, moss, pruned trees and bushes, and uses gravel or sand that is raked to represent ripples in water.Create a peaceful, quiet at the moment, contains a "trend" that is what engraved movement, this "potential", is power: a power of growth, but also in the rest of the instant motion, inaction.

“你和我，保持凝视”，展览现场，昊美术馆（上海），2023

"You as Me, Hold the Gaze", installation view, HOW Art Museum (Shanghai), 2023

Another exhibited work Untitled was created by artist Hu Yun based on an exploration of the geographical features of China's Shaanxi and Gansu provinces in 1908 organized by Robert Sterling Clark, an American. One day during the exploration, an Indian member was found missing. Then came the bad news-this Indian member, while practicing yoga in front of local residents, was regarded as heterodox, and was killed in the ensuing conflict. The expedition was pronounced over due to this unexpected tragedy. There is a book with all the details about the expedition, titled Through Shên-kan: the account of the Clark expedition in north China, 1908-9. Hu Yun encountered the story through the research of Arthur de Carle Sowerby, who was the director of Natural History Museum in the Asia Society Shanghai for several years (the museum is nowadays the Rockbund Art Museum). And Hu Yun had used this expedition trip story as his material for the first time in his first solo at AIKE in 2013, and later it appeared again in his other works include the live based installation at Guangdong Times Museum in 2014.

“你和我，保持凝视”，展览现场，昊美术馆（上海），2023

"You as Me, Hold the Gaze", installation view, HOW Art Museum (Shanghai), 2023

The exhibition follows the principle of  “contemporary is he who firmly holds his gaze on his own time” . Under the title You as Me,  “you” and  “I” are the core of the dialogue with the space, to fill up the absence of subject and scene, reflect upon the tragedies of the century, build connections between contemporary events and past   reference, define time from  a  sociological  perspective,   treat   the “contemporary” as a dividing point between the past and the future, disrupt and reverse language on the cultural level through social installation, rethink of the cultural  representations  beyond the  physical  body to confront the fragmented digital world, and morph into an organic life form that cannot be written off in this digital world. The exhibition opened on 17 February 2023 and will last until 28 May.

Courtesy of the HOW Art Museum

关于艺术家

ABOUT THE ARTISTS

  aaajiao

1984年出生于西安。现生活工作于上海和柏林。

aaajiao，是年轻艺术家徐文恺的化名，也是他虚构的网络分身。1984年（他的出生年份恰好是乔治·奥威尔经典预言式小说的名称），出生于中国最古老城市之一的西安，aaajiao的创作结合了浓重的反乌托邦意识、对文人精神的反思。他的很多作品都致力于探索新的科技和媒体影响之下的文化现象和政治策略，从社交媒体写作、数据处理，到网络和移动媒介下的新美学景观。作为今天全球新一代媒体艺术的代表人物，aaajiao将今天中国特殊的社交媒体文化、科技运用带入了国际艺术的话语和讨论。

aaajiao的作品频繁展出于全球的美术馆和艺术机构，例如：“道法柏林，而游于外”，KINDL，柏林，德国，2022；“Cloud Walkers”，Leeum Museum of Art，首尔，韩国，2022；“档案冲动：反叙事和反记忆的操练”，AIKE，上海，中国；“深渊模拟器”，里沃利城堡当代艺术博物馆，都灵，意大利，2020；“1989年到今天：网络时代的艺术”，波士顿当代艺术中心，波士顿，美国，2018；“非真实”，电子艺术之家，巴塞尔，瑞士，2017；“身体·媒体II”，上海当代艺术博物馆，上海，中国，2017；“带走我（我是你的）”，犹太人美术馆，纽约，美国，2016；“时间转向：当代亚洲的艺术与思辨”，斯班塞美术馆，堪萨斯，美国，2016；“波普之上”，余德耀美术馆，上海，中国，2016；“黑客空间”（由Hans Ulrich Obrist与Amira Gad策展），K11艺术基金会临时空间，香港，中国、chi K11美术馆，上海，中国，2016；“全方位：全控制和言论控制”，ZKM卡尔斯鲁厄艺术与媒体中心，卡尔斯鲁厄，德国，2015；“齐物等观——2014国际新媒体艺术三年展”，中国国家美术馆，北京，中国，2014。

他近期个展包括“深渊模拟器”，Tabula Rasa画廊，伦敦，英国，2021；“深渊模拟器”，里沃利城堡当代艺术博物馆，都灵，意大利，2020；“洞穴模拟器”，AIKE，上海，中国，2020；“a’a’a’jiao: 一个ID”，昊美术馆，上海，中国，2019；“观察者”，House of Egorn，柏林，德国，2018；“暴食”，千高原艺术空间，成都，中国，2018；“用户、爱、高频交易”，Leo Xu Projects，上海，中国，2017；“电子遗留物”，华人艺术中心，曼彻斯特，英国，2016；“电子遗留物”，OCAT，西安，中国，2016。aaajiao于2014年获得了第三届三亚艺术季暨华宇青年评审大奖，亦入围首届OCAT皮埃尔·于贝尔奖。

Born in 1984 in Xi’an. Currently lives and works in Shanghai and Berlin.

Active online as a media artist, blogger, activist and programmer, aaajiao is the virtual persona of Shanghai- and Berlin- artist Xu Wenkai. Born in 1984—the title of George Orwell’s classic allegorical novel—and in one of China’s oldest cities, Xi’an, aaajiao’s art and works are marked by a strong dystopian awareness, literati spirits and sophistication. Many of aaajiao’s works speak to new thinkings, controversies and phenomenon around the Internet, with specific projects focusing on the processing of data, the blogsphere and China’s Great Fire Wall. aaajiao’s recent projects extend his practice to various disciplines (among them, architecture, topography, and design) to capture the pulse of the young generation consuming cyber technology and living in social media.

aaajiao’s work has been featured in numerous exhibitions around the world, upcoming and recent shows include “Cloud Walkers”, Leeum Museum of Art, Seoul, Korea, 2022;   “Forming Communities: Berliner”, KINDL, Berlin, Germany, 2022;  “The Archival Impulse: An Exercise in Counter-Narrative and Counter-Memory”, AIKE, Shanghai, China, 2022; “Deep Simulator”, Castello di Rivoli Museo d'Arte Contemporanea, Turin, Italy, 2021; “Art in the Age of the Internet, 1989 to Today”, The Institute of Contemporary Art Boston, Boston, USA, 2018; “unREAL”, Haus der elektronischen Künste, Basel, Switzerland, 2017; “Shanghai Project Part II”, Shanghai, China, 2017; “Temporal Turn: Art and Speculation in Contemporary Asia”, Spencer Museum of Art, Kansas, USA, 2016; “Take Me (I’m Yours)” (curated by Hans Ulrich Obrist, Jens Hoffmann and Kelly Taxter), Jewish Museum, New York, USA, 2016; “Overpop”, Yuz Museum, Shanghai, China, 2016; “Hack Space” (curated by Hans Ulrich Obrist and Amira Gad), K11 Art Foundation Pop-up Space, Hong Kong and chi K11 art museum, Shanghai, China, 2016; “Globale: Global Control and Censorship”, ZKM | Centre for Art and Media, Karlsruhe, Germany, 2015; and “Thingworld International Triennial of New Media Art”, The National Art Museum of China, Beijing, China, 2014.

His recent solo exhibition includes “Deep Simulator”, Tabula Rasa Gallery, London, UK, 2021; “Deep Simulator”, Castello di Rivoli Museo d'Arte Contemporanea, Turin, Italy, 2020; “Cave Simulator”, AIKE, Shanghai, China, 2020; “a’a’a’jiao: an ID”, HOW Art Museum, Shanghai, China, 2019; “bot,” House of Egorn, Berlin, German, 2018; “Gluttony”, A Thousand Plateaus Art Space, Chengdu, China, 2018; “User, Love, High-frequency Trading”, Leo Xu Projects, Shanghai, China, 2017; “Remnants of an Electronic Past”, CFCCA, Manchester, UK, 2016; “Remnants of an Electronic Past”, OCAT, Xi’an, China, 2016. aaajiao was awarded the Art Sanya Awards in 2014 Jury Prize and was nominated for the first edition of OCAT-Pierre Huber Art Prize in 2014.

  胡昀 Hu Yun

1986 年出生于上海，2008年毕业于中国美术学院。现生活工作于上海和贝尔格莱德。

胡昀的作品包括绘画、水彩、行为、录像和装置。通过调动来自不同人和历史的经验，胡昀将各种以往生产过的材料重新纳入自己的日常工作中，因此，无法孤立地去看待他的每一件作品，每一个项目都享有共同的话题，都是有所预设、彼此关联的。

胡昀参加了第十届亚太当代艺术三年展（2021），第六届新加坡双年展（2019），第十一届光州双年展（2016），第四届广州三年展（2012）以及第七届深圳雕塑双年展（2012）；他的作品也曾在上海当代艺术博物馆，巴黎蓬皮杜艺术中心，广东时代美术馆及余德耀美术馆等机构展出。他的个展包括“微缩景观”，新加坡国立大学博物馆，新加坡，2019；“我们从未离开过”，西安OCAT，西安，中国，2017；“叙事病”，AIKE，上海，中国，2016；“轻拿轻放”，AIKE，上海，中国，2013；“我们的祖先”，歌德开放空间，上海，中国，2012；“自然的图像”，英国自然历史博物馆，伦敦，英国，2010。

Born in 1986 in Shanghai. He graduated from China Academy of Art in 2008 and currently lives and works in Shanghai and Belgrade.

Hu Yun’s works range from graphite and watercolors to performance, video, and installation. Interested in how an individual positions him or herself within the course of history, he constructs the links that probe the inseparable coexistence of past and present, individual and public. He is adept at mobilizing various personal and historical experiences, incorporating previously produced materials into his artworks; as a consequence, it is impossible to consider any of Hu’s works in isolation since they all share a common theme, an element of foreshadowing, and they are all conceptually interconnected.

Hu Yun has participated in the 6th Singapore Biennale (2019), the 11th Gwangju Biennale (2016), the 4th Guangzhou Triennial (2012) and the 7th Shenzhen Sculpture Biennale (2012). His works have also been exhibited at Power Station of Art, Shanghai; Centre Pompidou, Paris; Times Museum, Guangdong and Yuz Museum, Shanghai. His selected solo exhibitions include “Another Diorama”, NUS Museum, Singapore, 2019; “We’ve been here before”, OCAT, Xi’an, China, 2017; “Narration sickness”, AIKE, Shanghai, China, 2016; “Lift with Care”, AIKE, Shanghai, China, 2013; “Our Ancestors”, Goethe Institut, Shanghai, China, 2012; “Image of Nature”, Natural History Museum, London, UK, 2010. 

相关阅读

FOR MORE READINGS

正在展出

CURRENT EXHIBITION

奶粉zhou Nathan Zhou

“自然之声”

"The Sound of Nature"

2023.02.18 - 04.02

每周二至周六 Tue - Sat，10:00 - 18:00

AIKE，上海市徐汇区龙腾大道2555号6号楼

Bldg 6, 2555 Longteng Avenue, Shanghai, China