aaajiao、胡昀、李杰、唐狄鑫、王一参加四方当代美术馆群展“流光”
流光
Projection
2023.05.26 - 10.22
出品人 Producer
陆寻 Lu Xun
四方当代美术馆
南京市浦口区珍七路9号
Sifang Art Museum
No.9 Zhenqi Road, Pukou Distict, Nanjing
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aaajiao、胡昀、李杰、唐狄鑫、王一参加四方当代美术馆群展“流光”。本次展览以光的多元感知为出发点，汇聚了26位/组中外艺术家的40件作品，分为“目光丛林”、“模拟器”、“构筑光”、“时光折廊”四个章节，在流光交织的情境中开启一次重悟光明的历险。本次展览希望从当代人对于光的日常经验出发，由近及远，在眼中之光、屏幕之光、空间之光、时间之光四个维度下，通过多种媒介的艺术作品激发出更为主动而多样的想象。
一层大阶梯上的“目光丛林”章节通过作品中不同生命体的各异眼神，营造出目光交错、互为环视的处境。本章节中展出了aaajiao的两件作品《自然》、《毛》。作品《自然》系列，是用在人造的建筑材料上留下痕迹的方式，把这些完全由人类塑造的新型材料重新带回“自然”中。装置作品《毛》由多个毛绒物体以及一对眼睛玩具组成，采用了制作毛绒玩具的工艺和特殊材料。此作品的造型脱胎于2014年的影像作品《meta》，《meta》系列并非指向可视化或特定属性的数据，而是指向数据本体。在aaajiao的创作里经常可以看到对以往作品中视觉元素的不断复用，希望由此摆脱视觉本身。在当下的某些时刻，数据对aaajiao而言呈现出来的状态，是有毛的，是可爱的。
aaajiao，《毛》，2019-2020，毛绒物体、眼睛玩具，尺寸可变
“流光”，展览现场，四方当代美术馆，2023
aaajiao，《自然》，2019，聚氨酯泡沫防火板，290 × 180 cm
“流光”，展览现场，四方当代美术馆，2023
地下展厅的“模拟器”章节关注扩张着的屏幕之光，以合成摄影、数字影像作品探讨虚拟图像怎样重塑了我们对现实的认知。唐狄鑫的作品《行走》在本章节中展出。唐狄鑫的绘画作品常常与身体有关（他同时以身体性的现场表演著称），无论是人类还是动物的身体。但这些身体总是被置于其虚构的超现实场景中，加上他有力的大面积用笔和高纯度颜料，使这些场景总显出荒凉和抽离。姿态忧郁、半人半兽的四副躯体骑乘在舞龙般的多足怪兽上，不知将于空无一物的荒野上被带往何处。就像远古时代，人类在神话叙事中对晦暗远方的最初模拟。
唐狄鑫，《行走》，2016，布面油画，300 × 200 cm
“流光”，展览现场，四方当代美术馆，2023
一层主展厅的“构筑光”章节用灯光装置、反光材料雕塑、抽象绘画等呈现出光影对空间的构筑或侵蚀。李杰的作品《“你的未来是黯淡的，你是如此过时。”》以及王一的装置作品《黑屏》、《上升的终将汇合（“初级结构”系列）》在本章节中呈现。李杰作品《“你的未来是黯淡的，你是如此过时。”》用60张平凡的打印纸拼接出一名西装男子的形象。或许来自旧广告，但被裁去了头顶，随照片的白边一同嵌套在另一张相同背景的图片中。褪色模糊的墨迹像为它蒙上一层怀旧的光晕。微风浮动时，就从百叶窗一样起伏的网格状缝隙和套层的图片白边中流淌出新的空间、新的光影。
李杰，《“你的未来是黯淡的，你是如此过时。”》，2014，纸质打印，280 × 240 cm
“流光”，展览现场，四方当代美术馆，2023
王一作品《黑屏》中纯黑的镜子以与其重量相反的姿态漂浮着，无序蔓延着宫廷沙龙绘画般的布局，或是与现代主义遗风的解构建筑相似，神圣的形态和功能性早已被忘记，一切都被堵住，留下空洞慢慢地呼吸。身体顷刻出现，而又被抹去，穿梭在黑屏之间，那是你唯一的领地；“真理”会透视一切，行无可匿。镜像朝着我们倾倒而来，遮蔽天地，它们漆黑一团又闪烁着狡桀的暗光；巨浪呼啸着翻滚奔腾，新生的意志在漩涡深处显现。《初级结构》系列作品源于王一在制作《重叠》系列绘画的树脂层时产生的余料。艺术家把这些废弃物随意地掺入染料，倒入无用器皿中以便丢弃。数年来的无心之举最终积累成一块块凝固了光与时间的“琥珀”。这些基础的几何构件被一再重新拼装，让形式化的几何语言以开放多元的结构与所处环境并融。引导观者以流动、环绕的方式加以体察的同时，也致敬着1966年美国极少主义艺术运动的重要展览“初级结构”。
王一，《黑屏》，2021，钢化烤漆玻璃，尺寸可变，共36块
“流光”，展览现场，四方当代美术馆，2023
王一，《上升的终将汇合（“初级机构”系列）》，2016-2020，树脂，玻璃，尺寸可变
“流光”，展览现场，四方当代美术馆，2023
二层空中展廊的“时光折廊”章节，由渗透阳光板立面的天光联系到中国文化中以光线变化记录时间的“时光”概念。承载记忆的室内物件和场景旧影散布在抬升折行的空中廊道。现代时间的单向线条正切割着远古的循环宇宙。在此章节中，展出了胡昀作品《魔镜 魔镜》以及王一作品《“四马路”：从海上花到杀马特》。装置作品《魔镜 魔镜》通过两本并置的展览画册，胡昀勾连起“苏联经济及文化建设成就展览会”（1954—1956年，北京、上海、广州、武汉）与“瞬息·永恒—卡地亚时间艺术展”（2014年，上海）。它们时代、主题有别而叙事相似，向中国观众全面展示了苏联建设的惊人成就与法国奢侈品牌的迷人魅力，如同两座在历史魔镜中互相映照的纪念碑。环绕四周的黑色喷泉造型，则转换自至今悬吊在北京展览馆（原北京苏联展览馆）、上海展览中心（原上海中苏友好大厦）内的欧式金属吊灯。这两座为展览而建的建筑本身亦是对前苏联时期“新古典主义”样式的挪用与组合。
胡昀，《魔镜 魔镜》，2015，装置、展览画册、墨、硫酸纸，尺寸可变
“流光”，展览现场，四方当代美术馆，2023
王一作品《“四马路”：从海上花到杀马特》中，艺术家按照激浪派和贫穷艺术的手法，将多年来收集的包含中国独特历史、城市发展印记的各式旧物、残件改造或并置，构造了一处新千年的“园林”。原本无关的物体之间被赋予了宿命式的结合与新的使命。铭印着海上花中的虹霓灼烁、银烟金酒，暴风雨前的新潮和旧浪；街头人群、标语间飘落的羽毛；胡同里弄勾连错落，摩天塔绝地通天；“非主流”和“杀马特”的本土化赛博美学文化。
王一，《“四马路”：从海上花到杀马特》，2015-2023，装置（多种材料），尺寸可变
“流光”，展览现场，四方当代美术馆，2023
从展厅尽头的阳台望去，长江对岸的高楼被包裹在玻璃幕墙、景观照明、户外显示屏的粼粼闪烁中。但最终将生活点亮的往往仍是投入心底深处的一点微光。如同海报上来自威尼斯的神秘图式所启迪，不如跟随情感将观看的视野和介质转变，感知到的光明也将如夏夜的星辰般不止一种，投射出盛大的精神图景。展览已于从2023年5月26日开幕，持续至10月22日。
图文由艺术家与四方当代美术馆惠允
aaajiao, Hu Yun, Lee Kit, Tang Dixin, Wang Yi participated in the group exhibition “Projection” at Sifang Art Museum. Premised on a multifaceted perception of light, the exhibition brings together 40 works by 26 local and international artists/groups. The exhibition is divided into four chapters: “Jungle of Gazes”, “Machine of Simulation”, “Construst of Light”, “Corridor of Time”, and the audience will embark on a journey to revisit the concept of illumination amidst the interweaving of ephemeral lights. The exhibition aims to start with the lived experiences of the contemporary public with regard to light, before traveling to the more distant. Through the four dimensions of retinal light, screen light, space light, and temporal light, the multimedia artworks in this exhibition seek to inspire more proactive and diverse imagination of light.
On the first-floor grand staircase, the “Jungle of Gazes” chapter creates an environment of interlocking gazes and mutual inspection through the eyes of various life forms in the works exhibited. aaajiao's works nature and fur are exhibited in this chapter. The nature series, by means of leaving traces on artificial construction materials, brings these entirely human made new materials back to “nature”. The installation work fur is composed of multiple plush objects and a pair of toy eyes, created using the techniques and special materials used in the production of plush toys. The design of this artwork was inspired by the 2014 video artwork meta, which is not aimed at visualizing or representing specific attributes of data, but rather points directly to the essence of data itself. In aaajiao's creations, there is often a continuous reuse of visual elements from previous works, with the aim of breaking away from the purely visual. The data takes on a form that is cute and fluffy to aaajiao.
aaajiao, fur, 2019-2020, Stuffed object, eyes toy, Dimension variable
“Projection”, Installation view, Sifang Art Museum, 2023
aaajiao, nature, 2019, Polyurethane foam for fire protection, 290 x 180 cm
“Projection”, Installation view, Sifang Art Museum, 2023
In the underground exhibition hall, the “Machine of Simulation” chapter focuses on the expanding light of the screen, discussing how virtual images remold our perception of reality through synthetic photography and digital video works. Tang Dixin's work Walking is exhibited in this chapter. Tang Dixin’s paintings often center around the subject of the body (he is also known for his bodily performance works), be it human or animal bodies. But these bodies are always positioned in surreal scenes fictionalized by the artist, with his forceful, broad brushstrokes and high-purity pigments foregrounding the desolate and detached quality of the scenes. Four melancholic, half-human and half-beast bodies ride upon a multiple-legged monster reminiscent of the traditional dragon dance, not knowing their destination in this empty wilderness. It reminds us of ancient times, of humanity’s earliest attempt to simulate the unknown distant in mythological narratives.
Tang Dixin, Walking, 2016, Oil on canvas, 300 × 200 cm
“Projection”, Installation view, Sifang Art Museum, 2023
The main exhibition hall on the first floor hosts the “Construct of Light” chapter. It presents light installations, sculptures of reflective materials, and abstract paintings to explore how light and shade construct or erode space. Lee Kit’s work ‘Your Future's Bleak, You're So Last Week.’ and Wang Yi's installation works Black Screen and Everything That Rises Must Converge (“Primary Structure” series) are presented in this chapter. Lee Kit's work ‘Your Future's Bleak, You're So Last Week.’ uses 60 sheets of ordinary printed paper to form the image of a suited man. It might have been taken from a vintage advertisement, only to be cropped at the top, inserted into another picture of the same background alongside the white borders of the photograph. The faded and blurred traces of ink envelop it with an aura of nostalgia. When gentle breezes stir, new spaces and shadows flow from the grid-like slits and layered white borders that move like shutters.
Lee Kit, ’Your Future's Bleak, You're So Last Week.’, 2014, Print on paper, 280 × 240 cm
“Projection”, Installation view, Sifang Art Museum, 2023
Wang Yi's work Black Screen, pitch-black mirrors float in a posture opposing gravity, sprawling in a disorderly manner that resembles the layout of a palace salon painting display, or a deconstructivist architecture bearing the legacy of modernism. The divine form and functionality have been long forgotten, and everything is blocked, leaving only hollow spaces to breathe slowly. Bodies appear instantly, soon to be erased. As you walk through the black screens, that is your sole territory; “truth” will pierce everything and you have nowhere to hide. Mirror images pour over us, engulfing the heaven and the earth, flickering with shrewd dim light despite their pitch-dark appearance; colossal waves are roaring, rolling, and the newly born will reveals itself in the depth of the vortex. The Primary Structure series stemmed from the leftover resin materials that Wang Yi used to create his Overlapping painting series. The artist casually mixed pigments into the discarded materials and poured them into spare containers for disposal. Such unintentional gestures over the years ultimately resulted in blocks of “amber” where light and time crystalize. These basic geometric components become reassembled to allow formal geometric language to blend into the surrounding environment in an open, diverse structure. While guiding the viewer to engage with the work in a fluxing, circulating motion, it also pays homage to the 1966 exhibition “Primary Structures” crucial to the movement of Minimalism in America.
Wang Yi, Black Screen, 2021, Tempered lacquered glass, Variable size,36 pieces of glass in total
“Projection”, Installation view, Sifang Art Museum, 2023
Wang Yi, Everything That Rises Must Converge (“Primary Structure” series), 2016-2020, Resin, glass, Dimension variable
“Projection”, Installation view, Sifang Art Museum, 2023
In the second-floor upper gallery, the “Corridor of Time” chapter associates daylight permeating the translucent facade with the concept of “time” in Chinese culture, which stems from the practice of recording time based on changes in daylight. Domestic objects and nostalgic scenes that serve as vehicle for memory are scattered along the folding midair corridor. The unilateral lines of modern time seemingly intersect with the cyclic universe of antiquity. In this chapter, Hu Yun's work Mirror Mirror and Wang Yi's work No.4 Horse Road：From the Sing-song girls of Shanghai to the SMART are exhibited. The installation works Mirror Mirror through the juxtaposition of two exhibition catalogs, Hu Yun connects “Soviet Economic and Cultural Achievements Exhibition” (1954-1956, Beijing, Shanghai, Guangzhou, Wuhan) to “Cartier Time Art - Mechanics of Passion” (2014, Shanghai). Despite the divergences in era and theme, they share a similar narrative to present to the Chinese public the astonishing achievements of Soviet progress and the enchanting charm of French luxury, like two monuments reflecting each other in the magic mirror of history. The design of the black fountain on the surrounding walls becomes transformed into a European-style metal chandelier that stills hangs in the Beijing Exhibition Center (formerly Beijing Soviet Exhibition Center) and Shanghai Exhibition Center (formerly Shanghai Sino-Soviet Friendship Building). The two buildings, erected specifically for exhibitions, are themselves an appropriation and assemblage of the Neoclassical style of the former Soviet era.
Hu Yun, Mirror Mirror, 2015, Installation, 2 catalogues, ink on drafting paper, Dimension variable
“Projection”, Installation view, Sifang Art Museum, 2023
Wang Yi’s installation work No.4 Horse Road：From the Sing-song girls of Shanghai to the SMART, following the methods of Fluxus and Arte Povera, constructs a “garden” of the new millennium through revamping and juxtaposing the used objects and parts he has collected over the years, all of which bear traces of China’s unique history and urban development. Previously discrete objects are now endowed with a fateful combination and new purpose: burning neon lights, silver smoke and golden wine that imprint the stories of Shanghai’s Sing-song girls, new waves and old tides before the storm; feathers falling among the crowds and slogans on the street; intricacies inside the hutongs, and skyscrapers soaring to the sky; localized cyborg aesthetic culture characterized by the “Non-Mainstream” and “SMART” trends.
Wang Yi, No. 4 Horse Road: From the Sing-song girls of Shanghai to the SMART, 2015-2023, Installation (variety materials), Dimension variable
“Projection”, Installation view, Sifang Art Museum, 2023
Across from the terrace at the end of the exhibition hall, the skyscrapers on the other side of the Yangtze River are enwrapped in the shimmers of glass curtain walls, landscape lighting, and outdoor displays. However, what ultimately illuminates life is the feeble light that somehow finds its way to the bottom of one’s heart. Drawing inspiration from the mystic Venetian emblem on the poster, the audience is encouraged to transform the scope and medium of their vision along with their emotional rhythms. The light they perceive will be as heterogeneous as a starry summer night, projecting a magnificent spiritual panorama. The exhibition opened on 26 May 2023 and will last until 22 October.
Images and Text Courtesy of the Artists and Sifang 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：“昊美术馆5周年馆藏展：你和我，保持凝视”，昊美术馆，上海，中国，2023；“第七届广州三年展-化作通变”，广东美术馆，广州，中国，2023；“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，2022；“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 “HOW Art Museum 5th Anniversary Collection Exhibition: “You as Me, Hold the Gaze”, HOW Art Museum, Shanghai, China, 2023; “The 7th Guangzhou Triennial - symphony of all the changes”, Guangdong Museum of Art, Guangzhou, China, 2023; “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⻉尔格莱德。
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);他的作品也曾在广州美术学院大学城美术馆，昊美术馆，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”，⻄安OCAT，⻄安，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 currentlylives 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, heconstructs the links that probe the inseparable coexistence of past and present, individualand public. He is adept at mobilizing various personal and historical experiences,incorporating previously produced materials into his artworks; as a consequence, it isimpossible 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 Art Museum of Guangzhou Academy of Fine Arts;How Art Museum; Power Station of Art, Shanghai; Centre Pompidou, Paris; Times Museum,Guangdong and Yuz Museum, Shanghai. His selected solo exhibitions include “AnotherDiorama”, 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.
李杰 Lee Kit
李杰1978年出生于香港，毕业于香港中文大学艺术系，现生活和工作于台北。
李杰的作品包括手绘织品，结合了绘画、现成品、录像投影等多种媒材的装置，以及看似日常习俗的行为作品。近年来他的作品关注于日常物件和生活起居，试图模糊艺术与生活的界限。他喜欢通过展示一系列多样及矛盾的艺术品、转化展览空间，交织真实与人为、静止与戏剧以带出张力，为日常生活重新下定义。
李杰故事的环境是通过现成品和具有他个人色彩的纸板绘画来展开的。绘画作品与录像投影相结合，在平等关系中建立了一种静默的联系，进一步延伸了艺术家创作的维度。通过一种可衡量和微妙的对于媒介运用的方法，李杰提供了一种对于限制性的反抗的模型，它是存在的、政治的或社会化的。他有意地用不同方式混淆了亲密和淡漠的信息，表达了艺术家个人实践与生活之间以无法预期和不易把握的方式相融的可能性。
他的作品虽然低调和含蓄，但这种谦逊往往令人觉得出奇漂亮、富于诗意和怀旧。李杰作品的主题来自本身，香港的日常生活、回忆、社区和自由，同时又刺激着我们对真实与幻想的认知，在直觉的引导之下包含了他个人的思绪，亦或是以一种局外人的口吻缓缓诉说周遭所发生的事物，探寻着那些由于不确定性而显得强大的日常感受。他表现的不是情感，而是一种态度。
他的近期个展包括“Disco In The Museum - I’ll Take(A)”，凤甲美术馆，台北，中国，2023；“保持荒凉的表情”，关渡美术馆，台北，中国，2022；“The gazing eyes won’t lie”，MDC香港画廊，香港，中国，2020；“Resonance of a sad smile”，Art Sonje Center，首尔，韩国，2019；“We used to be more sensitive”，原美术馆，东京，日本，2018；“徘徊在，你点亮的阴影里”，马萨乔之家当代艺术中心，圣乔瓦尼-瓦尔达诺，意大利，2018；“偌大空间：李杰、崔洁双个展”，OCAT深圳馆，深圳，中国，2018；“我越不理你，你却离我越近”，立方计划空间，台北，中国，2017；“过去几天，我一直在想一些事情”，AIKE，上海，中国，2016；“A small sound in your head”，S.M.A.K，根特，比利时，2016；“屏住呼吸，翩翩起舞”，Burnet画廊，沃克艺术中心，明尼阿波利斯市，美国，2016；“And”，AIKE，上海，中国，2014；“「你。」”，牛棚艺术村，香港，中国，2014；“每一口气”，民生现代美术馆，上海，中国，2012；“手提箱”，AIKE，巴勒莫，意大利，2009。
部分群展包括“RAM HIGHLIGHT 2019：哨声响起前”，外滩美术馆，上海，中国，2019；“里昂双年展”，里昂，法国，2019；“close”，弔詭畫廊，高雄，中国，2019；“Something About Flowers”，Hospitality，科隆，德国，2018；“国际当代艺术展”, 埃里温，亚美尼亚，2018；"How to live #2 at Roppongi", ShugoArts, 东京，日本，2018；“These painters' painters“，ROH Projects，雅加达，印度尼西亚，2018；”排演“，大馆，香港，中国，2018；“于空间之间”，NAIRS当代艺术中心，瑞士，2017；“慈爱的机器照看一切”，巴黎东京宫博物馆，巴黎，法国；“精神 –当代中国的绘画行为”, PAC 米兰当代美术馆，米兰， 意大利，2015；“沙迦双年展12：过去，现在，可能”，沙迦，阿联酋，2015；“基辅双年展”，基辅，乌克兰，2014；“Hugo Boss 亚洲艺术大奖”，首届中国新锐入围艺术家作品展览，外滩美术馆，上海，中国，2013；“不受控”，新美术馆，纽约，美国，2012；“Print/Out”，纽约现代美术馆，纽约，美国，2012；“我应该如何去过你的生活？”，沙迦艺术基金会，Al Serkal文化中心，阿拉伯联合酋长国，2012；“一度分离”，华人艺术中心，曼彻斯特，英国，2009；“白夜生长”，Bonnier Konsthall，斯德哥尔摩，瑞典，2008。李杰于2013年代表香港参加第55届威尼斯双年展，于2012年荣获香港国际艺术展颁发的“艺术世界之未来”奖项，他还是2013年首届Hugo Boss亚洲艺术大奖7位入选者之一。
Born in 1978 Hong Kong, China. He graduated from Chinese University of Hong Kong and now lives and works in Taipei.
Lee Kit’s works range from painted fabrics, installations that enclose paintings, ready-made objects, video projections, to performative works that address seemingly ordinary daily rituals, concerned with redefining how we identify with the everyday. He has in recent years presented a wide range of works that aim to intertwine the boundaries between art and daily life, focusing on daily objects and ordinary practices. This is achieved by pieces that often generate multiple, contradictory narratives, transforming exhibition spaces and upstaging a tension between what is real and artificial, still and theatrical.
Lee Kit’s novel environments are rendered through ready-made objects and the use of his signature cardboard-paintings. Merging with video-projections, they establish a silent dialogue amongst equals that adds a further dimension to the artist’s practice. Through a measured and subtle approach to his mediums, Lee Kit offers a model of resistance to constraint, be it existential, political or social. His intentionally mixed messages court intimacy and detachment differently suggesting the possibility that artistic practice and life merge in unexpected and transformative ways.
His pieces can be understated and undemonstrative, but this modesty is nostalgic, lyrical and often surprisingly beautiful. His subject matter is inherently local – everyday life in Hong Kong, the need for memory, community and freedom, stimulating our perception of the reality and fantasy. His works are intuitive acts that encompass his reflection on his personal life as well as the impersonal surroundings, exploring feelings that are powerful because of their uncertainty. For the artist, he is not expressing an emotion but an attitude.
His recent solo exhibitions include “Disco In The Museum - I’ll Take(A)”, Hong-gah Museum, Taipei, China, 2023; “Retain a desolate face”, Kuandu Museum of Fine Arts, Taipei, China, 2022; “The gazing eyes won’t lie”, Massimo De Carlo(MDC), Hong Kong, China, 2020; “Resonance of a sad smile”, Art Sonje Center, Seoul, South Korea, 2019; “We used to be more sensitive”, Hara Museum, Tokyo, Japan, 2018; “Linger on, your lit-up shade”, Museo Casa Masaccio Centro perl’Arte Contemporanea, San Giovanni Valdarno, Italy, 2018; “The Enormous Space: Lee Kit & Cui Jie Double Solo Exhibition”, OCAT Shenzhen Museum, Shenzhen, China, 2018; “The more I ignore you, the closer you get”, The Cube Space, Taipei, China, 2017; “I’ve been doing some thinking over these last few days”, AIKE, Shanghai, China, 2016; “A small sound in your head”, S.M.A.K., Gent, Belgium, 2016; “Hold your breath, dance slowly”, Burnet Gallery, Walker Art Center, Minneapolis, USA, 2016; “And” at AIKE, Shanghai, China, 2014; “You”, Cattle Depot Artist Village, Hong Kong, China, 2014; “Every Breath You Take”, Minsheng Art Museum, Shanghai, China, 2012; “A Suitcase”, AIKE, Palermo, Italy, 2009. His selected group exhibitions include “RAM HIGHLIGHT 2019: Before the Whistle Blows”, Rockbund Art Museum, Shanghai, China, 2019; “15TH Lyon Biennale”, Lyon, France, 2019; “close”, Crane Gallery, Gaoxiong, China, 2019; “Something About Flowers”, Hospitality, Cologne, Germany, 2018; “International Contemporary Art Exhibition”, Yerevan, Armenia, 2018; “How to live #2 at Roppongi”, ShugoArts, Tokyo, Japan, 2018; “These painters' painters”, ROH Projects, Jakarta, Indonesia, 2018; “Rehearsal”, Tai Kwun, Hong Kong, China, 2018; “Interval in Space”, NAIRS, Switzerland, 2017; “All Watched Over by Machines of Loving Grace”, Palais de Tokyo, Paris, France, 2017; “Jing Shen – The act of painting in contemporary China”, PAC Museum of Contemporary Art, Milan, Italy, 2015; “Sharjah Biennial 12: The past, the present, the possible”, Sharjah, UAE, 2015; “Kiev Biennial”, Kiev, Ukraine, 2014; “Hugo Boss Asia Art Award Finalists Exhibition”, Rockbund Art Museum, Shanghai, China, 2013; “The Ungovernables”, New Museum, New York, 2012; “Print/Out”, MoMA, New York, 2012; “What Should I Do To Live Your Life?”, Sharjah Art Foundation, Beit al Serkal, UAE, 2012; “1 Degree of Separation”, the Chinese Art Centre, Manchester, 2009; “Sprout From White Night”, Bonnier Kuntshall, Stockholm, 2008. He has been selected to represent Hong Kong at the 55th Venice Biennale, Venice, 2013; is the recipient of the Art Futures Award at ArtHK in 2012, and is also one of the seven artists shortlisted for the inaugural Hugo Boss Asia Art Award in 2013.
唐狄鑫 Tang Dixin
1982年出生于杭州，2005年毕业于上海师范大学美术学院油画系，现工作生活于上海。
唐狄鑫参加了第10届光州双年展。他的作品曾在南京四方当代美术馆，上海外滩美术馆，上海油罐艺术中心，北京新世纪当代艺术基金会，PAC米兰当代美术馆，北京尤伦斯当代艺术中心，上海当代艺术馆，德国汉诺威浮士德艺术馆和维尔纽斯当代艺术中心等机构展出。
他的近期个展包括“唐狄鑫”，AIKE，上海，中国，2021；“唐狄鑫”，大田秀则画廊，东京，日本，2018；“唐狄鑫”，AIKE，上海，中国，2017；“狗吠”，大田秀则画廊，新加坡，2015；“饥饿先生：唐狄鑫个展”，AIKE，上海，中国，2014；“唐狄鑫”，大田秀则画廊，东京，日本，2014。他曾参加的群展包括“天堂阴影下”，卓艺术基金会，伦敦，英国，2021；“具身之镜：中国录像艺术中的行为与表演”，新世纪当代艺术基金会，北京，中国，2020；“原力寺”，油罐艺术中心，上海，中国，2019；“建立中”，油罐艺术中心，上海，中国，2019；“重蹈现实：来自王兵的影像收藏”，OCAT上海馆，上海，中国，2019；“RAM HIGHLIGHT 2017：错置”，外滩美术馆，上海，中国，2017；“中国2185”，Sadie Coles，伦敦，英国，2017；“山中美术馆”，四方当代美术馆，南京，中国，2016；“六十秒贰百分”，K11美术馆，上海，中国，2016；“精神–当代中国的绘画艺术”, PAC米兰当代美术馆，米兰，意大利，2015；第10届光州双年展，光州，韩国，2014；“ON|OFF中国年轻艺术家的观念与实践”，尤伦斯当代艺术中心，北京，中国，2013。
Tang Dixin was born in 1982 in Hangzhou, China. He graduated from Shanghai Normal University and currently lives and works in Shanghai.
Tang Dixin has participated in 10th Gwangju Biennale. His works have been exhibited at Sifang Art Museum, Rockbund Art Museum, TANK Shanghai, New Century Art Foundation, PAC Museum of Contemporary Art, Ullens Center for Contemporary Art, Shanghai Museum of Contemporary Art, Hanover Faust Museum of Art and Vilnius Contemporary Art Centre.
Tang’s recent solo exhibitions include “Tang Dixin”, AIKE, Shanghai, China, 2021; “Tang Dixin”, Ota Fine Arts, Tokyo, Japan, 2018; “Tang Dixin”, AIKE, Shanghai, China, 2017; “Dog Bark”, Ota Fine Arts, Singapore, 2015; “Mr. Hungry”, AIKE, Shanghai, China, 2014; “Tang Dixin”, Ota Fine Arts, Tokyo, Japan, 2014. His selected group exhibitions include “In The Shadows of Paradise”, Troy House Art Foundation, London, UK, 2021; “Embodied Mirror: Performances in Chinese Video Art”, New Century Art Foundation, Beijing, China, 2020; “The Force Temple”, TANK Shanghai, Shanghai, China, 2019; “Under Construction”, TANK Shanghai, Shanghai, 2019; “Remapping Reality: Selected Video Collection from Wang Bing”, OCAT Shanghai, Shanghai, China, 2019; “RAM HIGHLIGHT 2017: DISPLACE”, Rockbund Art Museum, Shanghai, China, 2017; “Zhongguo 2185”, Sadie Coles, London, UK, 2017; “Mountain Sites: Views of Laoshan”, Sifang Art Museum, Nanjing, China, 2016; “200’60’’’, chi K11 Art Space, Shanghai, China, 2016; “Jing Shen—The act of painting in contemporary China”, PAC Museum of Contemporary Art, Milan, Italy, 2015; 10th Gwangju Biennale, Gwangju, South Korea, 2014; “ON|OFF China’s Young Artists in Concept and Practice”, Ullens Center for Contemporary Art, Beijing, China, 2013.
王一 Wang Yi
1991年出生于上海，2016年硕士毕业于中国美术学院油画系，现生活工作于上海。
王一的创作围绕着对城市和自然环境的抽象化表达，探讨绘画的形式、材料和观念的转换。他试图通过用缓慢的个人手工劳作对峙快速生产消费的模式，以当代性的视觉感受回溯对于古典绘画艺术的敬意。王一的艺术创作是新一代中国抽象艺术家的典型之一，他们中的许多人选择了在创作中放弃任何对政治或社会的明显评论。在纯粹形式的探讨之外，王一则保留了部分根源于现实社会和自然的线索，他在作品中通过将单一的结构元素反复组合，讨论“一与全”的社会关系，同时指涉出网络环境中单元和集体、特性与统一间的相互消涨。
王一近期的个展包括“当明有暗当暗有明”，AIKE，上海，中国，2020；“一切现象都是几何的”，蜂巢当代艺术中心，深圳，中国，2018；“表里：克洛德·维尔拉&王一”，HdM画廊，北京，中国，2018；“一日光”，AIKE，上海，中国，2016；“王一”，HdM画廊，杭州，2014；“无物”，J：GALLERY，上海，中国，2012。
Born in 1991 in Shanghai, China, Wang Yi graduated from Oil Painting Department of China Academy of Art with an MFA. He currently lives and works in Shanghai.
Wang Yi's artistic creation focuses on the abstract expression of city and natural environment. His works discuss the transformation of painting’s form, material and concept. He tries to use the slow individual manual work to confront the mode of rapid production and consumption, and trace back his respect for the classical painting through the contemporary visual experience. Wang Yi’s artistic creation is typical of the new generation of Chinese abstract artists, many of whom choose to give up any obvious comments on politics or society in their artistic creations. Besides pure form of discussion, Wang Yi keeps some clues partially rooted in the real society and nature. By repeatedly combining simple structural elements in his works, Wang Yi discusses the social relationship between “individual and entirety”, and points out the mutual influences between unit and collective, uniqueness and uniformity.
His recent solo exhibitions includes “Dark Light Bright Night”, AIKE, Shanghai, China, 2020; “Geometry Rules All Phenomena: Wang Yi”, Hive Centre for Contemporary Art, Shenzhen, China, 2018; “Inside and Outside: Claude Viallat & Wang Yi”, HdM Gallery, Beijing, China, 2018; “Yi Ri Guang”, AIKE, Shanghai, China, 2016; “Wang Yi”, HdM Gallery, Hangzhou, China, 2014; “Nothing”, J:Gallery, Shanghai, China, 2012.
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