我与博伊斯 · 尹秀珍：制动
展期：2021年03月27日- 2021年07月04日
艺术家：尹秀珍
策展人：杜曦云
地址：昊美术馆（上海）二楼特别项目展厅
主办：昊美术馆
Please scroll down for English version.
昊美术馆荣幸地宣布，持续性项目“我与博伊斯”的第四个展览，将于2021年3月27日在昊美术馆（上海）2层展厅开展，此项目每4个月邀请一位艺术家，用作品的形式与馆藏的博伊斯展览进行对话，并在博依斯展区以“展中展”的形式展出。项目由策展人杜曦云主持。
第四个展览，艺术家尹秀珍用《一块高速路》与博伊斯展开对话。
被科技持续加速的平凡生活中，个体越来越无力自持。自由意志和各种秩序之间的张力空间，艺术可以发酵。在阻挡惯性经验的美术馆里，尹秀珍把干净整洁的展厅变成工地，欢迎大家和她一起浇水、和泥，一格一格的制作出“一块高速路”来。炫丽浮华的潮流中，这个朴素温和的行动，招呼同伴们在劳动中开启经验、理性和超验……高速路，是基本建设发达、完善的重要指标，显而易见。尹秀珍把水泥搅拌机等放入展厅，让愿意制作水泥块的人亲自操作搅拌机、把混凝土倾倒在预制模具中，嵌入自己想放的日常物品……这个体力劳动过程，和千万位建筑工人们是一样的，甚至比如今的建筑工人要滞后：机械自动化的加速发展，很多人工劳动环节已经被机械取代。粉尘状的水泥具有“水硬性”，在化学反应中逐渐冷凝坚硬。每位劳动者把自己选择的日常物品嵌入湿漉冰凉的混凝土中……在越来越加速的社会变化中，各怀心思的人们，往昔和如今的种种经验，在这个情感境地中可以别样的搅动。日常用品携带着每个使用者的印迹、体味等，这些都是独一无二的。水泥完全凝固前，尹秀珍和劳动伙伴们，把日常用品取出，在它们留下的拓印中灌入食用黄油。芳香柔软的黄油和在冷凝中越来越坚硬的水泥，在流动的时间中较量着：无机物水泥封阻着有机物黄油，但油脂在水泥中缓慢洇渗开来，瓦解着水泥的硬度……当芳香的黄油被模塑在日用品的负形中，又在水泥中缓慢洇渗时，美学意味从视觉和嗅觉散发开来。从古到今，黄油在全球各地被赋予多种神圣品质，象征着强大、权利、神圣、和善、幸福、健康、纯洁和良好的生活质量等。缓慢的制作过程中，劳动者们触摸这些在高速发展中被冷漠忽视的、被祛魅化、被无情化的物质，召唤各自的有情经验，在时间的流淌中亲眼目睹着逐渐改变的“现状”。制动，俗称“刹车”。系统越是持续加速，被裹挟其中的个体越是微弱乏力，这很容易让人心灰意冷。但世界充满系统无力测度的未知，持续加速的系统，往往会出乎意料的被制动。这时，很多前所未有的可能性敞开。《一块高速路》是朴素温和的行动，欢迎众人一起来工地上劳动，在触摸物料中捉摸制动的潜欲——高速路上的惯性让它或隐或现、难以捉摸。
关于艺术家
1963年生于北京。1989年毕业于首都师范大学美术系，现在北京生活和工作。尹秀珍从上个世纪九十年代初开始了她的当代艺术实践，她的作品具有实验性和多样性，把不同人的经历、记忆和时代的印痕作为创作的元素之一，并对材料进行反思和实验进行了大量的不同形态的艺术创作。作品涉及装置、行为、陶瓷、影像、绘画雕塑等众多领域。曾参加众多国际艺术的重要展览，成为具有广泛国际影响力的女性艺术家。她曾参加过威尼斯双年展主题展和中国国家馆展；圣保罗双年展；悉尼双年展；上海双年展；光州双年展，横滨三年展，莫斯科双年展等大型国际艺术展。并在美国纽约现代艺术博物馆（MoMA）、荷兰格罗宁根博物馆、德国杜塞尔多夫美术馆等地举办个人展览。作品被英国泰特现代美术馆、法国蓬皮杜艺术中心、荷兰格罗宁根博物馆、日本森美术馆、德国杜塞尔多夫艺术宫、澳大利亚新南威尔士美术馆、香港M+艺术博物馆、尤伦斯基金会等地收藏。
策展人，1978年生，2000年于陕西师范大学美术学院油画系，获学士学位。2006年于四川美术学院美术史系，获硕士学位。曾任上海昊美术馆副馆长、上海喜玛拉雅美术馆副馆长。
他的艺术观点著述于各类杂志和出版物，并曾创办和主编《艺术时代》等刊物。他曾参与组织、策划多个展览和项目，近期包括：我与博伊斯·赵半狄的小窝——后疫情时代的诺亚方舟，上海昊美术馆，2020；我与博伊斯·杨振中，上海昊美术馆，2020；联合构筑，苏州金鸡湖美术馆，2020；我与博伊斯·周啸虎，上海昊美术馆，2019；上海文件：匀速运动，上海喜玛拉雅美术馆，2019年；蒙塔达斯：亚洲礼仪，三影堂摄影艺术中心，2018年；今日之往昔：首届安仁双年展，2017年；走向未来：马德里·北京音乐潮，塞万提斯学院，2017年；萧条与供给：第三届南京国际美展，百家湖美术馆，2016年；北京·798诞生纪（2002-2006），宋庄美术馆，2016年。
Me & Beuys · Yin Xiuzhen：Braking
Duration：2021/03/27 - 2021/07/04
Artist：Yin Xiuzhen
Curator : Du Xiyun
Venue：Special Project Space, F2, HOW Art Museum (Shanghai)
Organizer: HOW Art Museum
The HOW Art Museum is pleased to announce that the fourth exhibition in the ongoing project "Me & Beuys", will open on March 27th, 2021. The exhibition will be held in the exhibition hall on the 2nd-floor of the HOW Art Museum (Shanghai). This project invites one artist every four months to engage in a dialogue with works from HOW Art Museum’s Beuys collection, the works produced by the dialogue will be presented in the Beuys exhibition area forming an “exhibition within an exhibition.” The project is moderated by curator Du Xiyun.In the fourth exhibition, artist Yin Xiuzhen uses her work One Piece of Highway to open a dialogue with Beuys.
Braking
Du Xiyun
When ordinary life is on an accelerated pace of transformation under the impact of science and technology, individuals trapped in it have no choice but to feel increasingly helpless. The intensities between free will and orders feed art with the possibilities to ferment. This time, artist Yin Xiuzhen transforms the white-cube gallery space, a place where habitual experience and perception are often met with challenge, into a construction site and invites people to join her to water and mix cement. Together they could create a “highway” block by block. As a contrast to all the hustle and bustle, a simple and mild action like this sends out a warm invitation to people to indulge themselves in hands-on experience, rationality and transcendence…Highway is a highly visible indicator of the development level of infrastructure. By placing a cement mixer in the gallery space, Yin Xiuzhen gives those who want to make a cement block by themselves an opportunity to operate the mixer, pour the concrete into prefabricated mold with a daily object they’d like to embed in. The process of manual labor is no different from what tens of thousands of construction workers experience on an everyday basis. Probably it is even a bit more “manual”: as the drastic development of mechanical automation has already taken the place of manual work in many aspects.Cement powder has the capacity to become hardened during the process of chemical reaction. Each participating “laborer” chooses a piece of daily object to be embedded in the soft and moist concrete... In a society witnessing increasing changes, encounters among people with different visions, among experiences from the past and the present, would inspire new sparkles in this context.Daily object is a vehicle containing the unique traces and even smells of its owner. Before the cement hardens, Yin Xiuzhen and her working partners would take the daily objects out and pour butter into the hollow space they leave. The sweet and fragrant butter seems to be in contest with the cement that is getting hardened on the dimension of time. On the one hand, cement, the inorganic matter, blocks the way of butter, the organic matter. But on the other, grease of the butter slowly spreads and sinks into the cement, dissolving the hardness of it… When the fragment butter is taking shape in the “mold” created by the daily object and slowly sinks into the cement, a unique sense of aesthetics is radiated from within both visually and olfactorily. In ancient times and even nowadays, butter is often imbued with multiple sacred implications in many parts of the world, and it is widely considered to stand for strength, power, holiness, kindness, happiness, health, purity and quality life. During the slow process of making, the laborers physically touch the substance that has been ruthlessly neglected, disenchanted and de-emotionalized by the drastically rapid development, summon the sentimental feelings and experience embedded in themselves, and witness the changing “reality” in the flow of time. Braking is the process of making a vehicle go slower or stop. As the system is on a track of continuous acceleration, every individual who is trapped in it is doomed to feel powerless. Under such circumstance, people would easily feel frustrated. However, the world is also brimming with uncertainties beyond the control of the system. As a result, the constantly accelerating system would experience unexpected braking every now and then, which opens up a door for new possibilities to sneak in. One Piece of Highway is a simple and mild action, inviting people to come to work on the “construction site”, and to test the potential of “braking” during the physical touching of construction materials – as the inertia we experience on the highway tends to make it elusive and somewhat distant.
ABOUT ARTIST
Yin Xiuzhen
Yin Xiuzhen was born in Beijing in 1963. She graduated from the Fine Arts Department of Capital Normal University in 1989, and now lives and works in Beijing. Yin Xiuzhen started her contemporary art practice in the early 1990s. Her works are experimental and diverse. They use different people’s experiences, memories and the imprints of the times as one of her key creative elements, and uses materials that feature introspection and experimentation that showcase a broad expression of creative and artistic forms. Her works are multidisciplinary, and include installation, performance, ceramics, video, painting and sculpture. She has participated in many important international art exhibitions and has become a female artist with broad international influence. She has participated in the Venice Biennale; the Chinese pavilion at the Venice Biennale; São Paulo Biennial; the Biennale of Sydney; the Shanghai Biennale; the Gwangju Biennale, the Yokohama Triennale, the Moscow Biennale of Contemporary Art, among others. She also has held solo exhibitions at The Museum of Modern Art (MoMa) in New York, the Groninger Museum in the Netherlands, and the Museum Kunstpalast, Düsseldorf, in Germany. Her works have been collected by the Tate Modern in the United Kingdom, the Centre Pompidou in France, the Groninger Museum in the Netherlands, the Mori Art Museum in Japan, the Museum Kunstpalast, in Düsseldorf, Germany, the Art Gallery of New South Wales in Sydney, Australia, the M+ in Hong Kong, and the Ullens Center for Contemporary Art in Beijing, among other foundations and institutions.
Curator, Born in 1978. He received his bachelor's degree in oil painting from the school of fine arts in 2000 and his master's degree in fine arts history from Sichuan Academy of Fine Arts in 2006. He was deputy director of HOW Art Museum, deputy director of Shanghai Himalayas Museum.His artistic views have been published in various magazines and publications, and he used to work as the chief editor of ARTTIME. He has been involved in organizing and planning several exhibitions and projects, most recently: (2020)Me&Beuys·Zhao Bandi's Hut - A Noah's Ark in the Post-Pandemic Era, HOW Art Museum, Shanghai; (2020)Me&Beuys·Yang Zhenzhong, HOW Art Museum, Shanghai; (2020)Co-constructing, Jinji Lake Art Museum, Suzhou; (2019)Me&Beuys·Zhou Xiaohu, HOW Art Museum, Shanghai; (2018)Muntadas: Asia Protocols, Three Shadows Photography Art Centre, Beijing; (2017)The future is here: Musical frenzy from Madrid to Beijing, Instituto Cervantes of Beijing; Today’s Yesterday: The 1st Anren Biennale, Anren; (2016)Historicode: Scarcity&Supply/ The 3rd Nanjing International Art Festival, Baijia Lake Museum, Nanjing; BEIJING 798 GENESIS(2002-2006), Museum of Song Zhuang, Beijing.
*图片致谢艺术家与佩斯画廊
*Courtesy of the artist and Pace Gallery
文 Text／杜曦云 Du Xiyun
编辑 Edit／Murphy
昊美术馆（上海）
HOW ART MUSEUM (SHANGHAI)
图片©昊美术馆
昊美术馆（上海）是具备当代艺术收藏、陈列、研究和教育功能的全新文化机构，坐落于上海浦东，共有三层展览和活动空间，总面积约7000平方米，于2017年9月正式对外开放。昊美术馆首创“夜间美术馆”的运营模式，常规对外开放时间至夜间10点，目前特殊时期开放时间为上午11点至下午6点（周二至周日）。此举能让更多观众在工作之余前来美术馆观展，昊美术馆也举办“国际策展人驻留项目”、“户外电影节”、“雕塑公园”等国际交流项目和户外活动，以此建立全新的艺术综合体和浦东新地标。
特殊时期开馆时间周二至周日 11:00-18:00（每周一闭馆）
昊美术馆（温州）
HOW ART MUSEUM (WENZHOU）
图片©昊美术馆
昊美术馆（温州）延续昊美术馆（上海）的“夜间美术馆”运营模式，是浙江省首家"夜间美术馆"，常规对外开放时间至夜间10点，目前特殊时期开放时间为下午1点至夜间8点（周二至周日）。昊美术馆（温州）将持续为公众呈现丰富的公共教育及户外艺术项目，引领融合艺术、设计、科技的全新生活方式。
特殊时期开馆时间
周二至周日 13:00-20:00（每周一闭馆）
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昊美术馆（上海） HOW ART MUSEUM (SHANGHAI)
昊美术馆（温州）
HOW ART MUSEUM (WENZHOU)
HOW ART MUSEUM (SHANGHAI)