那看见万物的，知道万物的，就是万物 | 画廊周北京2020新势力单元
Those who see and know all,
are all and can do all.
策展人 ：张涵露
Curator : Hanlu Zhang
超家族+女子天团+空气炸Hellkitty乐队+木刻班+本广大画廊 | 点点宣传部 |胡庆泰 | 胡尹萍 | 李然 | 李文光 | 蒲英玮 | 铁木尔·斯琴 | 谭婧 | 童昆鸟 | 童文敏 | 王欣 | 吴思嵚 | 杨鑫 | 张雷 | 张文心 | 周思维 | 周轶伦 | 朱荧荧
Chaos Family + NZTT Sewing Co-op + Hellkitty Band + Woodcut Class + Benguangdahualang | Hu Qingtai | Hu Yinping | Li Ran | Li Wenguang | Pu Yingwei | Timur Si-Qin | Tan Jing | Tong Kunniao | Tong Wenmin | Wang Xin | Wu Sih-Chin | Yang Xin | Zhang Lei | Zhang Wenxin | Zhou Siwei | Zhou Yilun | Zhu Yingying | ··PROPAGANDA DEPARTMENT
地点：北京市朝阳区798艺术区798艺术中心 开幕：5月22日（周五）16:00-19:00；开幕表演：18:00-19:00，由蒲英玮，张文心 (与音乐人Fishdoll合作) 呈现
Duration: 22.5-20.6.2020Location: 798 Art Center, 798 Art Zone, Chaoyang District, BeijingOpening: 4-7pm on Friday 22 May 2020, with performances by Pu Yingwei, Zhang Wenxin (in collaboration with Fishdoll) at 6-7pm
*For English please scroll down
在古今中外的很多人类社会中，人们理解自身在宇宙中处于何种位置的过程，是一个与更高的精神和神圣价值取得联系的过程。“那看见万物的、知道万物的，就是万物”，是无所不能的未知力量（引自米尔恰·伊利亚德）。此次群展的十九位艺术家和艺术家组合触碰、探索甚至重新发明神秘或神圣领域，共享展厅却构建出多重宇宙观和时空性；他们带着对未知的敬畏，重申直觉、情感、想象力与精神性在知识生产和价值构建中的重要地位，从而实验有关存在的替代方案。
谭婧，《但是我一个都没有》，2020
多媒体装置（硅胶、水增稠粘液、黏土、机械泵、音响装置）
尺寸可变
图片由艺术家惠允
摄影：王闻龙
张文心，《力量之屋》，2020
装置（动画、往复电机、链条、不锈钢路锥）
尺寸可变
图片由艺术家惠允
这些创作者重新想象历史的、民间的乃至日常的神话，并以转译、隐喻、虚构演绎等方法来对话不同语境的精神世界。有的艺术家将身体作为仪式和魔法的场所，将个体投入危险、重复或一段艰难的旅程。他们深知在真实与幻想/虚拟之间、微观与宏观之间、可见与不可见之间，可能存在无数相异的世界。作为对于新的技术最为熟悉的一代，他们也好奇当人们的感知高度媒介化、数码化、算法化之后，应当如何重新寻找“灵性体验”。在展览中，多重话题线索和概念体系串联起空间分布和策展结构，使作品在展厅和场刊中交错对话，构造出沉思、虔敬和启示的场所。
纸本油墨、铜板
尺寸不一
图片由艺术家和偏锋画廊惠允
展览也意欲回应社会大环境中的一些趋势，尤其是一种笼罩我们的“相信的危机”。今天，人与他人的关系被社交网络化，与商家或其他组织的关系由评分制度垄断，而我们自己有时被简化为购物平台上的“猜你喜欢”数据或社会信用的一个数字。进入“后真相”时代，“相信”变得不可能，信息操控成为了凝聚人心的有效手段，而个人的情感则是唾手可得、有待榨取的资源。
吴思嶔，《名字吗？我有很多个（后台）》，2018
单频道录像
15分42秒
图片由艺术家惠允
在这样一个文化和价值加速同质化、实用主义统领着大部分社会活动的时期，艺术家的工作对主流进步观保持谨慎，并试图发掘被现代化发展所遮蔽的多元、杂合、泛灵等价值。
超家族+女子天团+空气炸Hellkitty乐队+木刻班+本广大画廊
《超家族婚礼合集》，2019
印刷，闪存盘存有视频，铁盒
88 x 60 x 18 mm；1小时20分钟11秒
图片由艺术家惠允
自古以来，艺术家经常被比作先知或灵媒，此次展览意在重新检验艺术可以“调用美和意义的结构”的“祭司职能”（引自妮卡·杜布罗夫斯基和大卫·格雷伯），试问全新的人与周遭、与自然界及与无穷未知的精神宇宙之间的关系可能性。重新认识精神性实践使我们得以超越身份地去辨认和联结彼此，在危机甚至灾难潜伏的世界中，召唤别样的伦理范式和亲缘关系。
铁木尔·斯琴，《麻黄 1》，2020
灯箱
直径 220 cm
图片由艺术家和魔金石空间惠允
童文敏，《金色的火》，2016
行为，单频录像（彩色、有声）
20分
图片由艺术家和空白空间惠允
朱荧荧，《蔓延》，2018
木板油画
40 x 50 cm
图片由艺术家和拾萬空间惠允
张涵露
摄影：覃小诗
张涵露是一名写作者和策展人。她生长并生活在上海，2013年于芝加哥艺术学院获得艺术历史、理论和评论硕士。2014年获“国际艺术评论奖”（IAAC）二等奖，文章发表于瑞象视点、LEAP、Flash Art以及art-agenda等媒体，她也是ARTFORUM中文网编辑。2015年入围上海当代艺术博物馆“青策”项目并联合呈现了“展览的噩梦（下）：双向剧场”；她曾在纽约的No Longer Empty，北京的央美术馆、香港的Para Site艺术空间等地组织策划展览和公共活动；也曾参与蓬皮杜中心双年展平台Cosmopolis的策展。她是44剧场的成员。
“新势力单元”（Up&Coming Sector）以主题群展的形式，聚焦于中国年轻艺术家的创作面貌。在当今的信息社会，这些新一代的艺术家在全球化的交流语境中受益良多。他们以前所未有的速度开辟了更广的、充满各种可能性的创作发展道路，并收获了前所未有的关注，因此对他们的支持和引导也变得尤为关键。
Across time, humans’ acquisition of knowledge and the discovery of meaning has frequently meant connecting with higher spirits and sacred values. Prior to global “modernization,” societies often believed in that which sees and knows all—an unknown, omnipotent power—as the foundation of all activity and thought (see the work of Mircea Eliade). This group exhibition presents 19 artists and collectives who carry this sort of quest for understanding into the present day by delving into mythical or sacred realms. Sharing gallery spaces, they nevertheless create multiple cosmologies and spatio-temporalities. By choosing to remain in awe of the unknown, their work reclaims the critical position of intuition, emotion, fantasy, and spirituality in contemporary society and further experiments alternative systems of existence.
Tan Jing, But there is no one for me, 2020
Mixed media installation
（Silicone, slime, clay, machine pump, speaker）
Dimensions Variable
Image courtesy of Tan Jing
Photo credit: Alessandro Wang
Zhang Wenxin, Zurkhan3h, 2020
Installation (animation, reciprocable machine, chain, stainless steel cone)
Dimensions Variable
Image courtesy of Zhang Wenxin
This group of young artists represents a generation of creators who know only too well about technology and are curious about the place of spiritual experience in a contemporary world shaped by hyper digital mediation. They reimagine religious myths and folk tales.Some open conversations with spirituality across time and place, employing analogy and fiction. Others look to the human body as a raw material for ritual and magic, testing its endurance and capacity for hardship. They all have faith that multiple cosmologies may exist in the context of the imaginary and the virtual, the macro and the micro, the visible and the invisible. As a whole, “Those who see and know all, are all and can do all.” stitches together artworks, topics, and concepts through two exhibition halls, a layered curatorial approach, and accompanying brochure. It creates entangled spaces for devotion, meditation, and enlightenment.
Zhang Lei, Funeral Series, 2010-2014
Monotype, Printing oil on paper, Copper Etching
Dimensions vary
Image courtesy of Zhang Lei and PIFO Gallery
The exhibition intends to respond to crises of trust or belief in society at large. Today, relationships with fellow humans are founded more and more within social networks, assigned value through a rating system; meanwhile, the “self” is reduced to an aggregation of data that generates suggestions on online shopping platforms, tailored ads, or a single number in a social credit system. In a “post-truth” era, belief seems impossible. Information manipulation has become the most effective way to change minds, and commercial and political powers exploit emotion.
Wu Sih-Chin,
My name? I have a lot of names (Backstage), 2018
Single-channel video
15 min 42 sec
Image courtesy of Wu Sih-Chin
In a society driven by such pragmatism and transformed by cultural homogenization, the work of these artists tends to resist those mainstream views of progress which have repressed spiritual and aesthetic multiplicity. Instead, “Those who see and know all, are all and can do all.” invokes plurality, hybridity, and animism, values which modernization in China has smothered for more than a hundred years.
Chaos Family + NZTT Sewing Co-op + Hellkitty Band + Woodcut Class + Benguangdahualang
Chaos Family Wedding Collection
2019
Print, video in USB, metal box
88 x 60 x 18 mm; 80'11"
Image courtesy of the artists
Historically, the role of the artist has been compared to that of the prophet or shaman, figures who act as mediators between worlds. This exhibition aspires to reexamine the “priestly function of art” to mobilize “structures of beauty and meaning” (see the work of Nika Dubrovsky and David Graeber). It aims to explore new possibilities in the relationships of humans with their surroundings—with nature and with indefinite, unknown universes. Rediscovering sacred and spiritual practices, especially in a world clouded by crises, empowers us to recognize and organize one another beyond identity formations, gesturing towards a future conjured instead via cosmological knowledge and ethical bonds.
Timur Si-Qin, Ephedra Nevadensis 1, 2020
Lightbox
Dia. 220 cm
Image courtesy of Timur Si-Qin and Magician Space
Tong Wenmin, Golden Fire, 2016
Performance, single-channel video (color, sound)
20 min
Image courtesy of Tong Wenmin
and WHITE SPACE BEIJING
Zhu Yingying, Creep, 2018
Oil on Wood Board
40 x 50 cm
Image courtesy of Zhu Yingying and Hunsand Space
Hanlu Zhang
Photo by Xiaoshi Vivian Vivian Qin
Hanlu Zhang is a writer and curator born and living in Shanghai. She received her MA in Art History, Theory and Criticism from the School of the Art Institute of Chicago in 2013. In 2015, she co-curated “Nightmare of Exhibition Part II: the Two-way Theater” at the Power Station of Art, Shanghai after winning “Emerging Curator Program”. She has curated exhibitions at No Longer Empty and 49B Studios in New York, Yang Art Museum and 798 Photo Gallery in Beijing, Para Site Art Space in Hong Kong, among other spaces. She also worked in the curatorial team for Cosmopolis, a biennial platform initiated by Centre Pompidou since 2018. Hanlu received a second prize in “International Award for Art Criticism” in 2014 and her writing can be found on LEAP, ArtReview Asia, Flash Art, and art-agenda. She is editor at ARTFORUM.com.cn. And she is a member of Theater 44.
The Up&Coming Sector will annually present a curated group exhibition, dedicated to young Chinese talents whose artistic development are worth following. In our current information society, emerging artists of today are the first generation to be fully immersed in a globalised and contextualised art world which can often determine the flexibility of their paths at an unprecedented speed and rate of exposure, thus, making their observation more thrilling, but their support and guidance all the more crucial.
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