胡昀 | 有人弄乱了玫瑰花（第一部分-民国十一年玫瑰风向图）

胡昀《有人弄乱了玫瑰花》（第一部分-民国十一年玫瑰风向图）2019，电铸红铜板，29×21cm，四方当代美术馆惠允

艺术家胡昀（b. 1986 ）的创作跨越绘画、水彩、行为、录像和装置多媒介。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。此件作品是艺术家2019年底在四方当代美术馆的委任作品《有人弄乱了玫瑰花》系列上半部分8件作品中的一件，艺术家用电镀铸铜的方式拓印了《首都计划》（国民党政府在1929年出台的旨在打造“首都”的城市规划方案）中的“民国十一年风向玫瑰图”，即1922年由国立中央大学（现东南大学）测绘的南京风向图。看似具有纪念碑色彩的铜板上依稀可辨曾经的自然/人工的“轨迹”，而由这些轨迹构成的历史与现实，实际上正如风中花瓣般脆弱，在日益不确定的“气候”中随风摇曳。作品标题源自墨西哥作家加西亚·马尔克斯（García Márquez）的同名小说，亦被用作北丘当代美术馆本次展览主标题。

作品由四方当代美术馆委任创作

Artist Yun Hu (b. 1986) employs a diverse range of mediums, including painting, watercolor, performance, video, and installation in his creative practice. By drawing from various experiences and historical contexts, Yun Hu reintroduces previously crafted materials into his ongoing artistic exploration. This particular piece is part of the initial series titled Someone Has Been Disarranging These Roses, consisting of eight works commissioned by the artist for the Sifang Contemporary Art Museum in late 2019. For this series, Yun Hu utilized electroplated cast bronze to meticulously recreate a section from the Capital Plan, an urban development initiative introduced by the Kuomintang government in 1929 to establish a new "capital city." The piece specifically references "The wind rose map of Nanjing in the 11th year of the Republic of China," originally charted by the National Central University (now Southeast University) in 1922. On this seemingly imposing copper plate, the natural and artificial "pathways" of the past can be faintly discerned. However, the history and reality woven through these pathways are as delicate as petals caught in the wind, swaying within the increasingly uncertain "climate." artwork's title is drawn from the novel of the same name by Mexican writer García Márquez and serves as the primary title for the exhibition hosted at Beiqiu Museum Contemporary Art.

Commission by Sifang Art Museum

胡昀，1986年出生于上海。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。

Hu Yun (b. 1986, Shanghai) '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.

风向玫瑰图（wind rose plot）

风向玫瑰图（wind rose plot）用来简单描述某一地区风向风速的分布，可分为风向玫瑰图和风速玫瑰图。在风玫瑰图的极坐标系上，每一部分的长度表示该风向出现的频率，最长的部分表示该风向出现的频率最高。风玫瑰图通常分16个方向，也有的再细分为32个方向。

在罗盘玫瑰存在之前，地图上也包含一个玫瑰图，让读者知道在平面图中8种主要风（有时是8种半风和16种四分之一风）的方向。北方百合花饰，东方基督十字，以指示耶路撒冷的方向。