施慧 Shi Hui｜第14届上海双年展：宇宙电影 14th Shanghai Biennale: Cosmos Cinema
施慧 Shi Hui
物殇 Mono no aware
镀锌铁丝网、 纸浆、 干枯植物 Galvanized iron wiremesh, pulp, dried plant
整体尺寸可变 Overall dimensions variable
2014-15
第14届上海双年展：宇宙电影
上海当代艺术博物馆，中国
Power Station of Art, Shanghai, China
施慧的作品《物殇》目前展出于上海当代艺术博物馆“第14届上海双年展：宇宙电影”。本届上海双年展的主策展人为安东·维多克（Anton Vidokle）。“宇宙电影”共有来自六大洲41个国家的79位/组艺术家参展，其中中国艺术家17位/组，新委任和新制作作品23件。这些来自中国及世界各地艺术家的创作，其年代横跨二十世纪初至今。
本届双年展参展作品的形式和方法之丰富犹如对繁星的多种解读。它们反思多元的宇宙学说和微观现实，指出人类与天地互动以及理解宇宙的不同方式。然而，这些作品似乎来自类似的发问：我们如何融入这个支配时间与空间的系统？同样的法则是否适用于所有尺度，我们对宇宙的理解将如何改变我们在地球上的行为？我们将如何与彼此，与非人类，甚至地球之外的生命体共存共生？
自1980年代中期以来，艺术家施慧通过棉、麻、宣纸、纸浆及其他纤维材料，创作了丰富的雕塑作品。她使用宣纸等常用于书画的中国传统艺术材料，编织和雕刻出具有当代感的有机形状。作品《物殇》融合了农耕工具、车轮和键盘等现成形态与材料。关于这件作品，艺术家写道：“社会的更迭，工具的轮替，物殇如是，逝者如斯！在世事的万般行役中，唯记忆长存。”
2024年，施慧将在BANK画廊呈现新个展。敬请期待。
Shi Hui’s artwork Mono no aware is currently on display at the “14th Shanghai Biennale: Cosmos Cinema” at Power Station of Art, Shanghai. The chief curator of this edition’s Shanghai Biennale is Anton Vidokle. A total of 79 artists/groups from 41 countries on six continents participated in the Biennale, including 17 Chinese artists/groups and 23 newly commissioned and newly produced works. These works by artists from China and around the world span the period from the early 20th century to the present.
The works included in the exhibition are as various in their forms and approaches as are readings of the constellations. They reflect on diverse cosmologies and microcosmic realities, indicating the different ways in which humanity interacts with and understands the cosmos. But they might all be said to begin from a point of wonder: how do we fit into the systems that govern time and space? Do the same principles operate at every scale, and how might our understanding of the cosmos change our terrestrial behavior? How do we live together, as a species and with nonhuman others, on earth and beyond?
Working with cotton, hemp, rice paper, pulp, and other fibers, Shi Hui has developed a rich body of sculpture since the mid-1980s. Using quintessentially traditional Chinese art materials such as Xuan paper, historically associated with Chinese ink painting and calligraphy, Hui puts them to the purposes of weaving and sculpting contemporary organic forms. Mono no aware integrates found forms and materials including agricultural implements, a wagon wheel, and a keyboard. Of the work, the artist writes: “As society evolves, tools also change. Things pass away, just like that! Amid the myriad trials of life, only memories endure.”
In 2024, BANK will present a new exhibition by Shi Hui. Stay tuned.
展览现场
Installation View
关于艺术家 About the Artist
施慧 Shi Hui
施慧，艺术家，中国美术学院教授，博士生导师。万曼壁挂研究所主任。
施慧1982年毕业于浙江美术学院（今中国美术学院）染织专业，获学士学位。1986年-1989年在“万曼壁挂研究所”研修当代纤维艺术创作。1987年，作品《寿》（合作）参加瑞士洛桑“第十三届国际壁挂双年展”，实现了中国当代壁挂艺术走向世界的零的突破。
施慧是上世纪80年代中国第一批从事当代纤维艺术的艺术家，她坚持纤维艺术在当代艺术中的创作方向，作品以棉、麻、宣纸、纸浆等纤维材料为特征，在当代艺术的层面上体现出东方精神的底蕴。作品先后参加国内外许多重要展览及提名展、双年展，参加的群展有 2000年第三届上海双年展，2001年德国柏林国家美术馆 “生活在此时——29位中国当代艺术家”展，2003年法国蓬皮杜艺术中心“间”——中国当代艺术展，2013年德国科布伦茨路德维希博物馆双个展。2007年获马爹利非凡艺术人物奖，2014年获AAC第八届艺术中国年度影响力大奖。
施慧持续使用中国宣纸和纸浆为主要媒介，在这种钟爱的后面，显然既是对媒介与自己心灵默契的那种特殊属性的体认，也是对中国传统媒介在当代的价值转换的信念。施慧的作品在中国当代艺术的图式中，呈现出独特的视觉特征，她将传统意义上的编织拓展为一种视觉空间的建构，编织的过程被作为经验的流程，而成为一种“后现代的万物有灵论”的图像演绎。
Shi Hui (b. Shanghai, 1955) is a textile artist and educator. She has held the professorship position and served as a doctoral supervisor at China Academy of Art. She has also worked as the director of Varbanov Fiber Art Research Center.
Shi graduated from the Zhejiang Academy of Fine Arts (now China Academy of Art) in 1982 with a bachelor's degree in dyeing and weaving, she studied contemporary fiber art at the Maryn Varbanov Institute from 1986 to 1989. In 1987, her work "Shou" (cooperation) was included in the "13th International Tapestry Biennale" in Lausanne and marked the first presentation in the contemporary Chinese tapestry art in the world-known occasion.
Shi Hui was among the first generation of Chinese artists working in contemporary textile art in 1980s. Specially focused on the fiber art, Shi relentlessly incorporates materials ranging from cotton, hemp, rice paper to silk, mesh and paper pulp in her compositions that at once imbued with Chinese tradition. Her works have been featured in numerous exhibition worldwide, most recently including The 3rd Shanghai Biennial (Shanghai, 2020), Living in time: 29 contemporary Chinese artists from China at Berlin’s National Gallery (Hamburger Bahnhof, Berlin, 2001), Alors, La Chine at Centre Pompidou(Paris, 2003) and Flourish Spirits at Ludwig Museum (Koblenz, 2013). She has also been awarded as the 2007 “Martell Artists of the Year” and the 8th Award of Art China in 2014.
Shi relentlessly employs the paper as fibrous material for weaving and sculpting. Her sustained emphasis on the materials reflects a special relationship between the materials and artist her self, revealing the artist’s devotion and belief to the traditional Chinese medium in thecontemporaneity. She challenges the conventional notion of the weaving and experiments in the physical space, and that marks her works intricate anddynamic. Through the deft use of warp and weft, Shi’s practice embraces the accumulation of the experience, which visually shows idea of the postmodernism animism.
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