20 一月

by An Xiao on January 18, 2012

from HYPERALLERGIC
http://hyperallergic.com/45316/four-artists-in-asia-im-watching-in-2012/


The “Forget Art Fair,” installed by Linda Gallery in Beijing’s 798 Art Zone. The fair competed — tongue in cheek — with the 2011 edition of Art Basel and even passed out VIP cards for visitors.

LOS ANGELES — After spending a year living in different parts of Asia, I’ve been asked by many people for my thoughts on the art scene there: Does China really live up to the hype? How does Korea fit into the picture? And what about Southeast Asia? Unfortunately, I can’t answer all of these questions, especially because after a year there I felt I was just beginning to scratch the surface.

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But I was fortunate to meet some incredible artists in my travels. In China, Korea and the Philippines, I came across very challenging and interesting work, which sprung up out of very different traditions and sociocultural contexts. But which artists stood out?  Whose work am I most looking forward to in the coming year? Rather than write a 2011 summary, I thought I’d write a 2012 “head’s up”, a list of artists whose work continues to stick in my head and who I hope to see more from in the coming year. This list is neither scientific nor exhaustive, but I’ve at least arranged it by the four cities in which I spent the most of my time in 2011.

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Beijing, China — Forget Art


12:50 pm, Ma Yongfeng’s microintervention on a bathroom door at MK2 Art Space for “Memory/Identity,” curated by Alessandro Rolandi.

With news of Zhang Daqian toppling Picasso as top auction earner, it can be easy to lose sight of Chinese artists working largely outside the commercial sphere. Founded by Ma Yongfeng, whose goldfish video at MoMA PS1 provoked outcries from animal rights activists, Forget Art is one of Beijing’s most active art collectives, with a focus on microinterventions around the city, from an old Taoist temple to a bath house frequented by rural migrants. Forget Art’s one booth art fair at Linda Gallery made a splash on June 4 for its wry humor and subterfuge (some attendees received a VIP pass), and their cover photo essay in LEAP magazine featured guerilla art interventions like a leaf spiked through a twig in a park near 798.

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Forget Art has grown increasingly active in the Beijing art scene, with a recent installation at Za Jia, an art space, bar and formal Taoist temple in Beijing’s Drum and Bell Temple area. Dubbed Not Only a Taoist Troublemaker, works included “Suspending Rock,” a performance and installation by Wu Yuren, who stood under a 100 kg hanging rock for two hours, and a propaganda-style poster by Alessandro Rolandi declaring “May Your Matters Be Safe.” I never saw their installation at Caochangdi’s Dragon Fountain Bathhouse, but residents in the village were talking about it for months afterward, and the documentation video certainly reveals its charm.

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Manila, Philippines — Kiri Lluch Dalena


Kiri Lluch Dalena’s “Erased Slogans,” focused on famous protests in recent Philippine history.

I wrote about Kiri Lluch Dalena’s haunting installation at the University of the Philippines recently, in which she responded to and documented the aftermath of the horrific Maguindanao Massacre, the worst massacre of journalists since the Committee to Protect Journalists began keeping record. Since then, I’ve come to learn more about Dalena’s work, which shifts comfortably from challenging video documentaries examining social and political issues in the Philippines, to more lighthearted works.

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Recently at Now Gallery in Makati, Manila, she exhibited a half dozen condom sculptures, each shaped and colored differently. The colors were inspired by actual flavored condom colors available in the country.

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Part of what makes Dalena’s work so impactful is the way she relies on the Filipino community to help her document much of her subject matter. To prepare for Time and Place of Incident, she used social networks like Facebook and blogs to develop contacts. And for certain hard-to-reach areas, she relied on volunteers to film for her. The sense of play and gravity come together in her Erased Slogans, in which she Photoshopped out the political slogans at famous protests in recent history. The images are darkly humorous, and the slogans reappear as actual gravestones in a later installation.

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Xiao Ke

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I first met Xiao Ke during her stunning “Silent Acappella” at Welcome to Enter, a curatorial initiative by Anita Hawkins in which I also took part.

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In her performance, Xiao Ke performed inside the cube set up by Hawkins, while her dance was projected on the outside for the audience. The mixture of kinetic movements and wall banging with her surreal, hypnotic movements on two faces of the cube hooked us all in, and I wanted to see more. Her Shanghai-based dance studio has collaborated internationally, and she’s now stepping into more conceptual dance explorations.

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Seoul, Korea — Dirk Fleischmann
点击在新窗口中浏览此图片
Dirk Fleischmann’s myfashionindustries label, produced in both North Korea and the Philippines. Purchasers receive a video illustrating the entire production process.

You might think that Dirk Fleischmann doesn’t sound very Korean, and you’d certainly be right. German-born Fleischmann lives and works in Seoul, and his autobiographical myconceptstore, which premiered at the 2011 Gwangju Design Biennale, was a hit attraction. The store featured a number of conceptual products from his art career, including a series of watches all set to 00:10, or 10 seconds.  Without looking at the watches, Fleischmann used trial and error to set a perfect 00:10. The amount of time it took for him to set 10 seconds determined the price.

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Other products included an organic egg from Gwangju, which I purchased, Snickers bars he used to sell in his studio as an art student, beer from North Korea and even a line of clothing made in the communist Korea.

*   *   *

I wish I could write more about the art in Asia, and I have and will be doing so in this blog. These artists’ works have lingered in my mind a little longer than most, and I’m looking forward to seeing what they produce in 2012.

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29 十二月

裸访谈
forget art 项目《不是吃素的!》现场访谈录。


NAKED INTERVIEW
Interviews from project  Not Only A Taoist Troublemaker!

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展览开幕之前的两天对每位艺术家进行“裸访谈”。

Naked interview before the exhibition’s opening

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27 十二月

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6 十二月

from ArtSlant  http://www.artslant.com/cn/articles/show/28905

by Edward Sanderson
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Not Only A Taoist Troublemaker! was a short-lived exhibition occupying a leaf-strewn room in a small arts space attached to a bar. A bar with a vegetable market behind; sharing a building that housed a screw factory during the Cultural Revolution. A screw factory built inside a Taoist temple, replacing the site’s original Buddhist temple. This overlapping of every kind of ideology provided an ideal backdrop for the six artists’ work in this show curated by forget art.

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forget art is an organisation created by artist Ma Yongfeng, about whose “guerrilla” tactics I have written once before on ArtSlant. It has become well-known for the ironic nature of its exhibitions, interventions, and projects. These activities are keenly self-aware of their contexts, and never take themselves too seriously.

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Prior to the opening of this new show, Ma Yongfeng had already laid the conceptual and experiential groundwork by initiating a series of “naked” interviews with the artists and academics. Ma’s aims seem to be, on the one hand, to provide a forum for the sort of serious discussion that he feels is lacking in the art environment in China. On the other, by performing au naturel he is pushing the situation out of kilter. The participants’ exposure may lead to a more open discussion – at the very least it places the speakers in a new, less comfortable position.

Ma Yongfeng12:35pm, Fallen leaves on the floor, 2011; Courtesy Edward Sanderson

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This was also his reasoning behind collecting twenty bags of autumn leaves from a forest in Beijing’s outskirts and transporting them into the gallery. This literal groundwork had the benefit of pulling the whole space together with its softness underfoot and the earthy smell that it brought to the space. Ma explained to me that this was beyond simply an intervention – it was an effort to create an atmosphere or even some kind of aura.

Hu XiaoxiaoBaptism, Wash cloth, vegetables, pins, 2011; Courtesy Edward Sanderson

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Picking up on this, Liang Ban’s carved radishes rested on an open window-sill and Hu Xiaoxiao’s failed (in a good way) image made of vegetable matter hung in place of honour against a plush red velvet curtain at the back a small stage. The radishes were clumsily carved with figures, as if these were nascent within the vegetables, awaiting their revelation; and the backdrop hung where a Buddha figure or Christian cross would normally be situated, spot-lit on the raised stage, at the focal point of the room. Counteracting any particular readings, a smartly-dressed woman hired by artist Lu Zhengyuan performed as an unreliable guide to the show, providing background to the works with guesswork and rumours, creating an atmosphere of misunderstandings for her audience.

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Hanging above the stage, Alessandro Rolandi’s red propaganda banner announced, “MAY YOUR MATTERS BE SAFE.” This statement is typical of the ambiguous situations in his work, subtly raising its issues with reality. These words overlooked and seemed to ironically relate to Wu Yuren’s large rock suspended from the ancient rafters. For the opening, Wu stood under this 200lb stone, forcing himself to remain in this precarious position. While perhaps not long enough to privilege this activity as “durational,” he was stationary long enough for a call of nature to be performed amongst the leaves – I have to recognise this as (some sort of) commitment to the (in)activity. In discussion with the curator and audience, he finished the piece by removing his clothes and standing naked under his stone – disrobing again appearing as a means of expression with its parallels to the online response to Ai Weiwei’s charges of pornography (although Ma Yongfeng’s original naked interviews antedated this particular meme).

Performance by Wu Yuren, Work by Ma YongfengNot Only A Taoist Troublemaker! installation view; Courtesy Edward Sanderson

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I don’t want to sound dismissive of Wu Yuren’s activity, however, as it had a deeper rationale than its surface appearance might suggest. In 2010 Wu was jailed for ten months under questionable circumstances and since his release has intermittently been called in for “a cup of tea” by the authorities (as questioning is euphemistically referred to). This serious and continual pressure on him is expressed through this work.

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Whether that makes it a “good” work, I am not sure; my immediate reaction was that I did not like it, even with the background, feeling it was too literal and unsubtle. But I have to respect the fact that it reflects Wu Yuren’s being on the blunt end of the system, and that aspects of his situation are more common than one might expect. He has more right than most to comment on this experience, and of course I do not know what it is like to live through his experience or what it is like to be under this continual pressure. The activity was all done in seemingly good spirits – one way to deal with such serious matters, perhaps.

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This attitude was reflected in the original Chinese title of the show, “不是吃素的” or “not a vegetarian,” a euphemism for not being a push-over, which the curator described as presenting “a very simple, radical attitude.” The English title refers to the Bohemian reputation of Taoists, saying that this show is not “only” about that, in a typically open move.

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Although it is obvious I had many reservations about this show, maybe because of those reservations I still felt this was a powerful exhibition that did manage to create a strong impression on me due to at least in part to its scattershot nature.

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30 十一月

《悬石》

吴玉仁

200斤的石头、钢丝绳,一个人站在下面2个小时。

2011

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Suspending Rock
Wu Yuren
100 kg. stone, steel wire rope,stand still under the stone for 2 hours
2011



《洗礼II》

胡筱潇

洗碗布、蔬菜、别针

2011

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Baptism II
Hu Xiaoxiao
Washing cloth,vegetable,pins
2011

《下午12:35分》

马永峰
潮湿的落叶铺满道观的地板
2011
……
12:35 pm
Ma Yongfeng
Wet fallen leaves on the floor of a Taoist temple
2011

《定义》

卢征远
一位女孩在展览中按照非常规的方式进行导览。
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Definition
Lu Zhengyuan
A girl guided the manipulated or dominated audience in the exhibition.

《神》

梁半
萝卜、雕刻刀、草图
2011
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God
Liang Ban
Radish, carving knife, drawing
2011

MAY YOU MATTERS BE SAFE

Alessandro Rolandi
Banner,apples, persimmons, Xanax, Lexothan, Aldol
2011

展览现场图片  exhibition views

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15 十一月

Not Only A Taoist Troublemaker !


Forget Art ‘s site-specific project

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Inside the front hall of a temple.

Guerrilla non-site intervention and situation-based tactics.

A sense of time and position lie behind attitude!

Six artists’ work of de-professionalization and site-specific installation

setting temporary and subtle landscapes against the religious building.

Space is a unceasing practiced place !

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Curated by Forget Art

Organized by Za.project

Artists: Hu Xiaoxiao, Wu Yuren, Lu Zhengyuan, Ma Yongfeng, Liang Ban, Alessandro Rolandi

Opening at 3-6pm, Nov. 20,2011

Showing from Nov.20 to Dec. 20, 2011

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Venue: 杂家 zajia lab

open hours: daily 5 pm to late

Tel: 15601122252 / +10.84049141/ zajialab@126.com

地址:北京市东城区旧鼓楼大街豆腐池胡同(钟楼菜市场旁边)地铁鼓楼站B口出
Hong En Daoist Temple (beside Bell Tower food market) Doufuchi Hutong, Dongcheng District, Beijing

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About exhibition’s location:

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杂家zajia lab

project space/bar

Zajia lab provides space and resources for artists and cultural innovators, serving as an incubator for the creation of art and culture.

Zajia lab’s project space is located in the hutong of Beijing inside the front hall of Hong’En Taoist Temple.

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Hong’En Taoist Temple:

Hong’En Taoist Temple is located in Beijing at the back of Bell Tower, close to the city central axes. During the Yuan dynasty it was called “Thousand Buddhas Temple”, but its name was changed into “Temple of Peace and Quiet” during the Qing Dinasty.  During the reign of Emperor Tongzhi (1862-1875),Taoist priest Liu Chengyin renovated the temple building and renamed it “Hong’En Taoist Temple” (Taoist Temple of the Vast Kindness) and also erected a commemorative stele in which he expressed the wish that “people visiting the temple shall look upon the God of Kindness with deep respect and devotion and shall always protect and sustain the temple”. During the Cultural Revolution, the temple was used as a factory of spare parts. Nowadays, between the front hall and the main audience hall of the temple there are a supermarket, a grocery market and a souvenir shop.

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不是吃素的!

Forget Art 的特定场地项目


展览前言:

一座寺庙的前殿。

游击性的“非在场干预”,以情境为媒介的策略。

态度的背后形式是一种时间感和阵地!

6位艺术家“业余性”的现场制作,对宗教建筑微妙抵抗的临时景观。

空间是一种不断地被实践的地点!

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策划 :forget art

主办 :Za.project

艺术家 :胡筱潇、吴玉仁、卢征远、马永峰、梁半、Alessandro Rolandi

开幕时间: 2011年11月20日下午3:00 – 6:00

展期 :2011年11月20日-12月20日

地点杂家 zajia lab

project space/bar

Tel: 15601122252 / +10.84049141/ zajialab@126.com

地址:北京市东城区旧鼓楼大街豆腐池胡同(钟楼菜市场旁边)地铁鼓楼站B口出


关于展览地点:

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杂家zajia lab

杂家lab为艺术家和文化创新提供空间和资源,努力推动创新艺术的发展。 杂家lab空间是位于北京宏恩观前殿里面胡同里。

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寺庙介绍:

宏恩观位于钟楼后面,紧邻北京中轴线。曾是元代千佛寺旧址,明代称清净寺。同治年间,刘诚印道士重修清净寺并改称为洪恩观,同时立碑纪念,希望“居是观者,仰鉴神恩而永为护持焉”。文革期间洪恩观用作北京标准件二厂厂房,现在前殿和大殿之间则是菜市场、超市和纪念品商店。

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2 十一月

from City Weekend by Laura Fitch Posted on Oct 14 2011

http://www.cityweekend.com.cn/beijing/articles/blogs-beijing/art/changing-the-status-quo-in-beijings-art-scene/

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For years, Beijing’s art scene largely resided in the capital’s suburbs like 798 or Songzhuang. But recently an increasing number of art collectives, groups and initiatives are cultivating a vibrant scene that’s helping change the face of contemporary art in Beijing by fostering creativity and spontaneity inside the ring roads.

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“Chinese contemporary art is a gallery- and commercial-based environment,” says Ma Yongfeng, co-founder of the art collective Forget Art. They made waves last year by transforming a Caochangdi public bath house into an art project, with various artists creating works to put in the bath house, or transforming aspects of the bath house itself. Ma’s piece was an mp3 placed inside a hair dryer, recreating the noise of the dryer without the wind. The growth of these groups is a reaction of young artists against the constraints of the more established contemporary art world in China, says Ma. They want to create art for the sake of art, instead of for cash.

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Some of these new groups have physical spaces to operate in, such as HomeShop, just south of the Confucius Temple on Guozijian, or Zajia Lab, north of the Drum and Bell Towers. But in reality they are more integrative and community-based than traditional gallery spaces. HomeShop rents out work stations to artists, hosts a small library open to the public, and prints its own newspaper, while Zajia provides space for jam sessions, video installations and project planning, a small bar, and a base for performance events. Our favorite was a recent one where two artists walked from the Drum Tower to Zajia at such a slow pace that the stroll took four hours to complete.

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The most well known of these collectives is Arrow Factory, based out of a small shopfront just off Wudaoying Hutong. The group recently released 3 Years: Arrow Factory, a book that details their many projects, available at Timezone 8 in 798.

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“We are just artists. We’re not curators or critics,” says Ma. “We have events everywhere. Without a fixed space, we can be more guerrilla. It’s more free.”

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24 十月

如果想全面了解《保持一种业余性》这个项目,请参考《艺术界》LEAP  2011年 10月号

pls try to see OCT. 2011 of LEAP Magazine if you want to know more about this project SAVE AMATEURISM.

http://leapleapleap.com/2012/01/save-amateurism-a-project-by-forget-art/#5

save amateurism PDF下载    for PDF download

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Forget Art is an independent organization established in 2009 by the artist Ma Yongfeng. Douling as a loosely defined creative colletive, it came to notice after engineering the project “Location:Dragon Fountain Bathhouse” in September 2010. For this project, participating artists adopted a strategy of “micro-intervention”- launching artfully insinuated threats and acts of resistance against specified pre-existing spaces,while their interventions themseves faced the danger of disappearance. It was precisely this duality that converted the Dragon Fountain Bathhouse,located in the Beijing art district of Caochangdi,into a site ripe for exploration of the boundary between art and life – a place where one could consider the conditional significance of artistic practice all in terms of the paradoxical relationship between the visible and invisible. This year, Forget Art’s new project “Guerrilla Living Syndrome”attempts to break free from the framework of the typical artistic project, moving towards a new social model of “micro-practice”.

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Meanwhile, Forget Art moves forward with yet another round of experimentation. This specially commissioned LEAP portfolio, entitled “Save Amateurism!” embodies more powerfully than ever a kind of “guerrilla spirit – a degree of flexibility and agility, a situational mode of action. And yet each participating artist approaches the problem from a distinctly unique perspective. In their ultimate display, on-site photography of each work are randomly paired with quotes from different artists – indicative of and corresponding to Forget Art’s aesthetic temperament,principle of practice, and mode of reflection: all born out of engagement with the tenuous boundary between art and life.

Forget Art

《Forget Art Fair》

展板、射灯、5个艺术家作品、6 x 6米标准展位

2011年

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Forget Art

Forget Art Fair

exhibition panels,spotlight,five artists’ works,6 sq.m standard exhibition booth

2011

杨铭

《我想建一座花园》

木棍部分烧黑

尺寸可变,2010年

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Yang Ming,

I want To Build A Garden

charred wood shoots and branches,dimensions variable, 2010

马永峰

《下午4点40分》

旧桌子、四个西瓜
120x120x140厘米,2011年

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Ma Yongfeng

4:40pm

old table, four watermelons, 120x120x140cm, 2011


吴玉仁

《2010用品》

书、牙刷、筷子、看守所代购卡

2010年

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Wu Yuren

2010 Supplies

book, toothbrush, chopsticks, prison purchasing card

2010

杨健

《大地震后寻得的未知生物外皮》

皮革、布、橡胶、竹条

150x80x60厘米

2010年

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Yang Jian

The Skin of Unknown Organisms Found After the Earthquake

leather, cloth, rubber, bamboo

150x80x60 cm

2010

Alessandro & Clara Rolandi

《ENCORE !》

现场干预, 2011

手写横幅,中国花园,法裔意大利女孩

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Alessandro & Clara Rolandi

《ENCORE !》

intervention,2011

hand written banner, chinese garden, french-italian girl

卢征远

《飘散》

在旷野上喷洒阳光色的颜料,2011年

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Lu Zhenyuan

Blown Apart

sunlight-colored pigment sprinkled in wilderness, 2011

杨心广

《树叶》

尺寸可变, 2011年

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Yang Xinguang

Leaves

dimensions variable, 2011

马永峰

《下午12点50分》
把画廊的厕所门卸掉放在旁边
240x80x5厘米, 2011年

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Ma Yongfeng

12:50pm

unhitched gallery bathroom door, 240x80x5 cm, 2011

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28 九月

一个不断流动和相互作用的世界

每一个个体都是相对固定的流动体,并且大多数时间都是在相对固定的圈子里短距离移动,除非有一个事件的触发,突破熟知的圈子而进入另外一个相对陌生的圈子,作出这一行为的个体成了这两个没有太大关联圈子的一个通道,并有可能将这两个圈子拉成一个圈子,每一个相对意义上的圈子都有可能因为某一个个体的行为而产生相互作用。寄居计划就是因此而展开的,针对的对象是素不相识的陌生人,他们的到来和离开都会给双方所在的群体带来振动,甚至有可能引发群体性共振。当群体的概念扩大延伸至整个社会,那所引发的共振,可能会是一场不小的运动。将寄居计划交流、分享和创造之基因注入到全国各地的人群中,随着人群的不定向流动,增加了每一个个体相遇的几率,其所引发的反应将会是多态、交叉和不可预知的,寄居计划就是一个催化剂,推动着社会的发散、运动以及产生

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文皆的寄居计划(上):是一个基于人际关系的行为项目,该计划从2009年2月15日到2010年5月15日为期455天,主要是通过网络来寻找同城或者异地愿意提供寄居的陌生人,力争每一天都跟陌生人生活在一起。这是一个动态的计划,在实施过程中进行了适当的调整,最初是从身边的人开始的,逐步延伸到陌生人群。不会前往没有寄居的地方,只要有人愿意提供寄居就会考虑过去,不管是否去过这个地方或者对这个地方是否感兴趣。

http://www.yaep.net/forum.php?mod=viewthread&tid=3&extra=page%3D1

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《沙发马车》  韩五洲  2011年6月

《蚕蛹》  梁半  2011年7月

《  》  吴玉仁  2011年9月

《青年公寓交换》  王挣  2011年8月

《Tate Modern》  吕智强   2011年5月

《无题》 丁楠  2011年5月

《 》 张小敏  2011年5月     刚听说你要去山上出家了

《下沉》 杨照晨

this is a ongoing project  这是一个还在进行中的项目

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1 七月

Global Times | June 09, 2011 10:16

http://www.globaltimes.cn/NEWS/tabid/99/articleType/ArticleView/articleId/660708/An-Absence-of-Art.aspx

By Lin Kan Hsuang

Is something missing from your life – and do you know what it is? Nine artists unravel their understanding and interpretations of everyday ‘absence’ until July 3, at Alibi, a group exhibition at the Linda Gallery, 798 Art District in Beijing.

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The Global Times spoke to curator Wang Yifei about how the artists interpreted the idea. First, she explained, absence can be viewed as a “general situation of apathy, loneliness and isolation.” Alternatively, it might be about one’s own absence from a preferable situation: an incessant yearning to escape a constant reality. Third, there’s a doubt about our being, a “question mark over space and time.”

…….

By the entrance protrudes a branch on a spring. The artist, Yang Xinguang, was inspired by his experience climbing a mountain. To enter the gallery, visitors have to either push the branch away to clear a path or make a detour.

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“The attitude of both accepting and escaping from the disturbance embodies our resistance against something that should have not shown up in our lives,” Yang explained.

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“Even if you’ve cleared the way and moved into the gallery, you may still be bothered by the branch bouncing back,” Wang said, laughing. “Pretty annoying.”

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Transience

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Inside, you’ll find a wall stocked with hundreds of half-eggshells, inside each of which has been written dense and repetitive English vocabulary. Looking for Sense of Security is about artist Liu Ren’s complicated feelings about the language as a required course in his past educational experience.

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“I hoped to learn this international common language well, so as to be competitive enough, but I realized its importance too late. My alternative choice is to learn English by means of art,” Liu said. “The English vocabulary represented within has been sublimated from being a mere communicative tool to a cultural feature.”

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Wang interpreted Looking for Sense of Security as being about an absence of both study and life. “The eggs originally bear life; now, a cultural media.”

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Another of Liu’s works, Back to Ashes, an aluminum lunch box filled with eggshell debris, is more nihilistic.

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“A living man can disappear in a blink, together with all his sentiments. Consequently, what he thinks important is no longer meaningful, just like the words in the shells. No matter how significant the messages were, time will at last dissolve all existing things,” Liu explained.

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Besides Liu’s artworks, there are 10 oil paintings, five each by Sun Daliang and Shi Wenfei, Role, a video installation by Li Ming, Tian Yu’s multi-material Shield Position and Li Wei’s action-art video 22 min, 55 sec.


Wu Xiaojun’s work, based on Saddam Hussein’s last words.

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Forget about art

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In a separate space with a white neon-light fascia is the Forget Art Fair, a specifically showcased “mini-fair” at the center of the gallery.

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“It is a mini-sized art fair with only one booth,” Wang said. “Which tries to extend the conception and function of traditional art fairs in a limited area.

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“Contemporary Chinese art strongly requires the platform of commercial galleries. Forget Art Fair not only represents this status quo but attempts to blur the boundaries between commercial intervention and experimental presentation,” she continued.

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Forget Art is a group comprising several dynamic young artists. Based in Beijing since 2009, it has successfully participated in two exhibitions.

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“We are trying to develop work which is not easy to categorize. With a strategy of ‘urban nomad tactics,’ we are attempting to redefine spaces and locations,” said founder Ma Yongfeng.

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Seven artworks are showcased at Forget’s Linda exhibition, including Alessandro Rolandi’s One, Huang Jia’sJanuary 2011 and February 2011, Ma Yongfeng’s Transparency is Wrong, Wu Xiaojun’s Don’t be Afraid and Yang Jian’s Want to Leave, using materials from oil-on-canvas and stainless steel to 3D animation, neon lights, synthetic glass and LEDs.

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“Wu Xiaojun is an important figure in the conceptual photography movement of the 1990s, when he fabricated fictional cartoon figures and scenarios,” art critic Carol Yinghua Lu said.

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Lu was one of five judges at the recent Golden Lion Prize in the 54th Venice Biennale, Italy, and the only Chinese curator of the 2012 Gwangju Biennale, South Korea.

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Wu’s Don’t be Afraid features a heart-shaped object from which blood vessels made of thin red-neon lights extends, shaping the letters of Saddam Hussein’s last three words before his execution in December 2006 – and the title of the work.

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“Since 2000, Wu has shifted the focus of his practice toward making site-specific neon-light installations, often involving texts and words, to comment on political and social events,” Lu noted.

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“Based on his previous experience as a news editor, Wu is able to place an event that has taken place or is happening, in a logical perspective and a larger historical context.

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“Even though what motivates his creativity is always a single specific aspect of an event, the process of thinking in between, which originates from a humanistic viewpoint and sensitivity, has enriched his artworks and made them thought-provoking.”

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