Sep 25
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Photo by Shen Boliang

The organinzation Forget Art presented a show at the Dragon Bathhouse in China’s Caochangdi Art District.

By Shen Boliang, ARTINFO China       Published: September 24, 2010
http://www.artinfo.com/news/story/35854/a-steamy-contemporary-art-show-washes-up-in-a-beijing-bathhouse/

BEIJING— Monday is usually a dead day for Beijing’s art scene, with the galleries and museums closed after a bustling weekend of openings — a day when the finely attired gallery-hoppers and scene-makers can finally take a rest. This past Monday, however, an art event referred to as a “micro intervention” took place at the Dragon Fountain public bathhouse in the Caochangdi Art District, luring Beijing culture mavens out of their post-weekend hibernation. The publicity poster read: “People dressed in normal attire will be denied entry; those in underwear and bathrobes have priority.”

The Dragon Fountain Bathhouse is close to Caochangdi’s Red Yard No. 1 art complex — home to leading galleries such as Chambers Fine Art — and anyone who has ever been to the district has no doubt passed by at some point. On the day of the event, the publicity poster’s threats were proven empty: nobody actually came dressed in their underwear or bathrobes, although the men’s and women’s baths were functioning as usual. Familiar faces in the art world could be seen skulking about, looking for artworks. For while 30 artists participated in this happening, there were no labels pointing out where the works might be, or to mark to which artist they should be attributed.

Upon entering the men’s baths, a cat and a dog could be seen lying together on a massage table, pumped full of drugs to make harmonious bedfellows of natural enemies. The work, by Deng Dapai, was titled “Detention.” Across the room, a television showed Gao Ming’s animated film “Miss Su’s Mountain.” On a bed opposite rested a small paper polyhedron by He Yida that had been allowed to dampen and sag in the bath’s humidity. A soccer ball by Liang Bing in the corner was painted to resemble a volleyball, and for Wang Guangle’s appropriately named “Imitation Terrazzo,” a piece of cement had been painted in acrylic to look like the faux marble.

In the center of the men’s baths, surrounded by water and illuminated by candlelight, lay a Chinese zither-like instrument, titled “Wave,” by artist Li Bo. Above the sauna furnace hung Yang Xinguang’s “UFO,” an annulus of light that added a mysterious, extra-terrestrial ambiance to the scene. In Xu Xiaoguo’s “Evaporation,” a glass of clear bathwater boiled away on a small camping stove.
In the women’s baths one could admire a huge pink cloth dumbbell by Wu Di set atop a massage table. It looked light and fluffy, but was in fact extremely heavy. Obstructing the entrance to the changing room was a stone made of sticky rice, “Stubborn Object, No. 1″ by Canadian artist Stephanie Shepherd. It was unclear whether this “stone” was intended as an obstacle or to serve some other purpose.

A piece attributed to Italian artist, Alessandro Rolandi, titled “Voices,” featured the names of female poets from around the world, inscribed on lockers in the changing room. Some of the lockers were open and empty, others closed, and still others filled with magnificent clothing and jewelry — artist Cai Weidong’s contribution, “Props,” once worn by models Cai photographed.

Many of the works from the men’s and women’s baths seemed to function in tandem: in the men’s changing room, lockers also brimmed with clothes, but of a less glamorous variety. In Yang Guangnan’s “Garbage,” a black bucket was filled with dark bathing water, emphasizing the power of “yin” (or female) forces, and offering a counterpart to the boiling cup of water on the women’s side. Affixed to the wall, the sign “Careful! Slippery When Wet!” was remade by the artist Wu Xiaojun to read, “Be Careful of Them!”. The sounds of women hurriedly washing themselves were amplified and played back for Ren Bo’s “Dragon Fountain Bathhouse.”

In the showers, brightly colored female undergarments were draped over the faucets in Li Wei’s “Han Fanggang Got Lost.” In the sauna, meanwhile, Yang Guangnan installed his “Curtain,” composed of razors sewn into the decorative door hanging, illuminated by candlelight. A secret peephole made by artist Gao Feng leads from the women’s washing quarters into the men’s, recasting women as sexual aggressors.

This event was organized by artist Ma Yongfeng and his independent venture, Forget Art, which employs “nomadic urban” strategies to create art “happenings,” inserting so-called “micro interventions” into the everyday. The organization aims to promote the forgetting of the extant forms of contemporary art, allowing for the creation of truly new art. It was in this spirit that visitors were supposed to read the paradoxical words of Austrian artist Ulrike Johannsen, pasted all over the walls, mirrors, and other surfaces of the site: “Please remember to forget art.”
Sep 17
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物体吞吐机

项目策划:forget art

9月6日forget art将会在草场地一家澡堂展开一个关于在公共性场所中如何通过“微干预”来重新定义原有空间属性的项目,只是通过对空间中物体、情境和时间的重新理解、分配和舍弃,然后又重新恢复的“空间之后的空间”(space after space),呈现方式完全是不确定的或者无形态的(intangible),你可以称其为现成品、装置、声音、情境和文字,这些事物有着一种是几乎视而不见、完全可以忽略的美学观。

9月19日“2010大声展”的参展项目将会延续这种对于空间特定语境的理解。针对作为一个即将开业的商业中心,forget art设计一个新的项目,这个项目的名字叫做“物体吞吐机”(Object Tansformer)。也就是说我们将会重新理解和解构日常生活中司空见惯的物体和商品,通过一种“去物体”(deobject)的方式,剥离其内在的基本功能,为其设定一种新的意义。即在形式上不会发生任何变化或者仅仅只是微小的干预。参展的艺术家通过不断的选择和转换物体和商品,以一种极简的方式,重新获得了一种“物体之后的物体”(object after object)。。

forget art是一个机器,有着巨大的吞吐量。每个观众也可以参与到这种吞吐的过程之中,即留下某种随身携带的物体,我们会重新加以微妙的改造之后还给他们,可能是一种意想不到的经验。我们不会拒绝任何物体和形式,我们只是加以选择利用,并赋予新的内涵和外延。

整个展览收集到的上百件物体,将会平均分配给参展的13位艺术家,由他们分别创作一件作品,最后组装成一件作品并在北京展示,最后只邀请提供物体的人员来参观展览。所以这是一个限定观众的展览。

在“2010大声展”的场地,我们大约会展出10多件不确定的的作品,你可以称它们装置、现成品、声音等等。


艺术家:Alessandro Rolandi、吴小军、杨心广、马永峰、石玩玩、何意达、吴迪、黎薇、李萌、葛非 & 林缜、杨光南、郭工、高峰、盛剑锋


北京开幕时间:2010年9月19日-10月10日 
展览地点:三里屯SOHO 6号楼 B1-606,朝阳区工体北路南侧(三里屯VILLAGE对面)

上海开幕时间:2010年10月22日-11月07日
展览地点:800秀,上海常德路800号(张爱玲故居附近)


Object Transformer

Curated by forget art

On Sep. 6, in a bathhouse at Caochangdi, forget art launched a project about how to redefine the attribute of original space through micro intervention in public place. Only by reunderstanding and dissemination of objects, situation and time in a certain space and then restoration,we are just trying to let people experience the concept of space after space.  It is presented in an uncertain or intangible way, it could be considered as found objects, installation, sound, situation and words,these things contain aesthetics of nearly ignorance and low profile.

For 2010 Get it louder on Sep.19, forget art will continue the understanding of the special context at an alternative space. This time it is a business center which will be opened very soon, so forget art designed a new project Object Transformer. In other words, we will reunderstand and deconstruct daily objects and commodities through deobject which means to remove their inherent functions and redefine them with a brand-new meaning, namely, there will not be any change formally, maybe just  micro intervention. Through continuous selection and transformation of objects and commodities, the artists obtain a kind of object after object in a minimal way.

forget art is a machine with magnificent throughput capacity. Each visitor can take part in the transforming process by leaving their belongings to the machine, and with delicate modification it will be returned, which could be an unexpected experience for every  visitor.  Any object or form is welcomed, It will be selected and transferred with new content and extension.

Hundreds of objects collected for this project will be equally divided to 13 participating artists, each of them will create an unique piece and finally assemble into one large meaningless work, we are going to show this piece somewhere in Beijing. Only the object donators will be invited to visit this exhibition.

More than 10 uncertain pieces will be displayed at 2010 Get It Louder, which can be considered as installation, found objects,situation, sound,etc.

Artists:Alessandro Rolandi, Wu Xiaojun, Yang Xinguang, Ma Yongfeng, Shi Wanwan, He Yida, Wu Di, Li Wei, Li Meng, Ge Fei & Lin Zhen, Yang Guangnan, Guo Gong,Gao Feng, Sheng Jianfeng


Beijing Opening Date:  September 19, 2010 – October 10, 2010
Venue: B1-606, Bldg No.6,Sanlitun SOHO, South side of Gongti North Road, (facing Sanlitun Village)

Shanghai Opening Date: October 22, 2010 –November 7, 2010
Venue: 800 Show, No.800 Changde Rd. (Near Eddington House -Ms Elieen Chang’s home)


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http://www.forgetart.org 
mail@forgetart.org


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http://www.getitlouder.com/


Sep 16
来源:Time Out 北京消费导刊
    
http://gala.timeoutcn.com/Articles_15793_19302.htm

文/尤洋

活跃在中美两地的策划人马永峰将他最近的一次展览选址在草场地村落内的龙泉洗浴。海报上大号英文字体“Dragon Fountain”霸气十足,小字啼笑皆非:“衣冠过于整齐者勿入,浴袍者优先”。浴室原有结构被保留,甚至在展览当日依然宣传对外营业。细心者从入口便会发现蹊跷。原本贴在外墙上的价目表,视觉体验依旧存在,但文本信息都被马赛克模糊掉。好的,让我们开始一次不被告知价格的浴室之旅。

展览按照浴室原有的男宾、女宾和贵宾室分为三个空间。贵宾室挂着牌子“限两位,一小时”让人遐想非非。里面按摩床上摆着一件像谍战片里窃听敌台仪器的声音装置,录入又随即播放出也许夹带着大量秘密的周遭人声,与这个钟点房性质的贵宾室一道将两类隐秘在同一时间地点混杂。男宾入口处艺术家王光乐的水磨石绘画系列,随机往地上一搭顿时和真实水磨石的周边环境浑然天成。而善于挖掘物性的杨心广继续延续他的美学态度,他选择在桑拿室展示作品,原有的石、木材质和他的石质装置呈现出视觉上不唐突的有机结合。另一位年轻艺术家黎薇则体现出对公共性隐私性饶有兴趣的探索,在女浴室每个冲澡喷头上挂着一件女士内衣,在大多时只能自己感受并看到的内衣被赤裸裸地展示在通常也是赤裸裸的公共面前。然而此刻并没有洗澡的人,空间内只剩下孤独的内衣们和哗哗的水声。艺术家用这些达达意味的作品消解了浴场原本的属性,营造了一个略带凄凉、熟悉又陌生的现场感。

见惯了出没在周边的艺术行为,除去部分原计划当天去洗澡的村民们认为闲杂人员的出现破坏了心情,其他人对此没有大惊小怪,甚至没有聚在一旁议论纷纷。在特定意义的场域中,艺术以低姿态的角度抒发力量,策展人甚至在展览期间内赋予了三件浴池原有物品暂时的艺术品属性。如同展览主办机构的名字“forgetart”一样,你可以理解为他们要做的是For Get Art,也可以是Forget Art。
Sep 15
作者: 申舶良
日期: 2010年9月8日, 星期三

来自 ARTINFO
http://cn-dev.artinfo.com/2010/09/08/dragon-fountain-bathhouse%EF%BC%9Amicro-intervention-bathhouse

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北京报道——周一的艺术圈最为冷清——博物馆和画廊闭馆,周末两天例行公事般身着雅致服装赶赴展览开幕的串子们终于能在家睡上一觉。而上周一下午15:00-19:00,在草场地艺术区内的小公共澡堂“龙泉洗浴”进行着一场有趣的艺术“微干预”活动,名为“地点:龙泉洗浴”。活动的宣传画上写着:“衣冠整齐者拒绝入内,着内衣和浴袍者优先!”

“龙泉洗浴”距离草场地红一号院很近,许多来看艺术的人都曾经过此处,却并未留意。活动当天并没有人穿内衣和浴袍,男、女浴室皆畅通无阻,却很难看到明显的“艺术”痕迹,只见圈中熟悉的面孔们认真地走来走去,寻找着“作品”——没有展览标签指明哪些是作品,以及创作者是谁(参加此活动的艺术家有30余名)。

进入男浴区,便看到按摩床上卧着一只猫和一条狗(邓大非《拘留》),这对天敌被注射了药物,在一起相处甚是“和谐”。电视中播放着一段动画影片(高铭《苏小姐之山》),对面的床上,一个小型纸工多面体(何意达作品)在乱糟糟的环境中展示着自身精准的空间规划,却也被澡堂的湿气润得有些含糊。角落中有一个被画成足球的排球(梁冰作品)和一块被用丙烯涂成水磨石的水泥板(王光乐《仿水磨石》)。男浴室中,一张古琴般的乐器(艺术家自制)静卧在浴池的水面上,被烛光映照(李博《浪》)。桑拿间的碳炉上方吊着一个环形灯管,熠熠生辉,神秘如UFO(杨心广《UFO》)。一杯白色的洗澡水在小型户外用灶上沸腾着(徐小国《蒸发》)。

女浴区中“艺术”和“性别”的痕迹略为明显。按摩房的床上放着一副大大的布艺哑铃(吴迪作品),看来轻盈,举起来却极重。通向更衣室的门口放着一块糯米做的石头(加拿大艺术家Stephanie Shepherd《Stubborn Object No.1》),不知是阻碍,还是将人垫高便于偷窥。更衣室的衣柜上贴着各国女诗人的名字(意大利艺术家Alessandro Rolandi《Voices》),有的衣柜锁着,有的空空,有的充满绚丽的服装和首饰(蔡卫东《道具》,被其拍摄的模特穿戴过的衣饰),两位艺术家的“干预”在一起形成类似朱迪·芝加哥(Judy Chicago)《晚宴(The Dinner Party)》的作品,却多了不搭调的感觉(男更衣室的衣柜也遭到同样的干预,只是其中衣物不似女更衣室绚丽颓靡)。一个黑桶中盛满幽暗的洗澡水(杨光南《垃圾》),有如古书中强调“阴”之宁静而强大的力量,与男浴室那杯沸腾的水动静相生。墙上的“小心地滑”被改成“小心他们”(吴小军作品)。

怀着有点儿忐忑的心情走进女浴室(曾有人在澡堂说“墙那边是天堂,也是地狱。”),急促、有节奏的声响渲染着这种忐忑,其实是一件声音作品,将女性洗澡过程的录音放大播出(任波《龙泉洗浴》)。淋浴区的水管和喷头上挂满鲜艳的女性内衣(黎薇《韩芳芳走失了……》,这与她雕塑作品对实体的强调相较迥然)。桑拿区的门帘上缀满剃须刀片(杨光南《帘子》),在烛光映照下显得谜样凶险。墙上的一个探向男浴室的偷窥孔(高峰作品)将女性从当代艺术传统中的欲望客体地位转为欲望主体,男浴室也可以窥向女浴室,平等。

有一位艺术家未到场,而是请另一位参展艺术家朋友记下到场观众的姓名和电话,在活动后打电话给观众。我很遗憾未能收到电话,但觉得这种形式将此空间中的干预拓展到另一维度,很是别致。

本次活动由艺术家马永峰及其“forget art”发起。“forget art”是马永峰的发起的一个独立机构,采取“都市游牧”的策略,在城市的任意空间里展开一些无法确切定义的艺术活动,对日常生活进行“微干预”。“forget art”意为遗忘艺术,忘掉当代艺术的既有形式、体制,通过遗忘艺术来获得艺术。有如回到《庄子》所言的“混沌”之中:“混混沌沌,终身不离;若彼知之,乃是离之(《庄子·在宥》)”。是故,在这次活动中,墙上、镜子上都贴着悖论般的“千万记得去忘记”(奥地利艺术家Ulrike Johannsen作品),有些作品以平常之物的面目出现,有些非作品的日常之物又貌似作品(比如男浴室中的一片镜子,女按摩间一角的堆积之物,小屋的花窗帘等),难以分辨。

活动作品图片详见:http://www.forgetart.org/?p=368
Sep 15
Titles 7

http://maclarenart.com/exhibitions/titles-7exhibitions/titles-7

September 16, 2010 - October 31, 2010
Reception:  Carnegie Days Festival Launch
Festival:  Carnegie Days 2010
Curator:  Organized by the WayUpWayDown Collective
Location:  MacLaren Art Centre and Kerry's Book Store (25 Dunlop Street West, Barrie)
A featured exhibition of CarnegieDays2010

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Titles 7 is comprised of seventy bookworks created by artists, architects and designers at the request of the WayUpWayDown Collective for this ongoing, nomadic and cumulative project. This is its seventh iteration since inauguration in 2007. The artists’ books will be exhibited for public browsing at the MacLarenArtCentre and integrated among the display racks and shelves of Kerry's Book Store in downtown Barrie. Titles reflects the curatorial interests of the WayUpWayDown Collective (Sunny Kerr, Yam Lau and Tania Ursomarzo) to facilitate tenuous and fluid relations between exhibitions, artworks and communities by manoeuvring an itinerant exhibition structure. The collective extends invitations to participants on the basis of respect. Its sole curatorial injunction is to adhere to the existing categories of the host bookstore. For the presentation of Titles 7, a mobile display unit has been created by Montreal artist Alexandre David.

Yam Lau is an artist and educator living in Toronto. He is on the Faculty of Fine Arts at York University and represented by Leo Kamen Gallery, Toronto. Sunny Kerr is an artist, curator and educator living in Toronto. He manages student and educational programmes at the University of Toronto Art Centre. Tania Ursomarzo is an artist and architect based in Toronto. She is an architectural designer at Stantec Architecture and curator of the Stantec Window Gallery.

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