Mar 9
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Chinese Contemporary Photography
Curated by Zhu Qi
May 10 - June 9, 2007

ChinaSquare New York
545 W 25th Street 8th Fl.
Chelsea Arts Tower
New York, NY 10001
Tel: 212.226.7836

50 BEST Chinese Contemporary Photographers:

Ai Weiwei 艾未未 Bai Yiluo 白宜洛 Cang Xin 蒼鑫 Chen Chieh-Jen 陳界仁 Chen Jiagang 陈家刚 Chen Lingyang 陳羚羊 Chen Nong 陳農 Chen Qingqing 陳慶慶 Chi Peng 遲鵬 Cui Xiuwen 崔岫聞 Dong Wensheng 董文勝 Gao Brothers 高氏兄弟 Han Bing 韓冰 Han Lei 韓磊 Hong Lei 洪磊 Huang Yan 黃岩 Li Wei 李暐 Lian Dongya 練東亞 Liu Jin 劉瑾 Lu Feifei 魯飛飛 Luo Yongjin 羅永進 Ma Liang / Maleonn 馬良 Ma Liuming 馬六明 Ma Yongfeng 馬永峰 Miao Xiaochun 繆曉春 Mu Chen & Shao Yinong 慕辰﹠邵逸農 Qin Ga 琴嘎

Qiu Zhijie 邱志杰 Sheng Qi 盛奇 Shi Guorui 史國瑞 Song Yongping 宋永平 Su Zhigang 宿志剛 Ta Men 他們 Wang Guofeng 王國鋒 Wang Jinsong 王勁松 Wang Ningde 王寧德 Wang Qingsong 王慶松 Wang Wangwang 旺忘望 Wang Yiqiong 王軼瓊 Wu Daxin 吳達新 Weng Fen 翁奮 Xiao Lu 肖魯 Xie Wenyue 謝文躍 Xiong Wenyun 熊文韻 Yang Yong 楊勇 Zeng Han 曾翰 Zhang Wei 張衛 Zheng Guogu 鄭國谷 Zheng Lianjie 鄭連杰 Zhu Yan 朱岩

Founded in 2006, ChinaSquare is located in the heart of Chelsea, Manhattan. ChinaSquare’s 4,500 square foot space, part of the recently constructed Chelsea Arts Tower at 545 West 25th Street is the vision of Xu Tiantian, the architect for Song-Zhuang Museum, Beijing. ChinaSquare exhibits Chinese contemporary artwork including photography, painting, sculpture, video art, and installations. During its inaugural period of exhibitions, ChinaSquare will showcase artists, which include Liu Wei, Li Tianyuan, Cui Xiuwen, Ma Liuming and Chen Wenbo.

In recent years, the Chinese contemporary art market has experienced unprecedented prosperity and some artists have gained tremendous recognition in the international art world. Yet, many young and talented Chinese artists are still confined to domestic markets in China and remain virtually unknown to Western audiences. ChinaSquare was born from the need of established Chinese contemporary artists abroad to obtain credible representation in New York City. Through exhibitions and publications, ChinaSquare strives to improve the accessibility of Chinese contemporary art to art historians, connoisseurs, museums and cultural institutions, critics, foundations, collectors, and art enthusiasts. ChinaSquare works closely with this audience to facilitate and develop the careers of Chinese contemporary artists, both academically and commercially. Because New York City is renowned as a leading cultural and financial center, it provides a rich and profound setting for the introduction of talented contemporary artists.

Like Chinese contemporary art, ChinaSquare is young, ambitious and full of potential. ChinaSquare looks forward to significant collaborations with excellent Chinese contemporary artists and art professionals from around the world.
Jan 14
Preview
Robert Clark and Jessica Lack
Saturday August 11, 2007
The Guardian

Ma Yongfeng
Lymington

Ma Yongfeng's notoriety was guaranteed from the moment in 2003 when he exhibited Swirl, in which six koi carp were kept scrupulously clean by being subjected to a 15-minute turnaround in a washing machine. Here, in a series entitled The Cretaceous Period, he shifts his focus to the petrified framing of nature in fake zoo landscapes, museum displays and dioramas. Typically, a video features a miniature volcano specially crafted in the artist's Beijing studio.

Robert Clark
Artsway, to Sep 16
Jan 3
From: Art Monthly Date: 10/1/2007 Author: Smith, Dan

Ma Yongfeng: The Cretaceous Period

Joel Papps: goodpasture's

ArtSway Hampshire July 28 to September 16

After taking part in ArtSway's annual open competition in 2006 and scooping the prize to return with his own show, recent graduate Joel Papps has done well to be paired with the Beijing-based Ma Yongfeng. Papps has filled his share of space with forms cut out from chipboard and plywood. A circular piece fixed to a wall perhaps delineates the circumference of a tree, while generally the impression is of branches, leaves and roots. Even the overall title of 'good-pasture's' is evocative of the world of flora. This is, however, a disease, Goodpasture's Syndrome, which attacks the lungs and kidneys. Papps himself suffered from it. The imagery is derived from a vocabulary of MRI scans, X-rays and medical diagrams. Such a figurative approach verges on being reductive. This use of autobiography and over-determined points of reference feels a little clumsy, but is redeemed by a kind of sculptural playfulness and invention. A sheet of plywood forms a partition, an architectonic biopsy of diseased material. Other pieces lean, balance, interlock, lay flat and are fixed to walls. It is hard not to respond to the investment of labour in the cursive processes of drawing and cutting, or the attention to the placements and combinations of the cut-outs. Whether or not this low-fi installation can maintain a comfortable affinity with Ma Yongfeng's work, which dominates the rest of the gallery, is an open question.
Dec 26
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展览时间:2007.12.1 – 2007.12.30|11:00 - 18:00|周一休息
展览地点:站台中国798项目空间
展览地址:北京市朝阳区酒仙桥路4号大山子798艺术区内

在一个道德沦丧的时代,大意的人们忘记了、回避了、或说视而不见了一个基本的事实:今天的文明还剩下多少真实性值得推敲?很少有人还真正在意文化的本义究竟是什么,真伪交错,鱼龙混珠,难道这就是一切事物的真相?文明的虚伪性使得艺术家们总是不断地抱着脑袋与自己较劲,然而他们没有拿轻薄的自我说事儿,而是试图通过制假反假的方式揭露伪文化带来的一切假象,以此发出自己的声音,哪怕是微弱的。是不是可以怀疑,无论从自我还是群体来说,文明本身就是一个虚伪的代名词?

陈维作品中的人物,或抑郁、或沉思、或不知所措,在被置换的场景中,他们找不到自身的坐标和出口。封闭的空间里充斥着一种很微妙很紧张的心理暗示:当时间概念被模糊时,带有过去痕迹的陈旧物品的反复罗列,对于人的心理是永远无法回避的刺痛。

马永峰利用大胆的假设还原了人们最初关于自然的梦想。这些美丽的人造景观造成强有力的图像侵略,虽非颓废摄影,却有意哀伤,控诉着人与动物作为原始自然的他者最终缺席的自省,摄像机镜头下,充满了戏剧化的讽刺。

金闪镜头下的人群、词典、旗帜、绳索、宗教色彩,是造成一切光怪陆离幻觉的起源。他似乎要表达一种精神出轨的游离感,使得“游行”也变得虚伪和浮夸,仿佛是马戏团恶作剧的表演。

王宁德的作品有意在虚构的时间、空间里将人物的身份与事件置换:成年人在想象中的世界天真无邪地玩着儿时的游戏。记忆越遥远,生活越真实,幻象也就越趋于假作。艺术家用图像而不是破烂的文字告诉人们,当我们将梦想嫁接于不合适的载体,一切都变得那么苍白而没有延续性。

杨龙海的装置则设置了一个骗局,用性感的嘴唇和言语引诱观众靠近,当人们怀着好奇的心态去尝试,却发现自己成为被愚弄的对象。他用这种直观的方式提醒人们,禁不住诱惑,其本质就是被自我欺骗。

False
Exhibition Duration: 2007.12.01 - 12.30 | 11:00 - 18:00 | Closed on Monday
Place: Platform China Contemporary Art Institute 798 Project Space
Address: 798 Art Distr., Dashanzi, No.4 Jiuxianqiao Rd., Chaoyang Distr., Beijing

As nowadays moral is neglected, people don’t pay attention anymore to the fact, avoid or disregard it: Today how much authenticity is still in our civilization? Only few people care about what the culture’s original meaning is. The world is both true and false. The civilization’s inveracity makes the artists struggle with their ideas. However they don’t want to attract the audience’s attention on themselves, but they try their best to expose the gloss of a pseudo-culture, expressing their own perspective even if it won’t be persuasive. As an individual or a group, can we imagine that civilization is another pronoun for false?

In his work, Chen Wei set up a depressed, lost or meditating character that couldn’t find his own way in those similar scenes. The enclosed space is filled up with a delicate and tense psychological hint: when time is unknowable, the accumulation of obsolete items from memories gives somewhat to everyone an unavoidable quiver.

Through his work, Ma Yongfeng restores people’s primordial dream about nature. The beautiful man-made landscapes become a powerful accusation to the human and animal’s absence. His photography is not passive but saddening, likes a theatrical satire.

The crowd, dictionaries, flags, ropes and religious themes are the hallucination’s origin of Jin Shan’s works. He seems to describe a dissociation of spirit, which makes the parade looks like performing a circus’s chaffing sideshow.

In an imaginary time and space, Wang Ningde exchanges on purpose characters identity and event: in a dream world adults are innocently playing like in their childhood. While memories are quickly fading away, life is becoming more real and illusions more false. The artist uses images instead of words to show us that if dreams are grafted on unsuitable medium everything becomes fad and effectiveness.

In his installations, Yang Longhai uses sexy lips and tongue to flirt with the audience, but as people walk towards it with curiosity he refuses. He is making a joke to call people’s attention: failed resisting the temptation is actually a self-deception.
Oct 29
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Why did you decide to create the 'Hibernation' model/photograph?

From 2002 to 2007, I have created a series of work relating to aspects of animal culture, man-made environments and topographic modelling. During this period I have proceeded into more interdisciplinary, multi-domain exploration and research, ranging from natural history to animal culture and fossil archaeology in combination with long-term observation of biological habitat restorations, archaeological simulations, geographical models and displays in natural history museums. I have attempted to discuss “the status” of humans and animals, the relations between them, how the animal culture affects the human self and the relationship between artificial environments, natural habitats and aesthetics. Have humans become the Earth’s most formidable drive in species evolution?


How did you construct the model before you photographed it?

I built it in my studio located in the suburbs of Beijing. Before I try to recreate this artificial habitat I have seen a lot of displays and dioramas in museums and made many drawing about reproduced
Interior space. It really spent a lot of time to do it, because you have to paint some backgound, collect some trees and branches, build one shelter for animal, clarify which kind of fake snow will have a fantastic visual effect and at last arrange all these elements together perfectly. sometimes you have to adjust many times.


What are you trying to say about natural science to viewers who look at 'Hibernation' and other works?

I don’t want to say something about science, maybe it’s a representation and transformation of natural science, as you know different context and enviroment can redefine original things. On the other hand I think when viewers get fascinated by the image at first sight, they will ask themselves
In their mind, and they are not going to categorise this, whatever it is art or science, at least I try to provide an alternative experience for them.


What are you trying to say to scientists with 'Hibernation' and other works in The Cretaceous Period?

Everything undergoes transition, sometimes science can’t solve any problems in the world, that’s why we have to rely on art and religion, I believe that the most critical discovery in the history of science has got inspirations from artistic concept like Newton and Einstein’s theory,at the same time art also try to absorb new ideas from natural science.


What was the most exciting discovery you made about natural science during your five-month residency?

As a matter of fact I have not found something interesting until now, you know, sometimes natural history museums seldom change the displays, when you try to get there, most of time I am fed up with this situation, so I try to make my “museum displays” in my mind and then take some pictures about them, It looks like a child’s imagination, but I found it’s fantastic to do it.
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