清影印象画廊将受邀参加LISTE, Basel (TBC) 巴塞尔李斯特画廊博览会，此次清影印象画廊将以“中国青年”展览参加，展示艺术家程然、陈栋帆和方伟的作品。清影印象画廊新浪微博：http://weibo.com/qingyingyinxiang 谢谢大家的关注和支持，以下是详细内容




关于“中国青年”项目

行动主义和媒体介入

——中国青年的新坐标



这个名字来自中国自2000年以来的现象，一个是继续着来自80年代艺术现象中实验的探索，一个是来自网络媒体成熟，和自70年代艺术现象中对公共的探索。这两个线索在时间和现象上构成了一个维度的坐标，恰好发生的事实也证明了这一现实的交点。

每隔5秒钟我就会收到一条来自新浪微博关于埃及的现况。当阅读了齐泽克关于维基解密的文章之后。这让我意识到正在发生的这一信息爆炸时代的现实，这一现实让我可以实践于所有相关联的社会媒体：推特、youtube、facebook、谷歌地图、新浪微博等等系统，这些系统都在逐渐的关联在我们周围，构成今日世界跨越国界、身份、政治的信息分享平台，而每个人正在成为这一信息平台中的独特的信息源。

这一项目旨在发现这些关联社会媒体的公用，但是并非只是在线上的价值，从艺术的线索出发，这必将要联系到艺术家的身体，和信息传媒之间的互动。这是对今日现实的强力延伸，来证明我们存在并在创造和交互中。这也许可以让我们发现今天所导致的未来的不稳定和不确定。这一来自信息传媒和艺术家身体交错的线索，通过“行动”在双重的物理和虚拟空间发生。这一挑战来自于双重叙事所产生的现场与记录这一现场的信息传播。

与我同行，强调来自人身体和感性的内在触摸。这是一个延续对未来和过去悖论的探索，以及对痕迹和发生事物的发现。与我同行，也可以被看作是一个快闪的行动，一个打开的沟通之港湾，一次社会信息媒体的整合，一个倒放的生命光影。

——《与我同行》李振华 策划前言



这是写给清影出版物的小文，希望我的判断和选择是正确的，这些现象的出现始于两个主要的人的线索，一个是张培力，一个是杨福东。张培力的新媒体系出现了双飞小组，杨福东介绍我认识了程然和叶凌瀚。这应该发生在2年以前，在不知不觉中这些认识的人和线索逐渐浮现出一种文化上的倾向和动态。我很迷惑，同时又倾向于支持这一现在进行时状态下的动作。

陈栋帆的工作让我发现了艺术公共性的可能，和他是如何处理图像的透视关系，以及介于商业的装饰性与艺术自我之间的一种状态，这如同村上隆的境地，正在陈栋帆的身上发生着变化。这也预设着一个系统和机制的成熟，反映在公共环境的政治、民众、媒体等方面，逐渐成熟的社会基础和美学需要，成就了陈栋帆的可能性。巨型耸立在杭州街头的建筑物外墙，并非如很多艺术同人所论述的“在迷雾中潜行”，而是非常明确和自然的表达了作者的意愿，清楚的呈现出“美”的追求，也许这和时下的当代艺术的观念探索不同，没有在艺术线索之内找可能性，而是讲可能性付诸于公共空间、城市化的改造中。

程然的工作生涩难懂，有一种个人化的忧郁，对冲突和现实的反思，甚至有些朋克化离谱的感性，有些超越界限，却有着童真和巧妙的叙事。他的作品《午夜美术馆》中的烟幕和小房子，还有录像中模糊的形态、人物、音乐，以及旋转的灯光，下方的小狗和闪烁的眼睛，都消失了作品的确定性，是一个正在发生的现场，是一个预设的故事和隐喻。

他们的作品可以说是一种更大范围的文化变革的开始，艺术家开始考虑公共的介入和直觉的表达，通过公共空间的壁画形式，或是通过已经逐渐开始的美术馆、画廊机制。

当然我应该支持和协助这一变化的产生，这是策展人的工作，不仅仅要有发现新动向的能力，还有支持这一新动向，并将其纳入到国际化的平台和语境之中的手段。相信我们并非单独的存在于一个特殊的区域，我们每个人都紧密相连。所以除了70年代、80年代的中国线索，我也希望他们的工作是同步于今日世界的发展，自然生长出来的。

感谢徐益英和艺术家对这个项目的贡献

李振华
写于荷兰阿姆斯特丹 2011年5月21日

Activism and the Intervention of the Media

The New Coordinate of the Chinese Youth


This name comes from the phenomena since year 2000 in China, one of its origin is to inherit the exploration of the experiments in the art phenomena from the 1980s, another is the matureness of the web media and the exploration of public in the art phenomena in the 1970s. Both of the clues build a coordinate of a new dimension in the time and phenomena, and the facts in coincidence also prove the orbital node in the reality.

This is a short essay for the publication of the Qingying Gallery (清影画廊). I hope my and choice is right. All of these phenomena emerged in the clues of two main characters. One is Zhang Peili (张培力), the other is Yang Fudong (杨福东). Zhang's series of new media gave birth to the Double Wings Group (双飞小组). Yang introduced Cheng Ran (程然) and Ye Linghan (叶凌瀚) to me. And it was two years ago. These people and their clues have emerged and shown some dynamics and inclinations in the culture. I am pretty puzzled, but I have tried my best to support this kind of actions in this status of Present Progressive Tense at the same time.

The oeuvres of Chen Dongfan (陈栋帆) makes me discover the possibilities of publicity in the art, how to deal the relationships of perspective in the images and the status between the commercial decorations and the Self in the art. It is same condition of Takashi Murakami (村上 隆), which has been transforming inside of Chen. It also predisposes the matureness of a system and mechanism, reflecting in the political, citizens and media in the public environment, the maturing social background and their aesthetic requirement, which will satisfy and complete the possibilities of Chen. The huge oeuvres stand in the exterior walls of buildings in streets of Hangzhou City (杭州), unlike the statement of "Stalking in the Mist and Fog" (在迷雾中潜行) in the circle of artists, they represent the wills and wishes of the artist, definitely and naturally. It is crystal clear that they express and show the pursuit of "Beauty", which may be a little different from the exploration of ideology in the contemporary art sceneries at the same moment. They try to explore the possibilities in the public space and the reformation of urbanization but not in the possibilities in the trace of the art.

The oeuvre of Cheng Ran is difficult to understand. With a kind of personal spleen and melancholy, the introspection of the conflicts and reality, or even some kind of Punk-like sensibility, they tell the stories beyond the boundaries in the naughty and naive style. In his "Midnight Art Gallery" (午夜美术馆), the smoke and the little cottage, the blurred figures, the characters, the music and the revolving lights, the dog beneath and its shimmering eyes, all of them make the definiteness of the composition disappear. It's a scene with something happening, a predisposed story and metaphor.

All of their compositions should be a commence of cultural reform in a lager scope, the artists start to think about the public intervention and expression of the intuition via the mural paintings in the public space or the system and mechanism of the art galleries and museums.

Certainly, I will support and help the emergence of these changes. This is the job of curators to have the ability to discover the new trends, to support the new trends and make them merge into the international context and platform. I believe that we do not exist solely in the unique and special area and we as human being are bound together in the globe. Besides all of the Chinese clues in the 1970s and 1980s, I deeply hope that their oeuvres will synchronize with the development of the world and bring a new life to themselves naturally.

Thank Lady Xu Yiying (徐益英) and artists for their contribution to the project.




Li Zhenhua (李振华)

2011, May 21th
Amsterdam, Netherlands

关于清影印象


使命
清影是一片理想的空间。优秀的青年艺术家和画廊一起用行动在探索和实践，实现
着自己对艺术的想象。在发展快速的现状中，保持着适合自己的速度任艺术自然生
长.
三年来的探索
从2008年画廊成立以来，一直关注和支持青年艺术家创作同时为其构建展示平台，
协助其完成纯粹的作品。通过三年的不懈努力，清影关注的青年艺术家的创作已和
大众发生很好的互动，同时作品在城市中与我们的生活自然相处。
展望
清影会继续跟随心的方向，在艺术之路上不断探索和实践，和青年艺术家一起实现
我们对艺术和生活的想象。

————Inna（徐益英女士）
Vocation
Qingying Gallery is an ideal space for the Dreams. With the gallery, the excellent young
artists will explore and practise to realise their imagination of the Art in the action. Under
current conditions of progressing development, they will let the Art itself grows up
naturally as it wishes.
The Exploration in the Past Three Years
Since it was founded in 2008, the Gallery has been focusing on the creation of the
young artists and supporting them to build the platform for presentation, helping them to
realise their pure composition. In the effort of the past three years, the creation of the
young artists had the great interaction with the public, making their compositions get
together with the daily life in the city naturally.
The Future
The Qingying Gallery will listen the voice of the souls and follow the direction of the
hearts. It will explore and practise on the route of the Art endlessly, realising the
imagination of Art and Life with the young artists.

————————Inna（徐益英女士）



关于“中国青年”三位艺术家

清影印象画廊密切关注青年艺术家。她从艺术家的自身状态与发展路线出发，耐心
的培养及支持青年艺术家的艺术创作。其领域涵盖了绘画、装置、录像以及音乐的
范畴。清影印象画廊着眼于选择具有原创性的真诚面对中国社会以及自身问题的青
年艺术家。此次展览，清影印象画廊带来了3位艺术家。他们的作品分别使用了不
同的叙事方法。而此次展览亦是其作品首次在瑞士亮相。

陈栋帆的绘画作品充满绚烂的色彩和丰富的情感，作为年轻的创作者，他以生活为
灵感的来源，通过画笔创造故事。在刚刚创作完成的两幢6层楼高的居民楼墙面绘
画，给城市带来了巨大的震撼，赢得了广大市民和媒体的广泛赞誉。

方伟以数字图象和绘画作为创作的手段，同时也是一位在大学艺术工作室中任教的
老师。他思考城市生活与自我的关系，在他的作品里既有传统美学的影响，文学性
的，诗意的符号被运用其中，又具有自身对中国城市现代化的反思。

程然的作品涉及录像，摄影，装置，对电影的热爱，影响在他的创作中。电影元素
被运用到实验艺术的形态中，他以实验艺术的角度去呈现年轻人对内心化与精神世
界，自由与幻想的思考。
Qingying Gallery focus on the young artists. It starts its route from the status and
development of the artists themselves, helping and supporting the artistic
creation of the them. It covers the areas of paintings, installation, video and
music. The gallery wants to select the artists facing the chinese society and their
own problems sincerely. In this exhibition, Qingying Impression Gallery has
brought three artists. Their compositions use different methods to narrate the
stories. And this exhibition is the début of their art-works in Switzerland.
Chen Dongfen's (陳棟帆) composition are full of splendid colours and rich
emotions. As a young creator, he is inspired by the life, using his brushes to
create the stories. After finishing the exterior wall paintings of two six-floor
buildings, he gave great shock to the city, earning praises from the inhabitants
and the media.
Fang Wei (方偉) utilizes the digital images and painting as his way for creation.
He is a teacher of an art university, too. He has been thinking about the
relationship between the city life and the inner self. In his oeuvres, we can
discover the influence of the traditional æsthetics, that the literate and poetic
symbols are used in the composition, with his own reflection and introspection of
the modernization of the cities in China.
Cheng Rang's (程然) compositions refer to the video, photography and
installation. The passionate love of film influences his creation. The elements of
the film are used in the forms of the experimental art. He wants to represent the
thinking of inner self, the spiritual world, the liberty and fantasies of the young
men from the point of view of the experimental art,

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