奥沙艺术基金呈献
正如金钱不过纸造，展厅也就是几间房
策展人 比利安娜．思瑞克(Biljana Ciric)
展览公共活动
讲座：激进何为？
讲者：于吉、鸟头小组
24.1.2015 周六
15:30-17:30
语言：中文
「激进」一直为现当代艺术中最为引人注目的部分。于当代艺术语境中，「激进」处于什么位置？我们又是否需要「激进」？除此之外，艺术品除了它的商业价值外还可有何地位？展览于艺术家的意义又如何？以至回应这些题问是否当务之急，如此种种话题都将在讲座中得以展开和讨论。
二位讲者将通过介绍近年来的实践，分别从艺术机构的运营及艺术家组合的工作方式，尝试在各自的工作语境中对「激进」进行重新解读。对话的第二部分将以讨论的形式继续。
本活动免费，预约请电邮至：elvaxie@osagegallery.com
以上活动为展览《正如金钱不过纸造, 展览也就是几间房》的相关公共项目
策展人 比利安娜‧思瑞克(Biljana Ciric)
参展艺术家：
3-PLY（法燕•德飞、麦•赫恩克里、与尼可拉斯•塔门斯）、察达•阿迪塔玛、亚森•班淖、
龚建华、胡昀、IRWIN、柳思雅、李然、施勇、路加•韦利士•汤普森、莫娜•瓦塔马努与弗洛林•图多尔、
余友涵与艺术家丁乙、范纪曼、 冯良鸿、秦一峰、申凡及张健君、张培力及周子曦
展览日期：20.11.2014 – 28.2.2015
媒体导览：2014年11月19日（星期三）下午3时30分至4时
开幕酒会：2014年11月19日（星期三）下午6时至7时30分
地点：奥沙上海
上海市漕溪路251号望族城5座101室（画廊入口位于漕东三路）
展览开放时间：周二至周六：上午10时30分至下午6时30分
周日：下午2时30分至6时30分
欲于上述以外时间参观敬请预约，公众假期休息。
《正如金钱不过纸造，展厅也就是几间房》以于1979年至2006年期间在上海举行、由艺术家组织的展览为起点。
随着艺术实践的商业化，艺术家作为展览主要催生者──即以现今术语“策展人”的身份出现，或多或少已不再复见。观看展览的模式亦随之变改。就此，展览希望透過多位本地及海外艺术家的作品，重新活化这种本土知识，以连系区内和公众更为广阔的语境。同时全球宏观地探案以展览作为知识生产的工具的可行性，而非只是策略化的展示汇演，并对艺制体制内的展览仪式进行反思。 展览结构采取动态形式，通过参与国内、外艺术家及策展人于展期间的持续对话而产生。
展览之视觉体验由策展人与建筑师茜歌莲．杜本奈(Ségolène Dubernet)共同构思。
鸣谢钱喂康先生、施勇先生、汤光明先生、张健君先生、郑胜天先生及周子曦先生慷慨借出文献资料及作品。
關於講者
于吉
出生於上海，2011年獲上海大學美術學院雕塑系碩士。現生活及居於上海。她的創作以雕塑和裝置為主，亦包括行為及影像。于吉的作品大多關注自然、關注人類身體的行動反饋 (movement reflection)，探討時間與自然之間的關係，尋找肢體、精神與世間，及與大地之間重要且神秘的關係。對于吉來說，工作和創造是日常生活中重要的練習過程。藝術家並不只是一份職業，而是把物質轉化成活的經驗的精神旅程。
除了作為藝術家，自2008年起她與同伴建立了獨立藝術空間「上午藝術空間」，是目前上海少數活躍的非營利實驗藝術空間。
鳥頭
鳥頭是個藝術家組合（宋濤+季炜煜），他們的作品主要是以抓拍的攝影的方式來捕捉他們出生的城市上海的日常生活。他們日積月累拍攝的大量系列照片（包括黑白與彩色）是一種具有主觀色彩且原汁原味的現今都市現實之寫照.
“常常觉得这十一月还是属于裤兜里塞了两捧糖炒栗子的少年，在渐渐抖瑟的风里面穿着单薄的衬衫，并且一鼓作气凶狠地走路。
很久以前，上海还没有那么多星巴克，麦当劳和环绕影院，于是在无数个十一月天气晴朗晴朗的日子里面，无所事事的少年们就只能在马路上成群结队地游荡，那么凶狠和生机勃勃。 而仿佛我们的上海就是在这样少年们的游荡中被反复注视着生长起来，那些墨绿色的脚手架拆去又装上，高架的水泥石墩默默形成盖在头顶的阴影，大片的绿地蔓延过我们出生的旧屋子，摆渡船码头在台风季节里被黄浦江水打得摇摆不定，半夜的土方车势不可挡地压过没有人的马路。洒水车玫瑰花废墟喷泉烟火。后来，走得时间太久了, 走的路实在太多了，天快要暗下去了，快要横穿过上海了，这时候高架石墩上都已经爬满绿色爬山虎了。
我们的心里总是怀着巨大的爱和巨大的悲伤。
再后来地铁也有了，轻轨也有了，从地底下从空中横穿过上海，时间变得很快，快得我们来不及摆出一个摧枯拉朽的姿势来了，不能空喊着怎么办，不能再犹豫。有个声音始终在催促着我们向前，跟随那塞了两捧栗子的少年，凶狠而无目的地游荡，看我们的上海呀要被拖出一个怎么样的影子，看那些高架上的爬山虎几时覆盖住了路面。”
“鸟头”成立于2004年，季炜煜生于1980，宋涛生于1979，均毕业于上海市工艺美校。近期参加过的重要展览有：2012 新摄影，MoMA，纽约，美国（2012）；重新发电-第九届上海双年展，上海当代艺术博物馆，上海 （2012）；第54届威尼斯双年展——光国，威尼斯，意大利（2011）；中国发电站-第四站，PINACOTECA AGNELLI，都灵，意大利（2010）；他人的世界——当代艺术展，上海当代艺术馆，上海(2008)；中国发电站-第二站，ASTRUP FEARNLEY 现代美术馆，奥斯陆，挪威 (2007)。近期个展有：欢迎再次来到鸟头世界-北京2012，香格纳北京，北京（2012）；鸟头：新村，EX3 CENTRO PER L'ARTE CONTEMPORANEA FIRENZE，佛罗伦萨，意大利（2011）；2011 艺术家档案 东京国家艺术中心当代艺术年展，国家艺术中心，东京，日本（2011）；欢迎再次来到鸟头的世界-2010，广州，连州（2010）；鸟头2006+2007：宋涛，季炜煜摄影作品展，比翼艺术中心，上海（2007）
關於策展人
驻上海独立策展人，曾策划之展览包括2013年于北京尤伦斯当代艺术中心举办之Tino Sehgal同名个人展，时代美术馆之展览《进一步，退两步——我们与机构／我们作为机构》，以及展于上海哥德开放空间和深圳OCAT之《惯例下的狂欢》。2013年创建开放研讨平台《从展览的历史到展览制作的未来》，平台营办至今，专门探讨策展，平台特别侧重中国、东南亚、澳洲以及新西兰之艺展历史。
2011年发起为期一年之《占领舞台》的项目，针对艺术之表演性方面进行研究。曾作为2011年《曼彻斯特亚洲三年展》之合作策展人推出展览《未来机构》。编著作品包括与蔡影茜合编之《无为而为――弱机构主义和机构化的艺术实践》、《上海滩：1979-2009上海艺术家个案》。同时长期于艺术期刊《Broadsheet》及《Yishu Journal》上撰文。2012年曾获提名国际独立策展人协会之「独立视觉评论奖（Independent Vision Curatorial Award）」。2013年任Hugo Boss 亚洲艺术大奖评委之一。
關於奧沙藝術基金
奥沙艺术基金为非牟利国际慈善团体，财政和行政上均主要由奥沙集团其下其他业务支持。奥沙艺术基金成立于2004年，有三项主要目标：推动创意社区、文化交流和孕育创意思维。自成立以来，基金一直致力发展年轻一代的艺术教育及培训，鼓励青年参与艺术，培育他们的文化意识、创意和批判思维，同时促进国际文化交流。多年来，奥沙艺术基金举办过多项国际性及前瞻性的项目，于本地及国际文化界广受赞誉。
奥沙艺术基金目前的工作重点在发展艺术与社会的更深层次的对话。我们深信艺术家、策展人和艺评人对当前社会及文化价值的议题所作的研究、分析和讨论推动，将可于亚洲以至全球各地，引发更全面的思考。
为加强国际艺坛对亚洲当代艺术的认识，奥沙艺术基金多年来不断将亚洲当代艺术重要人物带到国际，当中最佳例子有菲律宾艺术家罗伯托•恰比特(Roberto Chabet) (1937–2013)。这位对菲律宾艺坛贡献巨大的艺术教育工作者、梦想家、概念家、发明家、方士、诗人和年轻人的佰乐，在奥沙经年的努力推广下，近年终为国际艺坛所重视。
借着艺术市场于香港蓬勃发展的契机，奥沙艺术基金于2012年发起探讨艺术本质价值的展览系列《市场作业》，并特别安排于商业性的香港国际艺术展／巴塞尔艺术展同期举行，现已成功举行三届；另亦有实验以艺术推动社会议题，及探索艺术与商业共生模式平台之《Sigma Square》。2015年将会有东南亚与东南欧对话之初探《South by Southeast》，继续创新和评议艺术。
奥沙艺术基金为2013年香港艺术发展奖艺术赞助奖得奖者。
欲知更多有关奥沙艺术基金之资料，请浏览网站：www.oaf.com 。
EXHIBITION PUBLIC PROGRAMME
Discussion | Do We Deserve Radicality？
Speaker: Birdhead collective and Yu Ji
24.1.2015 Saturday
15:30-17:30
Language: Chinese
“Radicality” is one of the most arresting parts of modern and contemporary art. The discussion will ask where radicality is nowadays within the contemporary art context and whether we need it, in addition to questions such as what the possible status of art objects are today beyond their commercial values, what exhibition making means for artists and what the current urgency is for responses to these issues.
Speakers will introduce their practice in recent years, trying to re-frame reading of radicality within their own contexts from individual practice to running institution or acting as collective. Second part of the talk will be followed by discussion.
All public programmes are free of charge. Please RSVP to elvaxie@osagegallery.com.
The talk is part of the public program of Just as money is the paper, the gallery is the room curated by Biljana Ciric
ARTISTS FEATURED:
3-PLY (FAYEN D'EVIE, MATT HINKLEY & NICHOLAS TAMMENS) | CHARDA ADYTAMA
YASON BANAL | GONG JIANHUA | HU YUN | IRWIN
MARYSIA LEWANDOWSKA | LI RAN
SHI YONG | LUKE WILLIS THOMPSON | MONA VATAMANU & FLORIN TUDOR
YU YOUHAN with contributions from DING YI, FAN JIMAN, FENG LIANGHONG, QIN YIFENG, SHEN FAN and ZHANG JIAN-JUN | ZHANG PEILI | ZHOU ZIXI
EXHIBITION PERIOD: 20.11.2014 – 28.2.2015
VENUE: Osage Shanghai
Room 101, Block 5, Wang Zu City, 251 Cao Xi Road, Xuhui District, Shanghai
(Gallery entrance at Caodongsan Road)
EXHIBITION OPENING HOURS: Tue – Sat: 10.30 am – 6.30 pm
Sun: 2:30 – 6:30 pm
Open to special appointments outside of these times.
Closed on public holidays.
Just as money is the paper, the gallery is the room takes as its focus artist-organized exhibitions between 1979 and 2006 in Shanghai. The role of artists as “curators” in today’s terminology, has since more or less vanished from the scene due to the commercialization of art and exhibition making and viewing methods; this exhibition thus attempts to re-activate this local knowledge and practice through involving a number of local and international artists, hoping to bring together common threads from the larger context of exhibition-making practices across the region to explore exhibitions as an epistemological engine and to re-think the rituals within the art system. The structure of the exhibition will be dynamic and will be developed in conversation with these local and international artists and curators.
The visual experience of the exhibition is conceived in collaboration with architect Ségolène Dubernet.
Special thanks to Qian Weikang, Shi Yong, Tang Guangming, Zhang Jian-Jun, Zheng Shengtian and Zhou Zixi for providing archival materials and works.
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ABOUT THE SPEAKER
Yu Ji
Yu Ji was born in Shanghai and graduated from the Sculpture Department of the Fine Arts College of Shanghai University in 2011 with a MFA degree. She now lives and works in Shanghai. Her works consist mainly of sculptures and installations, and also include performance and videos. Paying particular attention to nature and the movement reflection of the human body, her works endeavor to explore the relationship between time and nature, looking at the vital yet mysterious connection between body, spirit and the world. To Yu Ji, work and acts of creation are important everyday life practices. Being an artist is more of a spiritual journey of transforming things into life experiences rather than a mere career title.
Apart from her role as an artist, in 2008 Yu Ji co-founded “AM Art Space”, one of the few active non-profit experimental art spaces in Shanghai.
Birdhead collective
BIRDHEAD is an artist collective (Song Tao & Ji Weiyu) whose oeuvre consists of photographic images of everyday life in their native city of Shanghai. The snap-shot aesthetic of their extensive and accumulative photo-series (black and white as well as color) delivers a subjective and organic take on today's urban reality.
"I often feel that November is a boy with his trouser pockets filled with roasted chestnut, wearing a thin shirt in the chilly wind, and walking aggressively and bravely. A long time ago, before Starbucks, McDonald's and Dolby-surrounding cinemas, in numerous sunny November days, the idle boys had to wander in groups across the streets, fiercely and energetically. And seemingly, our Shanghai grows in their wandering and repeated stare. The dark-green scaffolds are removed and mounted; the cement columns of the viaducts silently form the shade over our heads; large landscape expands across the old houses that have once witnessed our birth; during typhoon season, the ferry dock trembles in Huangpu River; at midnight, earthwork trucks run across the void roads. Tank cars, Roses, Ruins, Fountains, Fireworks. It takes too long and the night is looming. They almost cross the entire Shanghai, when the columns of the viaducts are occupied by green Boston ivy.
Our hearts are filled with a huge amount of love and sadness.
Afterwards, there are metro and light rail, crossing through Shanghai under the ground or in the sky. Time passes too quickly for us to make a revolutionary posture. No time for questions and hesitation. There's a voice pushing us, following the boy with chestnuts, wandering aggressively and aimlessly, to witness what shadow our Shanghai will create and when the ivy will cover all the roads."
JI Weiyu (1980) and SONG Tao (1979) were both born in Shanghai, where they also reside and work today. The artists graduated from the Shanghai Arts and Crafts School in 2000. Recent exhibitions include: New Photography 2012, MoMA, NewYork, U.S.A.(2012); Reactivation - 9th Shanghai Biennale, Power Station of Art, Shanghai(2012); The 54th Venice Biennale - ILLUMInations, Venice, Italy (2011); China Power Station - part 4, Pinacoteca Agnelli, Torino, Italy (2010); The World of Other's: A Contemporary Art Exhibition, Museum of Contemporary Art, Shanghai (2008); China Power Station II, Astrup Fearnley Museum of Modern Art, Oslo, Norway (2007). And their solo exhibitions include: Welcome to Birdhead World Again-Beijing 2012, ShanghART Beijing, Beijing(2012); Birdhead: New Village, EX3 Centro per l'arte Contemporanea Firenze, Florence, Italy (2011); Artist File 2011 The NACT Annual Show of Contemporary Art, National Art Center, Tokyo, Japan (2011); Welcome to the World of Birdhead Again-2010, Guangzhou; Lianzhou (2010); Birdhead 2006+2007 Photography Show, BizART, Shanghai (2007).
ABOUT THE CURATOR
Biljana Ciric is an independent curator based in Shanghai. Her recent exhibitions include a solo exhibition featuring Tino Sehgal held at the UCCA Beijing, an exhibition hosted by Times Museum titled One Step Forward, Two Steps Back—Us and Institution / Us as Institution and Alternatives to Ritual presented by Goethe Open Space and OCAT in Shenzhen. In 2013, Ciric initiated From History of Exhibitions towards Future of Exhibitions Making, an ongoing seminar platform that proposes to revisit the importance of exhibition making; the seminar platform will specifically be looking at the history of exhibitions in China, South East Asia, Australia and New Zealand. In 2011, Ciric initiated the project Taking the Stage OVER, a year long, ongoing investigation related to the performative aspects of art. She was co-curator of the Asia Triennial in Manchester (2011) and presented the exhibition Institution for the Future. Upcoming publications include Active Withdrawal: Weak Institutionalism and the Institutionalization of Art Practice co-edited with Nikita Yingqian Cai, to be published by Times Museum and History in the Making: Shanghai 1979-2009 published by Black Dog Publishing. Ciric is a regular contributor to Broadsheet and Yishu Journal. She was nominee of the Independent Vision Curatorial Award by Independent Curators International in 2012 and was on the jury for the Hugo Boss Asia Art Award in 2013.
ABOUT OSAGE ART FOUNDATION
The Osage Art Foundation was established in 2004 with three main goals - Creative Communities, Cultural Cooperation and Creative Capacity and has since played an active role in developing education and training of young people, broadening cultural awareness and participation in artistic endeavours, nurturing creativity and critical thinking and fostering international cultural exchange. The Osage Art Foundation is now widely recognised by the local community and internationally as having initiated many pioneering projects of international calibre.
The current focus of the Osage Art Foundation is on developing deeper discourse in and around the arts in the wider community. We believe that research, analysis, examination and promulgation of issues pertaining to society, contemporary culture and value by artists, writers, critics, curators and commentators will build better understanding of regional perspectives throughout Asia and beyond.
In order to better contextualize the work of the current generation of Asian contemporary artists, the Osage Art Foundation has helped to introduce a number of seminal contemporary Asian masters to the wider international art world. For example, Roberto Chabet (1937 - 2013) made an unparalleled contribution to Philippine contemporary art as an educator, mentor, visionary, conceptualist, innovator, alchemist, poet and tireless promoter of younger talents, but until recently was not as well known internationally.
In 2014, Osage Art Foundation co-presented Market Forces | Erasure: From Conceptualism to Abstraction, curated by Charles Merewether with the City University of Hong Kong, and Just as money is the paper, the gallery is the room, curated by Biljana Ciric. In 2013, OAF presented It’s Me, Goodbye: Andy Warhol’s Cinema, jointly presented by The Andy Warhol Museum, one of the four Carnegie Museums of Pittsburgh. Osage also presented the second in its series of non-profit Market Forces exhibitions that draw attention to the non-commercial intrinsic values of art: The Friction of Opposites, which opened in Hong Kong in May 2013, coinciding with the commercial art fair Art Basel Hong Kong. In May 2013, The Osage Art Foundation was honoured at the Hong Kong Arts Development Awards with an Award for Arts Sponsorship.
For more information, please visit the website www.oaf.cc.
