“重印”项目：《我们谈谈钱——上海首届国际传真艺术展1996

讲座及新书发布| “重印”项目：《我们谈谈钱——上海首届国际传真艺术展1996》
讲者：法燕•德飞(3ply成员)、尼可拉斯•塔门斯(3ply成员)、施勇
特别邀请：卜汉可
2．7 .2015  周六
15:30-17:30
语言：中文、英文

本活动邀请了艺术家小组3ply的两位成员法燕•德飞和尼可拉斯•塔门斯，他们将和“传真展”的组织者及参展艺术家施勇一起，就19年前“传真展”的各个方面，包括当时的社会和政治环境等话题展开一场对话。三位亦会触及是次“重印”特别项目，以及“传真”和“复制”的概念在他们各自的艺术实践中的含义。
活动同时还包括由“重印”项目重新印刷出版的《我们谈谈钱——上海首届国际传真艺术展1996》的新书发布。
关于展览《我们谈谈钱：上海首屆国际传真艺术展1996》
该展览是由卜汉可发起的，当时他是温哥华的一个艺术家自主运作的空间——西方战线（Western Front）的总监；上海的四位艺术家：丁乙、施勇、申凡以及周铁海也参与了策展和制作。作为首次由本土艺术家参与组织和策划的有国际当代艺术家参加的展览，“传真展”对于本土的当代艺术发展有着特殊的意义。国外艺术家的作品都是以传真的形式发送到展场，在整个展览期间，每天都有传真发送过来，并被直接贴在展墙上。

这种特别的展览制作方式突出了它在形式上的特征——展览的传播性，以及信息是如何在公共领域中进行流传的，而它的重要性也绝非仅限于展示国际艺术家的作品，更为重要的是，它实际上对年轻一代艺术家自发组织展览的传统的建立，产生了深远的影响。该展览在上海首开对展览形式本身进行实验的先河；同时也对展示策略的思考产生了影响，这一点在数年后的“超市当代艺术展”(1999)等一系列展览中显现得更为明显。


所有对谈及讲座均以英文及中文进行（设即时传译。本活动免费，预约请电邮至：elvaxie@osagegallery.com ）

以上公共活动为展览《正如金钱不过纸造, 展览也就是几间房》一部分
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

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，并对艺术体制内的展览仪式进行反思。 展览结构采取动态形式，通过参与的国内、外艺术家及策展人于展览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

3-ply
3-ply為一個由藝術家主導的出版計劃，主要以出版、寫作、編輯及翻譯作為藝術實踐之延伸。3-ply由藝術家Fayen d’Evie 與其藝術家、作家、策展人及平面設計師網絡所聯合主導。除了製作及發行實質的刊物，d'Evie亦熱切於透過由藝術家主導的出版作為一實驗性和策略性的方法，擴展和/或干擾知識的生產、傳播及存檔。3-ply的出版於全球各地重要的當代藝術畫廊及書店均有售。
3-ply的《Re-print》為一系列的策劃項目，旨在重新推廣巳絶版的藝術家書刊至現今的觀眾。系列以插入絶版書目的複印版於公共文獻庫中作為一種介入：透過再版的中介形式，引進從未合法地獲存檔，或以往曾獲存檔的出版物，從而為原版建立索引。
预知更多关于3-ply和《我们谈谈钱——上海首届国际传真艺术展1996》 。请登录：www.3ply.net

施勇
施勇的作品把现代化和消费主义的意识形态作为个人想像和创造的基础。以理想化的上海市民为概念，他制作了一系列以照片为基础材料的作品。这是一个包含了多方面的延续性计划，探索着关于消费，日常和文化产业发展的视觉语言。其中一个系列“中国制造－欢迎来到中国”（1999），包括一个手绘的年轻商人石膏像，穿着毛式套装，戴着墨镜，拎着公文包正在挥手。作为理想市民的形象，这个雕塑是一次网络在线互动项目的结果。施勇在网络上提供自己不同发型和衣着的12幅肖像，参与者投票选择他们认为最理想的样子。如今，这个独立的个体跟随着市场调查的逻辑，变换着他或说是她自己的身份。这个形象在施勇别的作品里也不断出现，比如“渴望”（2000）和“你不可以克隆，但你可以买”（2001）。在市场中介的作用下，这个形象逐渐在产生变化。
近来，施勇主要集中在创作大型的装置和建筑上，并表现了荒谬扭曲的幽默。当中最引人注目的，他的综合媒介装置“飞Q”，建造了一个飞碟，其作用是用来打开天空。关于这个飞行物的创建没有任何多余的解释，也许只有进入到施勇的想像世界里或者把它作为施勇的另一个视觉信号才能被理解。他的方式是以颠覆性的姿态去嘲弄那些构建在规则和提前计划上的体系机构“万事皆可”这种折衷态度的混合物。
施勇，1963年出生于上海。1984年毕业于上海轻工业专科学校美术系。从1990年开始他的作品就被广泛展出。近期的展览有：开放的肖像，民生现代美术馆，上海 （2012）；GRASSTRESS 2011，威尼斯，意大利（2011）；调节器，第二届今日文献展，今日美术馆，北京（2010）；SHANGHAI KINO，SHANGHAI KINO，伯尔尼美术馆，瑞士（2009）；第三届南京三年展，亚洲方位，南视觉美术馆，南京（2008）；仔细想想，昨天你究竟干嘛去了？，比翼艺术中心，上海（2007）；首届今日文献展，能量：精神• 身体• 物质，今日美术馆，北京（2007）；跟我来！新千年之际的中国艺术，森美术馆，东京，日本（2005）；第二届广州三年展，广东美术馆，广州（2005）；聚焦，中国美术馆，北京（2005）；天堂－人间－施勇个展，香格纳画廊H空间，上海（2004）；第四届上海双年展（2002）；圣保罗双年展（2002）以及玛雅双年展（1999）等。

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 。


传媒查询
Chloe Chu 朱晓澄（奥沙香港）     chloechu@osagegallery.com | +852 2172 1619
Elva Xie 谢楠（奥沙上海）            elvaxie@osagegallery.com   |+ 8621 5448 5098

EXHIBITION PUBLIC PROGRAMME
Talk and Book Launch:

Re-print: Lets Talk About Money: Shanghai First International Fax Art Exhibition (1996)
Date/time: Saturday, 7th February 2015, 15:30-17:30
Speakers: Fayen d'Evie, Nicholas Tammens (3-ply members) and Shi Yong, with the special appearance of Hank Bull
Language: Chinese﹠English (consecutive interpretation provided)

Event Synopsis
Fayen d’Evie and Nicholas Tammens from 3-ply, together with Shi Yong, will be invited to contribute a dialogue covering aspects of the exhibition Lets Talk About Money: Shanghai First International Fax Art Exhibition held 19 years ago, including the social and political environment at the time. 3-ply members and Shi Yong will also address the Re-print project and the concepts of ‘fax’ and ‘copy’ in the context of their respective practices. The book launch of Re-print #2: Shanghai Fax (1996); Lets Talk About the Money will be held during the event and the book will be available for purchase after the talk.

All public programmes are free of charge. Please RSVP to elvaxie@osagegallery.com.

About Re-print: Excerpt from 3-ply’s interview with Biljana Ciric in the exhibition guidebook of ‘Just as money is the paper, the gallery is the room’:

Shanghai Fax has been described as the first artist-organised, international group exhibition held in China, which not only seems a crucial exhibition to be retained within the history of exhibition-making worldwide, but was also interesting to us since 3-ply is an artist-led publishing project and we welcome opportunities to reclaim an alternative, artist-focused history of exhibition-making. The involvement of Hank Bull from the Western Front reinforced the significance of the exhibition, given Western Front’s pivotal history and continued contemporary engagement in communications-oriented art…The use in [Lets Talk About Money: Shanghai First International Fax Art Exhibition] of an early technology for social communications, combined with the thematic (“Let’s Talk About Money”), [has] unique relevance today in terms of current debates regarding social media, trans-national artistic collaboration, economic crises and recessions, the political economy of art making, state oversight, and possibilities for grassroots conversations.

About Lets Talk About Money: abridged text by Biljana Ciric on ‘Lets Talk About Money:Shanghai First International Fax Art Exhibition’ (1996) from the book ‘A History of Exhibitions: Shanghai-1979-2006’:

Lets Talk About Money: First International Fax Art Exhibition (1996) was initiated by Hank Bull, who was the director of Western Front, an artist-run space in Vancouver, BC at the time. The exhibition involved a group of artists in Shanghai, including Ding Yi, Shi Yong, Shen Fan, and Zhou Tiehai as curators. This exhibition is important as the first international exhibition to show work by artists from abroad along with Chinese artists’ works, which arrived to the show via fax. The faxes would transmit and be pasted on the walls on a daily basis during the exhibition period.

This innovative approach to exhibition-making, with a specific focus on the nature of its format, its communication, and how information is circulated in the public realm, went far beyond providing recognition to the international artists, but in fact influenced artist-organized exhibitions in the coming generation. This exhibition could be understood as a marking point for the beginning of experimentation within the format of exhibitions in Shanghai. It also affected display strategies, which began to be even more clear in the Art For Sale Exhibition, years later.


The event 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.


ABOUT THE SPEAKERS
3-ply is an artist-led publishing initiative that focuses on publication, writing, editing and translation as an extension of art practice.   3-ply is directed by artist Fayen d’Evie in collaboration with a network of artists, writers, curators and graphic designers.  Beyond production and distribution of material publications, d'Evie is fundamentally interested in mobilising artist-led publishing as an experimental and strategic device to expand and/or disrupt the production, transmission and archiving of knowledge. 3-ply publications are stocked in leading contemporary art galleries and bookstores worldwide.
3-ply's Re-print project is a curated series that reintroduces out-of-print artist publications to a contemporary audience. The series also exploits the character of the reprints to insert interventions in public archives: introducing material that was never legally deposited, or reinserting previously archived publications in the form of mediated replications, thereby indexing the originals.  

For more about 3-ply and Re-print #2: Shanghai Fax (1996); Lets Talk About the Money, see the link:  www.3ply.net

Shi Yong (b. 1963) lives and works in Shanghai. Shi Yong's work embraces modernization and the ideology of consumerism as the basis for self-imagination and creation. He has produced a series of photo-based works around the concept of the ideal Shanghai citizen. It is an ongoing multifaceted project that explores images of consumption, commodity and the development of the culture industry. One series, entitled "Made in China – Welcome to China" (1999), consists of hand-painted plaster models of a young businessman in a Mao suit, sunglasses, briefcase and waving. The image of the ideal citizen used for the statue was the outcome of an Internet project through which Shi Yong asked volunteers to vote for the ideal way of looking. The individual now transforms the identity of his or her self by following the logic of commodity market surveys. It is a composite image that Shi Yong has repeatedly used in other pieces such as "Longing For" (2000) and "You Cannot Clone It, But You Can Buy It" (2001). The iconic figure is morphed through the agency of the marketplace.

Recently, Shi Yong has focused his attention on large-scale installations and architectural models imbued with an absurd twist of humor. Most notably, his mixed media installation "Flying Q" is of a UFO built with the purpose of opening up the sky. The flying object comes with no additional explanation, but might be recognized as just another signature vision of and interventions into the imaginary world of Shi Yong. His subversive approach pokes fun at architecture based on rules and pre-established schemas. Shi Yong fabricates a colorful and ironic architectural structure that is at once a parody of serious design and its synthesis. In short, his work is an amalgam of Shanghai's eclectic 'anything goes' attitude towards the built environment.

Shi Yong was born in Shanghai in 1963. He graduated from Light Industrial School, Fine Arts Department. He resides and works in Shanghai. Shi Yong has exhibited widely since the early 1990's. Recent shows include Face, Minsheng Art Museum, Shanghai (2012); Grasstress 2011, Venice, Italy (2011); Negociation, The Second Today's Documents, Today Art Museum, Beijing (2010); Shanghai Kino, Shanghai Kino, KUNSTHALLE BERN, Switzerland (2009); The 3rd Nanjing Triennial-Reflective Asia, RCM ART MUSEUM, Nanjing (2008); Think carefully, where have you been yesterday?, BizART, Shanghai (2007); The First Today's Documents, Energy: Spirit ּ Body ּ Material, Today Art Museum, Beijing (2007); Follow Me!, Mori Art Museum, Tokyo, Japan (2005); Second Guangzhou Triennale, Guangsong Museum of Art, Guangdong (2005); Zooming into Focus, China National Art Museum, Beijing (2005); The Heaven, The World, ShanghART Gallery & H-Space, Shanghai (2004); 4th Shanghai Biennale, Shanghai (2002); Bienal de Sao Paulo, Sao Paulo, Brazil (2002) and BM99, Bienal da Maya, Maya Art Center, Portugal (1999) etc.

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.
MEDIA ENQUIRIES

Elva Xie  (Osage Shanghai):      
elvaxie@osagegallery.com | + 8621 5448 5098