[Views] Persistence at CAAW
The rainy summer is about to end to be replaced by the fever of September exhibitions, but what to choose among all these activities? need some advices? Below Art-ba-ba's selection....(Shanghai only)
Sep 2
"Longing for more" Mao Yan's solo exhibition毛焰个展《意犹未尽》
2009-09-02～09-16
Shanghai Art Museum-325 Nanjing West Road, Shanghai上海美术馆-上海市黄浦区南京西路325
Google earth：http://ditu.google.cn/maps?hl=zh-CN&tab=wl
Academic Chair: Li Xiaoshan
Organizer: Shanghai Art Museum
Sponsors: Shanghai Yibo Gallery / Chinablue Gallery
Date: Sept. 2, 2009 ~ Sept. 16, 2009
Venue: No.325, Nanjing Road (W), Shanghai021-63272829
Sep 6
a u – Contemporary Art Exhibition
In Chinese pinyin, “a” and “u” are often used as endings. Their pronunciation and characteristics are the following: “a” requires you to open your mouth wide and your tongue is in the back of your mouth; “u” on the other hand, requires you to round your lips, leaving just a small gap. For both of these sounds, your mouth is relaxed but you have to exert pressure from right below your vocal chords. We took these sounds as a foundation for this exhibition, but there is not too much significance attached to it. These sounds, “a” and “u” are just sounds that require a relaxed, open mouth. We’ve just used it here as coding or dubbing—a way to organize the exhibition. As a matter of fact, it just constitutes the basic premise of the artist’s works. So, on the whole, we can expect some degree of continuity among the artists’ pieces. This is just one possible way to better understand some aspects of the world, or art.
Opening: Sep 5,2009(Saturday)at 16:00
Exhibition Date: Sep 6,2009-Sep 27,2009
Open Time: 11:00am-18:30pm(Monday closed)
Venue: 709 Lingshi Road,Building No.40-2F.Shanghai.China.
Artist: Chen Jiaqiang, Du Lizhi, Hu Xiaoxiao, Li Fuchun, Li Mu, Peng Yun, Wu Ye, Yu Ji, Deng Yeming, Zhao Junyuan,
Curator: Wu Ye
Art Director: Li Xiaofei
Assistant Director: Zhang Li
Designer: Guo Qingling
Organizer: Fei Contemporary Art Center
Fei Contemporary Art Center(FCAC)
Add: 709 Lingshi Road, Building No. 40-2F. Shanghai. China. 200072
Tel / Fax: ＋86 21 6630 7268
E-mail: info@feiartcenter.com
http://www.feiartcenter.com
Google earth: http://ditu.google.cn/maps?hl=zh-CN&tab=wl
Sep 2
"Longing for more" Mao Yan's solo exhibition毛焰个展《意犹未尽》
2009-09-02～09-16
Shanghai Art Museum-325 Nanjing West Road, Shanghai上海美术馆-上海市黄浦区南京西路325
Google earth：http://ditu.google.cn/maps?hl=zh-CN&tab=wl
Academic Chair: Li Xiaoshan
Organizer: Shanghai Art Museum
Sponsors: Shanghai Yibo Gallery / Chinablue Gallery
Date: Sept. 2, 2009 ~ Sept. 16, 2009
Venue: No.325, Nanjing Road (W), Shanghai021-63272829
Sep 6
a u – Contemporary Art Exhibition
In Chinese pinyin, “a” and “u” are often used as endings. Their pronunciation and characteristics are the following: “a” requires you to open your mouth wide and your tongue is in the back of your mouth; “u” on the other hand, requires you to round your lips, leaving just a small gap. For both of these sounds, your mouth is relaxed but you have to exert pressure from right below your vocal chords. We took these sounds as a foundation for this exhibition, but there is not too much significance attached to it. These sounds, “a” and “u” are just sounds that require a relaxed, open mouth. We’ve just used it here as coding or dubbing—a way to organize the exhibition. As a matter of fact, it just constitutes the basic premise of the artist’s works. So, on the whole, we can expect some degree of continuity among the artists’ pieces. This is just one possible way to better understand some aspects of the world, or art.
Opening: Sep 5,2009(Saturday)at 16:00
Exhibition Date: Sep 6,2009-Sep 27,2009
Open Time: 11:00am-18:30pm(Monday closed)
Venue: 709 Lingshi Road,Building No.40-2F.Shanghai.China.
Artist: Chen Jiaqiang, Du Lizhi, Hu Xiaoxiao, Li Fuchun, Li Mu, Peng Yun, Wu Ye, Yu Ji, Deng Yeming, Zhao Junyuan,
Curator: Wu Ye
Art Director: Li Xiaofei
Assistant Director: Zhang Li
Designer: Guo Qingling
Organizer: Fei Contemporary Art Center
Fei Contemporary Art Center(FCAC)
Add: 709 Lingshi Road, Building No. 40-2F. Shanghai. China. 200072
Tel / Fax: ＋86 21 6630 7268
E-mail: info@feiartcenter.com
http://www.feiartcenter.com
Google earth: http://ditu.google.cn/maps?hl=zh-CN&tab=wl
Sep 6
Seeing one's own eyes
——Middle East Contemporary Art
Curator: MadeIn
Organizer: Shanghart Gallery
Opening time: September 6th,6-8pm
Exhibition time: September 6th--October 10th
Exhibition Venue: H Space(bldg. 18) & bldg.16, 50 Moganshan road. (
Preparations for this exhibition started in 2008.It is China’s largest and most specialized exhibition on Middle East Contemporary Art, presenting Middle East art’s most representative works.
Part of the international contemporary art world is consisted of Middle East contemporary art. This exhibition authentically reflects the freedom and the variety of the artist creation in the Middle East contemporary cultural environment, it particularly focuses on Middle East new generation of artist’s technique, language, new media art as well as experimental and exploratory aspects their artistic creation.
展览地点：H空间,香格纳画廊16号楼-莫干山路50号)
Google earth: http://ditu.google.cn/maps?hl=zh-CN&tab=wl
Seeing one's own eyes
——Middle East Contemporary Art
Curator: MadeIn
Organizer: Shanghart Gallery
Opening time: September 6th,6-8pm
Exhibition time: September 6th--October 10th
Exhibition Venue: H Space(bldg. 18) & bldg.16, 50 Moganshan road. (
Preparations for this exhibition started in 2008.It is China’s largest and most specialized exhibition on Middle East Contemporary Art, presenting Middle East art’s most representative works.
Part of the international contemporary art world is consisted of Middle East contemporary art. This exhibition authentically reflects the freedom and the variety of the artist creation in the Middle East contemporary cultural environment, it particularly focuses on Middle East new generation of artist’s technique, language, new media art as well as experimental and exploratory aspects their artistic creation.
展览地点：H空间,香格纳画廊16号楼-莫干山路50号)
Google earth: http://ditu.google.cn/maps?hl=zh-CN&tab=wl
“Military exercises camp ---Rescue plan 10.18”
——Zhou Xiaohu's solo exhibition
Opening time: September 6[sup]th[/sup], 2009 Sunday, 17:00
Exhibition dates: September 6[sup]th[/sup] to October 11[sup]th[/sup], 2009, 11:00 – 18:00
Venue: BizArt Art Center - 4/F, Bldg 7, 50 Moganshan Road, 200060 Shanghai 上海莫干山路50号7号楼4楼200060
Tel: +86 21 62775358 / Fax: +86 21 62273400
www.biyiart.com
“Nowadays, what can art venture build or change? What kind of aesthetic and spiritual breakouts can artistic experimentation give?
On September 6[sup]th[/sup] 2009, a geographically incompatible dream, confusing time and space, will happen in BizArt Art Center. For the project “Military Exercises Camp” an operation of international hostages’ rescue will be held in the exhibition space.
Video scenes and “material evidences” of the military performance will be presented together; while “war correspondents” will fully report the process of military exercises. Visitors will become insiders and have access to “real-time information”. Everything will be related to each visitor’s incidental joys and sorrows, no one will be outsiders!
Set in a CS game fight where players are real people, “Military Exercises Camp” will put in opposition various complex politics and military affairs,. The exhibition space will be turned into the last stage of this labyrinthine military exercises camps.” (Zhou Xiaohu)
Mommy foundation presents:
Who cares about the future
Participating artists
Cui Shaohan, Huang Liya, Li Ming, Li Fuchun, Lin Ke, Sun Huiyuan, Yang Junling, Zhang Lehua
Opening: Sep 6, 2009, 18:00
Exhibition dates: Sep 7 to Oct 6, 2009, 10:30 - 18:00
Venue: Bldg 18, 50 Moganshan (Next to H Space)
莫干山路50号18号楼（香格纳H空间旁边）
Acknowledgement: M50, Shuangfei art organization
We are not four kings we are not seven intellectuals from bamboo forest we are not Fahrenheit we are not Dong Fang Shenqi we are not mj we are not Jia Junpeng we are not Fu Rong Jiejie we are not Juhua Jiejie we are not Zeng Yike we are not Li Yuchun we are not Yao Ming we are not LG we are not T-mac we are not Chriastian Ronaldo we are not Kaka we are not Zhang Peili we are not Geng Jianyi we are not new media we are not Bill Viola we are not art baba we are not YBA, we are not NBA we are not MBA we are not doctors we are not post doctors we are not Seiya we are not Shun we are not Athena we are not Zhang Jizhong we are not Zhang Yimo we are not Zhang Bozhi we are not Edison Chen we are not Twins we are not Hello Kitty we are not Panda we are not Chen Shuibian we are not Brokeback Mountain we are not Lesli Zhang we are not Liang Chaowei we are not Zhou Jielun we are not Gong Li we are not Li Xianting we are not Chestnut we are not Grey Plane we are not Long March we are not Bizart we are not M50 we are not 798 we are not San Litun we are not Mustardy Chinese Cabbage we are not fried chicken we are Double cooked pork we are not Northern dish we are not XinJiang cuisine We are not terrorists we are not Spidermen we are not Ultraman we are not George Bridgman we are not Tchaikovsky we are not Dostoevsky we are not Mentos we are not Chupa Chups we are not Pigsy we are not Master Roshi we are not manmade we are foreigners we are not HUMANS! We are Shuangfei !!!
Shuangfei is a group of young artists who are of the same age group with common interest. Individuals of the group organize activities from time to time besides including art production, entertainment activities, opening performance, etc.. Shuang Fei are situated in the Double Wing Building, in Binjiang District, Hangzhou, and has a liates in Shanghai and Beijing to broaden its in uence. Now SHuanf fei has following branches: 1. Tubi Co ee Club, 2. Tubi Club custody project, 3.Shuang Fei gallert Shuangfei is a pure pro table institution which aims to entertain oneself and others and it accepts orders of performance on opening and closing ceremony from all kinds of art and non-art exhibition all year round, would bring on
Double Wing making it di erent show to society from time to time, and bring on exhibition project such as handicraft workshop peridiocally, accept custody of non-artist project, and hold Beauty banquet in Tubi Co ee Club.
Sep 7
Warm Up PARTY
PARTY: Sep 7, Monday, 19:00-22:00
Exhibition dates: Sep 7 - 12, 2009
Business hours: 10：00-22：00
Venue: Minsheng Art Museum, Bldg F, 570 Huaihai West Road 民生现代美术馆 上海市淮海西路570号F座
T: 021-62828729
0.7% Salt video 2009
Video: Gillian Cheung (Chinese actress, singer)
A smile turning into tears...
Jiang Zhi:
ATTITUDE
2009.09.07 – 2009.11.08
Artist: Jiang Zhi
Curator: Bao Dong
Exhibition dates: 2009.09.08—— 2009.11.08
Opening: 2009.09.07, 18:00-20:00
Osage Gallery - 93 Duolun Road
上海虹口区多伦路93号 （靠近多伦现代美术馆）
T:(86) 21 5671 3605
Google map：http://ditu.google.cn/maps?hl=zh-CN&tab=wl
Taking the concept of ‘attitude’ as a point of departure, Jiang Zhi explores how ‘attitude’ is not simply a conscious behaviour, nor merely an expression of a point of view, but a form of social rhetoric. Every form of ‘attitude’ is a node in the complex web of meaning-making. In this respect, ‘attitude’ is like a form of writing—through speech, gestures, actions, expressions, masquerades, and performances—where in its omnipresence, the protagonist and his subject is created, and the relationship between the self and other, or identity, is constructed. Thus, ‘attitude’ as rhetoric is inextricably linked to words, a ring in the chain of meanings, and forms a part of language usage. As a result, ‘attitude’ is no longer understood as a conscious decision of an individual, but as a performance of rhetoric.
This exhibition is an investigation into, and a rewriting of, the phenomenon behind rhetorical expressions. It consists of a long discussion that accompanies a series of new works by Jiang. The discussion examines different theoretical perspectives about ‘attitude’, and in so doing, creates a reservoir of meanings. This is juxtaposed against Jiang’s re-interpretation of the concept of the rhetoric. Jiang extracts fragments of the social rhetorical as found in real life situations and reconstructs them, and in the process, breaks the chain of meanings. Stripped of its language-signifier, ‘attitude’ reveals its own significance, bringing forth the criticality that lies at the heart of the deconstruction.
In 0.7% Salt, Jiang reduces the signification of women’s tears to a mere physical composite, challenging our habitual reference to its social signification. In this video, celebrity Gillian Cheung performs the delicate emotional transition from gently smiling to breaking down in tears. The work demands viewers to forsake our presuppositions; while at the same time heightens our sense of appreciation for the pure visual aesthetics of an emotional transition. Maiden, All Too Maiden! is a photographic installation consisting 100 photographs of female models each presenting an expression of coyness. ‘Coy’ is an adjective commonly used on women and is deemed a feminine characteristic. The act of performing coyness brings forth an unnaturalness that questions its attribution in everyday usage. In contrast, what happens when a performative act loses it performativity? Does it then become natural? Tremble presents the conditions for such estrangement, proposing a tensity between the ‘real’ and ‘performed’.
1980's
——Wen Pulin - The Chinese avant-garde art's archive exhibition
Opening: 16:00 pm, September 7, 2009
Period: September 8- October 4, 2009
Venue: 1-3 F, No. 27, Duolun Road, Hongkou Dist. Shanghai 上海多伦现代美术馆1、2、3楼，上海多伦路27号
Organizer: Shanghai Duolun Museum of Modern Art
Co-organizer: Wen Pulin archives of Chinese avant-garde art exhibition
After Mr. Wen Pulin organized “China’s action”,“Seven sins” and “Liberation” exhibitions, Shanghai Doulun Museum of Modern Art will capture some Wen’s the valuable historical information in the 1980s for “Wen Pulin archives of Chinese avant-garde art exhibition”. This exhibition vividly represents that important historical process and area of Chinese Modern Art, fully displays the strength occurred in the new period of Chinese avant-garde art. Over the past 60 years especially the 30 years of “reform and opening”, there are great achievements because the new period’s trend of thought in literature and art is flourished. Detailed documents, abundant pictures and valuable videos, will promote the academic significance in this exhibition, and it will become the important research of the Chinese Modern Art history. More info (Chinese):
http://www.art-ba-ba.com/ShowPost_zh.asp?ThreadID=26698&ForumID=8&Category=&lange=cn&pw=read
Warm Up PARTY
PARTY: Sep 7, Monday, 19:00-22:00
Exhibition dates: Sep 7 - 12, 2009
Business hours: 10：00-22：00
Venue: Minsheng Art Museum, Bldg F, 570 Huaihai West Road 民生现代美术馆 上海市淮海西路570号F座
T: 021-62828729
0.7% Salt video 2009
Video: Gillian Cheung (Chinese actress, singer)
A smile turning into tears...
Jiang Zhi:
ATTITUDE
2009.09.07 – 2009.11.08
Artist: Jiang Zhi
Curator: Bao Dong
Exhibition dates: 2009.09.08—— 2009.11.08
Opening: 2009.09.07, 18:00-20:00
Osage Gallery - 93 Duolun Road
上海虹口区多伦路93号 （靠近多伦现代美术馆）
T:(86) 21 5671 3605
Google map：http://ditu.google.cn/maps?hl=zh-CN&tab=wl
Taking the concept of ‘attitude’ as a point of departure, Jiang Zhi explores how ‘attitude’ is not simply a conscious behaviour, nor merely an expression of a point of view, but a form of social rhetoric. Every form of ‘attitude’ is a node in the complex web of meaning-making. In this respect, ‘attitude’ is like a form of writing—through speech, gestures, actions, expressions, masquerades, and performances—where in its omnipresence, the protagonist and his subject is created, and the relationship between the self and other, or identity, is constructed. Thus, ‘attitude’ as rhetoric is inextricably linked to words, a ring in the chain of meanings, and forms a part of language usage. As a result, ‘attitude’ is no longer understood as a conscious decision of an individual, but as a performance of rhetoric.
This exhibition is an investigation into, and a rewriting of, the phenomenon behind rhetorical expressions. It consists of a long discussion that accompanies a series of new works by Jiang. The discussion examines different theoretical perspectives about ‘attitude’, and in so doing, creates a reservoir of meanings. This is juxtaposed against Jiang’s re-interpretation of the concept of the rhetoric. Jiang extracts fragments of the social rhetorical as found in real life situations and reconstructs them, and in the process, breaks the chain of meanings. Stripped of its language-signifier, ‘attitude’ reveals its own significance, bringing forth the criticality that lies at the heart of the deconstruction.
In 0.7% Salt, Jiang reduces the signification of women’s tears to a mere physical composite, challenging our habitual reference to its social signification. In this video, celebrity Gillian Cheung performs the delicate emotional transition from gently smiling to breaking down in tears. The work demands viewers to forsake our presuppositions; while at the same time heightens our sense of appreciation for the pure visual aesthetics of an emotional transition. Maiden, All Too Maiden! is a photographic installation consisting 100 photographs of female models each presenting an expression of coyness. ‘Coy’ is an adjective commonly used on women and is deemed a feminine characteristic. The act of performing coyness brings forth an unnaturalness that questions its attribution in everyday usage. In contrast, what happens when a performative act loses it performativity? Does it then become natural? Tremble presents the conditions for such estrangement, proposing a tensity between the ‘real’ and ‘performed’.
1980's
——Wen Pulin - The Chinese avant-garde art's archive exhibition
Opening: 16:00 pm, September 7, 2009
Period: September 8- October 4, 2009
Venue: 1-3 F, No. 27, Duolun Road, Hongkou Dist. Shanghai 上海多伦现代美术馆1、2、3楼，上海多伦路27号
Organizer: Shanghai Duolun Museum of Modern Art
Co-organizer: Wen Pulin archives of Chinese avant-garde art exhibition
After Mr. Wen Pulin organized “China’s action”,“Seven sins” and “Liberation” exhibitions, Shanghai Doulun Museum of Modern Art will capture some Wen’s the valuable historical information in the 1980s for “Wen Pulin archives of Chinese avant-garde art exhibition”. This exhibition vividly represents that important historical process and area of Chinese Modern Art, fully displays the strength occurred in the new period of Chinese avant-garde art. Over the past 60 years especially the 30 years of “reform and opening”, there are great achievements because the new period’s trend of thought in literature and art is flourished. Detailed documents, abundant pictures and valuable videos, will promote the academic significance in this exhibition, and it will become the important research of the Chinese Modern Art history. More info (Chinese):
http://www.art-ba-ba.com/ShowPost_zh.asp?ThreadID=26698&ForumID=8&Category=&lange=cn&pw=read
Sep 8
Thing's Right(s), 09
The More
By Wu Shanzhuan & Inga Svala Thorsdottir
Opening reception: September 8th, 5 to 8pm
Duration: Sept 8th - Nov 15th
Location: Shanghai Gallery of Art @ Three on the Bund
Address: No.3 the Bund 3rd Floor 3 Zhongshan Dong Yi Road Shanghai
Thing’s Right(s) Shanghai 2009 is a project by Wu Shanzhuan and Inga Svala Thorsdottir that investigates the way in which we attach values to an object. An object in itself means nothing without its negotiation and circulation in broader social and political domains.
Using language and text as a fundamental form of expression, since 1995 both artists have been investigating the actual rights surrounding an object in order to address issues of freedom and our existence. Wu is one of the leading figures of the Chinese Avant-garde movement of the 1980’s, particularly known for his red humor project in 1986. Thorsdottir is an Icelandic artist who has been working collaboratively with Wu since the early 1990’s.
Thing's Right(s), 09
The More
By Wu Shanzhuan & Inga Svala Thorsdottir
Opening reception: September 8th, 5 to 8pm
Duration: Sept 8th - Nov 15th
Location: Shanghai Gallery of Art @ Three on the Bund
Address: No.3 the Bund 3rd Floor 3 Zhongshan Dong Yi Road Shanghai
Thing’s Right(s) Shanghai 2009 is a project by Wu Shanzhuan and Inga Svala Thorsdottir that investigates the way in which we attach values to an object. An object in itself means nothing without its negotiation and circulation in broader social and political domains.
Using language and text as a fundamental form of expression, since 1995 both artists have been investigating the actual rights surrounding an object in order to address issues of freedom and our existence. Wu is one of the leading figures of the Chinese Avant-garde movement of the 1980’s, particularly known for his red humor project in 1986. Thorsdottir is an Icelandic artist who has been working collaboratively with Wu since the early 1990’s.
Shanghai Art Fair
Note: This is not SHContemporary
Official website:
http://www4.cnarts.net/sartfair/2009/index.asp
Venue:
上海世贸商城
上海市长宁区兴义路99号
ShanghaiMART99, Xingyi Rd., Shanghai
Duration:
Sept.9(Wed) - 13(Sun), 2009(5days)
General Opening:
Sept.9(Wed) - 12(Sat), 2009 10:00am—06:00pmSept.13(Sun), 2009 10:00am—05:00pm
(Stop Admission into the Fair at 04:00PM)
Vernissage
September 8(Tue) 07:00pm—10:00pm
Opening Ceremony:
September 9(Wed) 10:00am
Note: This is not SHContemporary
Official website:
http://www4.cnarts.net/sartfair/2009/index.asp
Venue:
上海世贸商城
上海市长宁区兴义路99号
ShanghaiMART99, Xingyi Rd., Shanghai
Duration:
Sept.9(Wed) - 13(Sun), 2009(5days)
General Opening:
Sept.9(Wed) - 12(Sat), 2009 10:00am—06:00pmSept.13(Sun), 2009 10:00am—05:00pm
(Stop Admission into the Fair at 04:00PM)
Vernissage
September 8(Tue) 07:00pm—10:00pm
Opening Ceremony:
September 9(Wed) 10:00am
Sep 9
上海当代 shcontemporary
Shanghai Exhibition Center - 1000 Yan an road, Shanghai
上海展览中心 - 上海市延安中路1000号
http://www.shcontemporary.net
Google earth：http://ditu.google.cn/maps?hl=zh-CN&tab=wl
上海当代 shcontemporary
Shanghai Exhibition Center - 1000 Yan an road, Shanghai
上海展览中心 - 上海市延安中路1000号
http://www.shcontemporary.net
Google earth：http://ditu.google.cn/maps?hl=zh-CN&tab=wl
ShContemporary takes place every September in the spectacular Shanghai Exhibition Center in Shanghai, China. The first edition in 2007 immediately established itself as Asia’s most dynamic and international contemporary art fair (see photos here).
The 2008 edition attracted over 140 prestigious international galleries from nearly 30 countries, and was visited by over 15,000 collectors, artists, curators and art enthusiasts (see photos here).
This year ShContemporary returns with a new artistic direction and initiatives to engage with emerging collectors from the region. A unique curatorial team consisting of Wang Jianwei, Mami Kataoka, and Anton Vidokle is working with Fair Director Colin Chinnery to give ShContemporary09 an experimental and daring artistic vision.
Preview (by invitation): Wednesday, September 9th, 5 to 7 p.m.
Vernissage (by invitation): Wednesday, September 9th, 7 to 10 p.m.
VIP days (by invitation): Thursday 10th & Friday 11th September, 11 a.m. to 6 p.m.
Public days (entry ticket): Saturday 12th & Sunday 13th September, 11 a.m. to 6 p.m.
History in the making: Shanghai 1979-2009
Curated by Biljana Ciric
Dates: September 9, 2009 to October 10, 2009
Opening Reception: 19:30, September 9, 2009
Exhibition opening hours: 10:00-19:00
Venue: 436 Jumen Rd.
展览地点： 上海市局门路436号
Google earth: http://ditu.google.cn/maps?hl=zh-CN&tab=wl
Participating Artists: BEIHEMENG Photography Association、Birdhead、Chen Juyuan、Chen Yanyin、Ding Yi、Gong Jianqing、Gu Lei、He Yang、Hu Jianping、Hu Jieming、Huang Kui、Jin Feng(Xiao)、Jin Feng、Jin Shan、Li Mu、Li Pinghu、Li Qiang Competition、Li Shan、Liang Yue、Liu Jianhua、Lu Chunsheng、M Group、Mian Mian、Ni Jun、Ni Weihua、Qian Weikang、Qiu Anxiong、Qiu Deshu、Shen Fan、Shi Yong、Song Tao、Su Chang、Sun Liang、Tang Guangming、Tang Maohong、Xiang Liqing、Xu Zhen、Yang Fudong、Yang Hui、Yang Xu、Yang Zhenzhong、Yu Youhan、Zhang Ding、Zhang Enli、Zhang Jianjun、Zhang Long、Zhang Pingjie、Zhang Xin、Zhou Xiaohu、Zhou Zixi
This exhibition would encourage discussion around three aspects, and the curatorial framework will help to clarify the sequential role the Shanghai art groups have played within the larger framework of the development of Chinese contemporary art in general. This exhibition is not only an overview of the Shanghai contemporary art scene, but also the first time that several generations of characteristic artists from Shanghai (including different age groups, different artistic approaches) have been brought together in the form of an exhibition. In this way, the exhibition also is an accumulation of the city’s cultural growth and current status through the perspectives and attitudes of nearly 50 artists and cultural practitioners who have contributed to the urban culture of Shanghai . We can comfortably say that History in the Making: Shanghai 1979 – 2009 will be a 3-dimensional historical analysis of the Shanghai contemporary art scene.
Sep 10
Bourgeoisified proletariat
2009.9.10-9-14
Shanghai Songjiang Creative Studio
Google earth: http://ditu.google.cn/maps?hl=zh-CN&tab=wl
A contemporary art exhibition gathering works by more than 40 Chinese artists and art organizations to be held for the first time in Songjiang (Shanghai).
Since 1997, a curating team composed of 10 artists has organized numerous art exhibitions in China and abroad. In September 2009, they will present Bourgeoisified Proletariat, a large-scale independent show featuring outstanding works by more than 40 Chinese artists and art organizations. Featured in the exhibition will be new productions embracing varied media from installation, video, cine film, sculpture, performance to painting, photography, shown alongside with on-site projects. The title “Bourgeoisied Proletariat” was inspired from a letter sent by Engels to Marx in 1858.
Through this event, the curating team hopes that these artists and organizations, considered by certain connoisseurs as belonging to one of the leading trends in Chinese contemporary art, will gain more attention. In this financial crisis background, visitors will have the opportunity to examine what artists are currently focusing on as well as the contemporary art system in China.
As participating artists, the music bands “Top Floor Circus” and “The King of…” will give a concert for one and a half hour on the evening of the opening!
Bourgeoisified proletariat
2009.9.10-9-14
Shanghai Songjiang Creative Studio
Google earth: http://ditu.google.cn/maps?hl=zh-CN&tab=wl
A contemporary art exhibition gathering works by more than 40 Chinese artists and art organizations to be held for the first time in Songjiang (Shanghai).
Since 1997, a curating team composed of 10 artists has organized numerous art exhibitions in China and abroad. In September 2009, they will present Bourgeoisified Proletariat, a large-scale independent show featuring outstanding works by more than 40 Chinese artists and art organizations. Featured in the exhibition will be new productions embracing varied media from installation, video, cine film, sculpture, performance to painting, photography, shown alongside with on-site projects. The title “Bourgeoisied Proletariat” was inspired from a letter sent by Engels to Marx in 1858.
Through this event, the curating team hopes that these artists and organizations, considered by certain connoisseurs as belonging to one of the leading trends in Chinese contemporary art, will gain more attention. In this financial crisis background, visitors will have the opportunity to examine what artists are currently focusing on as well as the contemporary art system in China.
As participating artists, the music bands “Top Floor Circus” and “The King of…” will give a concert for one and a half hour on the evening of the opening!
A PIECE OF PAPER, A PIECE OF PLYWOOD------ Liu Wei’s solo exhibition
Exhibited from Sep 10th to Oct 15th, 2009
Opening at: 17:00 Sep 10th, 2009
Hosted by: Red Bridge Gallery
Address: A3-103 West Huaihai Road, Shanghai
上海淮海西路570号3号楼
Google earth：http://ditu.google.cn/maps?hl=zh-CN&tab=wl
From Sep 10th to Oct 15th, 2009, “A PIECE OF PAPER, A PIECE OF PLYWOOD”, a collection of paper-based works of Liu Wei, will be exhibited in Red Bridge Gallery in Shanghai. This exhibition focuses to demonstrate the serial paper-based works created by Liu Wei in 2009, including prints, mixed media, paper-based abstract paintings and paper-based oil paintings, which plenty demonstrates Liu Wei’s control over and creativity on various materials. Liu Wei attempts various possibilities on paper-based works and explores its vitality in the contemporary context. Through his works, the traditional Chinese cultural connotation carried by paper renews its significance, and the synergy between Liu Wei and paper is a perfect epitome of engagement of traditional and contemporary culture.
More: Liu Wei
Liang Shaoji
You si miao - an infinitely fine line
Presented by: Shanghai Zendai Museum of Modern Art
Co-organized by: ShanghArt Gallery
Dates: Sep 11– Nov 1, 2009
Venue: Gallery 1-4, Shanghai Zendai Museum of Modern Art
(No.28, Lane 199, Fangdian Road, Shanghai, China)
上海浦东新区芳甸路199弄28号大拇指广场内
Opening Reception: 5:30pm, Sep 10, 2009
Artistic Director: Shen Qibin
Administration Director: Wang Chunjie, Zhao Song
Curator: Marianne Brouwer
Project Manager: Huang Yuelin
Project Coordinator: Kang Xusheng
Google map：http://ditu.google.cn/maps?hl=zh-CN&tab=wl
You Si Miao refers to long, smooth and changeable lines like the strands of a spider’s web and such painting skill is often used in Buddhistic figures, flowing robes and the like. Ode to Goddess of Luo River, a masterpiece of the celebrated Chinese painter Gu Kaizhi to describe the love between man and goddess, is considered as the apotheosis of the use of this skill.
Artist Liang Shaoji tries to define You Si Miao, a relatively ancient topic, from a brand new contemporary perspective. As far as he’s concerned, You Si (silk line) has already become an indispensable tool to help him think: it can be considered as the long and winding lifeline of human, or traces left by history, or the entangled and chaotic thoughts….
With an attempt to present a panoramic view of contemporary use of “You Si Miao”, the exhibition, projecting on culture, art, biology and sociology, etc, reveals the dilemma between dream and reality, spiritual and material and seeks for the possibility to better and transcend ourselves.
System Updating·2009 Shanghai eArts Festival
Shanghai eArts Festival 2009 presents three projects: “eARTS BEYOND – Shanghai International Gallery Exhibition of Media Art”, “Fantastic Illusions – Media Art Exhibition of Chinese and Belgian Artists” and “New Media Archaeology – Research Project”. The festival theme “System Updating” reviews the history of the development of new media art by selecting and exhibiting important documentation from representative media art institutions, highlighting the activities and achievements of new media art practice, including the fields of professional/public education, museum exhibitions, the construction and development of archives, as well as the fields of urban development and individual video documentations that operate within a wider public sphere. These two parallel approaches cover multiple dimensions of new media art and its connection to society, and form the basis for a series of lectures, conferences, and exhibitions. Shanghai eArts Festival 2009 aims to provide a comprehensive and intellectual model of new media art practice through reviews, exchange, discussion, and display. Simultaneously, the complex cross-breeding of knowledge, information, resources, and distribution systems will be analyzed，reflecting inherent challenges within the system and creating the possibility for a system update.
In addition, the theme “System Updating” also provides a glimpse into the new direction that Shanghai eARTS is taking to pursue sustainable future development. Shanghai eARTS has upgraded its technical infrastructure and is advancing as a highly competitive organization with more comprehensive new media art programs planned after this year’s festival.
September 11th–September 20th 2009
Shanghai Oriental Pearl TV Tower | Shanghai Exhibition Center (SH Contemporary)上海展览中心 | 上海东方明珠电视塔
More on: http://www.shearts.org/shearts/en/en_09index1.html
Fantastic Illusions-Media Art Exhibition of Chinese And Belgian Artists
More about the Exhibition
Exhibition Tour: Sept.13th, 2009 - Oct.11th, 2009 MoCA ShanghaiNov.13th, 2009 - Feb.7th, 2010 Art Center BUDA Kortrijk
Co-organizer: Shanghai eArts FestivalMoCA ShanghaiArt Center BUDA Kortrijkvzw InventieBroelmuseum Kortrijk
Supporter:Belgium Consulate, Shanghai2009 Europalia.China
Artistic Director: Christophe De Jaeger
Co-curator：Christophe De Jaeger, Art Yan
Artists (in no particular order):Anouk De Clercq、Bart Stolle、David Claerbout、Hans Op De Beeck、Heidi Voet、Nick Ervinck、Tale of Tales、Jenova Chen、Hu Jieming、Teddy Lou、Pen Yun、Sam Su、Xu Wenkai、Wu Juehui The exhibition Fantastic Illusions is part of Shanghai eArts Festival2009, as well as one of the programs of 2009 Europalia.China. In the exhibition Fantastic Illusions,seven Belgian and seven Chinese artists build illusory spaces for the visitor. With the two curators, the exhibition attempts to discuss the relations between the "virtual reality" technology and media art development as well as how they are interacted to each other.A continual interaction between the space of the artist and that of the spectator is the recurring theme of the exhibition. The artists work with various media such as painting, video, digital image, and installations.More on: http://www.mocashanghai.org/index.php?_function=exhibition&_subFunction=upcomingExhibition
Stolen treasures from modern China
Opening: Sep.08, 2009
Venue: Shanghart Gallery HH796
About this exhibition
This exhibition presents an opportunity for the first time to see photographs of many of China’s famous artists from the early 1990s. This exhibition will be the first time these works have been presented in public, or even printed from the film. Alongside these photographs we have a visual; discussion of what has taken place in China over the last two decades conducted by the artists Zhou Tiehai, Chris Gill and Andy Hall.
There are many logical traps which catch out the observers of the Chinese reform process. There is especially a lack of understanding of what are the cultural and artistic processes that have fed the rapid and ongoing changes in the cultural field.
The media has played, and continues to play, an important role in modern and contemporary Chinese art. So one of the basic premises of the exhibition Stolen treasures from modern China, to be held at Shanghart Huaihai Road 796 starting September 8, is to show how media played an important role in the early careers of many artists in China, and also how some artists reacted to the role of the media. The media has documented as well as explained to local and international audiences the various Chinese artists and movements over the years.
The nature of intransigent cultural theft is a complex issue, as physical cultural objects created post 1949 are considered free from governmental control. But, as yet, it has not yet been really addressed what is the value of artworks created in the early 90s within the context of international dialogue alongside the Chinese phenomenon of reform and progressive change?
A unique set of circumstances in China in the early 1990s, a period when the country was still in the initial stages of its opening and reform process, led to a select group of artists becoming well known figures, and others less so.
For the starting point of this exhibition we have chosen 1993, when a series of visits introducing artists Joerg Immendorf (Hamburg), Guenther Uecker (Duesseldorf), art critics Andrew Solomon (New York Times), Thomas Fuesser (Stern, Germany), and others to the art scenes of Beijing, Shanghai and Hangzhou was arranged. This historical arrangement, a list of artist names constructed under the guidance of Hans van Dijk, proved instrumental for many artists’ careers. Later Hans founded China Art Archives and Warehouse, with Ai Weiwei.
So this exhibition provides the first opportunity to see the photos taken by Fuesser, which remained as negatives in a box in Hamburg. Also, this visit inspired Zhou Tiehai’s seminal works, such as his video and fake magazine covers.
Gill and Hall, though long term residents in China were never on the list. They weren’t particularly bothered about not being on the list. Their work presents a historical flux- a counterpoint to the work of Zhou and Fuesser, talking about the changes that have taken place over the period 1993 until now, the process of historical flux- not only in the art world, but in attitudes and behaviour in society at large- including foreign views of China as well as China’s self image.
The many circles of historical development that have taken place are represented in this exhibition in a simple edited format- a reflection of how history edits down the process’ of development.
The key elements of foreign and local involvement in Chinese art will also be explored by the exhibition.
As Gao Shiming, curator of the Guangzhou Triennial, told Gill: “There have been three generations of foreigners involved in Chinese art, the first generation made a hole in the wall, the second generation built a bridge, and the third generation built a beautiful pagoda.”
A limited edition book containing important documents and a wider selection of works will also be available.
Location:
Shanghart, 796 Huaihai Road, Shanghai, Peoples Republic of China
Dates: September 8 - 20
Contact:
Tel: +86 21 3395 0808
Email: hh796@shanghartgallery.com
借“中国当代艺术”之名
香格纳画廊796淮海路
2009年9月8日开幕
关于本展览
本展览首次展示一批中国当代艺术家摄于九十年代初的珍贵照片，也是几位艺术家另从另一个角度对中国当代艺术近二十年发展的一次讨论。
长久以来，有太多的逻辑陷阱使人对中国的改革开放产生错误的理解。尤其让人无法明白的是，究竟怎样的文化艺术进程导致了中国文化领域迅速持续的变革。媒体在当代中国艺术方面扮演了并继续扮演着重要的角色。因此，将从9月8日起在上海淮海路796号香格纳画廊举办的借“中国当代艺术”之名这个展览的一个基本立意是，展示媒体如何在许多中国艺术家的早期生涯中扮演了重要角色，以及一些艺术家对媒体的角色如何反应。多年来，媒体一直在记录中国当代艺术并把中国当代艺术家介绍给国内外的读者和观众。
20世纪90年代初的中国，仍处于改革开放的初期。这种独特的大环境将一小群优秀艺术家造就成了日后的知名人士，同时也出现了一些小有名气的艺术实践者。
我们将1993年作为本次展览的时间起点。那一年，在戴汉志（Hans van Dijk，之后建立了CAAW中国艺术档案仓库）的指导下组织了一系列访问活动，向北京、上海和杭州的艺术界介绍了艺术家Joerg Immendorf (汉堡)、Guenther Uecker (杜塞尔多夫)、艺术评论家 Andrew Solomon (纽约时报)、摄影Thomas Fuesser (德国明星周刊)等人。这次历史性的安排，对许多艺术家的职业生涯产生了深远的影响。
因此，此次展览让观众第一次有机会看到Thomas Fuesser在当时拍摄的照片。此前，这些照片的底片一直被留存在汉堡的一个箱子里。此外，这次访问还为日后周铁海的录像和杂志封面等作品创作提供了灵感。
李云飞 (Chris Gill) 和郝安益（Andy Hall）自90年代起就在中国居住，作为与周铁海和Thomas Fuesser作品的对照，两人的作品则以他们独特的眼光展示了历史的变迁，讲述了从1993年至今中国社会发生的变化。这种变迁不仅限于艺术界，更在于整个社会的态度和行为，也包括国外对中国的看法以及中国对自我形象的认知。
历史发展中太多的循环都在这次展览中以简单的形式被编辑和加以呈现，从而反映出历史是如何剪辑时代发展历程的。展览还将探究影响和介入中国当代艺术的国内外因素。
正如广州三年展的策展人高士明告诉李云飞的那样，“有三代外国人参与了中国艺术。第一代在墙上打了个洞，第二代造了一座桥，第三代建了一座美丽的宝塔。”
此外，随展览还将推出一本印数有限的图书，收录了相关的重要文章以及更多未展出的作品。
Shanghart
中国 上海淮海路796号
日期：9月8日 -20日
联系：• Tel: +86 21 3395 0808
Email: hh796@shanghartgallery.com
Opening: Sep.08, 2009
Venue: Shanghart Gallery HH796
About this exhibition
This exhibition presents an opportunity for the first time to see photographs of many of China’s famous artists from the early 1990s. This exhibition will be the first time these works have been presented in public, or even printed from the film. Alongside these photographs we have a visual; discussion of what has taken place in China over the last two decades conducted by the artists Zhou Tiehai, Chris Gill and Andy Hall.
There are many logical traps which catch out the observers of the Chinese reform process. There is especially a lack of understanding of what are the cultural and artistic processes that have fed the rapid and ongoing changes in the cultural field.
The media has played, and continues to play, an important role in modern and contemporary Chinese art. So one of the basic premises of the exhibition Stolen treasures from modern China, to be held at Shanghart Huaihai Road 796 starting September 8, is to show how media played an important role in the early careers of many artists in China, and also how some artists reacted to the role of the media. The media has documented as well as explained to local and international audiences the various Chinese artists and movements over the years.
The nature of intransigent cultural theft is a complex issue, as physical cultural objects created post 1949 are considered free from governmental control. But, as yet, it has not yet been really addressed what is the value of artworks created in the early 90s within the context of international dialogue alongside the Chinese phenomenon of reform and progressive change?
A unique set of circumstances in China in the early 1990s, a period when the country was still in the initial stages of its opening and reform process, led to a select group of artists becoming well known figures, and others less so.
For the starting point of this exhibition we have chosen 1993, when a series of visits introducing artists Joerg Immendorf (Hamburg), Guenther Uecker (Duesseldorf), art critics Andrew Solomon (New York Times), Thomas Fuesser (Stern, Germany), and others to the art scenes of Beijing, Shanghai and Hangzhou was arranged. This historical arrangement, a list of artist names constructed under the guidance of Hans van Dijk, proved instrumental for many artists’ careers. Later Hans founded China Art Archives and Warehouse, with Ai Weiwei.
So this exhibition provides the first opportunity to see the photos taken by Fuesser, which remained as negatives in a box in Hamburg. Also, this visit inspired Zhou Tiehai’s seminal works, such as his video and fake magazine covers.
Gill and Hall, though long term residents in China were never on the list. They weren’t particularly bothered about not being on the list. Their work presents a historical flux- a counterpoint to the work of Zhou and Fuesser, talking about the changes that have taken place over the period 1993 until now, the process of historical flux- not only in the art world, but in attitudes and behaviour in society at large- including foreign views of China as well as China’s self image.
The many circles of historical development that have taken place are represented in this exhibition in a simple edited format- a reflection of how history edits down the process’ of development.
The key elements of foreign and local involvement in Chinese art will also be explored by the exhibition.
As Gao Shiming, curator of the Guangzhou Triennial, told Gill: “There have been three generations of foreigners involved in Chinese art, the first generation made a hole in the wall, the second generation built a bridge, and the third generation built a beautiful pagoda.”
A limited edition book containing important documents and a wider selection of works will also be available.
Location:
Shanghart, 796 Huaihai Road, Shanghai, Peoples Republic of China
Dates: September 8 - 20
Contact:
Tel: +86 21 3395 0808
Email: hh796@shanghartgallery.com
借“中国当代艺术”之名
香格纳画廊796淮海路
2009年9月8日开幕
关于本展览
本展览首次展示一批中国当代艺术家摄于九十年代初的珍贵照片，也是几位艺术家另从另一个角度对中国当代艺术近二十年发展的一次讨论。
长久以来，有太多的逻辑陷阱使人对中国的改革开放产生错误的理解。尤其让人无法明白的是，究竟怎样的文化艺术进程导致了中国文化领域迅速持续的变革。媒体在当代中国艺术方面扮演了并继续扮演着重要的角色。因此，将从9月8日起在上海淮海路796号香格纳画廊举办的借“中国当代艺术”之名这个展览的一个基本立意是，展示媒体如何在许多中国艺术家的早期生涯中扮演了重要角色，以及一些艺术家对媒体的角色如何反应。多年来，媒体一直在记录中国当代艺术并把中国当代艺术家介绍给国内外的读者和观众。
20世纪90年代初的中国，仍处于改革开放的初期。这种独特的大环境将一小群优秀艺术家造就成了日后的知名人士，同时也出现了一些小有名气的艺术实践者。
我们将1993年作为本次展览的时间起点。那一年，在戴汉志（Hans van Dijk，之后建立了CAAW中国艺术档案仓库）的指导下组织了一系列访问活动，向北京、上海和杭州的艺术界介绍了艺术家Joerg Immendorf (汉堡)、Guenther Uecker (杜塞尔多夫)、艺术评论家 Andrew Solomon (纽约时报)、摄影Thomas Fuesser (德国明星周刊)等人。这次历史性的安排，对许多艺术家的职业生涯产生了深远的影响。
因此，此次展览让观众第一次有机会看到Thomas Fuesser在当时拍摄的照片。此前，这些照片的底片一直被留存在汉堡的一个箱子里。此外，这次访问还为日后周铁海的录像和杂志封面等作品创作提供了灵感。
李云飞 (Chris Gill) 和郝安益（Andy Hall）自90年代起就在中国居住，作为与周铁海和Thomas Fuesser作品的对照，两人的作品则以他们独特的眼光展示了历史的变迁，讲述了从1993年至今中国社会发生的变化。这种变迁不仅限于艺术界，更在于整个社会的态度和行为，也包括国外对中国的看法以及中国对自我形象的认知。
历史发展中太多的循环都在这次展览中以简单的形式被编辑和加以呈现，从而反映出历史是如何剪辑时代发展历程的。展览还将探究影响和介入中国当代艺术的国内外因素。
正如广州三年展的策展人高士明告诉李云飞的那样，“有三代外国人参与了中国艺术。第一代在墙上打了个洞，第二代造了一座桥，第三代建了一座美丽的宝塔。”
此外，随展览还将推出一本印数有限的图书，收录了相关的重要文章以及更多未展出的作品。
Shanghart
中国 上海淮海路796号
日期：9月8日 -20日
联系：• Tel: +86 21 3395 0808
Email: hh796@shanghartgallery.com
