140平方米画廊：未来事物的面貌 The Shape of Things to Come
未来事物的面貌
艺术家：何颖雅 梁硕 仇晓飞 孙逊
策展人：毕月Beatrice Leanza
地 点：140平方米画廊
展 期：2009年9月8日 – 10月31日
开 幕：2009年9月8日 星期二 15:00 – 19:00
上海市复兴中路1331号26室 近汾阳路 200031
＋86 21 6431 6216
info@140sqm.com
www.140sqm.com
“….就是一扇门。想象我们接近并敲击这扇门，越来越难，敲啊敲，不只是要得到许可而是需要你这样做；我们不知道它是什么但是可以感知得到…..这个彻底的绝望，敲它，撞它，踢它。最终，门开了，但是向外开着 --- 自始至终，我们都在想要的东西里面。奇怪！”
大卫.福斯特.华莱士
《未来事物的面貌》是一个实验性的项目。把四位艺术家和一个策展人安排一起来审视“非”现在的当代艺术。展览构思于珍奇异宝的陈列室（Wunderkammer）及惊奇的小屋（Cabinet of Curiosity），着力于把艺术事物的状态揭露到科学的自我审视。用拓展创造性过程的视觉描述及空间范围来超越它的消亡，使之进入一个未来可能发生的范围。正如陈列室里面包含了客观化了的历史的集合，这个项目就是在一个潜在的新的艺术秩序下有意来抓住其本身和它的艺术作品。
写于1933年经济大萧条高峰时期，与作家H.G.Wells齐名的小说《未来事物的面貌》讲述了2105年以前的世界历史。无情的揭露了从有征兆的预言直到全球性的毁灭。Wells的想象明显地清理了当前的踪迹，使其消失。
改写詹姆士的《未来城市》中的表达方式，Wells无疑最大程度的利用了[科幻]这种体裁的绝妙之处。即，无视未来，集中于单一的危害性的趋势。这种危害扩张再扩张直到这个危害本身变成犹如世界末日般，诱骗我们把世界爆发成碎片和原子。
下一步，我们是否能够试爆我们的美学意义上的宇宙？用游戏桌的观念性的尺度来人为制造，历史的包袱、当代的遗迹将作为一个当下时间的视觉仓库被留存，然后在新的符号秩序下，被再度激醒，以愉悦的扩张在经验和预感间延续。超出可预见性的结局，他们将构架出一个有希望的艺术预言；
这样好似对现今时代的探索，历史怎样来启动？
我们是否可以避免艺术模式的批判的融合，忽视过去的事物，以及他们的身份、差别 仍旧冲击一个实在的未来？
项目的参与者用这个展览的地点和它的经济效果来演示这个绝妙的点子。
如在记忆剧场里，时间在符号和场所的集合地图里面模糊和叠加。这次展览希望可以展现一个“观察的过程”，是一艺术战略在本地空间和它所隐藏的地方的新的观念的轨道，也是于现在的难以控制的对话。
在介于清晰和模糊之间激活记忆和回忆到一个持续的修订。 他们隐约呈现我们来看清事实和物质现象的组织结构，以助于让我们所在的时间空间和位置更有意义。
无论怎样，在好奇和信仰、自然与人工之间，显示出通常现在的类似角色 – 抛开这些归属的不完整、矛盾和无美感，我们总能重新塑造未来事物的面貌。
展览《未来事物的面貌》为特定空间140平方米画廊度身设计。展示一个系列的彼此关联的装置和文字。两者的分界线将在这里被不断考察和披露。其中的一些残留已经放置在了这篇文章的某处。
为展览而做的邀请函及视觉特效是来自艺术家何颖雅的友情付出，也是她在此空间的一件功能性补充式的装置作品。
The Shape of Things to Come
Artists: Elaine W. Ho, Liang Shuo, Qiu Xiaofei, Sun Xun
Curator: Beatrice Leanza
Venue: 140sqm gallery
Date: September 8 – October 31, 2009
Opening: September 8, 2009 Tuesday 15:00-19:00
1331 Fuxing zhong lu, Room 26, near Fenyang lu
Shanghai 200031
＋86 21 6431 6216
info@140sqm.com
www.140sqm.com
“…all about a kind of door. To envision us approaching and pounding on this door, increasingly hard, pounding and pounding, not just wanting admission but needing it; we don’t know what it is but we can feel it, this total desperation to enter, pounding and ramming and kicking. That, finally, the door opens, and it opens outward --- we’ve been inside what we wanted all along. Das ist komish”
David Foster Wallace
The Shape of Things to Come is an experimental project bringing together four artists and one curator to test the ground of contemporary art in a time ‘other than’ the present. Conceived in reminiscence of a Wunderkammer, or Cabinet of Curiosity, the exhibition engages the task of exposing the status of artistic objects to scientific self-inspection. It does so by stretching the visual narratives and spatial extents of the creative process past its extinction, into the realm of a possible future. As the Cabinet contained an object-ified reservoir of history, this project deliberately captures itself and the works toward a latent new aesthetic order.
Written in 1933 at the peak of the Great Depression, the novel by H.G.Wells from which this exhibition takes its name provides an account of world history up to 2105; in a disastrous unraveling of ominous predictions towards global collapse, Well’s imagination purges the traces of the present with no regret for its oblivious passing away. Adapting an expression from Jameson’s essay Future City, Wells certainly makes best use of “the secret method of this genre [science-fiction]: which in the absence of a future focuses on a single baleful tendency, one that it expands and expands until the tendency itself becomes apocalyptic and explodes the world in which we are trapped into innumerable shards and atoms”.
What then, if we were able to test-drive the deflagration of our aesthetic universe? Manufactured in the conceptual size of a table-game, what parcels of history, relics of the contemporary, would be left as a visual repository of our present times, and in what new semiotic order would they re-awaken so that by way of an exhilarating expansion, stretched between experience and premonition, they’d frame the possibility of a hopeful artistic prophecy beyond its predictable end.
Such is seemingly the quest of the current age. How to jumpstart history?
Can we avoid a critical conflation of artistic paradigms, that is, a totalizing erasure of things past, their identity and difference, and still break through a concrete future?
The project’s participants use the site and economics of the exhibition to play out such a fantastic threat.
As in a Memory Theatre where timelines are confused and overlapping in an associative map of symbols and places, this show wishes to expose the processes of observation constitutive of the works presented, that is the aesthetic strategies subtending new conceptual trajectories of research in the space of the local and its hidden, uncontrollable forms of dialogue with the present.
By activating memory and recollection into a continuous revision of what dwells between visibility and invisibility, they subtly reveal the organizational structures we employ to discern the truth of things and the material phenomena which help us making sense of our time, space and position within it.
Somehow between wonder and belief, the natural and the man-made, there appears the resemblance of a common present. Out of this partial, ambivalent, unaesthetic sense of belonging we can always re-form the shape of things to come.
Site-specifically devised for the 140sqm Gallery, The Shape of Things to Come presents a series of interlocking installations and textual interventions where boundaries continue to be tested and stripped down. Some of the leftovers have already made it somewhere into this text.
The invitation and visual identity produced for the exhibition are part of Elaine W. Ho’s contribution to the show, and a ‘tool’ complementary to her installation in t
Artists: Elaine W. Ho, Liang Shuo, Qiu Xiaofei, Sun Xun
Curator: Beatrice Leanza
Venue: 140sqm gallery
Date: September 8 – October 31, 2009
Opening: September 8, 2009 Tuesday 15:00-19:00
1331 Fuxing zhong lu, Room 26, near Fenyang lu
Shanghai 200031
＋86 21 6431 6216
info@140sqm.com
www.140sqm.com
“…all about a kind of door. To envision us approaching and pounding on this door, increasingly hard, pounding and pounding, not just wanting admission but needing it; we don’t know what it is but we can feel it, this total desperation to enter, pounding and ramming and kicking. That, finally, the door opens, and it opens outward --- we’ve been inside what we wanted all along. Das ist komish”
David Foster Wallace
The Shape of Things to Come is an experimental project bringing together four artists and one curator to test the ground of contemporary art in a time ‘other than’ the present. Conceived in reminiscence of a Wunderkammer, or Cabinet of Curiosity, the exhibition engages the task of exposing the status of artistic objects to scientific self-inspection. It does so by stretching the visual narratives and spatial extents of the creative process past its extinction, into the realm of a possible future. As the Cabinet contained an object-ified reservoir of history, this project deliberately captures itself and the works toward a latent new aesthetic order.
Written in 1933 at the peak of the Great Depression, the novel by H.G.Wells from which this exhibition takes its name provides an account of world history up to 2105; in a disastrous unraveling of ominous predictions towards global collapse, Well’s imagination purges the traces of the present with no regret for its oblivious passing away. Adapting an expression from Jameson’s essay Future City, Wells certainly makes best use of “the secret method of this genre [science-fiction]: which in the absence of a future focuses on a single baleful tendency, one that it expands and expands until the tendency itself becomes apocalyptic and explodes the world in which we are trapped into innumerable shards and atoms”.
What then, if we were able to test-drive the deflagration of our aesthetic universe? Manufactured in the conceptual size of a table-game, what parcels of history, relics of the contemporary, would be left as a visual repository of our present times, and in what new semiotic order would they re-awaken so that by way of an exhilarating expansion, stretched between experience and premonition, they’d frame the possibility of a hopeful artistic prophecy beyond its predictable end.
Such is seemingly the quest of the current age. How to jumpstart history?
Can we avoid a critical conflation of artistic paradigms, that is, a totalizing erasure of things past, their identity and difference, and still break through a concrete future?
The project’s participants use the site and economics of the exhibition to play out such a fantastic threat.
As in a Memory Theatre where timelines are confused and overlapping in an associative map of symbols and places, this show wishes to expose the processes of observation constitutive of the works presented, that is the aesthetic strategies subtending new conceptual trajectories of research in the space of the local and its hidden, uncontrollable forms of dialogue with the present.
By activating memory and recollection into a continuous revision of what dwells between visibility and invisibility, they subtly reveal the organizational structures we employ to discern the truth of things and the material phenomena which help us making sense of our time, space and position within it.
Somehow between wonder and belief, the natural and the man-made, there appears the resemblance of a common present. Out of this partial, ambivalent, unaesthetic sense of belonging we can always re-form the shape of things to come.
Site-specifically devised for the 140sqm Gallery, The Shape of Things to Come presents a series of interlocking installations and textual interventions where boundaries continue to be tested and stripped down. Some of the leftovers have already made it somewhere into this text.
The invitation and visual identity produced for the exhibition are part of Elaine W. Ho’s contribution to the show, and a ‘tool’ complementary to her installation in t
http://www.saatchi-gallery.co.uk/get.php?trg=zh&url=www.saatchi-gallery.co.uk/artists/sculpture/ 名字都是抄袭的
