forget art fair
forget art fair is a mini art fair with only one booth, which tries to switch and stretch the conception and function of the art fair. forget art fair is also try to explore a new pattern of exhibition and sale while Chinese contemporary art places an over reliance on commercial galleries. Then new pattern takes samples from the traditional art fairs and assemble them with limits in different non-for-profit spaces and museums; besides, it tries to blur the difference between experimental project and commercial sale.
forget art fair 是只有一个摊位的迷你艺博会，他试图在艺术博物馆、双年展和画廊的语境中重新转换和延伸艺博会的概念和功能。forget art fair 也是在中国当代艺术过分依赖商业画廊的情况下试图为年轻艺术家找到一种新的展示和销售模式。这种模式不仅会从传统的艺博会采样，将其有限制的拼贴在不同的非盈利和博物馆空间中，而且试图混淆和模糊实验性项目和商业销售之间的关系。
It will appear firstly in ALIBI,a group show at Linda Gallery on June 4th
6月4日下午3点会首先出现在《不在场》群展上。地点：798林大艺术中心
forget art fair 展览时间是2011年6月4日-7月3日，作为展览《不在场》的特别项目出现。
布展
霓虹灯
形象代言出马，有人来闻作品。哈哈
foget art fair 展示
艺术家杨健的LED装置 《.....想要离开》
艺术家吴小军的霓虹灯装置《don't be afraid》
艺术家黄佳的油画作品《2011年1月》《2011年2月》
意大利艺术家Alessandro Rolandi的不锈钢雕塑作品《一》
艺术家马永峰的动画作品《透明是错误的》
太装了，forget art？忘记艺术？ 可脑子里就是艺术博览会、作品、买卖、时尚什么的
楼上：忘记艺术，记着艺博会什么的，才是不装！
forget art fair 是一个搅局艺博会、貌似装置和商业批发实体。
哈哈，小的游击艺博会！！！
第二届会在树林里面举办。
forget art fair 就是要在小型艺博会的框架下进行游击式的、搅局式的、低成本的无情的尝试。
[quote]引用第12楼guest于2011-6-12 10:39:58发表的:
forget art fair 就是要在小型艺博会的框架下进行游击式的、搅局式的、低成本的无情的尝试。...[/quote]
请问感觉良好的马永丰，搅了谁的局？什么又是无情？
比赵要的展览差多了。。别瞎混了 好好做作品才是
的的
问过了，不单卖，所有5件作品打包，连带forget art fair的霓虹灯和展板才产生销售！
forget art fair 是一个游击性的 Mini 艺博会，这个周六6月18日下午3-7点会出现在望京公园的树林中。
搅什么局阿，幼稚
现场照片
哈哈。。好玩！
把这种过了时的，空洞又无趣的姿态当激进前卫，搅了谁的局啊，自己的那一亩二分地还耕不过来
自怜也是一种病
自怜也是一种病
ARTINFO 本周推介 [url]http://cn.artinfo.com/2011/06/16/editors-picks-gallery-crawl
望京公园离草场地不远，本周六（6月18日）下午3点至7点在公园的树林里，一个“游击性的、神出鬼没的Mini艺博会”forget art fair将登场，吴大伟个展将是这个仅持续几小时的“艺博会”的主体。
望京公园离草场地不远，本周六（6月18日）下午3点至7点在公园的树林里，一个“游击性的、神出鬼没的Mini艺博会”forget art fair将登场，吴大伟个展将是这个仅持续几小时的“艺博会”的主体。
哇靠，这也来个搅局的。。。搅了没？
想搅局，学双飞！！！
想搅局，学双飞！！！
[quote]引用第5楼guest于2011-6-6 23:26:27发表的:
楼上：忘记艺术，记着艺博会什么的，才是不装！...[/quote]
神马忘记记得的。。。装逼关键要装得像个逼，这回不错，装得挺像，表扬！
昨天在望京公园树林里面的是另外一种感觉。
stunning booth !
被双飞祸害的一帮
吴大伟：注重“客观”而不是“理性” 99艺术网的报道：http://news.99ys.com/20110618/article--110618--67148_1.shtml
#forget art fair#
#forget art fair#
双飞牛逼！！！！
What’s Left Out
by Edward Sanderson
from ArtSlant
[url]http://www.artslant.com/cn/articles/show/23823
Alibi
Group Exhibition
Linda Gallery Beijing
No.2 Jiu XianQiao Road, 798 Art District, ChaoYang District, 100015 Beijing, China
2011 June 04 – 2011 July 03
“Alibi,” the title in English of this group show at Linda Gallery in Beijing’s 798 Art District, seems so much more evocative than the Chinese title (不在场), which the essay by curator Wang Yifei translates as “Being Absent.” Although the adherence to the title seems a little weak at times, this show presents artists working with an absence of some sort. That being a very broad subject, the results take many forms and directions and overall the show brings together an interesting selection of works with some standout pieces.
Unsurprisingly, given where we are, the curator’s text does not delve too far into any of the contemporary social realities of “being absent,” describing it in general terms as “like a conspiracy, an escape or a way of self-liberation.” To me this places the focus more on an individual’s agency in the matter and less on absence as a result of outside circumstances. The text also proposes that: “In the contemporary art field nowadays, many artists have established their independent and mature styles of expression without any limit to the subject material.” This statement seems somewhat disingenuous. The show opened on a particularly significant day, a fact that some of the exhibiting artists were obviously well aware of, but would have been unwise to attempt to deal with directly. But there is little point dwelling on such matters, as they simply reflect the facts of working in this environment, to which I recognise I am equally beholden as I can only obliquely refer to their meaning.
Stretching across the entrance to the gallery, a long tree branch attached to the wall by a spring forces visitors to divert around or push it aside to make their entry. This piece by Yang Xinguang abstracts an experience of hiking through woods, pushing aside branches to make your way, suggesting for the curator the activity of escape from one place to another. As simple as it is, the piece has a strong effect in its evocation of the thoughtless gesture of moving through an environment far from the controlled environment of the gallery space.
Wrapping around the main wall in front of this, Liu Ren’s Searching for a sense of security is a series of thin shelves carrying around 4,000 empty eggshells, inside each of which is handwritten vocabulary from the artist’s attempts to learn English. This mass of shells arranged in their rows are overwhelming in serial nature, their combined fragility, and the sheer amount of potential learning held on their inside surface. The shells hold their information so tentatively in the emptied casings that there is always the possibility of breakage and the loss of meaning.
Perhaps the most literal demonstration of “Being Absent” is Li Wei’s painted outlines of bodies on the floor – as if evidence of some mass killing. Painted in mustard-coloured oil paint just prior to the opening, these took several hours to dry, with the outlines becoming increasingly vague and disturbed by the steps of the visitors. Li commented that this process reflected the fact that there are certain events for which the evidence may disappear, but the memory will not.
In amongst all this an additional structure has been built, mimicking the booths that appear in art fairs around the world. This serves as the setting for Ma Yongfeng’s forget art fair that takes place within the gallery for the duration of the show. Ma is known for his critical and irreverent approach to art institutions and in this case he has followed the conventions of the international art fair circuit and created his own distinct sales space, acting as a show within “Alibi.” His curated show within a curated show perhaps marks the presence in their absence of curators themselves, hovering over their shows while attempting not to overshadow them (a delicate balancing act which only the best pull off).
Works inside Ma’s “fair” include the minimal white canvases of Huang Jia, who adds ridges of stitching to their featureless painted surfaces; Alessandro Rolandi’s unassuming bamboo cane made from polished stainless steel leans up against the corner of the space; and a nice work by Yang Jian of an old armchair supporting a semi-circular section of LED signage. This sign displays a continuous moving text announcing: “… Huang Lei, male, wants to leave – Chen Xiaoxia, female, wants to leave…” etc. For me this piece presented the most appropriate, sensitive and poetic response to the theme of the show. This scrolling sign arches above the absent human form in the armchair, announcing the rather sad and impotent longings of many people to simply – leave.
by Edward Sanderson
from ArtSlant
[url]http://www.artslant.com/cn/articles/show/23823
Alibi
Group Exhibition
Linda Gallery Beijing
No.2 Jiu XianQiao Road, 798 Art District, ChaoYang District, 100015 Beijing, China
2011 June 04 – 2011 July 03
“Alibi,” the title in English of this group show at Linda Gallery in Beijing’s 798 Art District, seems so much more evocative than the Chinese title (不在场), which the essay by curator Wang Yifei translates as “Being Absent.” Although the adherence to the title seems a little weak at times, this show presents artists working with an absence of some sort. That being a very broad subject, the results take many forms and directions and overall the show brings together an interesting selection of works with some standout pieces.
Unsurprisingly, given where we are, the curator’s text does not delve too far into any of the contemporary social realities of “being absent,” describing it in general terms as “like a conspiracy, an escape or a way of self-liberation.” To me this places the focus more on an individual’s agency in the matter and less on absence as a result of outside circumstances. The text also proposes that: “In the contemporary art field nowadays, many artists have established their independent and mature styles of expression without any limit to the subject material.” This statement seems somewhat disingenuous. The show opened on a particularly significant day, a fact that some of the exhibiting artists were obviously well aware of, but would have been unwise to attempt to deal with directly. But there is little point dwelling on such matters, as they simply reflect the facts of working in this environment, to which I recognise I am equally beholden as I can only obliquely refer to their meaning.
Stretching across the entrance to the gallery, a long tree branch attached to the wall by a spring forces visitors to divert around or push it aside to make their entry. This piece by Yang Xinguang abstracts an experience of hiking through woods, pushing aside branches to make your way, suggesting for the curator the activity of escape from one place to another. As simple as it is, the piece has a strong effect in its evocation of the thoughtless gesture of moving through an environment far from the controlled environment of the gallery space.
Wrapping around the main wall in front of this, Liu Ren’s Searching for a sense of security is a series of thin shelves carrying around 4,000 empty eggshells, inside each of which is handwritten vocabulary from the artist’s attempts to learn English. This mass of shells arranged in their rows are overwhelming in serial nature, their combined fragility, and the sheer amount of potential learning held on their inside surface. The shells hold their information so tentatively in the emptied casings that there is always the possibility of breakage and the loss of meaning.
Perhaps the most literal demonstration of “Being Absent” is Li Wei’s painted outlines of bodies on the floor – as if evidence of some mass killing. Painted in mustard-coloured oil paint just prior to the opening, these took several hours to dry, with the outlines becoming increasingly vague and disturbed by the steps of the visitors. Li commented that this process reflected the fact that there are certain events for which the evidence may disappear, but the memory will not.
In amongst all this an additional structure has been built, mimicking the booths that appear in art fairs around the world. This serves as the setting for Ma Yongfeng’s forget art fair that takes place within the gallery for the duration of the show. Ma is known for his critical and irreverent approach to art institutions and in this case he has followed the conventions of the international art fair circuit and created his own distinct sales space, acting as a show within “Alibi.” His curated show within a curated show perhaps marks the presence in their absence of curators themselves, hovering over their shows while attempting not to overshadow them (a delicate balancing act which only the best pull off).
Works inside Ma’s “fair” include the minimal white canvases of Huang Jia, who adds ridges of stitching to their featureless painted surfaces; Alessandro Rolandi’s unassuming bamboo cane made from polished stainless steel leans up against the corner of the space; and a nice work by Yang Jian of an old armchair supporting a semi-circular section of LED signage. This sign displays a continuous moving text announcing: “… Huang Lei, male, wants to leave – Chen Xiaoxia, female, wants to leave…” etc. For me this piece presented the most appropriate, sensitive and poetic response to the theme of the show. This scrolling sign arches above the absent human form in the armchair, announcing the rather sad and impotent longings of many people to simply – leave.
[quote]引用第12楼guest于2011-6-12 10:39:58发表的:
forget art fair 就是要在小型艺博会的框架下进行游击式的、搅局式的、低成本的无情的尝试。...[/quote]
草，真特马被你搞晕鸟，你马鼻
谁啊
