那看见万物的、知道万物的，就是万物 | Those who see and know all, are all and can do all.

那看见万物的、 知道万物的， 就是万物 Those who see and know all, are all and can do all.

22.5-20.6.2020 画廊周北京2020新势力单元 Gallery Weekend Beijing 2020 Up&Coming Sector 策展人：张涵露 Curator: Zhang Hanlu

画廊周北京2020 新势力单元 Gallery Weekend Beijing 2020 Up&Coming Sector

画廊周北京的“新势力单元”项目板块展示了正在成长中的华语地区年轻艺术家的 创作面貌。在当今的信息社会，这些新一代的艺术家在全球化的交流语境中受益 良多。他们以前所未有的速度开辟了更广的、充满各种可能性的创作发展道路， 并收获了前所未有的关注，因此对他们的支持和引导也变得尤为关键。

The Up&Coming Sector of Gallery Weekend Beijing will present artworks by young talents in the Chinese-speaking world whose artistic development could be worth following. In our current information society, emerging artists of today are the first generation to be immersed in a fully globalised and contextualised art world which can often determine the flexibility of their paths at a speed and a new rate of exposure that were unknown before, thus, making their observance more thrilling, but their support and guidance all the more crucial.

那看见万物的、 知道万物的， 就是万物 Those who see and know all, are all and can do all.

22.5-20.6.2020 画廊周北京2020新势力单元 Gallery Weekend Beijing 2020 Up&Coming Sector 策展人：张涵露 Curator: Zhang Hanlu

页码 Page

艺术家

Artists

胡庆泰

Hu Qingtai

3

李文光

Li Wenguang

7

谭婧

Tan Jing

9

童文敏

Tong Wenmin

11

朱荧荧

Zhu Yingying

15

蒲英玮

Pu Yingwei

21

铁木尔 · 斯琴

Timur Si-Qin

23

王欣

Wang Xin

27

吴思嶔

Wu Sih-Chin

29

周思维

Zhou Siwei

31

李然

Li Ran

45

童昆鸟

Tong Kunniao

47

张雷

Zhang Lei

49

周轶伦

Zhou Yilun

51

超家族+女子天团+空气炸Hellkitty乐队

Chaos Family + NZTT Sewing Co-op + Hellkitty Band

57

+木刻班 +本广大画廊

+ Woodcut Class + Benguangdahualang

点点宣传部

· · PROPAGANDA DEPARTMENT

65

胡尹萍

Hu Yinping

67

杨鑫

Yang Xin

71

张文心

Zhang Wenxin

75

圣 杯 / 水 Suit of Cups / Water

宝 剑 / 空 气 Suit of Swords / Air

2 20 33

——

那 看 见 万 物 的 、 知 道 万 物 的 ， 是 你 致 展 览 观 众

To exhibition visitors:

You, The One Who Sees and Knows All

37 56

权 杖 / 火 钱 币 / 土 地 Suit of Pentacles / Earth

Suit of Wands / Fire

44

1

圣杯 / 水 直觉扮演了重要的角色。艺术家的身体与他们的周遭或 者与看不见的崇高力量作直接的交流，而不是服从头脑 的指令。一些作品直接处理水或者液体物质。

Suit of Cups / Water Intuition plays a large part in artistic approach. The body communicates with its surrounding or an imaginary larger power directly, rather than following the commands of the mind. Some of the works deal with water or liquid materiality directly.

2

胡庆泰 HU QINGTAI (b. 1985) 胡庆泰，1985年出生黑龙江，现工作生活于北京。2008年毕

Hu Qingtai was born in China in 1985 and received a BA in Video

业于湖北美术学院影像媒体专业，获学士学位。胡庆泰的作品

and Media Art from the Hubei Academy of Art in Wuhan. In

多在讨论人与人、与社会环境、物品之间的关系，且质疑艺术

his artworks, Hu mainly focuses on the relationships between

家以及艺术的创造性，作品涉及到诸多现成艺术媒介，包括行

human beings, objects, and other humans. His works challenge

为，录像，雕塑，绘画以及表演等。

notions of creativity that often clouds people’s understanding of artists and artworks. He works with a range of mediums, including performance, video, sculpture, and painting.

主要个展： 2018 “通过 ‘头部’ 正催动 ‘肢体’ 的 ‘力’”，杨画廊，北京

Solo Exhibitions:

2017 “眼神涣散 / 快走 / 眉皱 / 搬东西 / 手脚无处可放 /

2018 “A ‘Force’ Spurring ‘Limbs’ via ‘Head’”, Gallery Yang, Beijing, China

推门 / 咬牙绷脸用力注视 / 揉腿及左胸 / 什么都不想

2017 “Daze / Brisk Walks / Frown / Carry Things / Disoriented /

做！”，墨方空间，北京 2016 “两部分”，日光亭项目，泰康空间，北京

Push Open / Grind, Pout&Gaze / Rubbing the Legs and

2014 “庆泰，最美的颜色是黄色”，巴塞尔“艺术探新”单元 ，

the Left Chest / Being Lethargic!”, MOCUBE, Beijing, China

香港

2016 “Hu Qingtai: Two Parts”, Light Pavilion Project, Taikang Space, Beijing, China 2014 Art Basel Hong Kong “Discoveries Sector”

作品由艺术家和站台中国当代艺术机构惠允 Courtesy of the artist and Platform China Contemporary Art Institute

3

图片由艺术家和画廊惠允 Images courtesy of the artist and the gallery

通过“头部”正催动 “肢体”的“力”

A “Force” Spurring “Limbs” via “Head”

六频录像（彩色，有声） 时长8秒至1分51秒不等

6-channel video (colour, sound) Lengths varying between 8’’ and 1’ 51’’

“我觉察到有股‘力’时常流窜冒出，穿过身体并试图引导支配

“I perceived a ‘force’ that often bursted out of nowhere, flowed

肢体，我却无法辨别它是深居体内出自自身，还是来自体外源

through my body, and tried to control my limbs. I couldn’t

于他者。突然它会一鼓作气袭击身体伪装成冲动或意志决绝，

decide upon its origin. Was it hidden deep in the body or did

又立马消失。意图模糊多变，却真实时常地袭击我身体的日常

it come from the outside? Suddenly it made a vigorous attack

平庸，制造波动。我用肢体试着对这个无法说清却又具体的流动

on my body in the guise of an impulse or an unyielding will,

的团雾状‘力’进行了捕捉和演绎，我希望反过来观众可以通过观看

and just as suddenly it vanished. Vague and fickle as it was, it

我的肢体活动而去理解和猜测那个正流过我肢体的团雾状‘力’。”

truly and frequently ambushed the everyday mediocrity of my

2017

2017

body, creating disturbances. I tried to use my limbs to capture and represent this fog-shaped force, which was inscrutable yet

——胡庆泰

so concrete. I made a reverse design: hopefully, by watching movements of my limbs, audience may understand and appreciate this fog-shaped ‘force’ flowing through my body.”

—Hu Qingtai

4

图片由艺术家惠允 Images courtesy of the artist

“修剪”冒头“树枝”并将 其“尸首”示众

Tree Limbs Truncated for Being Too Radical

行为，木板，树枝，铁丝 99 x 151 x 20 cm, 2019-2020 99 x 180 x 26 cm, 2020 99 x 181 x 24 cm, 2020

Performance, wood, tree limbs, wire 99 x 151 x 20 cm, 2019-2020 99 x 180 x 26 cm, 2020 99 x 181 x 24 cm, 2020

“我用园艺剪刀将所在城市街道两旁绿化树（三球悬铃木）的

“I used garden scissors to cut off some of the branches of the

部分树枝剪了下来，有的是冒头的新枝、旁枝，也有的是我

green trees on both sides of the city streets. I cut them, tied

看不顺眼的叉枝、杂枝。我将它们剪断、捆扎后的尸首悬挂

them up, hung them high, or threw them in barrels, and then

在高处或丢进桶里在公众场所中公开呈现。

displayed them in public.

“这个行为举动中，我的动机是复杂的，有我对个体生存手段

“In this behavior, my motives are complex, including my

的写实，对管控的提示，也包含我对‘修剪’、‘震慑’等强者铁

realistic description of individual survival means and hints of

腕手段的崇拜与赞美，又夹杂着反感与厌恶，是分裂的，也

control, as well as my worship and praise of ‘pruning’, ‘shock

是真实的。”

and awe’ and the iron fist exercised by powerful figures. It’s a

2019 - 2020

2019-2020

mix of aversion and disgust, which is split and true.”

——胡庆泰 — Hu Qingtai

5

图片由艺术家惠允 Images courtesy of the artist

Four Chapters of Discomfort

不适四节

2012-2020

2012 - 2020

2012：行为、四频录像（彩色，有声）， 7分32秒（跑 步）3分45秒（扎马步）、4分17秒（弹跳）、 5分01秒（直抬腿）

2012: Performance, 4-channel video (colour, sound) 7’32’’ (Jogging), 3’45’’ (Zama step), 4’17’’ (Bounce), 5’01’’ (Straight leg)

2014： 纸上笔记，8个页面，每页尺寸：14 × 10cm

2014: Paper notes, 8 pages, each page: 14 × 10 cm

2015： 纸上数码喷绘,（Photoshop制图），143 × 75 cm

2015: Printing on paper (Photoshop drawing), 143 × 75 cm

2019-2020: 大理石雕塑， 雕塑置于青石底座上，

底座尺寸为25.5 x 120 x 72 cm

2019 - 2020: Marble sculpture (Dimensions variable)

base size 25.5 x 120 x 72 cm

“《不适四节》是不同时段从几个不同角度对自己身体不适的

“Four Chapters of Discomfort encompasses multiple records

多次记录和表述，由四部分组成。我认为它重要，是因为它在

and descriptions of my physical discomfort from various

我的个人生活轨迹里，几乎超过了我对其他所有事情的注意。

perspectives in different periods of time. It consists of four

它的异样让我不自觉地去注意，随时会烦躁……它占用了我大

parts. I think it is important, as it has monopolised most of the

量的注意力。所以，我在表达其它事情时有必要也表达这件事。”

attention in my life. Its strangeness captures my attention and could become troublesome at any time… There is thus the necessity to address it even when I am talking about other things.”

——胡庆泰

— Hu Qingtai

6

李文光 LI WENGUANG (b. 1985) 李文光，1985年出生于上海，现工作、生活于上海。其主要

Li Wenguang (b. 1985, Shanghai) currently lives and works in

个展包括：“李文光‘科幻小说’特别项目”，蜂巢当代艺术中

Shanghai. His major solo exhibitions include: Li Wenguang

心，北京，2019；“复写：李文光”，蜂巢当代艺术中心，深

Special Project “Science Fiction”, Hive Center for Contemporary

圳，2018；“李文光”，蜂巢当代艺术中心，北京，2017。主

Art, Beijing, 2019; “Palingraphia: Li Wenguang”, Hive Center for

要群展包括：“成都·蓬皮杜：全球都市国际艺术双年展”，成

Contemporary Art, Beijing, 2018; “Li Wenguang”, Hive Center

都，2018；“零度之维：抽象艺术的理性表达”，蜂巢当代艺

for Contemporary Art, Beijing. His major group exhibitions

术中心，北京，2017。

include: “Cosmopolis #1.5: Enlarged Intelligence”, in collaboration with the Centre Pompidou”, Chengdu, 2018; “Degree Zero of Art: the Rational Expression of Abstract Art”, Hive Center for Contemporary Art, Beijing, 2017.

作品由蜂巢当代艺术中心惠允 Courtesy of Hive Center for Contemporary Art

7

污水怪谈（六） 2019

中性水笔，油彩，树脂胶，布面纸本拼贴 150 x 140 cm

Dark Water Tales VI 2019

Pen, oil, resin, paper collage on canvas 150 x 140 cm

污水怪谈（七） 2019

中性水笔，油彩，树脂胶，布面纸本拼贴 205 × 156 cm

Dark Water Tales VII 2019

Pen, oil, resin, paper collage on canvas 205 × 156 cm

图片由画廊惠允 Images courtesy of the gallery

自2012年始，李文光基于伪科学和潜意识，试图探索抽象绘

In 2012, Li Wenguang became interested in pseudoscience and

画与科幻小说或者科幻思维所关涉的不同逻辑叙事之间进行

the subconscious, which set off lasting explorations that led to

勾连的可能性。在李文光的“污水怪谈”系列作品中，艺术家

his “Fallacy – Science Fiction” project. The artist is especially

思考工业化所导致的对于水体的污染以及人类的侵蚀。带有

concerned with water pollution caused by industrialization and

韵律感的音节、抽象的图式，以及颇具弥散气息的水体混合

man-made erosion. First impressions of his series “Dark Water

物，构成了观者对于其画面的直观印象。两件作品选取了上

Tales” come from its rhythmical syllables, abstract schemata, and

述诸元素当中最为基本的结构进行搭建，包括延续了其以往

mixture of fluids with a rather diffusive scent. He has intentionally

创作画面整体的红蓝色调，使用带有节律的字母而非具有象

adopted these elements as the most basic structures of his

征趋向的汉字。

creations, and also continues to use the tonalities of red and blue for every painting as before, as well as rhythmical letters in place of symbolic Chinese characters.

8

谭婧 TAN JING (b. 1992) 谭婧，1992年出生于中国广东省。2015年于英国伦敦切尔西

Tan Jing (b. 1992, Guangdong Province) obtained her BA at

艺术学院获得学士学位，2017年于英国伦敦皇家艺术学院获得

the Chelsea College of Art in 2015 and her MA at the Royal

硕士学位。她的艺术实践包括雕塑，多媒体装置和表演性工作

College of Art in 2017. Tan is keen on experimenting with

坊。她的创作时常来自于个人历史与生物学、民俗学素材研究

textures, materials, and forms within sculpture and installation.

的交织。谭婧着迷于研究特定场域中，感官如何被实验性的材

Her practice combines her expertise in the unpredictable

料所调动，并且在物体和空间的作用下实现个体感受与半虚构

composition of materials and techniques with her whimsical

故事的重叠。谭婧通过艺术实践，探索想象的空间如何被流动

twisting of elements from biology and folklore. Tan has been

和出走的经验共情所牵引，使观者对她构建的叙事产生推测性

experimenting with recreating new versions of a story through

的联想。她的作品曾展于德国Alt Handelsschule（2018），巴

the combination of personal experience, folklore, and history,

塞尔Spielzeug Welten Museum（2018），伦敦Camden Art

concocting imagined spaces marked by experiential empathy.

Center资助项目（2017），广东时代美术馆（2020），上海

Her recent exhibitions include: “But there is no one for

油罐艺术中心 （2020）。谭婧于2019-2020在黄边站当代艺

me…” , Bolingbroke Walk project, Yard gallery, Shanghai

术中心担任艺术研究员。

(2018), “Space Chorus”, Alt Handelsschule gallery, Leipzig, Germany, (2018), “Re-set”, Baolong Art museum, Shanghai (2018), “Mut zum Hut! Hats off to hats!”, Spielzeug Welten Museum, Basel (2019), etc. Tan undertook a fellowship at HB Station in Guangzhou from 2019 to 2020.

作品由艺术家惠允 Courtesy of the artist

9

图片由艺术家惠允， 摄影：王闻龙 Images courtesy of the artist. Photo: Alessandro Wang

But there is no one for me...4

但是我一个都没有...4 2020

硅胶，水增稠粘液，黏土，机械泵，音响装置 作品主体：25 x 20 cm 机器：39 x 45 x 22 cm

2020

Silicone, slime, clay, machine pump, speaker Main body of work: 25 x 20 cm Machine: 39 x 45 x 22 cm

艺术家从个体生命所遭遇的处境出发，瞬间重现和回顾作为女

This project is an art installation through which the artist

性需要展现“阳刚气质”从而获得在父权体制中对此的“奖励”。

reviews and reimagines personal encounters where women

结合对异型女民俗传说“田螺姑娘”的研究，对其中“被夺螺”的

were forced to show their masculine temperament in order

章节进行改写，切换成个人童年的创伤感受。幽暗的空间里，

to be rewarded in the patriarchal system. After studying a folk

湿黏的感受与生冷的装置，在扩张微小的瞬间，拥有持续性

legend about the metamorphic Snail Maiden, the artist

的破坏力。“持续性”这一概念在装置不间断的保护黏液分泌中

rewrote the chapter about the snail shell being taken away,

被细腻的体现。模拟着无脊椎动物在失去原生螺壳时，受到暴

and substituted it with personal childhood trauma. By creating

力刺激而大量的分泌黏液从而进行自我保护。观者通过凝视作

the feeling of clamminess in a shadowy space, the artist

品中缓慢和持续性的流淌状态，引发对儿时相似经验的共情。

endows these cold lifeless machines with sustainable

“声音”随着走廊的回声蔓延展厅，还有滑落到地上的粘稠让空

destructive power. The concept of continuity is delicately

间带来真假难辨的叙事想象。

embodied in the device’s uninterrupted mucus secretion.

Observing the slowness and persistence of unhindered production of mucus will trigger empathy and memory of similar childhood experiences in spectators. Down the hall where this sound echoes, the mucus, which is drooping onto the ground, is revealing a space of storytelling and imagination where one can hardly tell reality from hallucination.

10

童文敏 TONG WENMIN (b. 1989) 童文敏，1989年生于中国重庆。2012年毕业于四川美术学院

Tong Wenmin (b. 1989, Chongqing, China) received her BFA

油画系。获得华宇青年奖评委会大奖（2018）、第八届新星

at the Sichuan Fine Arts Institute in 2012. She won the Grand

星艺术奖第一等奖（2017）。近期的主要个展包括：“祖母

Jury Prize in the Huayu Youth Award competition in 2018 and

绿”，空白空间，北京，中国（2019）。童文敏现工作生活于

First Prize at the 8th New Star Art Award by Deji Art Museum

重庆。童文敏的创作常常聚焦于外部环境与个体感知的交叉地

in 2017. Her recent solo exhibitions include “Emerald” at

带，通过看似背反逻辑的行为，激发微妙且具启发性的行动及

WHITE SPACE BEIJING in 2019. Tong Wenmin currently works

其视觉诗意。通过时常简化的或具规律性的动作，在语义丰富

and lives in Chongqing. Tong Wenmin’s work often focuses

的情境中提示身体与行动的寓言性品格。

on the intersection between individual perception and the external environment, stimulating visual poetry and inspiring action through behaviors that at first seem counterintuitive.

Through often simplified or regulated movements, her work hints at the allegorical character of the body and action within a semantically rich context.

作品由艺术家及空白空间惠允 Courtesy of the artist and WHITE SPACE BEIJING

11

图片由艺术家及画廊惠允 Images courtesy of the artist and the gallery

Dizzy

眩晕 2017

2017

行为 单频录像（彩色，有声） 3分47秒

Performance Single-channel video (colour, sound) 3’ 47”

“仰面躺在约六摄氏度的水中，水流湍急但平静，自己的呼吸

“I laid in water that was about 6℃. The water flow moved

声越来越重，灰白的天空在不断变幻。”

rapidly yet smoothly over me. My breath got heavier and heavier while the greyish-white sky was constantly changing.”

——童文敏 — Tong Wenmin

12

图片由艺术家及画廊惠允 Images courtesy of the artist and the gallery

放风

Fly the Wind

2016

2016

行为 单频录像（彩色，有声） 5分14秒

Performance Single-channel video (colour, sound) 5’ 14” “I flew on wind on a mountain top, with nine black lines twining

“用连着头发的黑线缠绕在九块碎石上，在山顶放风。”

my hair to nine broken rocks.”

——童文敏 — Tong Wenmin

13

图片由艺术家及画廊惠允 Images courtesy of the artist and the gallery

金色的火

Golden Fire

行为 单频录像（彩色，有声） 20分

Performance Single-channel video (colour, sound) 20’

“裸体蜷躺在地上，用涂满金色的手拍打背部，持续两小时。”

“I curled up naked on the ground and patted my back with the

2016

2016

right hand painted in gold. The piece lasted for 2 hours.”

——童文敏 — Tong Wenmin

14

朱荧荧 ZHU YINGYING (b. 1989) 1989

生于西安

1989

Born in Xi’an

2011

毕业于四川美术学院油画系，获学士学位

2011

BA Sichuan Fine Arts Institute,

2014

毕业于中央美术学院实验艺术系，获硕士学位

Oil Painting Department

2014

MA China Central Academy of Fine Arts,

Experimental Art Department

现工作生活于北京

Currently lives and works in Beijing.

Solo Exhibitions:

个展 2019

“宁芙”，拾萬空间，北京

2019

“Nymph”, Hunsand Space, Beijing

2017

“日夜”，拾萬空间，北京

2017

“Day and Night”, Hunsand Space, Beijing

Selected Group Exhibitions:

部分联展 2019

上海021艺术博览会，上海展览中心，上海

2019

Art021 Shanghai, Shanghai Exhibition

2019

“克莱因平面：躯体与意识的共享场域”，

Centre, Shanghai

湖北美术馆，武汉

2019

2018

“全在从事世界掘金”，佑品空间，武汉

Hubei Museum of Art, Wuhan

2018

作品由艺术家及拾萬空间惠允 Courtesy of the artist and Hunsand Space

15

“Klein Plane: A Shared Field of Shell & Ghost”, “All are Digging for Gold in the World”, Youpin Space, Wuhan

图片由艺术家及画廊惠允 Images courtesy of the artist and the gallery

隐秘之心

Hidden Heart

老照片，艺术微喷 60 × 48 cm；60 × 48 cm；55 x 67 cm

Antique photo, giclee print 60 × 48 cm; 60 × 48 cm; 55 x 67 cm

《隐秘之心》包含了油茶花枝、果枝的形态和嫁接育苗方法、

Hidden Heart includes a series of images culled from scientific

红萍孢子果和麦穗胚芽在显微镜下的状态，老鼠胚胎从细胞到

research materials created in the 70s and 80s all over

成形的变化过程等，它们都来自于七、八十年代各个不同地区

the world: the shape of the fruit spurs of oil-seed camellia;

的科研照片，在项目中用微观叙事和碎片化感知方式提示了图

seedlings and grafting technology; microscopic images of

像研究的隐性线索。朱荧荧的旧照片素材大多源于这样的档案

sporocarp and wheat germ; the development of a mouse

资料，这些相册通常用摄影和文本结合的模式，进行冷静、客

embryo. These fragmented perceptions and narratives on the

观、细致、全方位的分析研究，这种对平凡事物的观察方式令

micro level offer an invisible clue for image-based research.

她着迷，在社会主义集体意识形态的大背景中又显露出非常微

These old photographs often come from archive albums,

妙的个人化的视角与意识状态。

which frequently combine photography and descriptive texts

2019

2019

with an analytic tone: they are calm, objective, delicate, and comprehensive. This method of observing ordinary objects fascinates the artist because it also subtly reveals the individual’s perspective and state of consciousness against a historical backdrop of socialist ideologies.

16

蔓延 2018

木板油画 100 × 150 cm

17

2018

Oil on wood board 100 × 150 cm

蔓延

Creep

木板油画 40 × 50 cm

Oil on wood board 40 × 50 cm

2018 图片由艺术家及画廊惠允 Images courtesy of the artist and the gallery

Creep

2018

图片由艺术家及画廊惠允 Images courtesy of the artist and the gallery

蔓延

Creep

木板油画 30 x 40 cm

Oil on wood board 30 x 40 cm

艺术家对具体的植物学类型图像进行了系统的梳理，试图回归

Sorting out images from research on plant taxonomy, the

到记忆与感受的生发点，重新思考事物存在与记忆投射的秩

artist tried to return to her earliest memories and feelings,

序，它们所触及到的无处不在的个体之间的关系，以及藏在绿

and reconsidered the order of existence and memory, the

色深处的隐秘叙事。

relationships between ubiquitous individuals, and the narrative

2018

2018

hidden in the depths of green.

18

宝剑 / 空气 探索智性和精神性之间的交汇。这是一把双刃剑，就像技 术，运用到技术或者思考新技术的作品与宝剑相互映照。

Suit of Swords / Air Artists explore the convergence between the intellectual and the spiritual. The sword is double-edged just like technology. Reality and virtuality mirror each other.

20

蒲英玮 PU YINGWEI (b. 1989) 蒲英玮，1989年出生于山西太原，现工作、生活于里昂和

Pu Yingwei (b. 1989, Taiyuan, Shanxi Province) currently

北京。2013年毕业于四川美术学院，获学士学位；2018年

lives and works in Lyon, France and Beijing. He received

毕业于里昂国立高等美术学院，获硕士学位并获得评委会

his BFA from the Sichuan Fine Art Institute, and his DNSEP

最高嘉奖。近期的个展/个人项目包括：“双重帝国”，新中

(MFA with Félicitation du jury) from the École Nationale

法学院，里昂（2018），“宛若真实”，GalerieSator画廊，

Supérieure Des Beaux-Arts de Lyon. His recent solo exhibitions

巴黎（2018），“蒲英玮与吉姆·汤普森建筑事务所”，J:

and projects include: “Double Empire,” Nouvel Institut

GALLERY，上海（2017）；“游牧小说”，蜂巢当代艺术中

Franco-Chinois, Lyon (2018); “If only it were true”, Galerie

心，北京（2017）。

Sator, Paris (2018); “Pu Yingwei and Jim Thompson Architects”, J: GALLERY, Shanghai (2017); “Roman Nomade”, Hive Center for Contemporary Art, Beijing (2017).

作品由蜂巢当代艺术中心惠允 Courtesy of Hive Center for Contemporary Art

21

图片由画廊惠允 Images courtesy of the gallery

崇高生活月刊

Monumenta Life Daily

木板， 墙纸 400 × 800 × 300 cm

Wood board, wallpaper 400 × 800 × 300 cm

《崇高生活月刊》是一本呈现并探讨宏大与微观、权力与个体

Monumenta Life Daily is a conceptual publication discuss-

之间关系的出版物。月刊运用了对各类政治宣传形式的挪用与

ing the relationships between the macro and the micro,

对经典文本的篡改，试图重新生产出一套平行的崇高话语机

authority and individuals. The Daily references various forms

制。这种话语既是被主流政治宣教所深刻影响下的产物，同时

of propaganda and modified versions of general classics in

也对其运作方式提出着解构与反思。本次展览呈现了在两年的

order to initiate a paralleled sublime discourse mechanism.

过程中相继诞生的两期《崇高生活月刊》；第一期杂志以纪念

Such a discourse mechanism is both a result of the mainstream

碑为主要线索，展示了平实的日常生活之下宏大叙事的失效。

propaganda and the deconstruction and contemplation of

而新的一起月刊则诞生于近期，其视觉语言上也与主流宣传更

its operations. The exhibition presents two editions of the

加地贴近，这种贴近映射出了紧急状态之下，日常生活被全面

Daily from the past two years: the first magazine displays the

覆盖成为一种的新的常态。

collapse of grand narrative in ordinary daily life by tracing

2020

2020

different monuments; the other, published more recently, bears a visual and linguistic resemblance to mainstream propaganda, reflecting a period of a new normal in a time of emergency in which daily life is suffused with the will of the state.

22

铁⽊尔·斯琴 TIMUR SI-QIN (b. 1984) 铁木尔·斯琴1984年出生于柏林，是德国和中国蒙古混血

Timur Si-Qin (b. 1984) is an artist of German and

的艺术家，他成长于柏林、北京和美国西南的印第安人

Mongolian-Chinese descent who grew up in Berlin and

社区，毕业于美国亚利桑那州立大学，现居纽约。在多元

Beijing, as well as in an indigenous community in the

文化环境下长大，塑造了他对自然和文化之间关系的独

American Southwest. Growing up in a multicultural

特的感知能力。铁木尔·斯琴是后网络时代艺术家中的领

environment helped inform Si-Qin’s unique sensitivity to the

军人物，这一代艺术家借用发达的科技手段来挑战人类社

relationship between nature and culture. Now living in New

会和自然界生物法则之间的分离。主要个展包括：魔金

York, Si-Qin has become a leading figure in a post-internet

石空间，北京（2018/2015）；Spazio

generation of artists who reference new developments in

Maiocchi，米兰

（2018）；Société画廊，柏林（2018/2015/2013/2011）；巴

science and technology to challenge the separation between

塞尔博览会香港展会，香港（2018）；孔子学院，柏林（2017）

the human world and the biological laws of the natural world.

；Team画廊，洛杉矶（2016）；巴塞尔博览会“艺创宣言”单

Exhibitions include major solo shows at: Magician Space,

元，巴塞尔（2016）等，并于2019年参加第5届乌拉尔工业双

Beijing (2018/2015); Spazio Maiocchi, Milan (2018); Société,

年展，2019亚洲艺术双年展，2016年参加第9届柏林双年展。

Berlin (2018/2015/2013/2011); Art Basel Hong Kong (2018); Konfuzius Institut, Berlin (2017); Team Gallery, Los Angeles (2016); Art Basel Statements, Basel (2016). He also participated in the 2019 Asian Art Biennial; in the 5th Ural Industrial Biennial of Contemporary Art in 2019; 9th Berlin Biennale in 2016.

作品由艺术家及魔金石空间惠允 Courtesy of the artist and Magician Space

23

铁木尔·斯琴延续发展关于二十一世纪世俗灵性的“新和平”

Timur Si-Qin continues to develop “New Peace”, a secular

（New Peace）运动，“新和平”指摘农业社会和宗教中的二元

form of spirituality for the 21st century. Identifying the dualistic

主义遗产对于当代世界的不良影响，并主张反魅物质，以抵抗

legacy of agricultural society and religion as ill-suited for our

今天物质世界中诸多问题。项目标题“东，南，西，北”中的四

contemporary world, New Peace argues for a re-enchantment

个方向源自于神圣循环，后者作为中亚和美洲地区农业/狩猎

with matter as the necessary basis for confronting the material

时代之前的主要精神性观念，传达了艺术家创作中对我们的精

problems of our times. The series title “East, South, West,

神取向的回归和必要性升级。

North” is a reference to the sacred circle of the four directions, a primary spiritual concept in the pre-agrarian/hunter gatherer

艺术家与多样材料之间的对话，无论是岩石，广告灯牌，数字

religions of Central Asia and the Americas. With this, Si-Qin

图像，或是机器，不仅局限于美学的形式和考量，而在更深刻

signals both a return to and necessary upgrade of our spiritual

的层面上，倡导独立、开放性的认知——将文化视为一种物质

orientation and dimensionality.

的涌现形式。面对各种过时的边界的消失，自然与文化、合成 与有机、主体与客体二元主义的崩塌，艺术如何在材料中重建

The dialogue between the artist and a diverse array of

主体性、意识和道德？“新和平”试图提供一种潜在路径和个人

materials, whether stones, lighted advertisements, digital

资源，以便为我们在灾难性变化的时代中获得重新的定位。

images, or machines, is not limited to aesthetic forms and considerations. On a deeper level, this dialogue advocates for the independent, open consideration of culture as an emergent manifestation of matter. As various outmoded boundaries wear away, a collapse of the dualities of nature and culture, synthetic and organic, subject and object precipitates the question of how should art reconstruct subjectivity, consciousness, and morality within the material. New Peace is Si-Qin’s attempt to provide a potential path and personal resource for humanity to reorient itself in an age of cataclysmic change.

24

图片由艺术家及画廊惠允 Images courtesy of the artist and the gallery

新和平偶然性圣坛 2018

3D打印材料，丙烯，亚克力板，地板贴， 绳子，丝绸 尺寸可变

NP Contingency Altar 2018

3D printing material, acrylic, PMMA plate, floor sticker, rope, silk Dimensions variable 25

麻黄 1

图片由艺术家及画廊惠允 Images courtesy of the artist and the gallery

2020

灯箱 直径 220 cm

Ephedra Nevadensis 1 2020

Lightbox Dia. 220 cm 26

王欣 WANG XIN (b. 1985) 王欣在1985年生于中国湖北省。她在2007年与2011年毕业于

Wang Xin was born in Yichang, Hubei Province in 1983. She

中国美术学院新媒体系学士学位以及芝加哥艺术学院电影、录

graduated from the China Academy of Art with a BFA in 2007

像、新媒体和动画系硕士学位。她是一位公认的催眠师。

and from the School of the Art Institute of Chicago with a MFA

in 2011. She is also a certified hypnotist.

她近期的个展有：“也许是时候让艺术世界焕然一新了”，chi K11艺术空间，香港，中国（2019）；“不知名艺术家艺术家

Wang Xin’s solo exhibitions include “Maybe It’s Time to Refresh

事务所－王欣个展”，K11艺术村，武汉，中国；chi K11 艺术

the Art World a Little Bit”, chi K11 Art Space, Hong Kong, China

空间，沈阳，中国（2018）；“一个可以让你发现10,000个艺

(2019); “Unknown Artists Agency – Wang Xin Solo Exhibition”,

术家的必看艺术展”，德萨画廊，香港，中国（2017）。

K11 Art Village, Wuhan, China; chi K11 art space, Shenyang, China (2018); and “The Must-See Art Show Where You Can Find 10,000 Artists”, de Sarthe Gallery, Hong Kong, China (2017).

作品由艺术家和德萨画廊惠允 Courtesy of the artist and de Sathe

27

图片由艺术家和画廊惠允 Images courtesy of the artist and the gallery

幻梦冥思

Dream Session

虚拟现实，虚拟现实头盔 尺寸可变

Virtual reality, vitual reality headset Dimensions variable

《幻梦冥思》是王欣“提升艺术能量”艺术项目中的一个子作

Part of Wang Xin’s project “Boost Your Art Energy”, Dream

品。在这个作品中艺术家用虚拟现实创造了一个可供观者冥思

Session is a meditative dreamscape that the artist built using

的“梦境”。艺术家本人一直对“清明梦”以及“星体投射”类的特

virtual reality. The artist has always had an interest in and has

殊梦境怀有强烈兴趣，偶尔会有此类梦境体验。在艺术家看来

has occasionally experienced peculiar dream states – lucid

梦境、艺术能量、创造力，都来自同一个心灵深层的维度，静

dreams, astral projections. She believes that dreams, artistic

坐冥思，超越自我等各种神秘体验也来源于此。艺术家尝试通

energy, and creativity all stem from the same dimension deep

过这件作品来模拟这类体验以希望能够开启体验者在自己真实

within the mind, as do other mysterious experiences rooted in

梦境中的“冥思”，释放心灵内在能量。

meditation and the transcendence of oneself. Dream Session

2019

2019

attempts to simulate a similar experience and release the viewers’ inner energy through meditation inside a dream.

28

吴思嶔 WU SIH-CHIN (b. 1985) 吴思嶔（b.1985，目前生活与工作于台北）作品涵盖雕塑、

Wu Sih-Chin was born in 1985 and lives and works in Taipei.

空间装置、影像等多种形式，透过各种材料来编织其作品的叙

His works encompass various mediums such as sculpture,

述性，创作主题常游走在人类与自然之间、当代科技与古老

installation, video, and mixed media in order to weave a joint

技术之间、现实与神秘现象之间，在这些连结中建立一套诠

narration. The focus of his creation often hovers between

释方法，来开启某种跨越时序、物种与真实性的想像及世界

humanity and nature, contemporary technology and ancient

观。近年个展及群展包括：“名字吗？我有很多个（后台）”，

skills, and reality and mysteries, and establishes a set of

关渡美术馆，台北；“Yanbaru Art Festival 山原黄金之社”，

interpretative methods to generate a certain imagination and

冲绳；“城市震荡”，C-lab空总台湾当代实验场，台北；“离

worldview beyond time, species, and authenticity. Recent solo

线浏览 - 第六届台湾国际录像双年展”，凤甲美术馆，台北；

exhibitions and group exhibitions include “My name? I have a

“南方以南”南回艺术计划，台东。

lot of names,” Kuandu Museum Of Fine Arts, Taipei; “Yanbaru Art Festival,” Okinawa; “City Flip-flop” Taiwan contemporary culture lab, Taipei; “Off Browser,” The 6th Taiwan International Video Art Exhibition, Taipei; “The Hidden South,” Art project, Taitung.

作品由艺术家惠允 Courtesy of the artist

29

图片由艺术家惠允 Images courtesy of the artist

名字吗？我有很多个 (后台)

My name? I have a lot of names (Backstage)

单频录像 15分42秒

Single-channel video 15’ 42’’

2018

2018

《名字吗？我有很多个（后台）》是吴思嵚于2018年5月在台

My name? I have a lot of names (Backstage) derives from the

东大武乡制作的现地创作《名字吗？我有很多个》的延伸作

earlier work My name? I have a lot of names, which was created

品。在原创作中描述了原住民部落中流传的一支灭绝人种：矮

on-site at Dawu Township in May 2018 by artist Wu Sih-Chin.

黑人族。艺术家在大武乡大鸟溪旁设置了一组户外装置（此地

In the original work, it was said among the indigenous tribes

为当地耆老口中矮黑人族曾经居住的地点），这组装置配合

that there as a group known was the Ta’ay (the Little Black

AR扩增实境技术使用手机观看，观众可用行动装置通过扫码

People) that went extinct. The work was installed on the hill

看见一个矮黑人的影像实体，而这个矮黑人的构成汇集了口

by the Daniao River in Dawu Township, where a set of outdoor

传、文史档案及网路资料中所采集的所有资讯，并以第一人称

installations was situated at the location where local elders

的方式来诠释传说、虚拟、物理真实之间的界线。

claimed the Ta’ay once stayed. The installation involves using cell phones to create an augmented reality. The audience

《名字吗？我有很多个（后台）》考量作品离开原现场进入白

members pick up one entity of Ta’ay on mobile devices. The

盒子空间的转换，重新拍摄了一部影像，以类似幕后花絮般呈

existence of this Ta’ay is the aggregation of oral history, doc-

现后台技术的工作状态。这里的“后台”所指涉的是矮黑人生成

uments, and information online, and it allows for a first-person

的背后方法。无论是原住民口传中的矮黑人，或是在AR扩增

interpretation of the borders dividing legends, the virtual, and

实境软体中的矮黑人，都必须借由特定的技术条件及管道才能

physical reality.

触及。艺术家表示，这个管道即是“语言”，不管是与神灵沟通 的咒语或是与电脑沟通的程式语言，都是隐藏在背后组成意识

My name? I have a lot of names (Backstage) brandishes the

或形体的抽象工具，而我们也借由这些工具通往信仰与虚拟所

technology working in the background. The “background” here

建构的实境。

refers to the methodology used to generate the Ta’ay. Be it the Ta’ay as told by indigenous people or the Ta’ay in augmented reality, both require specific technical conditions and channels

* 观众可在苹果App商店下载名为“My name? I have a lot of names”的应用程序，打开后按照程序内置指示扫描展墙上的

to access. The artist suggested that the channel itself is

二维码，借此与矮黑人互动交流。

“language.” Spells used to communicate with deities and the programming language used to talk with a computer—these are abstract tools used to form consciousness or entity, with which

* The audience may download the APP “My Name? I have a lot

we connect to the reality constructed in faith or the virtual.

of names” from Apple Store, scan the QR code on the exhibition wall through this APP, and interact with Ta’ay.

30

周思维 ZHOU SIWEI (b. 1981) 周思维，1981年出生于重庆，2005年毕业于四川美术学院油

Zhou Siwei (b. 1981, Chongqing) graduated from the Sichuan

画系，现工作生活于上海。

Fine Arts Institute with a major in oil painting and currently lives and works in Shanghai.

主要个展： “美化了家”，由麦勒画廊和天线空间联合展出，展览地点：

Recent Solo Exhibitions:

天线空间，上海（2017）；

“Beautify Home”, co-presented by Galerie Urs Meile and

“示意图Schematic”，麦勒画廊北京-卢森，瑞士卢森(2015)；

Antenna Space, Antenna Space, Shanghai, 2017;

“环形工作室”，艾可画廊，上海（2014）。

“Schematic”, Galerie Urs Meile, Lucerne, Switzerland, 2015; “A Round Studio”, Aike-Dellarco, Shanghai, 2014.

部分群展 : “Emerald City”，K11 Art Foundation 临时展览空间，

Group Exhibitions:

中国香港（2018）；

“Emerald City”, K11 Art Foundation Pop-up Space, Hong Kong,

“复相·叠影——广州影像三年展2017”，广东美术馆，

China, 2018;

中国广州（2017）；

“Simultaneous Eidos”, Guangzhou Image Triennial 2017,

“游·历——华宇青年奖2016年度入围艺术家群展”，

Guangdong Museum of Art, Guangzhou, 2017;

三亚（2016）；

“TRAVERSE · COURSE — 2016 HUAYU YOUTH AWARD”,

“不见得”，艾可画廊（西岸），上海（2015）；

Sanya, China, 2016;

“真相部II：再造界域”，博而励画廊，北京（2014）；

“Not Likely”, Aike-Dellarco (West Bund Space), Shanghai, 2015;

“A+A第7回，聪明坏了”，偏锋画廊，北京（2014）；

“Ministry of Truth II: The Factitious and its Realm”, SPURS

“备忘录I”，空白空间，北京（2013）；

Gallery, Beijing, 2014;

“绘画课III：基础与极限之构”，杨画廊，北京（2013）；

“7th A+A, Too Smart too be good”, PIFO Gallery, Beijing, 2014;

“China-Chongqing2” Künstler in Düsseldorf，艺术家交流项

“Memo I”, White Space Beijing, Beijing, 2013;

目，德国杜塞尔多夫（2012）；

“Painting Lesson III: Elementary And Extreme Structure”,

“Sichuan Hot!”，昆士兰艺术学院，格里菲斯大学，澳大利亚

Gallery Yang, Beijing, 2013;

布里斯班；

“China - Chongqing 2”, Künstler in Düsseldorf, Artist

Ray Hughest画廊，澳大利亚悉尼（2009）；

exchange program, Düsseldorf, Germany, 2012;

“Anything is possible”，CCRN，卢森堡（2008）等。

“Sichuan Hot!”, Queensland College of Art, Griffith University, Brisbane, Australia; Ray Hughest Gallery, Sydney, Australia, 2009; “Anything is possible”, CCRN, Luxemburg, 2008.

作品由艺术家及麦勒画廊惠允 Courtesy of the artist and Galerie Urs Meile

31

气球、蝴蝶、无人机 2018 布面油画 80 × 70 cm

Balloon, Butterfly, Drone 2018

Oil on canvas 80 × 70 cm

图片由艺术家及画廊惠允 Images courtesy of the artist and the gallery

帐篷（夕阳 · 倾斜） 2015 布面油画 150 x 200 cm

TENT (SUNSET INCLINE) 2015

Oil on canvas 150 x 200 cm 图片由艺术家及画廊惠允 Images courtesy of the artist and the gallery

周思维将可感的外部世界转译为绘画语言，他作品中的画面简

Zhou Siwei translates perceptions of external reality into a

单而不乏玩味：将时间转为空间维度，也将转瞬即逝的身体感

painterly form of language. The images in his work are simple

受视觉冻结……在他的作品中，图像扮演着先验主义中介的角

but not without playfulness; he transforms temporal dimensions

色，联结着悟性、感性和理性。

into spatial ones, or freezes fleeting bodily sensations. In his work, the image plays the role of a transcendental intermediary, connecting sensibility, rationality, and enlightenment.

32

那看见万物的、知道万物的，是你 ——致展览观众

这个展览中有很多椅子，有的是艺术家装置的一部分，有一些 提供观看的支撑，有一张双人凳是不可告人的秘密，有两只旋 转椅是通往现实世界的缺口……

桌，与周围积极接受观者目光的作品存在于不同维度，好似 一个秘密社会，也让我想到《最后的晚餐》。如果说人制造出 的垃圾界定了有价值与无价值，而艺术家则在价值的边缘“创 世”——他所用的材料皆为回收而来，他为这些被使用而后被 遗弃的物件注入生命。童昆鸟说他在工作室总是一个人吃饭， 所以便有了这么一个“局”，像是有人陪他吃饭。这是个既日常 又神圣的饭局。

我也是在椅子上构想出这个展览的主题，不是我书桌的椅子， 是教堂的长椅。去年秋天，我在巴黎圣路易岛教堂中听了一场 奇特的管风琴演出[1]。演出名为“作曲的女人是神秘的”，致敬 历史和当代的女性作曲家。我并非第一次在教堂欣赏管风琴演 奏，但那晚的音乐和经验对我来说极其陌生。“神秘”在这里说 的既是创作者在其成就当下因性别而不被看见的身份，同时这 种“不可见”似乎又为她们敞开无限空间从而创作出无法被简单 归纳、超越听者认知的作品。这一陌生而美妙的经验不仅使人 情绪平静但又思绪万千，对于非信徒的我来说，其在当下仿 佛重塑了教堂“神秘”的存在。不能说我坐在那里获得了某个神 谕，但那晚受到的巨大震动使我想要与你分享这一体验。

艺术创作者被认作是通灵者的传统经久不衰。在大众印象中， 他们癫狂而不羁，可以连接不同的精神世界。在一首诗里，里 尔克称荷尔德林为“永在者”、“游荡之灵”，既为神显又是使者 的诗人，凝聚的是一种“对尘世的信仰”。“对尘世的信仰”或者 说上面提到的“既日常又神圣”在这个展览中反复浮现。如果艺 术家的确是“通灵”的，那他们最擅于通过重新演绎神圣来定义 神圣。比如蒲英玮的《崇高生活月刊》将日常生活的碎片和随 机性筑成纪念碑，戏谑地演绎了“崇高”在这些年来如何被编码 成为单一的感知力。

通常来说，教堂的建筑、结构、布置将信者与更高的力量与秩序 相连；基督教世界的艺术在很长一段时间内都致力于协调并催化 这样一种连接。艺术作品创造出形象、声音、空间；在被艺术品 环绕的环境中，人感知及沉思，在这个过程中获得某个讯息或被 赋予有关生命的力量。类似的过程存在于任何文化，比如在人类 史前或者在一些部落里，周遭自然就是未知而神秘的力量，人位 于苍穹下思考自己在世界上究竟是什么样的存在，这个思考的过 程也是与崇高之力、与世间万物取得联系的过程。

抵抗单一性是这个展览的愿望之一。一群一起玩音乐的伙伴 (空气炸Hellkitty乐队）想要为一位年轻的单身妈妈组成多元家 庭（超家族）。大家羽化成为仙子——在展厅中可以看到他们 的仙容，借用潮汕地区传统戏剧的形式举办了一场结盟的婚 礼。这次，五个小组共同工作，邀请更多人成为这个家庭的成 员，通过售卖（本广大画廊）手工缝制产品（女子天团）和木 刻创作（木刻班）来共同承担一个新生命的降临和成长，也实 践有关协作和自治的替代生活方案。

“那看见万物的、知道万物的”描述的是通晓一切的天神，宗教 史学家米尔恰·伊利亚德认为人们通过对神灵的本性的思考“不 仅获知其自身的不确定性，而且获知知识或者精神 ‘力量’ 的 神圣价值。”[2] 如此场景对于当代的我们而言是遥远的。在高 节奏生活、物质过剩和信息洪流中，人们建立价值和明确自己 位置的方式，几乎是一个标准化和量化的过程，而我们周围的 文化样貌和生存方式也呈现出越来越同一的趋势。面对这样的 语境，这个展览带着对未知的敬畏潜入神秘和神圣领域，与十 九位艺术家和小组一起重申直觉、情感、想象与精神性在获取 知识和建立价值时的重要地位。

“我们现在都被这空气吻着，也就嫁入了这个家庭。”[3]

点点宣传部则探索替代的文本传播和出版方案，他们的《等等 目录》第三期在展厅外、798园区某处分发。这个匿名小组在 越南、中越边境和广州地区游走后，受到越南传统“母道”信仰 和街头劳动女人们的启发，在纸页上散布着一则则有关跨境劳 工、跨文化主义、移民史以及女性神力的小道消息……女性神 力有时候可能承载剥夺，谭婧的《但是我一个都没有…4》是她 围绕民间传说“田螺姑娘”展开的长期项目的一部分，艺术家将 故事中有关性别和劳作的文化意象和个人的成长经历凝结在物 质材料的属性和流动上。与此同时，展厅内确实有一座有关女 性神力的祭坛：张文心的空间装置连接着远古母系文化的神秘 能量、当代生殖意象以及数码技术创造灵性体验的潜在可能。

去巴黎之前，我拜访童昆鸟工作室时预示性地遇见四把椅子。 那是《愚蠢的晚餐》这件作品的前世：四个椅子生物围着一张

技术未尝不像“巫术”，于转瞬间、不可见时生发变化。王欣通 过VR技术创造出梦境中的冥想体验，吴思嶔用AR还原了只存

33

在于原住民神话和传闻中的人物“矮黑人”。在《名字吗？我有 很多个（后台）》中，吴思嶔把在程序的后台将矮黑人“呼出” 的指令与去到原址寻找他们留下的生命踪迹的旅途并置，也把 用程序语言与“矮黑人”交流，同在山林中与神灵对话并置，神 明之灵和技术之力于是不分彼此。周思维的画作则调转了这一 关系，用传统的媒介和确切的形状来捕捉技术之光。

可为当今世界显露出的诸多危机提供些许启示。 如何在这样的语境中讨论信仰和神秘，如何摒弃怀旧及猎奇的 心理而去认识和理解诸多精神性实践？学者Mikhail Epstein提 出“后世俗”或“后无神论”信仰研究的概念，在其中他认为人们 在制度性无神论之后找到的信仰，很多时候是融合和杂糅的， 是回应个体内在需要和诉求的异质性结果[6]。这个展览中的 很多作品对神圣和神秘的重新演绎都可以体现出融合和杂糅的 特质。铁木尔·斯琴的实践长期思考如何在今天的社会文化环 境中重新发明宗教和宗教体验，“新和平”就是结合了企业营销 策略、媒介化感知、技术，以及不同人群对自然的多元理解的 新信仰。周轶伦用到了类似的拼贴、挪用、异轨等方法，他的 装置/雕塑看起来像是来自另一星球的家具，但其形式语言和 灵感实则源于流行和商业文化。

“今日还神债 偿还林中百兽的情债 偿还崖中蜜蜂的情债 偿还水中水獭的情债 偿还陆上人类的情债 偿还祖妣欠下子孙的情债 偿还父母欠下子女的情债 偿还夫君欠下妻室的情债 诸般情债今已还 主家从此脱烦难 诸般情债今已还 主家从此脱烦难 ……”[4]

胡尹萍的作品中内含关于“相信”的有趣悖论。她的两件作品都 展出了为完成创作而与合作者所签署的合同。合同是现代社会 中将一方与另一方绑定在一起的契约，通常为了雇佣、生意、 业务合作等目标。而她的这两份合同的目标——一是让广东 农妇玲姐在免除经济压力的情况下种植自己喜爱的花草，二是 与作品的收藏者共同经历一件不可预知之事——与世界上多数 合同截然相反：模糊、主观，简直可以说是没有目标，结果也 可能有无数种。这样的合同，几乎需要一种无法被契约保障的 “信念”来维持。

很多学者将儒家视为中国社会长期以来主要的组织文化和 伦理依托，中国人被认为是普遍无神论的，但同时是“迷信” 的。在中国，过去一百年无论哪种意识形态占主流——从 上世纪初“新文化运动”等现代性思潮，到社会主义集体生产 及生活，再到今天的消费社会——精神性都被认为是“退步” 的。尤其是在实用主义盛行和经济发展至上的环境中，对不 可知的敬意尤其受到轻视。

艺术家通过“合同”和“信念”之间的张力来思考的“相信”，与渐 渐显现在当代社会中的“相信的危机”相互映照。今天，我们与 他人的关系被社交网络化、与商家或其他组织的关系由评分制 度垄断、与作为治安整体的社会之间关系则简化为一个信用 数字或健康色码。意见的撕裂也在逐渐剥夺人和人之间的信 任。尤其进入“后真相”时代，“相信”变得不可能，信息被困在 服务于各强势力量的谣言-辟谣生态中，资讯控制成为了最有 效的凝聚人心的途径，而我们的情感是唾手可得有待榨取的资 源。“如何继续相信”成为了一个紧迫的课题。

然而精神性地去理解这个世界对于中国历史和文化史来说是不 陌生的，直到最近才变得陌生。传统文化中向来有“天人之际” 之说，精耕农业文化也使中国人“需从天地与自然讨生活，因而 向来自视为宇宙秩序的一分子，并对天地抱有尊敬的态度，敬 畏自然界的风、霜、雨、雪，视江、湖、树、石为神明。” [5] 在都市以外，今天的中国依然存在无数各异的文化和信仰，这 些丰富的精神性实践经常在乡村、社会边缘和少数族群中维 持着伦理和秩序、主持着人们的生老病死，并且指示着人类与 周遭事物及生态世界的关系。很多思想和关系网络往往被约化 为“迷信”，但是其中每一个领域都由深奥而丰富的宇宙观作为 地基，这些宇宙观中蕴藏了巨大的智慧和连接现实的能量，也

“星辰和开花的果树， 完全持久和极度的脆弱也给人以永恒之感。”[7] 我们知道各个宗教中都有仪式，用伊利亚德的话来说，信者必 须经历“艰难的旅程”，那是“从世俗过渡到神圣、从消逝和妄

34

境过渡到实在和永恒、从死亡过渡到生命、从人过渡到神的仪 式”；李然的录像《客旅生活》即是对这样的奉献和虔敬的讲 述，真实和想象、历史和传说互文见义。此般跨越危险的历程 有时候需要在自己的身上寻求出路。在童文敏和胡庆泰的创作 中，身体（或者外化为一个替身或者代理的身体）成为仪式和 魔法的场所，重复、禁忌、忍耐、诅咒、超脱，他们的行为与 宗教仪式原型有很多共同的元素；这些仪式有时是痛苦的忘我 的，或带着像朝圣者或禁欲者一样的决心。

“旁观者带着冰冷的双眼和漠然的心灵看作品。 鉴赏家崇尚‘技法’（就像崇拜走钢丝的人）， 享受“画作质量”（就像享用一块糕点）。 然而饥饿的灵魂总会保持饥饿。”[8] 从前，“教会能调用美和意义的结构，让每个人清楚地感到他 们在更大的社会秩序中所处的位置。”后来教会的力量衰弱，“工 业巨头们似乎认为他们提供的物质激励本身就已经充分了”，而 另一部分人则认为工业的发展和社会的阶层化使得传统中对于 精神、情感和时间感知的依赖被遗弃，他们主张艺术可以在后 工业时代承担起祭司职能[9]。

张雷的“葬礼”系列版画描绘乡村丧葬仪式，看得见的版刻印 痕和看不见的哀悼气氛交叠，像梦魇一样挥之不去周而往复。 “奔丧”这个通灵的仪式同时承载个体情感和家族聚力，仪式将 逝者的灵魂从生带渡到死，版画中的乡村地景便成为阴阳二界 共存加上梦境的交叠。经过由张雷“葬礼”中沉默的队列和漫长 的路程引领的廊道，你也进入了另一疆域。你会发现两个展厅 极其不同，这里可能是夜的国度，是月球的暗面，你可以感受 它为梦境，这个梦境可能是催眠师王欣创造出的虚拟现实。在 这里，通过感官、记忆、梦幻、梦境所知觉到的一切，都是存 在的，被承认的。

如果继续借用妮卡·杜布罗夫斯基和大卫·格雷伯的话，此次展 览意在重新检验艺术的这种可以“调用美和意义的结构”的“祭 司职能”，在文化和价值加速同质化、实用主义统领着大部分 社会生活的环境中，我们想要探索存在于世的多元价值和替代 途径；并且试图构建感知力的主体性和共有基础——也就是保 卫我们的情感和认知经验不受掠夺和霸占，试问全新的人与周 遭、与自然界及与无穷而未知的精神宇宙之间的关系可能性。

朱荧荧收集的植物类型学和实验记录的老照片和她对树木花草的 几乎现实主义的绘画再现诡异地闪烁着泛灵的气息，这可能来自 艺术家对于平凡之物的神圣凝视。李文光在看似如数学般严谨的 绘图中疯狂虚构；形成美妙对比的，是杨鑫捕捉到的如梦如幻的 显微镜技术图像。这些充满内在张力的创作都撼动了科学理性作 为理解生命的基本法则，甚至撼动了生命-非生命的边界——许 多现代权力机制都建立在对这二者的区分和规范上。展览中蕴藏 多重宇宙论，艺术家们深信：在真实与幻想/虚拟之间、微观与 宏观之间、可见与不可见之间，可能存在无数相异的世界。

希望这个展览是适时的：对精神世界的摸索在危机时期给人以 慰藉，但其不应限于提供关于生死和寄托的快捷答案，也绝非 鼓励在精神和谐或超然虚无中避难的做法；更重要的是，重新 认识精神性实践使我们得以超越身份地去辨认和联结彼此，在 动荡和灾难潜伏的世界中，召唤别样的伦理范式和亲缘关系。 这个展览中有很多椅子，有的是艺术家装置的一部分，有一些 提供了观看的支撑，有一张双人凳是不可告人的秘密，有两 只旋转椅通往现实世界的缺口……希望你可以随时找到椅子坐 下，这是一个关于沉思、感知，以及大家坐在一起的时空。

在多重宇宙中，我们见证时间并非线性，而真实亦有很多别样 的入口。这个展览深受艺术家们的启发，也有不同的进入途径 和理解参照。两个展厅看似互为反面——光明和幽暗、开放和 引导，但作品之间形成关联和对话的方式还有很多种。比如使 两个作品相邻的，可能是其中涉及的话题，也可能是作品中吹 过的一阵风。还有一个更为神秘的方式使展览中的作品分属于 不同底色，代表了四个基本自然元素，也对应了塔罗牌小阿卡 纳的四个图像。这些设置呼应了我们对异质性、不可知论和替 代系统的承诺。

张涵露

35

对“神秘”的管风琴演出的徒劳记录，2019年10月5日（照片：张涵露） An impossible capture of the “mysterious” organ concert on 5 October 2019. Photo: Hanlu Zhang

展览和本文得益于：

[0] 与多位参展艺术家的深度交流；

[6] Mikhail Epstein的观点引自Nikolay Smirnov, “Shaman, Schismatic, Necromancer: Religious Libertarians in Russia”, e-flux Journal #107 March 2020；

[1] 管风琴演出“作曲的女人是神秘的”，2019年10月5日，圣 路易岛教堂，巴黎市“白夜”（Nuit Blache）活动；

[7] 西蒙娜·薇依的《重负与神恩》（翻译：顾嘉琛，杜小真， 中国人民大学出版社）以及其他著作；

[2] 米尔恰·伊利亚德的《神圣的存在》（翻译：晏可佳、姚 蓓琴，广西师范大学出版社）以及其他著作；

[8] 瓦西里·康定斯基的《论艺术的精神》； [3] “超家族婚礼”台词之一，见59页； [4] 彝族《还神债经》，引自纪录片《毕摩纪》（导演杨 蕊，2006年）中的汉语翻译字幕；

[9] 尼卡·杜布罗夫斯基和大卫·格雷伯的《另一种艺术界（ 一）：艺术共产主义及人造稀缺性》（中文翻译：苏子滢，澎 湃思想市场）；

[5] 许倬云的《中国古代文化的特质》（北京大学出版社）； 这一段的观点也参考了杨庆堃在《中国社会中的宗教》（翻 译：范丽珠，四川人民出版社）一书中的研究；

[10] 除了文中引用到的出处外，我参与“Cosmopolis #2: 重新 思考人类”展览及活动（主策展：Kathryn Weir，巴黎蓬皮杜 中心）的经验也给了这次展览诸多启发。

36

You, The One Who Sees and Knows All To exhibition visitors:

There are many chairs in this exhibition. Some are part of an

of the sky.” [2] A contemplation of the sky by its very nature

artist’s installation, some are simply there to provide support

enabled man to know not only his own precariousness and

for your viewing. One bench bears a hidden secret, two

the transcendence of the divinity, but also the sacred value of

revolving chairs tunnel into the crevice of reality…

knowledge, of spiritual ‘force’.” This scenario feels remote to us today. In the midst of fast-paced living, material

I was also sitting on a chair when I conceived the main ideas

abundance, and information overflow, the way people build

of this exhibition... not on a chair at my desk, actually, but in a

values and define their positions is a predictable, nearly

church pew. Last fall, I went to a magical organ performance

standardized process. And contemporary cultures and ways

in the Saint-Louis en l’Ile Church in Paris entitled “The

of existence have exhibited an increasing trend towards

Women Who Compose Are Mysterious.” [1] It was not my

homogeneity. Given this context, this exhibition will dive into

first time to appreciate this church instrument but the music

the mystical and sacred realms with a reverence for the

and experience that night felt extremely foreign to me. Here,

unknown. Including the work of 19 artists and collectives,

“mysterious” not only refers to the invisible status of the

it aims to re-claim the crucial role that intuition, emotion,

musicians at their time due to their gender; but also, it

imagination, and spirituality play in the processes of gaining

seemed that the invisibility had somehow provided for them

knowledge and establishing values.

infinite creative space so that when their work emerged again it went far beyond the knowledge and experience of the “We shall now be kissed by the air and married to this family.” [3]

audience. This, for me, re-accentuated the “mysterious” existence of the church, where I spent an unusual evening with complete calmness but unbelievably active thoughts.

Before going to Paris, I prophetically encountered four

I cannot say I had an epiphany while sitting there, but the

chairs during a visit to Tong Kunniao’s studio. They were the

extraordinary encounter of that night urged me to share the

prototype of his work Foolishness Dinner: four chair-creatures

experience with you somehow.

encircle a table and forms a secret society, as if existing in a different dimension from the other works which actively

Usually, the architecture, structure, and spatial arrangement of

seek viewers’ gazes. If we define garbage in connection with

a church are designed to connect believers to a higher power

what has and doesn’t have values, then the artist works in the

and order; the art in the Christian world has long sought to

fringe of that borderline - he employs recycled materials and

coordinate and catalyze such a connection. Artworks create

objects used and then abandoned by others, and creates a

images, sound, and space. In an environment where one is

whole world out of it. Tong Kunniao said he often ate alone

surrounded by art, one perceives and meditates, and in the

in the studio, so he created this piece as if it were a family

process, gains certain insights or a sense of vitality. Similar

dinner. This dinner table, also reminding me of the “The Last

processes exist in all cultures with different settings.

Supper,” is both sacred and profane.

In prehistorical times or within some tribes, for example, the unknown and mysterious power is nature in its ubiquity. When

Artists have long been regarded as mediators of spirituality.

a human thinks about his or her existence under the vault of

They are thought to have the soul and power that can forge

heaven, it is a procedure for them to bond with the sublime

links between different spiritual worlds. Rainer Maria Rilke

and the entirety of the universe.

once called his fellow poet Friedrich Hölderlin an “eternal man” and a “wandering spirit,” someone who is both a

“He who sees and knows all,” in the words of religion historian

manifestation and messenger of divinity, for that he is the

Mircea Eliade, describes the omniscient Supreme Being

essential embodiment of “faith in the earthly.” Such “faith in

37

the earthly” or the aforementioned juxtaposition of the sacred

Noticeably, there is indeed an altar to female divinity in the

and the profane are recurring motifs of this exhibition. If artists

exhibition: Zhang Wenxin’s installation connects dots from

indeed hold the capacity of travelling inter-worlds, they are

mystical energies of ancient matriarchy, contemporary

best at defining the sacred by reinterpreting it. For example,

imageries of reproduction, and digital technology’s potential

Pu Yingwei’s Monumenta Life Daily monumentalizes the

for creating transcendental experiences.

fragmentation and randomness of everyday life, teasing out how the “sublime” has been coded into a monotonous form of

Technology is not unlike “witchcraft,” as it breeds changes

perception over recent years.

instantaneously during invisible moments. While Wang Xin uses Virtual Reality to create a dreamlike meditation

Resisting monotony is one of the aspirations of this exhibition.

experience, Wu Sih-Chin uses the Augmented Reality

A group of friends who play music together (Hellkitty Band)

technology to restore the presence of Ta’ay (the Little Black

wants to form a pluralist family (Chaos Family) for a young

People) who only exist in indigenous myths. In My name? I

single mom. They metamorphose into fairies - their ethereal

have a lot of names (Backstage), Wu juxtaposes the

appearances visible in the exhibition - and organize a

instruction to “call out” Ta’ay from the program’s backstage

wedding of alliance borrowing the form of traditional opera

with the journey to search for traces of life they left at their

from the Chaoshan region of Guangdong Province. This time,

mountainous residence; he also parallels the communication

by selling (Benguangdahualang) handsewn products (NZTT

with Ta’ay using a programming language with direct lines

Sewing Co-op) and woodcut works (Woodcut Class), five

to the gods in the mountains. Spirits of the supreme beings

collectives work together and invite more people to become

are inseparable from the power of technology. On the other

members of this family, and to jointly bear the responsibility

hand, Zhou Siwei’s painting reverses the process by using a

for the advent and growth of a new life, as well as to put into

traditional medium and precise shapes to capture the light of

practice alternative ways of living that hew towards collaboration

technology.

and autonomy in the individualist neoliberal society.

On the other hand, · · PROPAGANDA DEPARTMENT explores

“Repay debt to gods today

alternative systems of textual communication and publication.

Repay debt of gratitude to beasts in forests

The third issue of their Etc., Etc., catalogue is distributed

Repay debt of gratitude to bees in valleys Repay debt of gratitude to otters in water

outside the exhibition hall, somewhere in the 798. After

Repay debt of gratitude to humans on land

wandering through Vietnam, along the China-Vietnam border,

Repay debt of gratitude owed by ancestors to their descendants

and around areas in Guangzhou, and becoming inspired by the traditional Vietnamese “Mother Goddess” faith (Đạo Mẫu)

Repay debt of gratitude owed by parents to their children

and female workers on the streets, this anonymous group

Repay debt of gratitude owed by husbands to their wives All debts of gratitude are repaid now

spread words about cross-border labor, multiculturalism,

This household is henceforth out of trouble

immigration history, and female divinity… Sometimes, however, the power of female divinity may also be pregnant with

All debts of gratitude are repaid now

deprivation. Tan Jing’s But there is no one for me...4 is part of

This household is henceforth out of trouble…” [4]

her long-term project based on the folk tale “The Snail Maiden.” The artist crystallizes the story’s cultural mysteries of

Since Confucianism has long been regarded by many as the

gender and labor and her own experience of personal growth

principal reference for organizational culture and ethical

into the properties and movements of chosen materials.

conduct in Chinese society, Chinese people are considered

38

to be generally atheistic, but at the same time, a little

find after institutionalized atheism are often characterised

“superstitious.” In China, no matter what ideology was

as hybrid and inclusive, a heterogeneous result formed in

prevailing during the 20th century - from the “New Culture

response to the individual’s internal needs and demands.

Movement” at the beginning of the century to the Socialist

In this exhibition, many works’ reinterpretation of the sacred

model of collective production and living and to the

and mysterious exemplify the characteristics of hybridity and

consumer society that has extended until today - spirituality

inclusion. Timur Si-Qin’s practice has long contemplated the

has always been seen as “regressive.” In an environment

reinvention of religion and its manifestations in today’s social

where pragmatism reigns and economic development is

and cultural milieu; his New Peace is a new faith combining

paramount, respect for the unknown receives ridicule.

corporate marketing strategies, digitally-mediated sensibility, technology, and a diverse understanding of nature by different

Yet a spiritual understanding of the world has not always been

communities. Zhou Yilun takes similar approaches such as

foreign to Chinese history and culture only until recently. There

collage, appropriation, and détournement to make his

has always been the concept of a “Heaven-Man Relation” in

installation/sculpture look like furniture from another planet,

traditional culture. China’s intensive agricultural culture also has

but its formal language and inspiration strangely derive from

led its people to “appeal for their life from the world and the

popular and commercial culture that are familiar to all of us.

nature, therefore they always regard themselves as a part of the cosmic order, having reverence for the heaven and earth,

Hu Yinping’s works contain an interesting paradox about

for the wind, frost, rain, snow in nature and treating rivers,

“belief”. Both of her works exhibit contracts signed with her

lakes, trees, and stones as gods.” [5] A countless number of

collaborators in order to complete her creation. A contract

diverse cultures and beliefs still exist in rural, marginalized,

is an agreement in modern society that binds two parties

and minority communities, and such rich spiritual practices

together, usually for the purpose of employment, commercial

often function to maintain ethics and order, shape notions

deals and, partnerships. The goals of her two contracts - one

of birth and death, and also direct relationships among

is to allow Sister Ling, a farmer from Guangdong, to grow

humankind, things around them, and the ecological world.

plants she likes without financial pressure, and the other is

These thoughts and belief systems are often denigrated as

for the collector of this work to experience an unpredictable

and reduced to “superstition,” but each of these realms is

event together with the artist - are nevertheless distinctly

grounded in a profound and enriched set of cosmological

different from most contracts in the world: they are vague,

ideas containing enormous intelligence that can offer insights

subjective, even aimless, and the results are innumerable.

to various contemporary crises.

Such a contract almost requires a “faith” from the participants and viewers that cannot be guaranteed by formal agreement.

How to discuss faith and mystery in this context, and how to know and understand these diverse spiritual practices

Hu Yinping’s consideration of the tension between “contract”

without resorting to certain nostalgia or exoticism? Scholar

and “faith” subtly reflects a “crisis of belief” that has gradually

Mikhail Epstein introduced the concept of “post-secular”

emerged in contemporary society. Today, our relationships

or “post-atheist” faiths, arguing that the beliefs people

with other humans come through social networks, our

39

relationships with businesses and other organisations are

depicts funeral rites in rural China. The visible engraving

monopolized by scoring systems, and our relationships

marks overlap with an invisible atmosphere of mourning,

with the government are reduced to a social credit number

lingering and recurring like nightmares. The psychic ritual of

or a colored health QR code. Conflicts of opinions are also

funeral parade carries both individual emotion and the

continuously depriving people of their trust in one another.

cohesive power of a family. The rural landscape in the prints

Furthermore, entering the “post-truth” era, “believing” has

turns into multilayered scenery combining worlds of Yin, Yang,

become increasingly impossible. Information is trapped in

and the dream. Passing the corridor led by the silent parade

a rumour-refuting ecosystem that serves various powers.

of the “funeral” ritual in Zhang Lei’s work, you will enter

Information control is now the most effective modus operandi

another territory. You will find the two exhibition rooms

to unite people; our emotions are readily available resources

extremely different. This might be the kingdom of night, the

for extraction. “How to keep believing?” has become an

dark side of the moon; you may recall it as an old dream. This

urgent issue.

dreamscape may also be a virtual reality created by hypnologist Wang Xin. Here, everything that is perceived through senses - emotions, memories, fantasies and “Stars and blossoming fruit-trees:

dreams - is real and acknowledged.

utter permanence and extreme fragility give an equal sense of eternity.” [7]

Zhu Yingying’s old photos of plant typology and scientific experiment archives and her near-realistic pictorial

Most religions contain rituals. In the words of Eliade, believers

representation of trees and plants have bizarre shimmers of

must go down an “arduous and fraught” path, which is “a rite

animism, which may come from the artist’s reverential gaze

for passing from the profane to the sacred, from the passing

towards ordinary things. Li Wenguang freely fictionalizes in

and illusory to reality and eternity, from death to life, from man

what appears to be a mathematically rigorous drawing.

to god.” [8] Li Ran’s video Life of the Pilgrim tells a story of

In interesting comparison with Li are the hallucinatory

such devotion and piety, where the real and the imagined, the

microscopic images captured by Yang Xin. All these works

historical and the legendary intercontexualize. The way out

challenge the fundamental notion of scientific rationality as

of such a hazardous journey sometimes can only be found in

the main principal to understand life and the boundary

oneself. In Tong Wenmin and Hu Qingtai’s works, the body (or

between life and non-life, a binary distinction the managing

the body externalized as a substitute or proxy) becomes the

and maintaining of which many modern power mechanisms

site of rite and magic, repetition, taboo, endurance, curse, and

are based. The exhibition embraces multiple cosmologies.

detachment. Their behaviors share many common elements

Artists are convinced that there can be countless

with the prototypes of religious rituals. These rituals are

heterogeneous worlds located between the real and the

sometimes painful and selfless, or carry the same

fantastical or virtual, the micro and the macro, the visible and

determination as that of a pilgrim or ascetic.

the invisible.

Zhang Lei’s “Funeral” series, a collection of etching prints,

In the multiverse, we witness time as something that is no

40

longer linear, and experience alternative paths to the real.

If we continue to borrow the remarks of Nika Dubrovsky

Deeply inspired by the participating artists, this exhibition also

and David Graeber, this exhibition aims to re-examine this

opens itself to different systems of access or interpretation.

“priestly function” of art that can “mobilize structures of

The two exhibition galleries seem to be opposites of each

beauty and meaning.” In a time marked by the accelerated

other - one illuminated and the other obscure, one wide-

homogenization of culture and values, where pragmatism

open and the other carefully-guided, yet there are more

dominates much of social life, we strive to explore a plurality

possibilities to form links and dialogues between works.

of values and alternative ways of existence, and try to re-

What makes two works adjacent, for example, may be the

build our subjectivities and common grounds of sensibility

themes involved, or a gust of wind blowing in the works.

- that is, to defend our emotional and cognitive processes

There is also a mysterious way of categorizing all the works

from hegemony and alienation - and to probe possible new

into four basic natural elements and also corresponding to

relationships between humans and their surroundings, the

the four images of the Minor Arcana in a tarot deck. These

natural world, and the infinite unknown spiritual universes.

settings echo our commitment to heterogeneity, agnosticism and alternative systems.

I hope this exhibition arrives in a way that feels timely. A voyage into the spiritual world offers comfort in a time of crisis, but it should not be limited to providing quick answers

“With cold eyes and indifferent mind

about life and death or sense of belonging, nor does it mean

the spectators regard the work.

to encourage refuge in spiritual harmony or transcendental

Connoisseurs admire the “skill”

nihilism. More importantly, it should help us recognize and

(as one admires a tightrope walker),

organize one another beyond identity formations, in a world of

enjoy the “quality of painting”

turbulence and disaster, gesturing towards a future conjured

(as one enjoys a pasty).

instead via cosmological knowledge and ethical bonds.

But hungry souls go hungry anyway.” [9] There are many chairs in this exhibition. Some are part of an In the past, the “Church was capable of mobilizing structures

artist’s installation, some provide support for viewing. One

of beauty and meaning to give everyone a sense of precisely

bench bears a hidden secret, two revolving chairs tunnel into

where they stood in the larger social order.” [10] Later, the

the crevice of reality…I hope you find a chair to sit on any time

Church and its power were weakened, and “the captains

during your visit. This is a place for all of us to think, perceive,

of industry seemed to feel that the material bounty they

feel, get inspired, and sit together.

provided should simply speak for itself,” while others believed that development of industry and the stratification of society would result in an abandonment of the traditional reliance on

Hanlu Zhang

spiritual, emotional, and temporal perception. These people argued for art’s “priestly function” in the post-industrial era.

41

The exhibition and this essay are inspired by:

[0] Conversations with participating artists.

[6] The mentioning of Mikhail Epstein’s writing is from Nikolay Smirnov, “Shaman, Schis-matic, Necromancer: Religious Libertarians in Russia”, e-flux Journal #107 March 2020.

[1] “Les femmes qui compose sont mystérieux”, an organ concert at Saint-Louis-en-l’Ile Church, 5 October, 2019, as part of Paris City’s Nuit Blanche program.

[7] Simone Weil’s Gravity and Grace (Routledge and Kegan Paul: London and New York, 2003, translated by Emma Crawford and Mario von der Ruhr from the 1947 French book) and other works.

[2] Mircea Eliade’s Patterns in Comparative Religion (Sheed & Ward: London and New York, 1958, translated by Rosemary Sheed) and other works.

[3] A line from Chaos Family wedding performance, see page 59.

[8] Wassily Kandinsky’s Concerning the Spiritual in Art (Dover Publications, Inc.: New York, 1977, translated by M.T.H. Sadler).

[4] Scripture of Repaying Debt, a Bimo ritual text from the Yi community, quoted from the Chinese subtitles in the documentary Bimo Era (directed by Yang Rui, 2006).

[9] Nika Dubrovsky and David Graeber, “Another Art World, Part 1: Art Communism and Artificial Scarcity”, e-flux Journal #102 September 2019.

[5] Cho-yun Hsu’s Characteristics in Ancient Chinese Culture (Peking University Press); and this paragraph is also influenced by C.K. Yang’s Religion in Chinese Society (Sichuan People’s Publishing House).

[10] Other than the works cited in the essay, the exhibition is deeply inspired by my experience participating in “Cosmopolis #2: rethinking the human” (chief curator: Kathryn Weir) and its extended program.

42

权杖 / 火 炼金者，他们被一股原始能量驱使，与古老的灵交融， 也与遥远的秘境对话。停不下来，其创作仿似“创世”。

Suit of Wands / Fire The alchemists. A primal energy of creativity drives them.

Related to ancient and mythical connection with spirituality.

Some of the artists’ approach resembles the process of creation of a world.

44

李然 LI RAN (b. 1986) 李然1986年出生于湖北，2009年获四川美术学院油画系学士

Li Ran (b. 1986, Hubei Province) graduated with a BFA in Oil

学位，目前工作生活于上海。其作品曾于世界各地著名艺术

Painting from the Sichuan Fine Arts Institute in 2009. He

机构展出，如巴黎蓬皮杜艺术中心、北京UCCA尤伦斯当代艺

now lives and works in Shanghai. Work by the artist has been

术中心、伦敦ICA当代艺术学院、纽约犹太美术馆、旧金山沃

exhibited at significant art institutions worldwide, including

迪斯当代美术馆、荷兰乌德勒支BAK艺术中心、柏林世界文化

the Centre Pompidou, Paris; UCCA Center for Contemporary

宫、休斯顿当代艺术博物馆，并在OCT当代艺术中心的西安

Art, Beijing; Institute of Contemporary Arts (ICA), London;

馆举办个展等。他亦参加了蒙特利尔双年展、日内瓦动态影像

The Jewish Museum, New York; CCA Wattis Institute for

双年展、第2届CAFAM双年展、第9届光州双年展等。

Contemporary Arts, San Francisco; Basis voor Actuele Kunst (BAK), Utrecht; Haus der Kulturen der Welt (HKW), Berlin; and the Contemporary Arts Museum Houston. In 2015, he had a solo exhibition at OCT Contemporary Art Terminal in Xi’an. He also participated in the Montréal Biennale; Biennale of Moving Images, Geneva; the 2nd CAFAM Biennale, Beijing; the 9th Gwangju Biennale, etc.

作品由李然和香格纳画廊惠允 Courtesy of Li Ran and ShanghART Gallery

45

图片由艺术家及画廊惠允 Images courtesy of the artist and the gallery

拔摩岛的夜

Night of Patmos

单通道有声高清黑白影像 20分

Single-channel HD video (black and white, sound) 20’

“依据巴金《寒夜》这部小说，‘奉光’是我在这次创作中极力

“On the basis of the novel Cold Night by Ba Jin, I tried hard to

解析的一个人物，文章中正面描写他的篇幅较少，大部分提及

analyze a character named Fengguang. He appears less in

他的时候，都是来自于汪文宣一家的想象和臆测，这些想象时

the description of the book, and most of them comes from

常是错位的，被异化的。小说中的其他人物对他的出现也都有

the imagination and conjecture of Wang Wenxuan and his

各自不同的理解，在汪文宣一家的家庭矛盾当中，这个人物往

family, which of that is misplaced and alienated. Other charac-

往成为他们互相抑制对方的不良信号。而在这个人物身上也显

ters in the novel also have different understanding of him, who

现出一种异样的价值观、生活习惯，以及一种游离在多数苦难

is always considered as a negative signal for Wang’s family.

的小知识分子阶层之外的轻松，在那些精悍的文段里出现了他

However, he also carries some unusual values, life habits, and

的语言、性格和情绪，当面对他爱的‘树生’，也透露出了极其

relaxed attitude that differentiate him from the poor intellectual

微妙的浪漫主义色彩。

class. Those short and powerful texts unfold his utterance,

2017

2017

personality, and emotion. When facing Shusheng, the women he loves, a subtle romanticism emerged.

“这部影像中，我呈现了几种被异化的素材，其中有让舞台剧 演员即兴表演并且变异了的圣经独幕剧选段；用散文式的浪 漫与抒情进行矫饰的旁白，其描写了一个异端信仰团体登山聚

“In this video, I used several pieces of alienated materials,

集，从幽静轻松到狂热极端的场景；影片图像的编织中，结合

including the selections from biblical one-act play that

了50年代至80年代围绕舞台表演的多种图像文献。在影片的

improvised by stage actors; the aside is embellished by

叙述里它们时常紧密的交织在一起，也偶尔相互偏移，形成一

romantic proses and lyrics, portraying a mountaineering-

种多线索重叠的表述。这也是我对‘奉光’在小说中呈现形态的

gathering scenery of a heretics group, and its atmosphere

一种理解。”

turns from humored to fanatical. The weaving of images refers to different kinds of picture documents from 1950 to 1980. All above intertwined closely in the video, or occasionally deviate

—— 李然

from each other, forming an expression with overlapping multi-thread. This is one of my understandings of how Fengguang appears in the novel.”

— Li Ran

46

童昆鸟 TONG KUNNIAO (b. 1990) 童昆鸟，1990年出生于湖南长沙，工作生活于北京。2015年

Tong Kunniao (b. 1990, Changsha, Hunan Province) lives and

毕业于中央美术学院雕塑系第三工作室。善于结合多种媒介和

works in Beijing. In 2015, he graduated from the 3rd Studio

方式进行创作，以装置、行为、图像、雕塑为主要表达。

of the Sculpture Department at CAFA. Tong uses a variety of mediums in his creative practices, including installations, images, and sculptures.

主要个展： 2019 “我一点儿也不想你”，谢子龙美术馆，长沙，中国

Selected solo exhibitions:

2017 “当狗嘴里吐象牙”，Setareh Gallery， 杜塞尔多夫，德国

2019 “I don’t MISS u”, XPM, Changsha, China

“鸽子肚子里不只是屎，还有面包”，Liusa Wang

2017 “When Dog’s Mouth Spits Ivory”, Setareh Gallery, Dusseldorf, Germany

Gallery，巴黎，法国

“Dans Le Ventre Du Pigenon, Il Y A Non Seulement Du

2016 “梦地球”，站台中国，北京

Caca, Mais Du Pain Aussi”, Liusa Wang Gallery, Paris, France 2016 “Dreaming a Baton the Floor”, Platform China Contemporary Art Institute, Beijing

作品由艺术家和站台中国当代艺术机构惠允 Courtesy of the artist and Platform China Contemporary Art Institute

47

图片由艺术家惠允 Images courtesy of the artist

愚蠢的晚餐

Foolishness Dinner

圆号，色素，水泵，马达，木头，金属等 250 x 250 x 250 cm

French horn, pigment, water pump, motor, wood, metal, etc.

250 x 250 x 250 cm

显然这是⼀顿谈论房⼦的晚餐，奇怪的客⼈围着桌⼦，⽆从下

This is a dinner arranged to discuss a house. Strange guests

⼿却⼜垂涎欲滴。他们有的不敢出声，但圆号的嘴巴⾥留着欲

sit around the table, vacillating and drooling. Some dare not

望的红绿液体，屁股上的尾巴还不停摇摆，有的举着优雅的⼩

make a sound but sway their tails ceaselessly. Red and green

伞，却不知道⾃⼰⾯⽬狰狞，有的⼩⾦⼿勾引着房⼦的⼩窗⼝

liquids of desire brim from the mouth of the French horn.

却永远伸不进房⼦的⼀个⼩⻆落。房⼦就像诱惑的点⼼，骚动

Some hold elegant little umbrellas but do not realize their

着每⼀位客⼈的⼼。但现实就是每⼀位客⼈都和这个餐桌上的

devilish look. Some hold out petite golden hands seductively

房⼦格格不⼊。

in the direction of the house’s small windows but can never

2017 - 2020

2017-2020

reach the corner of the house. The house resembles an alluring dessert, stirring the hearts of every guest.

However, the reality is that every guest is incompatible with the house beyond this dining table.

48

张雷 ZHANG LEI (b. 1988) 张雷，1988年生于河北唐山，2012 年毕业于南京艺术学院版

Zhang Lei (b. 1988, Tangshan, Hebei Province) graduated from

画系，现生活、工作于南京。

Department of Prints at the Nanjing University of the Arts in 2012. He currently lives and works in Nanjing.

Solo Exhibitions:

个展： 2018

“张雷：漂浮于夜之河流”，偏锋新艺术空间，

北京

2017

“寒枝冷光”，Kè Fáng Art Space，上海

2018

PIFO Gallery, Beijing

2017

“过江心洲·雷子在岛上”，国美艺术基金会，北京

“Zhang Lei: Floating Down a Nightly River”, “Chilly Branch”, Kè Fáng Art Space, Shanghai “Passing by the Jiang Xin Zhou: Zhang Lei on the

Island”, Gome Art Foundation, Beijing

群展： 2019

“观念·心性”，湖北美术学院美术馆，武汉

Group Exhibitions:

2016

“诗意地栖居”，偏锋新艺术空间，北京

2019

“Conceptual-Disposition”, Hubei Institute of Fine

Arts, Wuhan

2016

作品由偏锋画廊惠允 Courtesy of PIFO Gallery

49

“Return: Poetic Dwelling in Contemporary Art”, PIFO Gallery, Beijing

图片由画廊惠允 Images courtesy of the gallery

“葬礼”系列

“Funeral” Series

纸本油墨，铜板 尺寸不一

Monotype, oil printing on paper, copper etching Various dimensions

张雷的油墨版画作品带有一种荒冷的自然神秘气质。其笔下的

Zhang Lei’s ink-print works exhibit a cold, organic, mysterious

对象都是一些常人视若无睹的寻常物，夜里的葡萄架、一块儿

temperament. His paintings depict quotidian things that most

废弃的空心砖，甚至是一根骨头和一个馒头，在张雷的世界里

people turn a blind eye to, such as a grape trellis in the night

都是万籁俱寂下的载歌载舞，他以丰富的感受力和单色调的黑

or a deserted hollow brick. Even a bone and a steamed roll

白呈现记录下真实的生活和游走的时光。

can sing and dance in the silence in Zhang’s artistic world.

2010-2014

2010 - 2014

Zhang records real life and floating time with a rich sensibility and language of black-and-white.

日常的生活轨迹是张雷艺术创作的直接来源，而朴拙、敏感的 个人特质让他更接近于艺术与生活自然本真的存在。从大学期 间就开始的描绘家乡丧葬习俗的系列油墨版画作品，敏锐地把

Zhang Lei’s daily life is the direct source of his artistic

握住了一种艰辛而宿命的生命本相。

creation, and his simple and sensitive personality makes him closer to the nature of art and life. This series of ink-print works depicting the funeral customs of his hometown, which Zhang began during his college years. His works have a keen grasp of a difficult and fateful life.

50

周轶伦 ZHOU YILUN (b. 1983) 周轶伦出生于1983年, 2006年毕业于中国美术学院油画系, 获

Zhou Yilun was born in 1983 and graduated with a BA from the

学士学位。现生活和工作于杭州。作品曾于上海油罐艺术中心

Oil Painting Department at the China Academy of Art in 2006.

（2019）、南京四方美术馆（2018）、上海当代艺术馆艺术

He currently lives and works in Hangzhou. His work has been

亭台（2018）、北京金杜艺术中心（2018）、美国坦帕美术

shown at TANK Shanghai, Shanghai (2019); Sifang Art Muse-

馆（2014）等多处展出。

um, Nanjing (2018); MOCA Pavilion, Shanghai, (2018); KWM Art Center, Beijing (2018), the Tampa Museum of Art, Tampa, Florida, USA, (2014), and more.

作品由艺术家及北京公社惠允 Courtesy of the artist and Beijing Commune

51

图片由艺术家及画廊惠允 Images courtesy of the artist and the gallery

Shelf Sculpture Based on a Chair

基于椅子的置物架雕塑 2019

金属椅，挤塑板，PU涂层，喷漆，聚氨酯泡沫 106 x 91 x 138 cm

2019

Metal chair, extruded polystyrene foam, polyurethane varnish, spray paint, polyurethane foam 106 x 91 x 138 cm

周轶伦常用的创作手法是从个人生活和经验出发，使用现成品

Zhou Yilun tends to start with individual life and personal

挪用改装制造各类产品。对家具的兴趣让他开始考虑如何给予

experience. Everyday objects that seem superfluous, such as

作品更多“功能性”，这延续了周轶伦以往作品中的滑稽、怪诞

posters, abandoned toys, and furniture, not only compose the

和玩世不恭，戏谑着消费文化的同时，也对人们惯常思维中精

material of his work but are also the source of his inspiration.

致艺术品的不可触摸予以反叛。潮牌、球鞋、篮球明星、M&M

Hot brands, trainers, famous basketball players, M&Ms – the

豆等生活中随手可及的元素都被他运用到作品中，却消解了原

various elements that make up the quotidian environment

本的识别性传播意义。对商业的思考让周轶伦在与当下社会的

of the present day are repurposed in his works, albeit with

共处中获得了建构一种去阶级化、去权威化的叙事能力。

little of the meaning originally ascribed to them. His recent interest in furniture has led him to consider how to endow his work with “functionality.” The work offers viewers a chance to interact with and experience it, which is a continuation of the humor, absurdity, and playful irreverence of Zhou’s earlier work. Zhou’s reflections on commerce and his commitment to finding a way of coexisting with contemporary society have allowed him to acquire the ability to construct a narrative in which there is no place for class or authority.

52

图片由艺术家及画廊惠允 Images courtesy of the artist and the gallery

Shelf Sculpture Based on a Cat Tree

基于猫爬架的置物架雕塑 2019

金属椅，挤塑板，PU涂层，喷漆，聚氨酯泡沫 85 x 72 x 189 cm

2019

Metal chair, extruded polystyrene foam, polyurethane varnish, spray paint, polyurethane foam 85 x 72 x 189 cm

53

花瓶与花架 I 2019

PVC管，不锈钢球，木板，防水水泥， 喷漆，玻璃钢 尺寸可变

Vase and Shelf I 2019

Polyvinyl chloride pipe, steel ball, wood board, water-proof cement, spray paint, fiberglass Dimensions variable

图片由艺术家及画廊惠允 Images courtesy of the artist and the gallery

PVC花瓶若干 2019

木，PVC管，胶带，地毯，硅酮胶 尺寸不一

Multiple PVC Vases 2019 Wood, polyvinyl chloride pipe, tape, carpet, silicone adhesive Various dimensions

图片由艺术家及画廊惠允 Images courtesy of the artist and the gallery

54

钱币 / 土地 代表丰产和女性神力。艺术家建设基础设施，或创造自 下而上的联结，以此来形成同盟或社群。有的深挖这个 物质世界的基本，并在其中读出了另一座宇宙。

Suit of Pentacles / Earth About fertility and female divinity. Some artists build infrastructure and make bottom-up connection as a way to form alliance or community. Some deal with the foundation of the material world and see a whole universe within it.

56

超家族+女子天团+空气炸Hellkitty乐队 +木刻班+本广大画廊 CHAOS FAMILY + NZTT SEWING CO-OP + HELLKITTY BAND + WOODCUT CLASS + BENGUANGDAHUALANG

作品由艺术家组合惠允 Courtesy of the artist collective

57

友情鲜花满地开， 多元家庭春正晓

Friendship Blooms All over The World, Diverse Family Is Evoking in Spring.

“苗母与空气结婚。婚礼是一场演出，也是一场真正的婚宴。

“Mother Miao married the air. The wedding is a performance,

剧本改编自经典潮剧。众多亲友扮演仙子，祝福苗子大婚之

but also a real wedding. It adapts a classic Teochew opera.

喜，回应婚姻制度，社会架构的暴力，化悲伤为喜庆。”

Friends play the roles of fairies, bless Mother Miao, and react to the violence of marriage and the social system. Sadness transforms into joy.”

——情感海仙

— ​Emotion Ocean Fairy

“2020年，相隔婚宴半年后，五群仙子今日从各路赶来，再次

“In 2020, six months after the wedding, five groups of fairies

齐聚一堂。仙子们为刚出生的婴儿筹备生活并洒下祝福，仙子

from different places are gathering again today. The fairies

们在各地注视着婴儿的成长，继续生产供日常使用的法器，互

fundraised for a new born baby and sprinkled their blessings.

相维持联系。”

Now they keep producing their talisman and meanwhile remain in connection with each other​.”

——五群仙子 — Five Groups Of Fairies

“苗母在潮汕生下孩子，作为一位单身母亲，与当地的家庭妇

“Mother Miao gave birth to a child in Teoswa. As a single mother,

女利用家务之外的零碎的时间，一起接缝纫加工单的过程，慢

she and the local housewives use their spare time apart from

慢地与当地的人们互相产生理解，并赚些生活费。与此同时，

housework to do some sewing, slowly understanding each other

在广州的朋友们也正在各自面对生活的困境，并聚集在一起对

during the process and earning living expenses. At the same

话、消化和生产。因为缝纫，两处的女工们产生了联系，将故

time, friends in Guangzhou are also facing life dilemmas, so they

事续写下去。

gather together for dialogue, digestion, and production. Because of the sewing, the women workers in the two places made contact and continued their story.

“参与女子天团产品制作的女工：BUBU、bob、Money、嘉 璐、六个苗母、琴、伸甩、小玲。”

“The female workers who made products for NZTT Sewing Co-op are ​BUBU, bob, Jialu, Money, Qin, Shenshuai, Six

——女子天团

Monther Miaos, and Xiaoling.”

— NZTT Sewing Co-op To be continued...

未完待续。

58

超家族 CHAOS FAMILY

苗母与空气结婚。朋友们扮演仙子，祝福苗子大婚之喜，回应

Mother Miao married the air. Friends play the role of fairies,

婚姻制度和社会架构的暴力，并且像一个多元家庭一样互相扶

bless Mother Miao, and react to the violence of marriage and

持着。

social structures. Meanwhile they lend each other support like a diverse family.

Chaos Family Wedding Collection

超家族婚礼合集 2019

彩色有声单频影像，印刷，闪存盘存有视频，铁盒 88 x 60 x 18 mm；1时20分11秒

2019

Singel-channel video (colour, sound), print, video on USB, metal box 88 x 60 x 18 mm; 80’ 11”

图片由艺术家惠允 Images courtesy of the artist

59

仙子挂帘

Fairies Curtain

印纺织品，印刷，聚酯纤维 150 x 200 cm

Printed textiles, polyester 150 x 200 cm

婚宴餐布

Wedding Dinner

印纺织品，印刷，聚酯纤维 145 x 180 cm; 145 x 145 cm

Printed textiles, polyester 145 x 180 cm; 145 x 145 cm

超人迪嘉年华

Super Ultra Carnival

2019

2019

2019

2019

2019

2019

摄影册，印刷，纸张 A5，70页

Photo album, prints, paper A5, 70 pages

60

女子天团 NZTT SEWING CO-OP

我们因创作、交流和互助聚集在一起，探索创造力的柔软或硬

NZTT Sewing Co-op is a joint initiative by BUBU, Jialu, Money

核，保持软女和硬女并肩而行。女子天团由BUBU、Money 、

and Miaozi. Founded in the spirit of mutual aid, creation, and

嘉璐和苗子组成，通过一起缝纫和发起活动，在生产过程中对

communication, it aims to explore the various elements of

话和经历，并关注性别议题，意在构建多元互助社群。

creative practice while keeping the artists side-by-side, shoulder-to-shoulder. It tries to build a diverse community through sewing and other events.

曾参与展览:

Group Exhibitions:

2019 “上阳台”，Synnika Project Space，法兰克福，德国;

2019 “Soeng Joeng Toi”, Synnika Project Space, Frankfurt;

2018 “漫长的婚礼”，广州;

2018 “Marriage, The Prelude”, Guangzhou;

2017 44剧场，“潘玉良:沉默的旅程”，广东时代美术馆，广州

2017 44 Theater, “Pan Yuliang, a journey to silence”, Times Museum, Guangzhou.

Threads Adeptly Brandished by a Loving Woman

慈女手中线 2020

布料上刺绣，棉线，棉布 尺寸可变

2020

Embroidery on textiles, cotton thread, cotton fabric Dimensions variable

失踪人口袋

Missing Persons Bag

布料上缝纫和版画印刷，棉线，棉布， 聚酯纤维，纺织颜料，RFID布 尺寸可变

Sewing and print on textiles, cotton thread, cotton fabric, polyester, fabric paint, RFID fabric Dimensions variable

2020

2020

61

口罩

Masks

布料上缝纫和版画印刷，棉线，棉布，聚酯纤维， 纺织颜料 尺寸可变

Sewing and print on textiles, cotton thread, cotton fabric, polyester, fabric paint Dimensions variable

防恋爱热百分百

Love Fever Insulation

布料上缝纫和版画印刷,棉线，棉布，聚酯纤维， 纺织颜料，RFID布 尺寸可变

Sewing and print on textiles, cotton thread, cotton fabric, polyester, fabric paint Dimensions variable

工衣

Work Suit

布料上版画印刷，棉线，棉布，纺织颜料 尺寸可变

Print on textiles, cotton thread, cotton fabric, fabric paint Dimensions variable

2020

2020

2020

2020

2020

2020

62

空气炸Hellkitty乐队 HELLKITTY BAND

一个驻在广州的试验性噪音乐队，有43名成员（与乐队合作

An experimental noise band based in Guangzhou, has 43

过的都算，也包括在线聊天群的人数）。空气炸Hellkitty为你

members (including those who have worked with the band,

们带来了爱恨情仇。

as well as the number of members in the online chat group).

Hellkitty Band brings you love and hatred.

曾参与展览:

Group Exhibitions:

2019 “上阳台”，Synnika Project Space，法兰克福。

2019 “Soeng Joeng Toi”, Synnika Project Space, Frankfurt.

空气炸Hellkitty 之时代奋进强音

Air Fried Hellkitty: Era of Endeavour and Strong Voice

2019

彩色有声单屏视频 1时15分10秒

2019

Single-channel video (colour, sound) 75’ 10’’

63

木刻班 WOODCUT CLASS 一群因为友情和爱、想卖版画赚钱、想存一笔危机基金的天才

Prompted by friendship and love, a group of talented people

老中青少年，会不固定、不定期在不同场所聚在一起站着刻、

composed of the old, the middle-aged, and the young want

蹲着刻、坐着刻……但实际上并没卖过多少。

to earn a living by selling prints and also contribute to a crisis fund. They gather and carve while standing, squatting, or sitting in different places and times. However, in reality, they have yet to sell much.

本广大画廊 BENGUANGDAHUALANG 存在于广州的一家非正式的微型画廊，主要售卖画廊主个人作

A miniature gallery in Guangzhou, China, which mainly sells

品，偶尔代理身边的艺术家朋友作品。

the works of the gallery owner and sometimes the works of his friends.

*观众可通过扫描以下二维码进入本广大画廊微店购买所有产

*Scan the QR code below and buy their products in

品，订单将于支付后待展览结束（6月20日）安排发货，所得

Benguangdahualang. The orders will be shipped after the

钱款将用于支持本项目持续推进。

exhibition ends (20 June). All income from the orders will be used to support the continuing development of the project.

本广大画廊微店： Benguangdahualang Weidian Store:

64

点点宣传部 • • PROPAGANDA DEPARTMENT

“点点宣传部”是对文字空间的探讨，是用出版显示一路行进

• • PROPAGANDA DEPARTMENT (born in Beijing, lives and

的“听-说”集合体。“點點”或“点点”在构字法上：黑色是其意

works everywhere) is an inquiry into textual space, an ongoing

义指向；佔则是其发音属性，又同时与其他同样发音的字词组

assemblage of ‘hearsay’ manifest in print form. “• •” may be

成一个意群代表充斥和佔据。她的出版项目则是一种慢节奏的

pronounced diăn diăn, dim2 dim2, dot dot, etc., etc.,

身体延伸和产出，随着出版的行进，散发出去激起点点涟漪，

depending upon the common attribution for the symbol in your

也就建立了该集合体和空间路径中其它身体的联系。这个集合

preferred language. Its work is a corporeal extension following

体开始于2017年，并承接了一系列刊物的公开印刷出版和发

the slow rhythms of the haptic, mechanically distributed text:

行，其中叫得上名的如《等等目录》。

partially anonymous, intended as a dispersion, free to peruse and opening a different set of actions. The collective was

2017年3月

established in 2017 and has undertaken a series of publicly

《等等目录》第一期，

distributed broadsheets known as the Etc., Etc., catalogue.

“都市折叠” 央美术馆，北京

Mar. 2017 Etc., Etc., No. 1, “Rebel Cities”,

2017年12月 《等等目录》第二期（番薯专号），

Yang Art Museum, Beijing

“未来生活手册”

Dec. 2017 Etc., Etc., No. 2 (Sweet Potato Special Edition),

红专厂，广州

“Future Life Handbook”, Redtory Museum of

2019年11月 《等等目录》第三期，新加坡双年展

Lasalle College of Art，新加坡

Contemporary Art, Guangzhou

Nov. 2019 Etc., Etc., No. 3, Singapore Biennale, Lasalle College of Art, Singapore

作品由艺术家组合惠允 Courtesy of the artist collective

65

《等等目录》第三期 2019

无碳复写纸，黑色油墨，专色油墨（金）， 牛顿力学范畴中的压痕和褶皱，声音 尺寸可变

ETC., ETC., No. 3 2019

Carbonless copy paper, black printing ink, spot-color printing ink (gold), folds and creases created by Newton’s Laws of Motion, sound Dimensions variable

图片由艺术家惠允 Images courtesy of the artist

Etc., Etc., No. 3 is printed with graphite transfer paper and based on in-depth research. It commentates on the tensions associated with the cultural interrelationship between Northern Vietnam and the two provinces of Guangdong and Guangxi in China, and deals with the self-organization and demand for autonomy on both sides of the Sino-Vietnamese border. It uses the female narrative and includes stories ranging from centuries-old mythologies, political struggle, and gender representation.

《等等目录》第三期是用复写纸印制，研究为基础。其以越南 北部和中国粤桂两省的文化接触地区的关系张力为考量，敲及 中越边境两地的自组织实践和自治意向。以女性叙事的形式出 版，内容横跨流传多个世纪的神话、政治争斗和性别表征。 该报纸交错编造了众多半虚构的角色，越南本土的“母道”信 仰-实践在此通感为叙述手法，记述她们在19世纪末到20世纪 上半叶的革命时期频繁穿越这片地区。这些女性在字面和比喻 意义上都跨越了国境，她们的行踪在某种程度上被追溯为情感 的生命政治时态，并悄然隐匿在扬起（le soulèvement）的前

The publication creates and interlaces many semi-fictional characters. Inspired by ideas of the local Vietnamese “Mother Goddess” faith (Đạo Mẫu) , the paper records these women’s frequent journeys across the border in the era of revolutions, from the end of the 19th century to mid-20th century. These women led transnational lives both literally and metaphorically.

Their whereabouts are traced to some extent as emotional life-political tenses and quietly concealed in the process of the “soulèvement”. From the story of female pi’jiao’s* “wading a road on foot”, to the role of Ho Chi Minh’s first wife Zeng Xueming in the Vietnam Revolutionary Movement, and the female guerrillas in the Vietnam War, to the contemporary illegal labors in mainland China - various forms of cover-up and / or neglect reveal different relationships between private life, public life, and collective action.

后过程里。从女批脚徒步开辟“侨批汇路”的故事，到胡志明第 一任妻子曾雪明在越南革命运动中扮演的角色，还有越南战争 里的女游击队员，再一直到当代在中国大陆工作的越南非法劳 工，掩盖和/或忽略的诸形式揭示了私人生活、公共生活和集 体行动之间的别样关系。

*《等等目录》第三期在798园区“其实唱片”户外小车上分发。 小车停靠在“北京公社”画廊附近，将每天两次播放声音作品。 * Etc., Etc., No. 3 is distributed by Qishi Record’s outdoor music cart in 798 Art District. The cart is parked near Beijing Commune and plays sound installations twice everyday.

* The special mission employed by the Overseas Chinese Approval Bureau to deliver letters and bank cheques to Chinese immigrants in Vietnam

66

胡尹萍 HU YINPING (b. 1983) 胡尹萍生于四川，小镇青年，北漂，周遭的环境和际遇是她作

Hu Yinping (b. 1983, Chengdu, Sichuan Province) earned her

品的土壤。她的作品曾在箭厂空间（2016年）和墨方（2016

MFA from the Sculpture Department at the Central Academy of

年），威尼斯（2017年）等独立空间做过个展，并在PACE画

Fine Arts (CAFA) in 2010. Rather than working in sculpture, she

廊，Klein Sun画廊（纽约），FIAC巴黎，Kommunale Galerie

has since channeled chance meetings and fortuitous situations

Berlin，爱尔兰等地展出。她是“@PARTY”创始人（2012年），

into insightful scenarios in her art. Her work has been exhibited

“胡小芳”创始人（2016）。胡尹萍目前生活和工作于中国北京。

in solo exhibitions at Arrow Space (2016) and MOCUBE (2016), and was included in group exhibitions such as “Unlived by What is Seen” at PACE Gallery (2014) and at the Kommunale Galerie

个展： 2018

“雪白的鸽子”，箭厂空间，北京

in Berlin (2017). She is a founding member of the “@ PARTY”

2017

“凤凰”，西宁当代美术馆

collective (2012). Hu lives and works in Beijing.

2017

“游客”，IAER，威尼斯

2016

“小芳”，箭厂空间，北京

Solo Exhibitions :

2016

“谢谢”，3号空间，成都

2018

“Snowy White Dove”, Arrow Factory, Beijing

2016

“身份”，魔方空间，北京

2017

“Phoenix”, Xining Contemporary Art Museum

2017

“Tourist”, IAER, Venice

2016

“Xiao Fang”, Arrow Factory, Beijing

作品由艺术家惠允 Courtesy of the artist

67

2016

“Thanks”, Space#3, Chengdu

2016

“ID”, MOCUBE, Beijing

图片由艺术家惠允 Images courtesy of the artist

人间

Human World

事情，黑胡桃椅，汉白玉，黄金，图片，口述

Event, black walnut chair, white marble, gold, images, oral description

《人间》是从2012年开始进行的一件作品，直到艺术家生命

Human World is a work that began in 2012. It will keep growing

结束后才进行对外公布。该作品内容及进程只和收藏者进行一

until the artist’s death. Hu will not make this artwork public until

对一的沟通，收藏者对该作品拥有知情权利和保密的义务。

her death. She will only privately communicate the progress to

2012 - forever

2012-永远

those who have purchased the work. In return, it is the duty of each collector to keep the artwork confidential.

68

图片由艺术家惠允 Images courtesy of the artist

作品由艺术家惠允 Courtesy of the artist

69

“Sister Ling, You’re Totally RAD”

“玲姐，你真棒!”

2018-2028

事情，图片，单幕影像，灯箱，契约 1920 x 1080，16:9，彩色，立体声 2018：3分45秒 2019：4分48秒

2018 - 2028

Event, images, single-channel HD video, lightbox, contract 1920 x 1080, 16:9, color, stereo 2018: 3’ 45’’ 2019: 4’ 48”

“玲姐是广州乡下农妇，她不施农药进行传统种植，虽然别人

“Sister Ling is a farmer in Guangzhou. She chooses not to

产量是她的3-5倍。我觉得她很棒，于是我租了一块她家的水

apply pesticides in her fields even though her output is 3-5

田，付给她该地的最高收成价格。让她在不考虑产量和销售的

times lower than that of her neighbors. I think she’s rad! So I

情况下让进行自由劳作，前提是不种粮食和任何绿色植物。收

rented a plot of land from her for a rate amounting to the

成后不用于销售买卖，只能自用或赠予他人。

equivalent of a single yearly harvest. Under the terms of our contract, she can work freely and plant whatever she wants

“我一共租赁了十年，因为玲姐今年50岁，对这事有很多期

except crops or vegetables. Most importantly, her harvest can

待，同一块土地希望她不再种粮食，可以种点其他的。农民不

only be used by herself or be offered to others as a gift — her

是天然种粮食，如果她出生在城市，也许她在种房子。又比如

harvest cannot create any profit.

种喜欢，玲姐说很喜欢玫瑰，也挺好的，她其实不是在种玫 瑰，是在种喜欢，种感受，种很理想还不现实的东西。收成后

“I have rented this piece of land for ten years, providing Sister

我不允许她再次买卖，因为我已经付过钱了，也避免滋养贪婪

Ling with a stable yearly income. Now that she doesn’t have the

因素，所以她只能自用或者赠予，而其他村民接受到这份礼物

burden of planting crops for profit, she can indulge in any of her

时会聊起、感受甚至嫉妒，嫉妒其实是个好东西，嫉妒让人思

own fantasies and plant anything on this patch of land ranging

考，思考可以改变，所以期待思考和改变。“

from rocks and roses to dreams, love, and ideals. No one in the village but Sister Ling is given the opportunity to grow whatever they want and get paid for it. Her special condition is aimed at

—— 胡尹萍

making others feel jealous. For me, jealousy is always a starting point for change.”

— Hu Yinping

70

杨鑫 YANG XIN (b. 1987) 1987

出生于湖南

1987

Born in Hunan Province

2012

毕业于中央美术学院版画系

2012

Graduated from Printmaking Department,

Central Academy of Fine Arts

Solo Exhibitions

个展： 2017

“显微II—杨鑫”个展，凯勒画廊，纽约，美国

2017

“Micro II--YangXin Solo Exhibition”, Klein Sun

2016

“显微—杨鑫”个展，空间站，北京，中国

Gallery, New York, America

2016

“Micro—Yang Xin Solo Exhibition”,

SPACE STATION, Beijing, China

群展： 2017

“透镜－中国当代艺术展”，深圳美术馆，

深圳，中国

Group Exhibitions

“生态＋Young’nergy”, 上海艺仓美术馆，

2017

上海，中国

“找朋友发现当代青年艺术家”，今日美术馆，北

京，中国

Shanghai

“Simulacrum Living”, 2017 Chinese Contemporary Art Exhibition, Shenzhen Museum, Shenzhen

“Ecology+(Young’nergy),” Modern Art Museum,

上海ART021，上海展览中心，上海，中国

2015

“守望刀版”，中国美术学院美术馆，杭州，中国

Shanghai

2015

Shanghai Art 021, Shanghai Exhibition Center,

Spoon Art Fair，弘益大学艺术馆博物馆，

首尔，韩国

Beijing

“Visions of Printmaking,” China Academy of Art,

2013

“透明性 (1)”，空间站，北京，中国

作品由空间站惠允 Courtesy of SPACE STATION

71

Spoon Art Fair, Hongik University Museum of Art

and Gymnasium, Seoul, South Korea

2014

Art Beijing, Agricultural Exhibition Centre, Beijing

2013

“Transparency (1),” SPACE STATION, Beijing

原系列 14 2016

综合材料 118 x 118 cm

Original Series No. 14 2016 Mixed Media 118 x 118 cm

图片由画廊惠允 Images courtesy of the gallery

原系列 15 2016

综合材料 118 x 118 cm

Original Series No. 15 2016

Mixed Media 118 x 118 cm

图片由画廊惠允 Images courtesy of the gallery

72

角落的角落被放大 1 2016

综合材料 20 x 20 cm

Enlarged Corners of Corner No. 1 2016

Mixed Media 20 x 20 cm

图片由画廊惠允 Images courtesy of the gallery

角落的角落被放大 2 2016

综合材料 20 x 20 cm

Enlarged Corners of Corner No. 2 2016

Mixed Media 20 x 20 cm

图片由画廊惠允 Images courtesy of the gallery

73

角落的角落被放大 3 2016

综合材料 20 x 20 cm

Enlarged Corners of Corner No. 3 2016

Mixed Media 20 x 20 cm

图片由画廊惠允 Images courtesy of the gallery

“显微”意指显著和隐微。杨鑫将细小的微观世界用叠加、克隆

Yang’s studio is like a biological science incubator: lab

的方式得以凸显，借助艺术表达的显著之相，引导观众察觉到

equipment—needles, test tubes, petri dishes, stirrers -

生活中最幽微的生命之理。杨鑫的工作室如同生物科学的培育

become her tools for painting. The artist uses a microscope

室，实验室里的器物，针头、试管、培养皿、搅拌器，都成为

to observe the structure of microorganisms and to explore

她的绘画工具。艺术家透过光学显微镜细察微观生物的结构，

the hidden changes and relations in life. Here “Microscope”

始终探寻着生命内在所隐藏的变化与关系。这些偶然的和必然

(“xianwei”, meaning manifesting the microscopic) means

的矿物质颜料，在透明玻片上凝结、渗透，如同神秘的生命，

magnificent and implicit. Yang has highlighted the

不断的繁殖、分裂。杨鑫在分子层面上重构了貌似真实的仿真

microcosmic by way of superimposition and cloning, through

现实，进行分解、剖析、控制、放大，再现生命力。正是通过

which audiences are guided to become aware of the subtlest

这种新的可视化的形式，生命得以在分子层面上被思考，成为

secret of life. These accidental and inevitable mineral

一系列可以理解的生命机制。她对生命和繁殖的有效元素进行

pigments have condensed and permeated the

观测和研究，重构了技术理性和生物科学的探索。

transparent slide. They continually reproduce and divide akin to a mysterious lifeform and exude a playful naturalness. At the molecular level, Yang constructs a seemingly realistic simulation of reality by decomposing, analyzing, controlling, amplifying, and reproducing vitality itself. It is through this new form of visualisation that can be considered as a series of intelligible life mechanisms conducted at the molecular level.

Yang has observed and researched the working elements of life and reproduction, and through that, she reconstructs technical rationality and explorations of biological science.

74

张文心 ZHANG WENXIN (b. 1989) 张文心于1989年出生，现工作、生活于杭州。2013年毕业于

Zhang Wenxin was born in 1989 and currently lives in

加州艺术学院，获纯艺术硕士学位。

Hangzhou, among other places. She received her MFA from the California College of the Arts in 2013.

个人项目：“填充克莱因瓶”，InterAccess（与艺术家叶轩联 合参展），多伦多，2020；“映射之地”，广东美术馆，广

Her solo exhibitions include: “Filling the Klein Bottle” (as an

州，2019；“泛音”（与艺术家虞菁联合参展），泰康空间露台

artist duo with Ye Xuan), InterAccess, Toronto (2020), “The

项目，北京，2019；“时间篝火”，剩余空间，武汉，2017；“瀑

Map of the Mapping”, Guangdong Museum of Art, Guangzhou

布招待所旁的巨兽”，Artist Telivision Gallery，旧金山，2014。

(2019), “Phi” (as an artist duo with Yu Jing), Taikang Space Terrace Project, Beijing (2019), “Time Burns”, Surplus Space,

张文心运用录像、电脑动画、摄影与装置，并综合写作与音

Wuhan (2017), “Beast by the Waterfall Guesthouse”, Artists’

乐，建构以过程为导向的知觉体验，亦常常由日常经验和技术

Television Access, San Francisco (2014).

图像映射出对时间与超验的思考。 Zhang utilises video, CG, photography, and installations, as well as writing and music, to create process-oriented perceptual experience that usually starts from everyday experience and technical images and then grows into the continuous mapping of time and transcendence.

作品由艺术家惠允 Courtesy of the artist

75

图片由艺术家惠允 Images courtesy of the artist

力量之屋

Zurkhan3h

装置（动画，往复电机，链条，不锈钢路锥） 尺寸可变

Installation (animation, reciprocable machine, chain, stainless steel cone) Dimensions variable

《力量之屋》一名借用自伊朗传统健身房。在古代，“力量之

The title Zurkhan3h comes from the name of traditional Iranian

屋”是朝廷供养的勇士培训基地，也是一个唤起男性战斗力、

gymnasiums, referred to as “Zurkhaneh.” In ancient times, a

巩固父权制度的仪式场所。在当今，人工受精和基因编辑技术

Zurkhaneh was a base of training for warriors supported by the

对传统生育模式发起挑战，基于父权生殖机制的力比多经济随

imperial court, and a ritual place to evoke male combativeness

之动摇，在崩裂的缝隙间，一些埋藏已久的秘密得以显露。在

and consolidate patriarchy. In the current era, in which artificial

上述背景下，《力量之屋》化合了史前巫术符号、现代机械、

insemination and genetic engineering challenge traditional

虚拟建模与声音表演，意图与现代社会治理下的人类生殖力进

reproductive models and the libidinal economy based on

行仪式化的知觉感应。

patriarchal reproductive mechanisms is in flux, cracks indi-

2020

2020

cating a collapse might result in some long-buried secrets coming to light. In this context, Zurkhan3h combines prehistoric symbols, modern mechanics, virtual modeling and sound performances, with the intention of constructing a ritualistic cognitive experience of human fertility under contemporary social governance.

76

策展人介绍 张涵露

Curator’s Biography Hanlu Zhang

张涵露是一名写作者和策展人。她生长并生活在上海，2013

Hanlu Zhang is a writer and curator born and based in Shang-

年于芝加哥艺术学院获得艺术历史、理论和评论硕士。2014

hai. She received her MA in Art History, Theory and Criticism

年获“国际艺术评论奖”（IAAC）二等奖，文章发表于瑞象视

from the School of the Art Institute of Chicago in 2013. In 2015,

点、LEAP、Flash Art以及art-agenda等媒体，她也是ARTFORUM

she co-curated “Nightmare of Exhibition Part II: the Two-way

中文网编辑。2015年入围上海当代艺术博物馆“青策”项目并

Theater” at the Power Station of Art in Shanghai after winning

联合呈现了“展览的噩梦（下）：双向剧场”；她曾在纽约的

the “Emerging Curator Program.” She has curated exhibitions at

No Longer Empty，北京的央美术馆、香港的Para Site艺术

No Longer Empty and 49B Studios in New York, at the Yang Art

空间等地组织策划展览和公共活动；也曾参与蓬皮杜中心双

Museum and the 798 Photo Gallery in Beijing, and at Para Site Art

年展平台Cosmopolis的策展。她是44剧场的成员。

Space in Hong Kong, among other spaces. She also worked on the curatorial team for Cosmopolis, a biennial platform initiated by Centre Pompidou in 2018 and 2019. Hanlu received second prize in the “International Award for Art Criticism” competition in 2014 and her writing can be found on LEAP, ArtReview Asia, Flash Art, and art-agenda. She serves as the editor at ARTFORUM.com.cn and is a member of Theater 44.

相关活动 Events 开幕：

Opening:

22.5.2020（周五）16:00 - 19:00 开幕表演：18:00 - 19:00

4-7pm on Friday, 22 May 2020, with a performance programme running from 6-7pm

现场演出：

Performances:

“一个世界，以及我们” 艺术家：蒲英玮 表演时长：15分

One World, and Us Artist: Pu Yingwei Duration: 15’

在表演“一个世界，以及我们”中，蒲英玮将以慢速演唱的方式表 演一首如今代表着世界援助主义精神的歌曲《天下一家》（We are the World）以回应以英美文化为中心而展开的天下大同想象， 以及当下在世界范围内回温的孤立主义与国家主义倾向。

In One World, and Us, singing at a slow pace, Pu Yingwei will perform the song “We are the World”( a charity single that has been described as “an appeal to human compassion”), responding to the image of global brotherhood promoted by Anglo-American culture and to the worldwide trend towards isolationism and nationalism.

“‘力量之屋’初始化现场”

Zurkhan3h Initiation Performance

艺术家：张文心，和音乐人Fishdoll合作

Artists: Zhang Wenxin, in collaboration with Fishdoll

表演时长：45分

Duration: 45’

音乐人Fishdoll与艺术家张文心将结合电子乐、发声机械、行为 表演与人声，赋予“力量之屋”情感场的空间属性，在声音的振动 中，引导观众进入连接原始与未来的意识隧道。

Musician Fishdoll and artist Zhang Wenxin will combine electronic music, acoustic machinery, performance, and vocals to bestow spatial properties upon the “House of Power” emotional field. In the vibration of sound, the audience will be guided into the tunnel of consciousness that connects the primitive and the future.

以上活动具体细节以及时间可能有调整，详细相关信息请下载画廊周北京官方App，关注画廊周北京微信订阅号，或留意平台官 方网站、新浪微博、Facebook和Instagram。 All events and schedule are subject to change. For updates and further information, please download the GWBJ App, subscribe our WeChat public account, or closely follow our official website, Sina Weibo, Facebook, and Instagram. 网站 Website： 信息垂询 General Inquiries: 媒体垂询 Media Inquiries:

www.gallery-weekend-beijing.com info@galleryweekendbeijing.com media@galleryweekendbeijing.com

微信 WeChat： GWBJ2019 微博 Sina Weibo： 画廊周北京 Instagram: galleryweekendbeijingofficial Facebook: galleryweekendbeijing

画廊周北京是由当代艺术圈的专业资源人才组织搭建的一个具有文化凝聚力的当 代艺术推广平台。在画廊周北京期间，机构与艺术家将合力呈现一年中最精彩的 展览。画廊周北京将邀请全球艺术行业精英来北京感受拥有深厚文化积淀而又生 气十足的中国当代艺术。观众可以充分体验并和每一间拥有不同气质的展览空间 直接交流，更深刻的了解中国当代艺术的发展以及其成长的土壤。

Gallery Weekend Beijing (GWBJ) is a culturally cohesive platform - initiated and managed by art market professionals - that seeks to bundle and share cutting-edge contemporary art in Beijing. During GWBJ, galleries and institutions work closely alongside each other to present the most striking exhibition of the year to a national and international audience. On a global level where boundaries increasingly blur into new fields of oppertunities, this exciting venture seeks to eliminate creative limits and to connect Beijing’s artistic potential to the global contemporary art hubs. An attractive framework program, including relavent talks, panel discussions and workshops, and much more, will accompany the week-long event.

展览工作团队 总监：

王一妃

项目总监：

箫岭（Nataline Colonnello)

项目统筹及协调：

华沁蕊

项目助理：

褚育杉、范依兵、刘雨桐、祝天怡

展览制作：

北京壹人文化传播有限公司

影音设备支持：

北京苑艺瑞博科技有限公司

平面设计：

麦吾兰

自媒体宣传：

方璇

商务拓展：

李丹

预告片剪辑：

葱包

场刊 编辑：

张涵露

助理编辑：

褚育杉、华沁蕊、张心怡、祝天怡

设计：

麦吾兰、刘雨桐

翻译/校对：

Graham Dickie、冯优 版权所有 画廊周北京2020

Production Team DIRECTOR:

Amber Yifei Wang

EXHIBITION DIRECTOR:

Nataline Colonnello

PROJECT MANAGER & COORDINATION:

Qinrui Hua

PROJECT ASSISTANTS:

Nancy Chu, Luna Fan, Minos Liu, Tianyi Zhu

EXHIBITION PRODUCTION:

ONEPERSON EVENTS AGENCY

VIDEO & SOUND DEVICE SUPPORT:

Beijing Yuanart Reibo Technology Co., Ltd.

GRAPHIC DESIGN:

Mewlan Gheni

SOCIAL MEDIA PROMOTIONS:

Olivia Fang

BUSINESS DEVELOPMENET:

Betta Li

TRAILER PRODUCTION:

Eugene Lo

Brochure EDITOR:

Hanlu Zhang

ASSISTANT EDITOR:

Nancy Chu, Qinrui Hua, Syukie Zhang, Tianyi Zhu

DESIGNER:

Mewlan Gheni, Minos Liu

TRANSLATION/PROOFREADING:

Graham Dickie, Yau Feng © Gallery Weekend Beijing 2020. All rights reserved.

组织方： Organiser:

北京798文化创意产业投资股份有限公司 Beijing 798 Creative Industry Investment Co., LTD.

展览地址 798艺术中心 北京市朝阳区酒仙桥4号798艺术区内 798中二街D09-8

展览开放时间 星期二至星期六：10:00-18:00 星期日 / 一闭馆

Exhibition Address 798 Art Center D09-8, 798 Zhong’er St., 798 Art Zone, Chaoyang District, Beijing Exhibition Hours Tuesday to Saturday: 10am - 6pm Closed on Sun / Mon

画廊周北京App二维码： GWBJ App QR Code:

封面背景图来自周思维作品《气球、蝴蝶、无人机》（2018） 由艺术家和麦勒画廊惠允 Cover background image from Zhou Siwei, Balloon, Butterfly, Drone (2018), courtesy of the artist and Galerie Urs Meile

画廊周北京官方微信公众号： GWBJ WeChat Public Account: