HOW 新展预告 | 我与博伊斯·杨振中：《立方》
我与博伊斯 · 杨振中
展期：2020年08月08日- 2020年10月31日
艺术家：杨振中
策展人：杜曦云
地址：昊美术馆（上海）二楼特别项目展厅
主办：昊美术馆
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第二个展览，艺术家杨振中用《立方》与博伊斯展开对话。
因为关注点的不断移动，他的作品中很少有反复使用的材料，但镜子和铁栅栏是个例外，因为杨振中不断刷新着对当代人基本生存状况的认知和表达，这些认知和表达，涉及景观时代的真相/假象、隐私/公开等。
2009年的《黑板》中，他开始使用镜子和铁栅栏，让观者在开放的空间中透过铁栅看到自己的镜像，恍惚中不知身在笼里还是笼外。2013年，镜子和栅栏安置在几个墙面上后，镜像互相映射、多重交叠，形成让观者加倍迷失的多重“笼里笼外”。2017年在北京箭厂空间设置的《栅栏》，在临街墙面上装配了带着铁栅的“双面镜”，墙里安置摄像头。那些原本行色匆匆的人们，在看到墙上镜子时，本能的停顿下来审视镜中的自己，浑然不知双面镜之后摄像头的存在。
景观世界里，幻像无尽变化，假象比真相更美妙迷人，真相“自惭形秽”的退隐。沉浸在屏幕和镜像中的人，早已无法寻找真相和假象的边界。摄像头无处不在、个人信息被机器不舍昼夜的采集和分析，个人隐私无从保守，在特殊时段还会主动让渡隐私……杨振中的这个装置，在景观社会中增加景观、在镜像世界里诱人照镜、在公开时代中加倍公开，欢迎观者在照镜子中生长出自身的经验。
文／杜曦云
关于艺术家
杨振中 | Yang Zhenzhong
重要个展包括：《静物与风景》，北京唐人当代艺术中心（2018）；《始终》, 莫斯科MANEGE美术馆及展览协会（2014）；《不在此时》，上海OCT当代艺术中心（2013）；《不要动》，北京香格纳（2011）；《杨振中》，英国伯明翰IKON美术馆（2006）；《轻而易举》，上海比翼艺术中心（2002）。重要群展包括：《1989年之后的艺术与中国：世界剧场》，纽约古根海姆博物馆（2017）；《我们光明的未来：控制论幻想》，韩国白南准艺术中心（2017）；《前卫中国：中国当代艺术20年》，东京国立新美术馆（2008）；《全球化城市》，英国泰特美术馆（2007）等。其作品不仅参加了威尼斯双年展(2003, 2007)、上海双年展(2002, 2016)、广州三年展(2002, 2005, 2012)、亚太当代艺术三年展(2006)、里昂双年展(2013) 等国际大展，亦被纽约MoMA、古根海姆、英国IKON美术馆、日本福冈亚洲美术馆、法国国家现代艺术博物馆、瑞银集团等重要公私艺术机构所收藏。
关于策展人
杜曦云 | Du Xiyun
他的艺术观点著述于各类杂志和出版物，并曾创办和主编《艺术时代》等刊物。他曾参与组织、策划多个展览和项目，近期包括：联合构筑，苏州金鸡湖美术馆，2020；我与博伊斯·周啸虎，上海昊美术馆，2019；上海文件：匀速运动，上海喜玛拉雅美术馆，2019年；蒙塔达斯：亚洲礼仪，三影堂摄影艺术中心，2018年；今日之往昔：首届安仁双年展，2017年；走向未来：马德里·北京音乐潮，塞万提斯学院，2017年；萧条与供给：第三届南京国际美展，百家湖美术馆，2016年；北京·798诞生纪（2002-2006），宋庄美术馆，2016年。
Me & Beuys · Yang Zhenzhong
Duration：2020/08/08 - 2020/10/31
Artist：Yang Zhenzhong
Curator : Du Xiyun
Venue：Special Project Space, F2, HOW Art Museum (Shanghai)
Organizer: HOW Art Museum
The concepts in Yang Zhenzhong's works are intricately layered and thought-provoking. The constant advancement of the conceptual aspects drives the development of the work’s highly experimental selection of material, style, and execution. The stream of thought invoked by curiosity and critical awareness transforms with the shift in his attention to a given problematic area that he is concerned with, it is during this process that he stretches out his vitality.
Because of his constantly shifting focus, apart from mirrors and metals bars, there are few recurring materials in his work. Instead, Yang Zhenzhong constantly refreshes our perceptions and expressions of the basic conditions of contemporary existence that deal with the tension between truth/illusion, private/public in the age of the spectacle.
Up: "Black Board", ShanghART Gallery and H-Space, 2009
In his 2009 work Black Board, he began using mirrors and bars to show viewers their own mirrored image seen through the bars of the apparently open space, rendering members of the audience confused and not knowing whether they were inside or outside the cage. In 2013, mirrors and bars were placed on several of the walls, causing the mirrored images to converge and overlap, creating multiple images of people "inside and outside the cages" adding to the viewer’s disorientation. In 2017, Fence a spatial installation in Beijing's Arrow Factory, consisted of a "two-sided mirror" attached to an iron grille on the wall facing the street and in the wall was a camera. When people who are usually in hurry saw the mirror on the wall, they instinctively paused to look at themselves in the mirror, completely unaware that there was a camera situated behind the two-way mirror.
In the work "Cube" produced for this exhibition at HOW Art Museum, Yang Zhenzhong uses mirrors and red fire hydrant pipes to form a large cube. On the ground, four mirrored walls conceal mysteries, while the walls of the exhibition hall have their own settings. Once the audience intervenes into the set of visual relations he has established, they will generate mirrored and filmed images, which will then reflect and overlap on each other generating a constant flow of new information and meaning....
In the world of the spectacle, illusion is in a constant state of metamorphosis, false appearances are more enticing and charming than the truth, and so truth is "ashamed of itself" and forced to retreat. People immersed in screens and reflections have long been unable to find the border between truth and illusion. Cameras are everywhere, personal information is collected and analyzed by machines day and night, and there is no way to secure one’s own personal privacy. At times we even give up our privacy willingly… This installation by Yang Zhenzhong adds spectacle to the society of the spectacle, tempting people to look in the mirror in a world of mirrored images, doubling down on being open in an era of openness, inviting the viewer to grow in their own experience of looking in the mirror.
ABOUT ARTIST
Yang Zhenzhong
Born in 1968 in Hangzhou, Zhejiang, YANG Zhenzhong has been living and working in Shanghai for more than 20 years with a career closely related to the development of new media art around the area. Since the end of 1990s, he has been curating and organizing numerous highly influential contemporary art exhibitions with artists including XU Zhen and YANG Fudong etc. They have not only enlivened the atmosphere of the new media art industry in Shanghai, but also promoted the artist himself to stage on an international platform. The key themes of YANG’s works are to strengthen the contradictions and disorders existed in the society with a cynical attitude on one hand, to utilise the perception of the space in political and psychological levels on the other hand. Now mainly focuses on the creation of new media like video, photograph, installation work and interaction etc., and curating as well.
Selected solo exhibitions include: Surveillance and Panorama, Tang Contemporary Art, Beijing (2018); Eternal Return | Вечное возвращение, Moscow Manege Museum and Exhibition Association, Russia (2014); Trespassing, YANG Zhenzhong Solo Exhibition, OCT Contemporary Art Terminal, Shanghai (2013); Don’t Move, Yang Zhengzhong Solo Exhibition, ShanghART, Beijing (2011); YANG ZHENZHONG, Ikon Gallery, Birmingham, U.K.(2006); Light As Fuck!, BizArt, Shanghai (2002). Selected group exhibitions include: Art and China after 1989: Theater of the World, Solomon R. Guggenheim Museum, New York, U.S.A.(2017); Our Bright Future: Cybernetics Fantasy, Nam June Paik Art Center, Yongin-si, Korea (2017); Avant-Garde China: Twenty Years of Chinese Contemporary Art , The National Art Center, Tokyo (2008); Global Cities, Turbine Hall, Tate Modern, London, U.K. (2007) etc. The artist’s works have previously exhibited in numerous prominent exhibitions including Venice Biennale (2003, 2007), Shanghai Biennale (2002, 2016), Guangzhou Biennial (2002, 2005, 2012), Asia Pacific Triennale of Contemporary Art (2006), Lyon Biennale (2013) and so forth. His works can also be found in collection of significant public and private institutes such as MoMA New York, Guggenheim Museum, Ikon Gallery (U.K.), Fukuoka Asian Art Museum, Musée National d’Art Moderne and the UBS Collection.
ABOUT CURATOR
Du Xiyun
Curator, Born in 1978. He received his bachelor's degree in oil painting from the school of fine arts in 2000 and his master's degree in fine arts history from Sichuan Academy of Fine Arts in 2006. He was deputy director of HOW Art Museum, deputy director of Shanghai Himalayas Museum.
His artistic views have been published in various magazines and publications, and he used to work as the chief editor of ARTTIME. He has been involved in organizing and planning several exhibitions and projects, most recently:(2020)Co-constructing, Jinji Lake Art Museum, Suzhou; (2019)Me&Beuys·Zhou Xiaohu, HOW Art Museum, Shanghai; (2018)Muntadas: Asia Protocols, Three Shadows Photography Art Centre, Beijing; (2017)The future is here: Musical frenzy from Madrid to Beijing, Instituto Cervantes of Beijing; Today’s Yesterday: The 1st Anren Biennale, Anren; (2016)Historicode: Scarcity&Supply/ The 3rd Nanjing International Art Festival, Baijia Lake Museum, Nanjing; BEIJING 798 GENESIS(2002-2006), Museum of Song Zhuang, Beijing.
*图片致谢艺术家
文 Text／杜曦云 Du Xiyun
编辑 Edit／Murphy
昊美术馆（上海）
HOW ART MUSEUM (SHANGHAI)
图片©昊美术馆
昊美术馆（上海）是具备当代艺术收藏、陈列、研究和教育功能的全新文化机构，坐落于上海浦东，共有三层展览和活动空间，总面积约7000平方米，于2017年9月正式对外开放。昊美术馆首创“夜间美术馆”的运营模式，常规对外开放时间为周二至周五下午1点至夜间10点，周末及节假日开放时间为上午10点至夜间10点。此举能让更多观众在工作之余前来美术馆观展，昊美术馆也举办“国际策展人驻留项目”、“户外电影节”、“雕塑公园”等国际交流项目和户外活动，以此建立全新的艺术综合体和浦东新地标。
昊美术馆（温州）
HOW ART MUSEUM (WENZHOU)
图片©昊美术馆
昊美术馆（温州）延续昊美术馆（上海）的“夜间美术馆”运营模式，是浙江省首家"夜间美术馆"，常规对外开放时间为下午1点到夜间10点，周末及节假日开放时间将向前延长为上午10点至夜间10点。昊美术馆（温州）将持续为公众呈现丰富的公共教育及户外艺术项目，引领融合艺术、设计、科技的全新生活方式。
📌暗号：进群
正在展出 Current
昊美术馆（上海）
HOW ART MUSEUM (SHANGHAI)昊美术馆（温州）
HOW ART MUSEUM (WENZHOU)