新展预告 | “循循 Droning On”将于7月15日开幕

循循

Droning On

艺术家

陈轴，林奥劼，李竞雄，陆平原，陶辉，王梓全

Artists

Chen Zhou, Lin Aojie, Li Jingxiong, Lu Pingyuan, Tao Hui, Wang Ziquan

策展人

缪子衿

Curator

Miao Zijin

开幕

2023年7月15日 14:30

Opening

July 15, 2023 14:30

展期

2023年7月15日至9月17日

Duration

July 15-September 17, 2023

主办

山中天艺术中心·玄馆

Organized by

Wind H Art Center 

地址

北京市朝阳区酒仙桥北路751艺术区北一门

Location

North Gate 1, 751 Art Unit, Jiuxianqiao North Road, Chaoyang, Beijing

山中天艺术中心·玄馆很荣幸地宣布，将于2023年7月15日举办群展“循循 Droning On”。本次展览由缪子衿策划，展出陈轴、林奥劼、李竞雄、陆平原、陶辉、王梓全等6位艺术家的最新作品，展出作品涵盖绘画、雕塑、装置、文本、行为艺术、以及影像作品等多种媒介。

《爱情考古-1》Love Archaelogy - 1, 2018, 陆平原 Lu Pingyuan, 故事，纸，树脂 Story, paper, resin, 38x42x9.5cm（整体尺寸）, 29.7x42cm（纸）, 22x14x9.5cm（手）38x42x9.5cm (Overall size), 29.7x42cm (paper), 22x14x9.5cm (hands), ©陆平原, ©Lu Pingyuan, 图片由艺术家提供, Image courtesy of the artist

《跳动的原子》 Pulsating Atom, 陶辉 Tao Hui, 2019, 彩色有声单通道高清录像 Single-channel HD video with color and sound, 14分12秒 14mins 12sec., ©陶辉 ©Tao Hui, 图片由艺术家、马凌画廊（香港）与施博尔画廊（柏林，巴黎，首尔）提供, Image courtesy of the artist, Kiang Malingue Gallery, Hong Kong, and Esther Schipper, Berlin/Paris/Seoul.

《痛恨理性（空间中交错的线，是虚拟人的航标-11）》Abhorrence of rationality (Control Interface-11, 王梓全 Wang Ziquan, 2023, 铝，碳纤维，亚克力，亚麻布，不锈钢，树脂，油漆，丙烯, Aluminum, Carbon fiber, acrylic, linen, stainless steel, resin, oil paint, propylene, 220 x 160 x 14 cm, ©王梓全 ©Wang Ziquan, 图片由艺术家提供 Image courtesy of the artist

Wind H Art Center is honored to announce the upcoming group exhibition "Droning On", The exhibition is curated by Miao Zijin and presents 6 artists, Chen Zhou, Lin Aojie, Li Jingxiong, Lu Pingyuan, Tao Hui, and Wang Ziquan. This exhibition will feature the latest works with a diverse array of media such as painting, sculpture, installation, text, performance art, and video.

The exhibition Droning On attempts to present the constant and systematic dialogue between humans and the surrounding world on a universal or intimate level. Based on their unique blueprints, six artists have identified spatial narratives and aesthetic orders shaped by material, emotion, and belief. The exhibition serves as a medium for negotiating with invisible forces and a decentralized field of information production. It constantly pushes the boundaries of action established by technologies of governance, to reach unpredictable and mysterious situations. If cyclical exploration is ultimately proved to be futile, we can be emotional and accept the guidance of intuition.

Form as Emptiness III (2023) is the third performance of a long-term theatrical program initiated by Chen Zhou. The artist invites multiple dancers and musicians to give each other inspirational instructions on creation. The random guidance mobilizes the visual, auditory, tactile, and olfactory senses of both the practitioners and the audience on site. The painting The Absence Out of Reflection (2022)series which is presented together with the stage performance, is like a concrete path that guides the performers toward an unknown destination, in a strange and secretive ritual.

Lin Aojie placed Sink or Swim (2023)on the poster stand at the entrance of the institution. Using text to participate in the activities of the Beijing art district, the artist self-mockingly refers to himself as “a Guangzhou artist without an exhibition in Guangzhou.” The 3D-printed anime figure I Won’t Have Any Exhibition in Shanghai This Year (2023) is placed in an unremarkable corner of the exhibition hall, posed in a manner of a curator inquiring about the artist’s proposal. These two works, whose presence is hard to perceive, repeatedly remind us to care about the unnoticed workers in the art ecology.

If art circulation is an improvisational act that arises on demand, the experiments on materials that artists carry out in their studios are more like puzzle-solving activities that extend time or process. Fire, as an element of creation, destruction, and transformation, appears in Li Jingxiong’s works in different stages. We circle through the night, consumed by fire (2022) series presents various signs of the beginning and passing of life through painting textures. Meanwhile, Untitled (2022) creates an organic atmosphere in a dimly lit space with second-hand goods and the smell of burnt objects.

The stories compiled by Lu Pingyuan, Love Archaeology-1 (2018), Father (2019), and FLY (2020), integrate urban legends with technology to construct a fantasy space parallel to the real world. Similarly, Mean Magic (2023) can be seen as a myth derived from ginseng’s participation. With the assistance of sculptural techniques and medical cosmetology equipment, the artist empowers plants with humanoid postures, emotions, and will, and adopts contemporary technology to create future species that overcome physical limitations. The relatively independent gray exhibition hall resembles a model of temple, becoming a spiritual place for temporary encounters of all things.

The generation that grew up with smartphones and televisions can easily gain a familiar visual experience from Tao Hui’s imagery. Pulsating Atom (2019) imitates the format of popular short videos, where the scenes and dialogues designed by the artist resemble that of users separated by algorithms yet overwhelmed by the loneliness triggered by social platforms. In Joint Images (2016), the artist selects ten dramatic film and television clips that are reinterpreted by actors to make them closer to “real-life events”, allowing audiences outside the screen to emotionally resonate with characters trapped within the plot.

Wang Ziquan’s Abhorrence of rationality (Control Interface) (2023) series associates fictional characters in relief with the skeleton-and-rigging technology of 3D modeling software and captures the dynamics of characters based on a timeline. The virtual body that lingers intermittently between individuals and collectives seems to emit a series of signals of recalling messages from the control panel. Here the artist develops a game without a clearly defined environment or task, articulating a chaotic moment marked in software.

陈轴

Chen Zhou

陈轴，1987年出生于中国浙江，现居上海。 

陈轴以影像与近年来开始实践的行为剧场为主要创作媒介。他常以解构并重组拼贴的方式构建情景舞台，在虚构的叙事中穿插演员的即兴行为表演，创造出游离于具象与抽象之间的剧情。陈轴擅长将观众从日常经验中带入生命深处的存在体验。深受佛家思想的熏陶，其早期的创作常关于存在的种种困境，身份的表演性与欺骗性，当代虚拟生活的孤独与异化，近期他开始探索物的精神性和人的意识状态与能量场。

陈轴的创作常在戏谑、荒诞与微超现实的叙事中，伴随着只言片语，渗透出一种冥思与内审。他将这种创作比喻为制造一面内在的镜子。 

陈轴的首部纪录片电影《模仿生活》获得哥本哈根纪录片电影节新视野奖（2017）；韩国 DMZ 电影节亚洲视点奖（2017）；并入围 61 届伦敦电影节（2017）。他也是“艺术世界未来之星”（2018）的入选者之一。他曾参与的国际群展有：“环形撞击-录像二十一”上海 OCAT当代艺术中心（2021）、“Age of You”多伦多当代艺术美术馆（2019）、“Emerald City”香港chi K11 艺术基金Pop-up空间（2018）、“寒夜”北京尤伦斯当代艺术中心（2017）、“第二届亚洲录像艺术与电影论坛”，首尔国立当代美术馆（2017）、“中华二十八人-Rubell家族收藏展”迈阿密Rubell画廊(2013)、“ON|OFF：中国年轻艺术家的观念与实践”，北京尤伦斯当代艺术中心（2013）、“未完成的国度：来自中国的新录像”，休斯敦当代美术馆(2012)、“第七届深圳雕塑双年——偶然的信息:艺术不是一个体系，也不是一个世界”， OCT当代艺术中心，深圳(2012)。

Chen Zhou, born in Zhejiang, China, in 1987 and currently based in Shanghai.

Chen Zhou takes film/video and performance theater, which he began to practice in recent years, as primary medium. He often constructs scenographic stages by deconstructing and reassembling collages, interweaving impromptu performances by actors within fictional narratives, creating a storyline that oscillates between the concrete and the abstract. Chen Zhou excels at leading the audience from their everyday experiences into profound existential encounters. Influenced by Buddhist philosophy, his early works often explore various dilemmas of existence, the performative nature of identity, the deceitfulness of contemporary virtual life, while more recently, he has been delving into the spirituality of objects and the consciousness states and energy fields of human beings. Chen Zhou's practices often employ a playful, absurd, and slightly surreal narrative style, accompanied by fragmented phrases that permeate a sense of contemplation and introspection. He metaphorically describes this artistic approach as the creation of an internal mirror.

His first feature work, Life Imitation(2017), received the ‘New: Vision Award’ at the CPH: DOX Film Festival and the ‘Asian Perspective Award’ at the DMZ film festival and has been included in the Official Selection of the 61st BFI London Film Festival. He is also selected of ArtReview Future Greats (2018).

He has exhibited internationally including The Circular Impact: Video Art 21, OCAT, Shanghai (2021); Age of You, Museum of Contemporary Art, Toronto(2019); Emerald City, chi K11 Art Foundation Pop-up Space, Hong Kong (2018); Cold Nights, UCCA, Beijing (2017); 2nd Asian Film and Video Art Forum (AFVAF), National Museum of Modern and Contemporary Art, Seoul (2017); 28 Chinese – Rubell Family Collection, Rubell Gallery, Miami (2013); ON|OFF: China’s Young Artists in Concept and Practice, UCCA, Beijing (2013); Unfinished Country: New Video from China, Contemporary Arts Museum Houston (2012); and 7th Shenzhen Sculpture Biennale – Accidental Message: Art is not a System, not a World, OCT- Contemporary Art Terminal,Shenzhen, China (2012).

林奥劼

Lin Aojie

林奥劼，1986年出生于广州，2010年毕业于广州美术学院油画系，现生活于广州，工作于北京和上海。

林奥劼的作品涉及录像、摄影、绘画、文本等形式。其艺术实践取材于自身经验，艺术家以带有强烈即兴性和幽默意味的图像，敏锐而细腻地记录着日常生活中的琐碎细节或刻意安排的行为事件，同时看似不带任何感情色彩的语调始终贯穿于叙事结构中，试图以旁敲侧击的方式对资本主义生产模式、艺术家生存困境以及艺术从业者与艺术家之间的关系进行质疑、嘲弄和批判。

近年展览包括：“林奥劼：命硬”，香格纳北京（2023）；“林奥劼：艺术乐园” | Xiàn Chǎng单元 | 西岸艺术与设计博览会，西岸艺术中心，上海（2022）；“TAG · 新当代艺术展——启航”，西海美术馆，青岛（2022）；“飞来去器——2021OCAT双年展”，OCAT深圳馆（2021）；“真实 / 幻境”，chi K11 美术馆，上海（2021）；“林奥劼：人造人”，香格纳北京（2021）；“时过镜迁 IV：林奥劼”，香格纳新加坡（2021）；“文献集：七个线索”，泰康空间，北京（2020）；“南方不是一座孤岛”，OCAT深圳（2020）；“林奥劼：越秀”，香格纳上海8号楼（2019）；“藏木於林”，大馆当代美术馆，香港（2019）；“策展课：策展与设计”，华美术馆，深圳（2019）；“珠江夜游”，广东美术馆，广州（2019）；“释放全景——2019深圳新媒体艺术节”，坪山文化中心展览馆，深圳（2019）；“林奥劼：有空调的热带能出哲学家”，香格纳北京（2019）；“青策计划2018：林中的树倒下而没有人在”，上海当代艺术博物馆（2018）；“共享叙事，香格纳S空间”（2018）；“第11届上海双年展”，上海当代艺术博物馆（2016）；“腹地计划”，时代美术馆，广州（2015）等。曾入围“2016年三亚华宇青年奖”。

Lin Aojie, born in Guangzhou in 1986, graduated from Guangzhou Academy of Fine Arts, Oil Painting Department in 2010. He lives in Guangzhou, currently working in Beijing and Shanghai.

Presented through video, photography, painting, text, etc., Lin Aojie’s artistic practice departs from his personal experiences. The artist has a keen and delicate record of the trivial details of daily life or deliberately planned events with strongly improvisatory and humorous images, while a seemingly dispassionate tone threads the whole narrative structure. By beating around the bush he tries to question, ridicule and criticize the capitalist mode of production, artist's survival predicament and the relationship between artists and other art professionals.

Recent exhibitions include: Lin Aojie: Ponzi Scheme, ShanghART Beijing (2023); Lin Aojie: Contemporary Art and Design Industrial Park| Xiàn Chǎng | West Bund Art & Design, West Bund Art Center, Shanghai (2022); TAG · New Contemporary Art Exhibition - Sailing, TAG Art Museum, Qingdao (2022); Boomerang: OCAT Biennale 2021, OCAT Shenzhen (2021); Mirage or Reality, chi K11 Art Museum, Shanghai (2021); Lin Aojie: How Do Artists Make a Living, ShanghART Beijing (2021); Shifting Times, Moving Images IV: Lin Aojie, ShanghART Singapore (2021); An Archive: Seven Trails, TAIKANG SPACE, Beijing (2020); The South Is Not an Island, OCAT Shenzhen (2020); Lin Aojie: Designers Have a Future Only When They Treat Artworks as Initial Inspiration, Bldg.8 ,ShanghART Shanghai (2019); Very Natural Actions, TAI KWUN, Hong Kong (2019); The Curation Workshop - Exhibition Curation and Design, OCT Art & Design Gallery, Shenzhen (2019); Night Tour of the Pearl River, Guangdong Museum of Art, Guangzhou (2019); Free Panorama - Shenzhen New Media Art Festival 2019, Pingshan Culture Center, Shenzhen (2019); Lin Aojie: Those Who Like Playing Tricks Usually Don’t Live a Good Life, ShanghART Beijing (2019);Emerging Curators Project 2018, Power Station of Art, Shanghai (2018); Shared Narrative(s), ShanghART S-Space (2018); The 11th Shanghai Biennale, Power Station of Art, Shanghai (2016); Hinterland Project, Times Museum, Guangzhou (2015), etc. He was also nominated for the 2016 Art Sanya Huayu Youth Award.

李竞雄

Li Jingxiong

李竞雄，1987年出生于中国安徽省芜湖市，2010年本科毕业于南京艺术学院油画专业，2013年硕士毕业于南京艺术学院美术学专业。目前工作和生活于中国上海。

自从2013年以来，李竞雄在大陆及香港地区完成过多次个展及个人项目（包含上海chi K11美术馆，南京艺术学院美术馆，北京HdM画廊和香港安全口画廊等）、群体展览（包含尤伦斯当代艺术中心，中央美术学院美术馆，南京四方当代美术馆，北京时代美术馆，上海多伦现代美术馆以及歌德学院空间等）、美术馆讲座，以及为若干杂志供稿。他入选了2017年艺术世界杂志评选的“未来之星”。

Li Jingxiong, born in Wuhu, Anhui Province, China in 1987, in 2010 he earned his bachlor’s degree in Nanjing University, of the Arts Painting department, also he earned his art master’s degree there in 2013. Now he works and lives in Shanghai.

Since 2013, Li Jingxiong has finished many solo exhibitions and projects in China (including Shanghai chi K11 Art Museum, Art Museum of Nanjing University of the Arts, Beijing HdM Gallery, Hongkong Gallery Exit, etc.), group exhibitions (including UCCA Center for Contemporary Art, CAFA Art Museum, Nanjing Sifang Art Museum, Beijing Times Art Museum, Shanghai Doland Museum of Modern Art, Goethe-Institute, etc.), artist talks in museums, and he also writes for several art magazines. He was selected in the 'Future Greats' nomineed by Artreview magazine in 2017.

陆平原

Lu Pingyuan

陆平原，1984年出生于中国浙江，现生活工作于上海。

陆平原的创作源自他对人类精神意志无形本质的兴趣，他通过对“故事”的创作和使用，展现人类经验的流传与流变，以此为核心，发展出了一系列结合艺术史、流行文化、个人经验等多重因素的创作，跨越文本、影像、绘画、雕塑、装置等媒介。陆平原将超现实叙事与概念艺术相结合，创造出一个与现实平行的、庞大的幻想世界，展现当代人类的精神困境，并重新挖掘人与万物精神联系的潜能。

他的作品已在国内外广泛展出，近期参加的展览包括，个展：“画廊一夜”，星美术馆筹备组SSSSTART，上海，中国（2022）；“烹饪诱捕，诱捕烹饪，我可爱的生活”，OCAT深圳馆，深圳，中国（2022）；“第一个艺术家”，没顶画廊，上海，中国（2021）；“有情世界”，宝龙美术馆，上海，中国（2020）；“科拉”，chi K11美术馆，上海，中国（2019）；“箱中奇遇”，爱马仕之家，上海，中国（2018）；“迷之童年”，万和昊艺术酒店，上海，中国（2018）；“成长的烦恼”，没顶画廊，上海，中国（2017）；“宝藏”，星汇当代美术馆，重庆，中国（2017）；“詹姆斯·斯坦利-第七世德比伯爵”，曼切斯特华人艺术中心，曼切斯特，英国（2016）；“河原温”，没顶画廊，上海，中国（2016）；“惊奇地发现”，没顶画廊，上海，中国（2015）；“胶囊”，Gallery Box，哥德堡，瑞典（2011）；“自律的呼吸”，M50创意空间，上海，中国（2010）等。

近期参加的群展包括“开启”，星美术馆，上海（2022）；“我们从别人那里借梦想，像债一样”，没顶美术馆，上海（2022）；“情念与宇宙”，月涌艺术中心，成都（2022）；“好奇无界，米奇艺术展全球巡展”上海站，余德耀美术馆，上海（2021）；“野生大都会”，宝龙美术馆，上海，中国（2019）；“降临：发明风景，制作大地”，前哨当代艺术中心，上海，中国（2019）；“极限混合 ——2019广州空港双年展”，广州，中国（2019）；“敢当：当代神石注疏”，UCCA沙丘美术馆，秦皇岛，中国（2019）；“仙境边缘——泰国双年展2018”，甲米省，泰国（2018）；“艺术家在此”，余德耀美术馆，上海，中国（2018）；“城市无界”——2018中国·上海静安国际雕塑展”，上海静安雕塑公园，上海，中国（2018）；“这里是上海”，利物浦邱纳德大楼，利物浦，英国（2018）；“长征计划：违章建筑三——特区”，长征空间，北京，中国（2018）；“Arts in Urban Cultures”，三里屯太古里，北京，中国 （2018）；“*㔷埋儿童节”，Para Site×香港歌德学院，香港，中国（2018）；“动漫美学双年展——叙事曲”，上海当代艺术馆，上海，中国（2018）；“PLAY”，没顶画廊，上海，中国（2018）；“中国2185”，赛迪HQ画廊，伦敦，英国（2017）；“第十一届上海双年展”，当代艺术博物馆，上海，中国（2016）；“第九届利物浦双年展”，利物浦，英国（2016）；“无序之美”，卡斯雕塑基金会，英国（2016）；“山中美术馆”，四方美术馆，南京，中国（2016）；“第三届乌拉尔当代艺术工业双年展”，乌拉尔，俄罗斯（2015）；等。陆平原也是第四届三亚艺术季“华宇青年奖”的入围艺术家；第一届保时捷青年艺术家大奖入围艺术家。陆平原的作品提案《树》于2020年入围第三届和第四届纽约高线平台。

Lu Pingyuan, born in 1984, Zhejiang Province, China, lives and works in Shanghai.

Lu Pingyuan's practice is rooted in his interest in the intangibility of the human spirit and will. Through his creation and use of "stories", Lu presents the circulation and evolvement of human experiences. Spanning text, video, installation, painting, and sculpture, his works fuse surreal narrative with conceptual art. Drawing inspiration from art history, popular culture, and personal experience, the artist builds a gigantic world of fantasy homologous with reality to reveal the spiritual predicament of contemporary human beings and rediscover the potential for spiritual connection between people and the universe.

His works have been widely exhibited at domestic and overseas. Recent solo exhibitions include: One Night at a Gallery, Start Museum Preparatory Team SSSSTART, Shanghai (2022); Trapping Cooking, Cooking Trapping, It’s a Lovely Life, OCAT SHENZHEN, Shenzhen, China (2022); The First Artist, MadeIn Gallery, Shanghai, China (2021); IMPERISHABLE AFFECTION, Powerlong Museum, Shanghai, China (2020); KOLA, chi K11 Art Museum, Shanghai, China (2019); La Malle aux Trésors, Mansion de Hermès, Shanghai, China (2018); Lost Child, ONEHOME Art Hotel, Shanghai, China (2018); HOME ALONE, MadeIn Gallery, Shanghai (2017); Hidden Treasure, The Galaxy Museum of Contemporary Art, Chongqing, China (2017); James Stanley-The Seventh Earl of Derby, Center for Chinese Contemporary Art, United Kingdom (2016); ON KAWARA, MadeIn Gallery, Shanghai (2016); Unexpected Discoveries, MadeIn Gallery, Shanghai (2015); Time Capsule, Gallery Box, Gothenburg, Sweden (2011); Autonoumous Breathing, M50 Creative Space, Shanghai, China (2010).

He participated in numerous group shows including: START, Start Museum, Shanghai, China (2022); We Borrow Dreams from Others, like Debt, MadeIn Art Museum, Shanghai, China (2022); Emotion and Universe, Harvest Moon Art Center, Chengdu, China (2022); Ever-Curious, Mickey: The Original & Ever Curious Exhibition Shanghai Stop, Yuz Museum, Shanghai, China (2021); Wild Metropolis, Powerlong Museum, Shanghai, China (2019); Advent: Inventing Landscape, Producing the Earth, Qianshao Contemporary Art Center, Shanghai, China (2019); Extreme Mix-Guangzhou Airport Biennale, Guangzhou, China (2019); Land of the Lustrous, UCCA Dune, QinHuangDao, China (2019); Edge of the Wonderland-Thailand Art Biennale, Krabi, Thailand (2018); Artist is Present, Yuz Museum, Shanghai, China (2018); City Unbounded-China·Shanghai Jing’an International Sculpture Project, Jing’an Sculpture Park, Shanghai, China (2018); This is Shanghai, Cunard Building, Liverpool, UK (2018); Long March Project: Building Code Violations III - Special Economic Zone, Long March Space, Beijing, China (2018); Arts in Urban Cultures, Taikoo Li Sanlitun, Beijing, China (2018); *underground-children-festival, Para Site x Goethe-Institut Hong Kong, Hong Kong, China (2018); Animamix Biennale—Ballade, Museum of Contemporary Art Shanghai, Shanghai, China (2018); PLAY, MadeIn Gallery, Shanghai, China (2018); China 2185, Sadie Coles HQ, London, England (2017); 11th Shanghai Biennale, Power Station of Art, Shanghai, China (2016); 9th Liverpool Biennale, Liverpool, England (2016); A Beautiful Disorder, Cass Sculpture Foundation, England (2016); Mountain Sites: Views of Laoshan, Si Fang Art Museum, Nanjing, China (2016); 3rd Ural Industrial Biennial of Contemporary Art, Ural, Russia (2015) etc. Lu Pingyuan was nominated for the 4th Art Sanya Huayu Youth Award and the 1st Porsche Young Chinese Artist of the Year. Lu Pingyuan's work proposal, Tree, was shortlisted for the third and fourth High Line Plinth commission in 2020.

陶辉

Tao Hui

陶辉，1987年出生于重庆云阳，2010年毕业于四川美术学院的油画系，现工作生活于北京。

虽然毕业于油画系，但陶辉的作品以影像和装置艺术为主，从个人记忆、视觉经验和大众文化中积累素材，通过提炼与改造形成崭新的叙事模式和影像风格。陶辉从社会身份、性别地位、种族问题和文化危机等问题入手，以荒诞、吊诡、夸张的场景搭建，充满隐喻和错位感的人物设置，呈现出当代人的集体经验，带动观者正视自身的文化历史、生存现状和社会身份。他曾于2008年获得四川美术学院的“当代艺术档案特殊奖”，并在2015年荣获三亚艺术季华宇青年奖评委会大奖。2015年陶辉在第19届SESC巴西录像艺术节“南部全景”单元上获得特奖，又于2017年先后入选“HUGO BOSS亚洲新锐艺术家大奖”和“KINO DER KUNST电影节‘国际竞赛’单元”。2019年，他入围首届由香港M+展亭成立的“希克奖”。

他曾在OCAT西安馆和北京尤伦斯当代艺术中心举办个展。他的作品亦在不同的国家和地区参与展出与放映，其中包括：巴黎蓬皮杜艺术中心、巴黎路易威登基金会、罗马当代艺术博物馆、波利尼亚诺基金会美术馆、莱比锡当代艺术博物馆、里斯本贝拉多收藏美术馆、日内瓦当代艺术中心、圣保罗SESC巴西录像艺术节、台北凤甲美术馆、京都艺术中心、韩国国立亚洲文化殿堂(ACC)、韩国国立现代美术馆、第四届温哥华双年展、北京红砖美术馆、北京民生现代美术馆、上海外滩美术馆、第11届上海双年展、香港Para Site艺术空间。

Tao Hui was born in Yunyang, Chongqing in 1987. He graduated from Sichuan Fine Arts Institute with a BFA in Oil Painting in 2010 and currently lives and works in Beijing, China.

Tao Hui traversed into the art of video and installation, drawing from personal memories, visual experiences and popular culture to weave an experimental visual narration, the focus of which is often our collective experience. Running throughout his work is a sense of misplacement vis-à-vis social identity, gender status, ethnicity and cultural crisis, prompting the audience to face their own cultural histories and living conditions. He won the special award of Contemporary Art Archive from Sichuan Fine Arts Institute in 2008 and Art Sanya & Huayu Youth Award in Sanya in 2015. He also won the grand prize of 19th Contemporary Art Festival Sesc Videobrasil in 2015, and was shortlisted for HUGO BOSS ASIA ART Award for Emerging Asian Artists and International Competition sector of the KINO DER KUNST festival in 2017. In 2019, he is shortlisted for the inaugural Sigg Prize.

He has had solo exhibitions include OCAT Xi’an and UCCA, Beijing. His works have also been exhibited and screened in various countries and regions, including: Centre Pompidou, Paris; Fondation Louis Vuitton, Paris; MACRO ASILO, Rome; Pino Pascali Museum Foundation; Museum of Fine Arts Leipzig; Berardo Collection Museum, Lisbon; Centre d’Art Contemporain Genève; ‘Contemporary Art Festival Sesc Videobrasil’, São Paulo, Brazil; Hong-gah Museum, Taipei; Kyoto Art Center; Asia Culture Center (ACC) group exhibition, Gwangju, Korea; MMCA-National Museum of Modern and Contemporary Art Gwacheon; the 4th Vancouver Biennale, Vancouver; Red Brick Art Museum, Beijing; Minsheng Art Museum, Beijing; Rockbund Art Museum, Shanghai; 11th Shanghai Biennale, PSA, Shanghai; China / Para Site, Hong Kong.

王梓全

Wang Ziquan

王梓全，1993 年出生于辽宁沈阳，现工作生活于上海。2017 年毕业于中央美术学院雕塑系，2019 年硕士毕业于英国皇家艺术学院。

王梓全的创作来自于对互联网及虚拟世界后设的观察和理解。通过对于游戏引擎以及工程开发测试软件等的思辨式的使用，王梓全在虚拟和真实空间进行“复制”和“粘贴”，以探索虚拟和现实的阈值。

近期展览包括：“个展：空气动物”，没顶画廊，上海（2022）；“群展：示范：做决定技术的艺术”，复星艺术中心，上海（2023）；“星象 魔法”，金鹰美术馆，南京（2023）；“吓吓麻瓜”，天目里美术馆，杭州（2023）；“深港城市/ 建筑双城双年展”，深圳（2022）；“近未来—— 完美搭档”，悦来美术馆，重庆（2022）；“旧神的习惯”，HELLERAU欧洲艺术中心，德累斯顿，德国（2022）；“断裂的一代”，松美术馆，北京（2022）；“靡菲斯特的舞步”，沪申画廊，上海（2021）；“西岸艺术与设计博览会‘现场’单元”及“Video AI Plaza”影像单元，上海（2021）；“USB 多端口链接展”，没顶画廊、乔空间，上海（2021）；“世袭领地”，宝龙美术馆，上海（2021）；“空间领导者”，APS Museum，上海（2020）；“图像感到了不安”，没顶画廊，上海（2020）；“练武术还是迪斯科?”，無同空间，长沙（2020）；“幻象颗粒”，没顶画廊，上海（2020）；“碎片化”，The Coningsby Gallery，伦敦（2019）；“Material Statement”，Dyson Gallery，英国皇家艺术学院，伦敦（2019）；等；并于 2020年入围“英国 Ashurst 新锐艺术家奖项”，2022年入围“NOWNESS天才计划”。

Wang Ziquan, born in Shenyang, Liaoning in 1993, currently lives and works in Shanghai. Hegraduated from the Central Academy of Fine Arts (China) with a B.A. degree in sculpture in 2017 and from the Royal College of Art with an M.A. degree in 2019.

Wang Ziquan’s practice is rooted in his unique observation and understanding of the Internet and the virtual world, exploring the threshold values between virtuality and reality, and using 3D software to imitate the absurdity in the physical world. By using narrative computer images, he copies and pastes between virtual and real spaces.

Solo exhibition:Creatures of the Air, MadeIn Gallery, Shanghai (2022). Selected group exhibitions include: Demonstration: The Art of Decision-Making Techniques, Fosun Foundation, Shanghai (2023); Looking at the Stars, G Museum, Nanjing (2023); Scare the Muggles, By Art Matters, Hangzhou (2023); Bi-City Biennale of Urbanism/Architecture, Shenzhen (2022); Perfect Partner in the Near Future, YUELAI Art Museum, Chongqing (2022); Habits of Ancient Deities, HELLERAU European Centre for the Arts, Dresden, Germany (2022); The Disconnected Generation, Song Art Museum, Beijing (2022); Tangle of Revolution and Political Soul, Space & Gallery Association, Shanghai (2021); Video AI Plaza, West Bund Art Center, Shanghai (2021); Universal Serial Bus, MadeIn Gallery, Qiao Space, Shanghai (2021); Hereditary Territory, Powerlong Museum, Shanghai (2021); Ensemble Urbain, APS Museum, Shanghai (2020); The Picture Is Not At Ease, MadeIn Gallery, Shanghai (2020); KungFu or Disco?, Wooton Gallery, Changsha, Hunan (2020); Illusive Particles, MadeIn Gallery, Shanghai (2020); Fragmentation, The Coningsby Gallery, London (2019); Material Statement, Dyson Gallery, Royal College of Art, London (2019). He was shortlisted forthe Ashurst Emerging Artist Prize in 2020 and the NOWNESS short film awards in 2022.

缪子衿

Miao Zijin

独立策展人

Independent Curator

先后毕业于伦敦艺术⼤学传媒学院创意广告战略专业、伦敦⼤学⾦史密斯学院策展专业。曾任职于《艺术界LEAP》、泰康空间。她期待在场域特定的策展实践中持续测试权力关系的边界，特别是治理的技术与展示的政治。缪子衿近期实现的策展项目包括：“相思”（2023，广东当代艺术中心）；“小大人”（2023，星空间）；“近未来——完美搭档”（2022，悦来美术馆）；“情感自治区：当加密遇见红白喜事”（2022，Gallery Func）；“空气动物”（2022，没顶画廊）；“随意进出”（2021，星空间）；“飞去来器—第九届OCAT双年展 [注意 :演出继续! ]”（2021，OCAT 深圳馆）；“集美 · 阿尔勒发现奖 [法证表演 :陶辉 / 流动介质 & 钟云舒 / 隔墙有耳]”（2021，三影堂厦门）；“登录舒适区?”（2018，泰康空间）；“共享叙事”（2018，共4个章节，香格纳北京S空间）；“保罗 · 麦卡锡的客厅”（2018，木木美术馆）；“全球定位”（2017，乔空间 & 油罐艺术中心项目空间）。

She studied at London College of Communication (BA Creative Advertising Strategy) and Goldsmiths, University of London (MFA Curating). She worked at LEAP magazine and Taikang Space. She treats curatorial practice as a site-specific testing ground which deals with power relations, especially the technology of governance and the politics of display. MIAO Zijin’s recent curatorial projects include: “Longing: Anthem of Digital Sadness” (2023, GCAC); “Les Mômes” (2023, Star Gallery); “Perfect Partner in the Near Future” (2022, Yuelai Art Museum); “Emotional Autonomous Region: When Crypto sets Funeral & Wedding”(2022, Gallery Func); “Creatures of the Air”(2022, MadeIn Gallery); “Admission Free”(2021, Star Gallery); “Boomerang [Attention! The Show Goes On]” (2021, 9th OCAT Biennale);  “JIMEI ARLES Discovery Award [A Forensic Play: Act I Tao Hui / A Never Ending Search for Connectivity & Act II Tant Zhong / At the Threshold of Visibility]” (2021, Three Shadows Xiamen);  “The Comfort Zone at A Distance”(2018, Taikang Space);  “Shared Narrative(s)” (2018, realized in four chapters, ShanghART S-Space);  “Paul McCarthy's Lounge” (2018, M WOODS);  “I Do (Not) Want To Be Part Of Your Celebration” (2017, Qiao Space & TANK Shanghai Project Space).

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