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[nettime-fr] Pourinfos/ Today is Shanghai Time #3


Today is Shanghai Time #3

Note sur today is Shanghai time 2#
Malgré le gout prononcé du gouvernement chinois pour l'art et la culture s'exprimant par la creation de "Creative Industrial Parks", l'ouverture du Creative Garden par Solo exhibition... 38 Solo Exhibitions of Chinese Artists n'a pas pu avoir lieu. Les authorités locales ayant decidé de couper l'éléctricité au bout de quelques minutes, certaines videos ayant été jugées impropres à la vision.



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1.Platform for Urban Investigation on May 13 – 26 at Island6 Arts Center, Shanghai , China


During the residency of artist Allard van Hoorn at Island 6 Arts Center from May 13 – 26 2006 the Platform for Urban Investigation will research Shanghai as an environment for reinterpretation of form and movement in the city. Various activities will be ongoing during these two weeks .The audience is welcome to visit Island 6 Arts Center and participate and co-develop this open-door workshop environment. Allard van Hoorn will be giving workshops, conducting interviews with various cultural

producers and be doing continuous research while working in this space and the city around it. A calendar with precise schedule of activities will be posted on http://www.allardvanhoorn.com/projects_PUI.asp.

Re-appropriation of geometric forms

One of the projects that will take place at Island 6 Arts Centre is 'Re-appropriation of geometric forms'. The public is cordially invited to

actively participate in the development of this activity.

Fellow humans like R. Buckminster Fuller have thoroughly proved we are the first generation that can fully make the whole of the

system of cohabitation on this planet work, that we have more then sufficient technological standards, non-organic energy resources etc. to provide a high standard of living for all people on earth. The only thing that keeps us from doing so is knowledge.

This project uses the re-appropriation of geometric figures as a method of stimulating an alternative look on the world. By defining the properties of the line, triangle, square and circle differently and using these physical forms accordingly is intending to change our perspectives on the world around us.

The way humans have evolved on our planet is to a certain extend arbitrary. So is the way we describe the world around us.

Accordingly, formulas and descriptions in physics and mathematics are developed over many generations, building theory upon theory.

One can imagine that in a slightly distinctly developed world these descriptions of the world around us would have developed differently, giving other meanings and functionality.

This project is an exercise in imagining other functions and definitions of very common forms in our daily lives like a line, triangles, squares and circles. Together we will investigate how to re-interpret or re-appropriate these forms in a different manner from their currently known geometric realities.


Some examples to start with:
Line (2 sides): as a shape to be used to shake one person's hand on the other side of the line
Triangle (3 sides): as a shape to be used to kiss people in three different directions
Square (4 sides): as a shape to be used to hug people in four different directions
Circle (infinite amount of sides): as a shape to be used to study the horizon in an infinite number of directions


In the gallery we will do an interactive exercise of redefining these geometrics for ourselves:

1)Come to Island 6 Arts Centre and study other peoples interpretations and solutions to this challenge

2)Take some tape, make your own form and re-appropriate it, giving your own meaning and use

3)Take these forms and use them in their new way in your day-to-day life. Put them in your house, office or even in the street and

use them according to your own definition

For more information:

Allard van Hoorn
http://www.allardvanhoorn.com
allard@allardvanhoorn.com

Island 6 Arts Center
Thomas Charveriat
Thomas@island6.org
Tel: 13761723704


Moganshan Lu 120, building 6, 2 nd floor, 200060 Shanghai China http://www.island6.org

Exhibition open to the public from May 13 th
Reception for press and public May 20 th 19:00
Exhibit hours:
Wednesday – Thursday – Friday 13:00 till 18:00
Saturday – Sunday 11:00 till 18:00
And by appointment



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2. Venue: Shanghai Zendai Museum of Modern Art (Building 28, 199 Fang Dian Road Pudong New Area)



Date: 21h May 2006 – 11th July 2006 Opening: 21th May 2006 19:00 ( Sunday)


Presented by: Shanghai Zendai Museum of Modern Art, Epidemic Supported by: EU-Japan Fest

Curator : Richard Castelli

Artists : Romy Achituv (Israel), Gregory Barsamian (USA), Jean Michel Bruyère (France-Senegal), Du Zhenjun (China), Dumb Type(Japan), Ulf Langheinrich (Germany-Austria), Marie Maquaire (France), Thomas McIntosh (Canada), minim++ (Japan), David Moises(Austria), Erwin Redl (Austria-USA), Tomohiro Sato (Japan), Jeffrey Shaw (Australia), Pierrick Sorin (France), Time's Up (Austria -Australia), Holger Förterer ( Germany)


From Flash to Pixel is an exhibition which presents four states of "the immaterial".


Starting with fire, the first domesticated energy, the exhibition follows man's development and transformation of energy production to ever higher degrees of sophistication that has followed in parallel to his own evolution. Electricity, light, and now the pixel which, like the spark for fire, is the basic cell of the electronic image.

Fundamentally spectacular because of its subject, From Flash to Pixel is also an eye-opening voyage into the most impressive expressions of the today's art.



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3.Aura-art
mythology
new works by yinzhaoyang

date: 20 may.- 20 jun. 2006
opening: 3:00pm-8:00pm 20 may.2006

Yin Zhaoyang's Myth
Leng Lin

"Chinese contemporary art" is being shaped by all kinds of passion and desire abroad and locally, white it is still something that is unfathomable and indefinable. She seems to have become a certain art of the future. Financial interests and historical responsibilities are closely intertwined and mixed up together. Excitement, obligation, strategy and instinct keep on arising alternatively in the atmosphere of "Chinese contemporary art" that is in the making as economic incentives and historical responsibilities with and take advantage of each other. Artist Yin Zhaoyang has emerged in such an environment and meanwhile his art intensifies the tension of this atmosphere through certain specific reference.

Like most artists working in China, Yin Zhaoyang is a young artist who has received realism education in art. Realism has become his most basic way of practice. However, unlike most Chinese contemporary artists, his realism has little to do with the specific nature of everyday life. His realism is not specifically related to any contemporary time, which distinguishes his work the most from that of the "new generation" of painters in the 1990s. In the meantime, his realism isn't critical of the reality in a comic way. "Cynicism" regains its gravity in his work, where specifically described objects and events are always tightly linked to some purpose and ideal. His paintings are not time-specific. On the contrary, they are tied to the timeless ideas of eternity, sublimity, grandness, ideal and tragedy. Unlike in classical art, this tie has clearly been ruled by the artist's own current intension. In his "Utopia" series of paintings, the artist himself frequently appears in the "grand" and "classic" images that we are familiar with. But his symbolic realistic depiction of the architecture and sculptures around the Tian'anmen Square doesn't mean that the artist has any interest in these specific icons. Instead, it is a way to painstakingly highlight an atmosphere, a self-contained heroic one. The artist portrays these specific icons repeatedly in his paintings. He doesn't mean to release the aesthetic meaning of these specific objects, but instead he tries to assemble an individual energy. In his work, we don't see the artist's response to trendy everyday events and objects. Instead we can picture a historical responsibility and an individual ideal of the artist. In his latest "Myth" series, this individual ideal and historical responsibility has further evolved into a desire to forcefully possess individual ideal and historical responsibility. The artist has directly borrowed the tale of Sisyphus but his intension doesn't lie in the philosophy of this story and he doesn't try to express this philosophy either. The real purpose of the artist is to showcase an irrepressible energy of the individual. From pure images of characters to images of both figures and rocks, then to pure images of rocks, a kind of unstable, glittery, and even violent element is always present in every corner of his paintings. Classic subject matters and realistic technique have gained a sense of being at the spot in this uncertainty. Eternity, sublimity, grandness, ideal and tragedy regain their existence in this sense of being at the spot. It's only that they no longer function
as a value being pursued by the artists but as an energy being occupied by the artist. This kind of possession has something to do with the greed brought out by the fast development of market economy in China.
In his "Myth" series, "rock" themselves are full of bizarre quality. Here, "rock" seems to have become huge "gem" and Sisyphus's spirit of moving the rocks up to the mountain has become an endless chase after profits. It is more of an everyday reality than a modern fairy bale. The artist has brought these two split extremes together in a miraculous and unobstructed way. Is this the characteristic of "Chinese contemporary art" or that of Chinese society? Or is it the characteristic of the artist himself? Whether realism is calling for a historical responsibility or a possession of the reality will become our issue and characteristic in a period of time. Yin Zhaoyang is inarguably a special holder of this issue and characteristic



++++++ 4.REFLECTION" A Retrospective Exhibition of LIANG Weizhou

Opening Cocktail: June 9th from 7pm

Exhibition time: 2006.6.10 to 2006.6.29, daily from 10.30am to 7pm

VENUE: 1918 ArtSPACE Warehouse
N. 78 Changping Road (near Changhua Road)
Jing'An district SHANGHAI
Tel: 5228 6776
http://www.1918artspace.com
info@1918artspace.com

Shanghainese artist Liang Weizhou's masterpieces from 1995 to 2005 get
exceptionally exhibited in 1918 ArtSPACE Warehouse, ten years after
his solo exhibition in Shanghai Art Museum. With a very sentimental
atmosphere, Liang depicts scenes from his ordinary family life and
from his inner thought, giving expression to the moments of
perplexity, despair but also of love and family happiness that came
across his existence. Liang is a one of these exceptional
expressionists artists who attempts to let us feel the intensity and
the challenging quintessence of life.

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5.Shanghart's H-Space

Here, The Scene Is Better Ji Wenyu Exhibition.

"Here, the scene is better" will feature new oil paintings by Ji Wenyu and 'soft sculptures' (textile sculptures) Ji Wenyu created together with his artist wife Zhu Weibing in the last few years. It is the first time several of their sculptures will be presented to the public.
Noted for his meticulous pop style since the mid to late 1990s, Ji Wenyu focuses in his paintings on the depiction of everyday elements he sees around him. His canvas is often filled crowdedly with ordinary people or a particular vulgar life scene. He is a keen observer of the contradictions, 'funny encounters' and problems occuring during the development of his home town Shanghai from a Chinese city to an international megalopolis and the modernization and internationalization of China in general.
Ji Wenyu creates his works very slowly. Even compared to other Chinese artists of his generation who got a well founded technical eduction in the art academies, Ji Wenyu is an extraordinary painter.
For a long time, Ji Wenyu has been thinking how to go beyond the canvas, switching from 2-dimension to 3-dimensions. During the last few years he started, together with his wife, Zhu Weibing, to develop a series of 'soft sculptures', 3-dimensional objects made out mostly of fabric. Fascinated by the material, the couple developed a new visual language, which takes up a lot of Ji Wenyus themes and humour but creates entirely fresh and surprising sculptures.
While Ji Wenyu's works have been shown widly to the public, this exhibtion will feature for the first time the main pieces the artist couple created in the last few years.
This exhibition at Shanghart's H-Space will be followed by an exhibition of Ji Wenyu and Zhu Weibing at Museum 52 in London later in June.
Ji Wenyu, born 1959, graduated from the Shanghai Light-industry College in 1988 and is teaching today at the Art's and Crafts College


in Shanghai. His works have recently been included in 'Infintite Painting', a large exhibition on tendeces of contemporary painting

organized by Francesco Bonami and Sarah Cosulich at the Villa Manin in Italy.
Zhu Weibing: born in 1971, graduated from Central Institute of Arts and Crafts in 1995.


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6.Nouveau site internet

http://zhuanpan.org/

zhuanpan.org is a database of sites throughout China that reflect the exchange between architecture and cultural values.

A zhuanpan – or turntable – can be a wheel-of-fortune spinnner, a traffic circle, a slot machine, or a lazy-susan. Here zhuanpan is a tool for collecting and distributing information about the built environment in contemporary China.

Sites stored in this database include buildings, streets, urban spaces, websites, networks, temporary structures, fictional spaces, product design, building codes, spatial practices, interiors, landscapes, and infrastructures. To find a site, browse by selecting a category or use the search feature.



Today is Shanghai time #3
Une sélection de Jérémie Thircuir

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