xavier cahen on Wed, 14 Jun 2006 10:41:50 +0200 (CEST)
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[nettime-fr] Pourinfos/ Today is Shanghai Time #3
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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.
++++++
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
++++++
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.
++++++
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.
++++++
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.
+++++++
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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