开幕时间：2014.07.26 (周六) 下午4-6点
而不同层次上的政治性与实践感同样贯穿在本展的大部分作品中，活跃于威尼斯双年展、惠特尼双年展等国际性展事的以色列艺术家米歇•鲁芙娜（Michal Rovner），基于来自特拉维夫和纽约两地生活的经验与成长经历，毕生坚持探讨身份认同、种族隔离等兼具政治性和切身性的主题，她将地缘政治的概念化为行走人类的影像表达，或以抽象的人类形体喻设生死、对抗、流徙等文化/社会性的叙事。风头正劲的纽约年轻艺术家亚当•潘德尔顿（Adam Pendleton）打破了录像/纪录片/电影/表演的界限，将大量的语言/道白引入到影像创作当中，通过真实（作为声音的）和象征（作为影像的）的双重叙述将历史再情境化，激活一种朝向未来的想象和行动。与之对应的，来自台湾的致力于行动主义的艺术家崔广宇将其行动的记录转为方法的呈现，通过主人公（艺术家自己）应对周遭环境、探索个人与环境新关系的可能性、在试图发问和点击生活中隐蔽问题的过程中，逐渐寻找到和演练出一套个人的方法，他的新作《城市按摩：美丽的脏泡泡》既是这种方法的运用，也是一次反思。新锐艺术家黄荣法则以模糊的象征手法、有意为之的间离感与似是而非的挑衅，将政治性、问题感与参与意识以清新的方式转化为一种全新的语言与表态方式。
展览同时也包括两件完整意义上的影片。佩斯画廊创始人、法国骑士勋章获得者阿尼•格里姆彻（Arne Glimcher）担任制片、西蒙•特雷弗担任导演的《白金》（White Gold）是首部揭露现代象牙贸易及其恶果的纪录片。为支持环境保育，该片的英文版由前美国国务卿希拉里•克林顿所叙述，而中国版本影片则由著名影星成龙讲述。另一部影片则是“熊猫人”赵半狄以电影形式做出的挑战艺术与社会关系的最新尝试，不变的则是他标志性的戏谑、机智和充满温情的尖锐。
白双全（Pak Sheung Chuen）
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We Love Video This Summer
OPENING RECEPTION：Saturday 26 July 2014, 4-6pm
Pace Beijing is delighted to announce the opening of a summer group show “We Love Video This Summer” on July 26, 2014. This is Pace Beijing’s very first attempt to devote its entire gallery space merely to video/motion graphic art. We hope in this temporary community formed by space, image, voice, and even the viewers could generate a physical and psychological resonance, make each individual work as a full force field to unleash greater openness, as well as renew and challenge the viewer’s experience as a participant. Between works and works, and works and the audience, the chain of meaning and experience will continue to join and disintegrate, and the 2000 m2 exhibition space of Pace Beijing will become a laboratory for new relations in video art observation.
Therefore, the title of this exhibition does not provide any descriptive or diagnostic information. On the contrary it is an emotional and simple move. We intentionally minimize the traditional sense of curatorial clues, themes, chronologies and taxonomic restrictions added to works or artists. In a sense, “We Love Video This Summer” is a free rehearsal for practitioners in a specific space of authigenic dialogue, communication, and performance. The artists exhibited are from different countries, regions, cultures and historical environments, with all kinds of creative backgrounds, concepts and contexts. Some of them are long-time pioneer explorers of video art, some are young artists with passion and faith of video language or video itself, while some others are people who walk on this path because of their belief in changing the world with the power of video art. In this exhibition, we wish to build a platform for these explorers and practitioners for the oncoming, tuber-like narrative of freedom.
The exhibition absorbs multiple video/motion graphic art to the extreme: the 1951-born video art pioneer Bill Viola maintained his consistent theme in his work “Visitation”, which is to show the intersection between life and death and the deformation process cycle in the flow and blink of image. Song Dong, the Chinese video precursor who has been working with video art and his local experience for over two decades, catches the changes of objects and time with purified and near abstract image language in his five-channel video “I don’t know”. This is the first time this work full of Zen and poetic atmosphere be showed in China. Yuan Goang-ming, a skillful video explorer from Taiwan also seizes the image itself during his many years of video art creation, and treats images as an unknown beyond the recognition of language. It is a virtual presence that can only be seen under force and pressure however can never be relayed and transacted – likewise, the human memory is also a vector between virtual and the reality, and the image in his works drives the flow of the audiences’ experience to new potential mutations of here and now. “Disappearing Landscape - PassingⅡ" is aiming at creating a mini theater filled that belongs to memory and time in the 300 m2 separates space.
An easy and open dialogue will be created for the gathering of all sorts of themes, thoughts and actions. Qiu Anxiong, the artist who renewed Chinese video language with animated short films, is exhibiting his new work "Cake", utilizes comprehensive language full of extremely strong style and materiality, and to calmly describe a cruel and ambiguous wrestle, in which the body repeats over and over again in the increasingly fierce struggle, while the friction relationship also constantly erase and segregate each other. Shen Ruijun, a young curator and artist re-discusses the limits of painting on a flat surface and painting as a process in a peaceful, elegant, and smart way. More freedom can be sensed in Pak Sheung Chuen’s “To breathe a roomful air”. He represented Hong Kong in 2009 Venice Biennale, and is best known for his limitlessness in the medium of video, but his forging of life experience back onto the matrix of society. In this early work of the artist, he recorded his residence in Busan where he collected his own breathe using plastic bags. This nuances of individual life experience in this particular way connects the room in an unconventional way – the everyday breathing process opened another perception and acceptance of the passage of life following the deliberately stress and strip.
With the impact of new technologies, a number of new comprehensive video works have gradually become fashionable, and how to define them is still in the process of modification and adjustment. In this exhibition, a top creative team from Japan named teamLab created science and bionic art with the minimum recognition of their existence – they produce/manufacture loop and endless video art as a group. Their production/manufactured cycle are in the form of collective flow of images, the pure, beautiful, and ever changing images announced aesthetics and the mode of production of a future era. While Norwegian artist Pia MYrvoLD combines art, fashion, photography, performance, and interactive technology, and introduces the concept of "interface" to the works, allowing the audience’s static relationship with the art becomes blur and fueled with impetus. The geometrical forms and abstract lines are in the process of restructuring, deformation, fission, and aggregation, as well as explore the border of an individual with the surrounding device, and that is exactly the aesthetics display of gestalt in digital products and the mainstream of our current world.
The political nature and a sense of practice on difference levels are also reflected in most of the works in this exhibition. Israel artist Mochal Rovner who is active among international art events such as the Venice Biennale and the Whitney Biennale is upon her living experience and grown-up memories in Tel Aviv and New York, and adheres to themes such as identification and segregation which are both political and personal, and transforms geographical concepts into the visual expression of walking, or explains cultural/social narratives including live and death, confrontation and floating using abstract metaphors. The emerging New York artists Adam Pendleton breaks the limits of video/documentary/movie/performance, and introduces language/voice into the image creation. Through the real (as sound) and the symbol (as image), the artist uses double narrative to re-situate the history, and to active a vision and move toward the future. On the other hand, Tsui Kuang-Yu, an artist dedicated to be activists usually turn the record of action into methodology. By showing how the leading character (the artist himself) deal with the surrounding environment, explore the possibility of a new relationship between individual and environment, and try to ask and click the hidden problems in life, the artist eventually finds and practices a set of method of the individual, and his video work is just a presentation of these methods. Morgan Wong, an emerging artist uses fuzzy symbolism, intentional sense of alienation and a likely provocation, to translate political, questioning, and participating into a brand new discussion space that is pure and fresh.
Lastly, this exhibition also includes two complete films. One was produced by the founder of Pace Gallery and the Officer of the Legion of Honour by the President of the French Republic Arne Glimcher, and directed by Simon Trevor named “White Gold”. It is the first documentary that reveals modern ivory trade and its consequences. In the support of environmental conservation, the English version of the film was narrative by the former U.S. Secretary of State Hillary Clinton, and Jackie Chan spoke in the Chinese version. Another film was made by "The Panda Man" Zhao Bandi. It is his latest attempt in the form of movies, and what remains the same is his trademark tongue-in-cheek, sharp wit and warmth.
The exhibition will end on 4 September, 2014.
Pak Sheung Chuen
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