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Pace Beijing

这个夏天我们爱影像

开幕时间:2014.07.26 (周六) 下午4-6点
2014.07.26– 2014.09.04


佩斯北京荣幸地宣布暑期档展览“这个夏天我们爱影像”将于2014年7月26日开幕,这是佩斯北京将全部展览空间开放给录像/影像艺术的首度尝试。我们希望在空间、影像、声音乃至观众所形成的这个临时的共同体之中引发物理和心理层面的激荡与共振,让单个作品作为完整的力场而获得更大开放性,也让观众作为参与者在经验上接受挑战与更新。在作品与作品、作品与观众之间,意义与体验的链条将不断衔接和裂变,而佩斯北京2000平米的展厅届时将成为一个生产和制造新关系的实验室。

正因为此,展览的题目并没有给出任何描述性或判断性的信息,相反则是一次毫不回避情绪化和号召力的单纯调动。我们有意将传统意义上的策展线索、主题、年代学与分类学强加给作品/艺术家的限制降低到最小的程度。从某种意义上来说,“我们爱影像”属于一次实践者在特定空间下的自生对话、交流、和展演,一次自由的排练。参展的艺术家来自不同的国家、地域、文化与历史环境,有着迥异的创作背景、理念与脉络。他们有些是录像艺术领域探索年深的先行者,有些则是怀抱对影像语言的挚爱或对影像本体的信念而投入到这门艺术中的青年实践者,还有些是基于对社会行动议题的关注和践行的意志走上用影像改变周遭世界的路途。而这次展览将为这些探索者和实践者搭建一个平台,为着一种即将到来的块茎状叙事铺垫道路。

展览在最大范围内吸纳多元性的录像/影像创作:生于1951年的录像艺术鼻祖比尔•维奥拉(Bill Viola)在其近作《显灵》(Visitation)进一步挖掘了他一贯坚持的主题,用影像的流动及明灭展现生死交汇以及循环往复的变形过程。而中国录像艺术的先驱者,自上世纪九十年代以来便开始基于本土经验而投身录像艺术时间的宋冬,在他的五屏录像《我不明白》中,以纯化和近于抽象的影像语言捕捉物与时间的变易,而此次也是这组结合了禅意与诗情的作品首次在国内放映。来自台湾的资深录像艺术实践者袁广鸣,在他多年的创作生涯中亦致力于对影像本体的捕捉,他将影像视作某种未被语言捕获的未知,一种在逼迫和挤压下现身、却又无从转述和交易的虚拟存在,如同人类的记忆也是虚拟(virtual)通向现实的一道矢量,影像之流在他的作品中带动观众此时此地的经验发生潜在的变异和新生。此次展出的《逝去中的风景-经过II》将以300平米的独立空间制造出一间属于记忆和时间的微型剧场。

我们希望用一种轻松而开放的方式在展览中汇聚各种各样的主题、思考和行动。以动画电影更新了中国影像创作语言的邱黯雄此次展出了他的新作《蛋糕》,通过造型性与物质感极强的综合语言来冷静描述一场残酷而充满多义性的角力,身体在不断重复并愈发激烈的纠结和摩擦中反复界定又不断擦除彼此的关联和区隔。而年轻的策展人和艺术家沈瑞筠则以平静简练的语言,以机智而不动声色的方式,重新探讨作为平面的绘画和作为过程的绘画的界限与翻转。2009年曾代表香港参加威尼斯双年展的艺术家白双全,并不局限于影像/录像的媒介,而是将生活经历与生命体验重新锻结到社会的母体上,在他早期作品《呼吸一间屋的空气》中,艺术家记录了他釜山赁屋而居时,用透明塑料袋收集自己的呼吸的经过。而个体生存的细微滋味也以这种特殊的方式刻写入陌生的空间,日常的呼吸过程通过着意地强调与剥离,而开启了另一个感知和接纳生命的通道。

随着新技术的与小组创作方式的兴起与冲击,一批全新的、综合性、极具视觉表现力的录像作品也渐成潮流,而对这种新潮流艺术的定义还在不断的修正和调整的过程中。在本次展览中,久负盛名的日本公创作团队teamLab将科技与仿生艺术中作者的具名性降到最低,他们以集体的方式生产/制造不断循环的影像之流,纯粹、唯美、不息变幻的图像预示了属于未来时代的美学和生产方式。来自挪威艺术家皮亚•墨沃尔德(Pia MYrvoLD)将艺术、时尚、摄像、表演及互动科技融合,将“界面”的概念引入作品,使观众与艺术作品之间的静止关系模糊化并为之注入动力,几何形体与抽象线条在重组、变形、裂变、聚合的过程中,探索了个体与周围装置的边界,这正是我们这个数字产品格式塔效应的美学呈现,也是我们现今文化的主流。

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。

展览将于 9月4日结束。

参展艺术家:

阿尼•格里姆彻(Arne Glimcher)
皮亚•墨沃尔德(Pia MYrvoLD)
白双全(Pak Sheung Chuen)
亚当•潘德尔顿(Adam Pendleton)
邱黯雄(Qiu Anxiong)
米歇•鲁芙娜(Michal Rovner)
沈瑞筠(Shen Ruijun)
宋冬(Song Dong)
teamLab
西蒙•特雷弗(Simon Trevor)
崔广宇(Tsui Kuang-Yu)
比尔•维奥拉(Bill Viola)
黄荣法(Morgan Wong)
袁广鸣(Yuan Goang-Ming)
赵半狄(Zhao Bandi)


如需更多资讯请联系佩斯北京 pr@pacebeijing.com / +86 10 5978 9781




We Love Video This Summer

OPENING RECEPTION:Saturday 26 July 2014, 4-6pm
2014.07.26– 2014.09.04

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.

Artists

Arne Glimcher
Pia MYrvoLD
Pak Sheung Chuen
Adam Pendleton
Qiu Anxiong
Michal Rovner
Shen Ruijun
Song Dong
teamLab
Simon Trevor
Tsui Kuang-Yu
Bill Viola
Morgan Wong
Yuan Goang-Ming
Zhao Bandi


For more information, please contact Pace Beijing at pr@pacebeijing.com / +86 10 5978 9781



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