APSMUSEUM榮幸宣布，將于2020年11月11日正式開館，并呈現(xiàn)開館首展——《空間領(lǐng)導(dǎo)者》，展覽由欣稚鋒藝術(shù)機構(gòu)、陸家嘴中心L+MALL聯(lián)合主辦。 APSMUSEUM is honored to announce its inauguration on November 11, 2020, with the presentation of the exhibition "Urban Ensemble," organized by Art Pioneer Studio and L+MALL at Lujiazui Center. APSMUSEUM立志深耕當(dāng)代藝術(shù)、建筑和設(shè)計時尚之間的新領(lǐng)域，此次開館展由欣稚鋒藝術(shù)機構(gòu)創(chuàng)始人汪斌擔(dān)任總策劃，藝術(shù)家徐震擔(dān)任策展人，并邀請國內(nèi)外聲譽卓著的15位藝術(shù)家——安尼施·卡普爾、丁乙、莫娜·哈透姆、何岸、詹姆斯·特瑞爾、李漢威、陸興華、米開朗基羅·皮斯特萊托、邱岸雄、施勇、汪建偉、王梓全、徐震?、楊振中、展望參與其中。 Dedicated to trailblazing a new field that will bring together contemporary art, architecture, design, and fashion, this inaugural exhibition - organized by the founder of Art Pioneer Studio, Robin Wong, and curated by artist Xu Zhen - invites the participation of 15 acclaimed artists from China and oversea, including, Anish Kapoor, Ding Yi, Mona Hatoum, He An, James Turrell, Li Hanwei, Lu Xinghua, Michelangelo Pistoletto, Qiu Anxiong, Shi Yong, Wang Jiangwei, Wang Ziquan, XU ZHEN?, Yang Zhenzhong, and Zhan Wang. 城市是過去的作品、當(dāng)代的作品以及將要到來的作品的集束。城市并不止是一個市民生活運轉(zhuǎn)的系統(tǒng)，也是數(shù)代人的集體作品；它不是一本已經(jīng)寫好的書，而是一本需要被不斷重讀、重寫的書。正在到來的新城市人將發(fā)明出新的城市性、城市形式，把城市做成自己的作品。每個城市都是由一代代的人類存在形成的藝術(shù)作品，而新城市也“展”于一代代人自己的作品之中。 The city binds the works of the past, the contemporary, and the future. It's more a system that operates the lives of the urbanites, but a collective work of many generations; it's not a written book, but one that's being re-read and re-written. The new urban dwellers who have just arrived are inventing new features and forms of the city and transforming it into their works. Every city is a work of art created by generations of people living there, while the new city has also been "on exhibit" in each generation's works. 當(dāng)代藝術(shù)向城市提供了復(fù)魅的結(jié)構(gòu)，因為它是對時間、空間、身體和欲望的居有，能將空間產(chǎn)品變成空間作品，將城市住民從產(chǎn)品的消費者，變成自己作品的作者。當(dāng)代藝術(shù)支持新城市人： · 將自己在城市中經(jīng)歷的一段時空做成作品； · 將自己的作品展于自己的城市之中； · 將城市做成自己的作品； · 將城市展于自己的作品之中。 Contemporary art has afforded the city a compound structure to encompass time, space, bodies, and desires. It can transform a product of space into an artwork about space, transforming urban dwellers from product consumers to creators of their own artworks. Contemporary art supports new urbanites: · To realize one’s experience in the city over a period of time into a work of art; · To present one’s artwork in one’s city; · To transform the city into one’s artwork; · To present the city in one’s artwork. 當(dāng)代藝術(shù)還能將城市的日常生活空間、建筑空間、設(shè)計空間、時尚空間聯(lián)合到城市這一藝術(shù)的“總體”之中，在新的共同節(jié)日中，找到人類世城市幸存的新內(nèi)存。 Contemporary art integrates the spaces of everyday living, architecture, design, the fashion of a city into the "gesamtkunstwerk” of art and discovers new capacities for surviving the Anthropocenic city of a new festival of commonality. 在這個正在形成新作品的時代，APSMUSEUM志在聯(lián)合藝術(shù)家、建筑師、設(shè)計師和各類創(chuàng)意人才，激發(fā)城市的新欲望和新智能，向公眾展示工作與休閑之外的更多的生活軌道。我們將以更加融合跨界的藝術(shù)展覽、公共活動、藝術(shù)商店等多種形式投身城市實踐，探討空間話題，打開城市空間的新可能性，在藝術(shù)機構(gòu)和社會實踐之間，培育一種融合當(dāng)代藝術(shù)、建筑、設(shè)計和時尚的花粉經(jīng)濟，促成一種新城市社會的塊莖倫理：互相好奇，互相友愛，互相貢獻，互相賦能，互相酬答。 In an era where new works are being created, APSMUSEUM aims to unite artists, architects, designers, and all talents in the creative disciplines to stimulate new desires and wisdom in the city and show the public other possible tracks of life beyond work and leisure. We devote to adopting a hybrid and integral approach for urban practice, exploring spatial issues, and opening up new possibilities for urban spaces. In doing so, we aim to foster a pollinating economy that would bring together contemporary art, architecture, design, and fashion beyond the art institutions and social practice and engendering the ethic of stems in the new urban society, where its components, intrigue, share, contribute, empower and reciprocate with one another. 誠如人類學(xué)家和社會學(xué)家喬治·巴塔耶(Georges Bataille)所說，藝術(shù)空間是大城市的肺，涌進來的城市諸眾，是激蕩城市的熱血。城市中的藝術(shù)空間通過放大、發(fā)酵、編目藝術(shù)作品和與其觀眾之間的種種關(guān)系，為城市送來新鮮的氧氣，也為城市空間的規(guī)劃和城市生活的組織發(fā)展提供了深層語法。 As the anthropologist and sociologist, Georges Bataille has put it, an art space is the lungs of the metropolis, and the masses that poured in are the blood that stimulates the city. By amplifying, fermenting, cataloging works of art and their relationships with their viewers, an art space in the city introduces fresh oxygen and provides a profound grammar for urban space planning and the development for organizing urban life. 關(guān)于策展人 & 藝術(shù)家 CURATOR & ARTISTS 徐 震 Xu Zhen 徐震，藝術(shù)家、策劃人、沒頂公司創(chuàng)始人。 1977年出生，工作和生活于中國上海。徐震是中國當(dāng)代藝術(shù)領(lǐng)域的標(biāo)志人物，2004年獲得中國當(dāng)代藝術(shù)獎 (CCAA)“最佳藝術(shù)家”獎項，并作為年輕的中國藝術(shù)家參加了第49屆威尼斯雙年展(2001)主題展，徐震的創(chuàng)作非常廣泛，包括裝置、攝影、影像和行為等。 他的作品在世界各地的博物館和雙年展均有展出，包括威尼斯雙年展(2001，2005)、紐約現(xiàn)代藝術(shù)博物館(2004)、國際攝影中心(2004)、日本森美術(shù)館(2005)、紐約現(xiàn)代藝術(shù)博物館PS1(2006)、英國泰特利物浦美術(shù)館(2007)、英國海沃德畫廊(2012)、里昂雙年展(2013)、紐約軍械庫展覽(2014)、上海龍美術(shù)館(2015)、卡塔爾Al Riwaq藝術(shù)中心(2016)、悉尼雙年展(2016)、紐約古根海姆美術(shù)館(2017)、沙迦雙年展(2019)、洛杉磯當(dāng)代藝術(shù)博物館(2019)、澳大利亞堪培拉國立美術(shù)館(2020)等。在藝術(shù)家身份之外，他同時還是策展人和沒頂公司創(chuàng)始人。1998年，徐震作為聯(lián)合發(fā)起人創(chuàng)辦了上海第一家獨立的非營利機構(gòu)比翼中心。2006年，他與上海藝術(shù)家一起創(chuàng)辦了網(wǎng)絡(luò)藝術(shù)社區(qū)Art-Ba-Ba(www.art-ba-ba.com)，至今還是中國最活躍的探討、評論當(dāng)代藝術(shù)的平臺。2009年，徐震創(chuàng)立了當(dāng)代藝術(shù)創(chuàng)作型公司沒頂公司(MadeIn Company)，以生產(chǎn)藝術(shù)創(chuàng)造力為核心，致力于探索當(dāng)代文化的無限可能。2013年，沒頂公司推出徐震?，專注于藝術(shù)品創(chuàng)作和新文化研發(fā)。2014年，成立沒頂畫廊，全方位推廣藝術(shù)家，引領(lǐng)文化浪潮。2016年11月，首家“徐震專賣店”于上海開業(yè)，徐震?由此進入全新發(fā)展階段。 徐震?由藝術(shù)家徐震創(chuàng)建于2013年，是沒頂公司旗下的旗艦藝術(shù)品牌。品牌創(chuàng)始人徐震出生于1977年，是中國青年一代領(lǐng)軍藝術(shù)家、策劃人，同時也是沒頂公司創(chuàng)始人。徐震?是一個專注于藝術(shù)品創(chuàng)作和新文化研發(fā)的品牌。用戶可以通過收藏，欣賞徐震?的藝術(shù)品和活動，從而獲得高質(zhì)量的精神追求和人生體驗。 Artist, Curator, MadeIn Company Founder Xu Zhen was born in 1977, and lives and works in Shanghai. Xu Zhen has been considered as an iconic figure in Chinese contemporary art. In 2004, Xu won the prize for ‘Best Artist’ at the China Contemporary Art Award. His practice covers various media such as installations, video, painting and performance, etc. Xu Zhen has exhibited internationally, at museums and biennales, such as, Venice Biennale (2001, 2005), The Museum of Modern Art (New York, 2004), Mori Art Museum (Tokyo, 2005), MoMA PS1 (New York, 2006), Tate Liverpool (2007), Hayward Gallery (London, 2012), Lyon Biennial (2013), Armory Show (New York, 2014), Long Museum (Shanghai 2015), Al Riwaq Art Center (Qatar, 2016), Sydney Biennial (2016), Guggenheim Museum (New York, 2017), Sharjah Biennial (2019), Museum of Contemporary Art (Los Angeles, 2019), National Gallery of Australia (Canberra, 2020), among others. Aside from being an artist, Xu Zhen is also a curator. He co-curated together with other artists major exhibitions in Shanghai and was one of the initiators of Art-Ba-Ba (www.art-ba-ba.com), a leading online forum for discussion and critique of contemporary art in Shanghai, in 2006. In 2009, Xu Zhen established ‘MadeIn Company’, a contemporary art creation corporate, focused on the production of creativity, and devoted to the research of contemporary culture’s infinite possibilities. In 2013, MadeIn Company launched XU ZHEN? which is committed to art creation and cutting-edge culture development. In 2014, MadeIn Company established MadeIn Gallery and in November 2016 launched the first “Xu Zhen Store” in Shanghai. XU ZHEN?, founded by artist Xu Zhen in 2013, is the flagship art brand of MadeIn Company. Born in 1977, Xu Zhen is a leading Chinese artist and curator, and the founder of MadeIn Company. XU ZHEN? is committed to art creation and cutting-edge culture development. XU ZHEN? is one such initiative to offer spiritual aspirations and life experiences of the finest quality through the appreciation and collection of artworks and events produced by the brand. 安尼施·卡普爾 Anish Kapoor 安尼施·卡普爾是當(dāng)代最具影響力的雕塑家之一。他創(chuàng)造的那些形態(tài)大膽又完美體現(xiàn)工學(xué)原理的公共雕塑為他贏得了國際聲譽，而他各種造型各異、大小不一的作品也同樣令人驚嘆：大型PVC表皮或抻拉或壓縮，凹凸鏡面的不規(guī)則倒影吸引著觀者駐足，其深處以石料雕刻而成，通過著色形成視覺上的消失效果，隙間與突起處喚起的仿佛是抽象意義上的在場與不在場，隱形與顯形?？ㄆ諣柕淖髌沸螒B(tài)自內(nèi)而外地展現(xiàn)自我，仿佛子宮，他所采用的材料明明未上色卻似乎充滿色彩，好像要否決外表面的概念，激勵觀者放飛想象。在80年代初，卡普爾打造的各種幾何造型拔地而起，仿佛由純顏料制作而成；而過去10年間，他創(chuàng)作的那些具有粘膩感的血紅蠟制雕塑仿佛蘊含自我生發(fā)的動能，大肆破壞自我的表面，在靜謐的美術(shù)館空間內(nèi)擲下一聲響雷。在他的作品里，印度、埃及、希臘、羅馬神話和21世紀當(dāng)代語境下的形色之間，產(chǎn)生了千絲萬縷的聯(lián)系。 Anish Kapoor is one of the most influential sculptors of his generation. Perhaps most famous for public sculptures that are both adventures in form and feats of engineering, Kapoor manoeuvres between vastly different scales, across numerous series of work. Immense PVC skins, stretched or deflated; concave or convex mirrors whose reflections attract and swallow the viewer; recesses carved in stone and pigmented so as to disappear: these voids and protrusions summon up deep-felt metaphysical polarities of presence and absence, concealment and revelation. Forms turn themselves inside out, womb-like, and materials are not painted but impregnated with colour, as if to negate the idea of an outer surface, inviting the viewer to the inner reaches of the imagination. Kapoor’s geometric forms from the early 1980s, for example, rise up from the floor and appear to be made of pure pigment, while the viscous, blood-red wax sculptures from the last ten years – kinetic and self-generating – ravage their own surfaces and explode the quiet of the gallery environment. There are resonances with mythologies of the ancient world – Indian, Egyptian, Greek and Roman – and with modern times. 丁 乙 Ding Yi 丁乙，1962年生于上海，現(xiàn)工作、生活于上海。從80年代后期開始，丁乙將視覺符號“十”字以及變體的“X”作為結(jié)構(gòu)和理性的代表，以及反映事物本質(zhì)的圖像表現(xiàn)的代名詞。其創(chuàng)作領(lǐng)域包括繪畫、雕塑、空間裝置和建筑。丁乙的作品在全球不同機構(gòu)和畫廊廣泛展出，包括古根海姆博物館(紐約／畢爾巴鄂)、戴姆勒當(dāng)代藝術(shù)(柏林)、蓬皮杜藝術(shù)中心(巴黎)、廣東美術(shù)館(廣州)、龍美術(shù)館西岸館(上海)、民生現(xiàn)代美術(shù)館(上海)、香格納畫廊(上海／北京／新加坡)、泰勒畫廊(倫敦／紐約)、Karsten Greve畫廊(巴黎／圣莫里茨／科隆)等。 Ding Yi (b. 1962) was born and currently resides in Shanghai. Ding Yi works primarily with "+" and its variant "x" as formal visual signals, above and against the political and social allegories typical of painting in China. He chose this sign in the second half of the 80s as a synonym of structure, rationality and of a pictorial expressiveness that reflects the essence of things. The practice of Ding Yi encompasses painting, sculpture, spatial installation and architecture. Ding Yi has exhibited extensively at various institutions and galleries, among many others, Solomon R. Guggenheim Museum (New York/Bilbao); Daimler Contemporary (Berlin); Centre Pompidou (Paris); Guangdong Museum of Art (Guangzhou); Long Museum (Shanghai); Minsheng Art Museum (Shanghai); ShanghART Gallery (Shanghai/Beijing/Singapore); Timothy Taylor Gallery (London/New York); Galerie Karsten Greve (Paris/St.Moritz/Cologne). 莫娜·哈透姆 Mona Hatoum 莫娜·哈透姆于1952年出生于黎巴嫩貝魯特的一個巴勒斯坦家庭，并自1975年起一直在倫敦生活和工作。她曾在世界各地舉辦個展，包括:日本的廣島市現(xiàn)代美術(shù)館、美國德州侯斯頓的梅尼勒藝術(shù)館(2017年)，后巡回到美國密蘇里州圣路易斯的普利策藝術(shù)基金會(2018年)、法國巴黎的龐比度藝術(shù)中心(2015年)，后巡回到英國倫敦泰特現(xiàn)代美術(shù)館和芬蘭赫爾辛基的奇亞斯瑪當(dāng)代藝術(shù)博物館(均為2016年)、卡塔爾多哈的阿拉伯現(xiàn)代藝術(shù)博物館(2014年)、瑞士圣加侖藝術(shù)博物館(2013年)、西班牙巴塞隆拿的米羅美術(shù)館(2012年)、黎巴嫩的貝魯特藝術(shù)中心(2010年)、威尼斯的奎利尼.斯坦帕里亞基金會博物館(2009年)、北京尤倫斯當(dāng)代藝術(shù)中心(2009年)、澳洲當(dāng)代藝術(shù)博物館(2005年)、德國的漢堡美術(shù)館，后巡回到瑞典斯德哥爾摩的Magasin III藝術(shù)館和德國的波恩藝術(shù)博物館(均為2004年)、英國倫敦的泰特現(xiàn)代美術(shù)館(2000年)、意大利的都靈凱斯泰勒當(dāng)代美術(shù)館(1999年)、美國的芝加哥當(dāng)代藝術(shù)博物館，后巡回到紐約的新當(dāng)代藝術(shù)博物館(均為1997年)。 哈透姆亦曾參與多個群展，包括分別于卡塞爾和雅典舉辦的第十四屆德國卡塞爾文獻展(均為2017年)、第六屆馬拉喀什雙年展(2016年)、第五屆莫斯科雙年展(2011年)、西班牙的畢爾包古根漢美術(shù)館(2011年)、第15屆悉尼雙年展(2006年)、第五十一屆威尼斯雙年展(2005年)、第十一屆德國卡塞爾文獻展(2002)、英國倫敦泰特現(xiàn)代美術(shù)館的英國泰納獎得獎?wù)?1995年)、第四十六屆威尼斯雙年展(1995年)，和第四屆伊斯坦布爾雙年展(1995年)。 哈透姆曾獲頒授多個藝術(shù)獎項，包括第十屆廣島藝術(shù)獎(2017年)和米羅獎(Joan Miró Prize) (2011年)。最近，她獲提名英國雕塑大獎「赫普沃斯獎」，并將于2018年10月參與由英國西約克郡的韋克菲爾德赫普沃斯美術(shù)館所舉辦的展覽。 Mona Hatoum was born into a Palestinian family in Beirut, Lebanon in 1952 and has lived and worked in London since 1975. Solo exhibitions include Hiroshima City Museum of Contemporary Art, Japan (2017); Menil Collection, Houston, Texas, touring to Pulitzer Arts Foundation, St Louis, MO (2017-18); Centre Georges Pompidou, Paris, touring to Tate Modern, London and Kiasma Museum of Contemporary Art, Helsinki (2015-16); Arab Museum of Modern Art, Doha (2014); Kunstmuseum St. Gallen, Switzerland (2013); Fundació Joan Miró, Barcelona (2012); Beirut Art Centre (2010); Fondazione Querini Stampalia, Venice (2009); Ullens Center for Contemporary Art, Beijing (2009); Museum of Contemporary Art Australia, Sydney (2005); Hamburger Kunsthalle, Hamburg, touring to Magasin III, Stockholm and Kunstmuseum Bonn, Germany (all 2004); Tate Britain, London (2000); Castello di Rivoli, Turin (1999); Museum of Contemporary Art Chicago, touring to New Museum, New York (1997). Hatoum has participated in numerous group exhibitions including Documenta 14, Kassel, Germany and Athens (both 2017); 6th Marrakesh Biennale (2016); 5th Moscow Biennale; Guggenheim Bilbao, Spain (both 2011); 15th Biennale of Sydney (2006); 51st Venice Biennale (2005); Documenta 11, Kassel, Germany (2002); The Turner Prize, Tate Britain, London (1995); 46th Venice Biennale (1995); and 4th Istanbul Biennial (1995). Among other awards, Hatoum has received the Praemium Imperiale (2019), the 10th Hiroshima Art Prize (2017) and the Joan Miró Prize (2011). 何 岸 He An 何岸，1970年生于湖北武漢，現(xiàn)生活工作在北京。 何岸是中國最重要的觀念藝術(shù)家之一，其創(chuàng)作實踐涉及裝置、雕塑、攝影和表演等。何岸的作品很大程度上反映著中國城市急劇變化現(xiàn)象所帶來的物理和心理層面的情感，混凝土、廣告牌和霓虹燈等城市符號被抽象成極致的藝術(shù)語言。何岸始終向這些沒有情感和意識的冰冷材料投射著真摯、熱烈、暴力和浪漫的文學(xué)情緒，個人廣泛的興趣則使得作品在地緣政治和美學(xué)層面都能與“當(dāng)下”同步。 何岸的作品在各個美術(shù)館和機構(gòu)廣泛展出，包括澳大利亞當(dāng)代藝術(shù)中心(墨爾本，2017)、倫敦薩奇畫廊(倫敦，2014)、卡內(nèi)基美術(shù)館(匹茨堡，2013)、尤倫斯當(dāng)代藝術(shù)中心(北京，2008)和泰特利物浦(利物浦，2007)等。 Born in Wuhan in 1970, He An now lives and works in Beijing. He An is one of China’s foremost conceptual artists with a practice that includes installation, sculpture, photography and performance. His works largely reflect the physical and psychological emotional shock brought about by dramatic changes in Chinese cities. Combining light-boxes, billboards, neon lights and other materials, He An turns urban symbols into a new artistic language. He An’s works have already been exhibited in galleries and institutions including Tate Liverpool, Australia Centre for Contemporary Art, London’s Saatchi Gallery, Carnegie Museum of Art, Ullens Center for Contemporary Art (UCCA) etc. 詹姆斯·特瑞爾 James Turrell 詹姆斯·特瑞爾(生于1943年，美國洛杉磯)作為“光與空間”運動的領(lǐng)軍人物，長久以來致力于對感知藝術(shù)的探討，研究光的特質(zhì)與物理性。受繪畫藝術(shù)中純粹感知概念的影響，特瑞爾的作品集中于光的構(gòu)建和使用光進行繪畫之間的辯證對話，以及關(guān)于空間、色彩和知覺的感官體驗上；這些互動成為他作品的基礎(chǔ)。本次展出的這件菱形玻璃作品了形成獨特的構(gòu)圖，同時標(biāo)志性地融合了時間元素：隨著時間的推移，上百種生動的色彩組合會相互滲入又淡出，共同創(chuàng)造出一個如夢似幻、變化多端的充滿光與色的環(huán)境，以及一個供人沉思、內(nèi)省和引發(fā)敬畏的場所。特瑞爾將前輩藝術(shù)家馬克·羅斯科(Mark Rothko)的色域繪畫描述為“從黑暗中帶出色彩”，而他的作品便是以羅斯科的藝術(shù)理念為基礎(chǔ)，推動了抽象藝術(shù)的新發(fā)展，通過讓觀眾將時間體驗包含在對光的物理和感知體驗之中，特瑞爾將光轉(zhuǎn)變?yōu)閺姶蟮膶嶓w物質(zhì)。 James Turrell (b. 1943, Los Angeles, California), as a leading figure of the "Light and Space" movement, has long devoted himself to the exploration of the art of perception, with a special focus on the materiality of light. Influenced by the notion of pure feeling in pictorial art, Turrell’s earliest work focused on the dialectic between constructing light and painting with light, building on the sensorial experience of space, color, and perception; these interactions became the foundation for Turrell’s oeuvre. Presented as site-specific pieces, the recent work of Turrell’s in the exhibition feature a diamond shape with a frosted glass surface animated by an array of technically advanced LED lights, which are mounted to walls and generated by computer programming. The light changes are subtle and hypnotic, one color morphing into the next seamlessly. The program runs on a loop that is imperceptible to the viewer, prompting a transcendental experience. This wall-cavity filled with color advances the lineage of abstract art, particularly calling to mind Mark Rothko’s Color Field paintings which for Turrell “brought color out of darkness.” In implicating the viewer in the temporal experience of color within the physical and perceptual experience, Turrell turns light into a powerful substance. 李漢威 Li Hanwei 李漢威，1994年生于江蘇，2018年畢業(yè)于上海視覺藝術(shù)學(xué)院，現(xiàn)生活工作于上海。李漢威的創(chuàng)作善于使用商業(yè)廣告與電影的形式進行隱喻，通過對于傳播手段的研究，利用影像特效在架空的世界中建立一種世界觀，使山寨與科幻并存，用以展現(xiàn)當(dāng)今文化形態(tài)與身份的交叉點。 近期展覽包括，個展：“液態(tài)健康”，歌德開放空間，上海，中國，2019；群展：“唐人街到紅色國際主義”，OCAT，深圳，中國，2020；“機構(gòu)的推薦”，盒子空間，深圳，中國，2020；“降臨：發(fā)明風(fēng)景，制作大地”，前哨當(dāng)代藝術(shù)中心，中國，2019；“極限混合”：2019廣州空港雙年展，廣州，中國，2019；“變量與供養(yǎng)”，沒頂畫廊，上海，中國，2019；“環(huán)形狩獵”，沒頂公園，上海，中國，2018；“眼界攔大千”，上海視覺藝術(shù)學(xué)院，上海，中國，2018；“上海熱六人斬”，要空間，上海，中國，2018；“BABEL7”，Babelsberger Strasse 52，柏林，德國，2018；“多樣性”，尼斯維拉松國立高等藝術(shù)學(xué)院，尼斯，法國，2016；等；李漢威于2020年獲得Dior迪奧新秀攝影和視覺藝術(shù)獎提名獎。此外，李漢威還與藝術(shù)家方陽、劉樹臻和善良共同于運營虛擬當(dāng)代藝術(shù)空間“史萊姆引擎”，參與構(gòu)思并制作了平臺上的數(shù)場展覽。 Li Hanwei, born in Xuzhou, Jiangsu province in 1994, graduated from the Shanghai Institute of Visual Arts in 2018, and currently lives and works in Shanghai. Li’s practice adopts the forms of commercial advertisements and films as metaphors. Exploring various communication methods, the artist uses CG images to establish a worldview in the fictional world where counterfeit of the real world and science fiction coexist, as a way to present the intersection between contemporary culture forms and individual identities. Li Hanwei has participated to exhibitions such as: “Sino-Wharf: from Chinatown to Red Internationalism”, OCAT, Shenzhen, China, 2020; “Recommendations of Institutions”, Boxes Art Space, Shenzhen, China, 2020; “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; “The Variable and The Generating”, MadeIn Gallery, Shanghai, 2019; “Liquid Health”, Goethe Open Space, Shanghai, 2019; “Hunting Cycle”, MadeIn Park, Shanghai, 2018; “Shanghai Hot the Beheaded Six”, Yell Space, Shanghai, 2018; Boundary, SIVA, Shanghai, China；BABEL7, Babelsberger Strasse 52, Berlin, 2018; "Diversity", école nationale supérieure d'art de Nice – Villa Arson, Nice, 2016. Li Hanwei nominated for “Dior Photography and Visual Arts Award for Young Talents” in 2020. Li Hanwei also co-operates the online contemporary art space Slime Engine with Liu Shuzhen, Fang Yang and Shan Liang since 2017. Li Hanwei has been involved in the conception and production of several exhibitions for Slime Engine. 陸興華 Lu Xinghua 陸興華，哲學(xué)家，同濟大學(xué)人文學(xué)院教授，主要研究領(lǐng)域為藝術(shù)哲學(xué)和法國當(dāng)代哲學(xué)。 Lu Xinghua, philosopher, professor of School of Humanities, Tongji University; specialised on philosophy of art and contemporary French philosophy. 米開朗基羅·皮斯特萊托 Michelangelo Pistoletto 米開朗基羅·皮斯特萊托，1933年生于意?利?耶拉。自1955年開始其作品陸續(xù)展出，后于1960年在意大利都靈的加拉泰亞畫廊舉辦首場個展，早期實踐致力于?畫像的探索。1961年?1962年間，他創(chuàng)作了最早的?組“鏡畫”作品，將觀者本?與實時現(xiàn)場納入其中，帶回被20世紀前衛(wèi)藝術(shù)所摒棄的文藝復(fù)興透視法，并將其逆轉(zhuǎn)。此作品很快令這位藝術(shù)家蜚聲國際，并于60年代在歐美重要畫廊與博物館舉辦諸多個展。“鏡畫”系列也成為其藝術(shù)創(chuàng)作于理論思想的基石。1965年至1966年間，他創(chuàng)作了一組名為《迷你物品》的作品，被視為“貧窮藝術(shù)”運動的奠基之作，皮斯特萊托也成為這一運動的核心力量與領(lǐng)軍人物。1967年起，他的工作開始跳出傳統(tǒng)展覽空間，在此后的數(shù)十年間，他不斷將來自不同領(lǐng)域與社會各界的藝術(shù)家聚合到一起進行“創(chuàng)造性合作”。1975年至1976年，其作品《空間》分為12個連續(xù)的展覽，在都靈的斯坦畫廊進行——這是其一系列為時一年，以“時間大陸”為名之作品的首部曲。該系列還包括《白色之年》(1989年)和《快樂的海龜》(1992年)。1978年，在都靈的一場展覽確定了皮斯特萊托未來創(chuàng)作的兩個方向：《鏡子的劃分與倍增》與《藝術(shù)承載信仰》。八十年代初期，他完成了一系列硬聚氨酯雕塑創(chuàng)作，并在1984年于佛羅倫薩美景堡所舉辦的個展中以大理石呈現(xiàn)。1985年至1989年間，皮斯特萊托創(chuàng)作了一系列“黑暗”作品，名為《骯臟的藝術(shù)》。九十年代，通過“公共藝術(shù)計劃”，以及創(chuàng)建于比耶拉的藝術(shù)城市-皮斯特萊托基金會和理念大學(xué)，他將藝術(shù)與社會各領(lǐng)域積極地聯(lián)系起來，旨在激起與制造“有責(zé)任的社會變化”。2003年，他獲得威尼斯雙年展金獅獎終生成就獎。2004年，都靈大學(xué)授予皮斯特萊托政治學(xué)榮譽博士學(xué)位。值此時機，他也宣布了自己最新創(chuàng)作階段，“第三天堂”。2007年，由于“作為一名藝術(shù)家、教育家和社會活動家，他將源源不斷的創(chuàng)造力貢獻給藝術(shù)，創(chuàng)造出給世界帶來全新理解方式的、劃時代的藝術(shù)形式”，皮斯特萊托在耶路撒冷獲頒沃爾夫藝術(shù)獎。2010年，其文章《第三天堂》以意大利語、英語、法語和德語四種語言出版。2011年，他出任波爾多Evento 2011雙年展“藝術(shù)與城市再演進”的藝術(shù)總監(jiān)一職。2012年，他開始致力宣傳“重生日”，這一首個慶祝重生的日子定為每年的12月21日，迎來世界各地的特別活動。2013年，巴黎盧浮宮舉辦其個展“米開朗基羅·皮斯特萊托：一年——世間天堂”。同年，他在東京獲頒“高松宮殿下紀念世界文化獎”的繪畫獎。2014年，在意大利當(dāng)任歐盟輪值主席國期間，其“第三天堂”的標(biāo)志符號進入了布魯塞爾歐盟總部的大廳。2015年5月，他被授予古巴哈瓦那藝術(shù)大學(xué)的榮譽博士。同年他完成大型裝置《重生》，立于聯(lián)合國駐日內(nèi)瓦總部萬國宮。2016年，位于哈瓦那的古巴國家美術(shù)館舉辦皮斯特萊托大型回顧展，展出從60年代的繪畫，到最新的《第三天堂》，再到完成于2015年的古巴“鏡畫”，橫跨其創(chuàng)作生涯的多個維度。2017年，其個展“米開朗基羅·皮斯特萊托：壹加壹等于三”作為威尼斯雙年展平行項目展，在圣喬治馬焦雷教堂亮相。 Michelangelo Pistoletto was born in Biella in 1933. He began to exhibit his work in 1955 and had his first solo show in 1960 with Galleria Galatea in Turin. His early work is characterized by an inquiry into self-portraiture. In the two year period from 1961-1962, the first Mirror Paintings were made, which incorporate the viewer and real time into the work directly, opening up perspective, and reversing Renaissance perspective that had been closed off by the twentieth century avant-garde. These works quickly brought Pistoletto international acclaim, leading to individual shows in important galleries and museums in Europe and the United States in the sixties. The Mirror Paintings provided the foundation of his subsequent artistic output and theoretical exploration. In 1965 and 1966, he produced a set of works entitled Minus Objects, considered fundamental to the birth of Arte Povera, an art movement for which Pistoletto was an animating force and key protagonist. In 1967, he began working outside traditional exhibition spaces, with the first instances of the“creative collaboration” he developed over the following decades by bringing together artists from different disciplines and diverse sectors of society. From 1975-1976, he presented a cycle of twelve consecutive exhibitions, “LeStanze”, at the Stein Gallery in Turin. This was the first of a series of complex, year-long works known as “time continents”, others include White Year (1989) and Happy Turtle (1992). In 1978, in a show in Turin, Pistoletto defined two main directions for his future artistic production:“Division and Multiplication of the Mirror” and “Art Takes On Religion”. In the early eighties, he made a series of sculptures in rigid polyurethane translated into marble for his solo show in 1984 at Forte di Belvedere in Florence. From 1985 to 1989, he created the series of “dark” volumes called Art of Squalor. During the nineties, with Project Art and his creations in Biella of Cittadellarte Fondazione Pistoletto and the University of Ideas, he brought art into active relation with diverse spheres of society with the aim of inspiring and producing responsible social change. In 2003, he won the Venice Biennale’s Golden Lion for Lifelong Achievement. In 2004, the University of Turin awarded him an honorary degree in Political Science. On that occasion, the artist announced the most recent phase of his work, Third Paradise. In 2007, in Jerusalem, he received the Wolf Foundation Prize in the Arts, “for his constantly inventive career as an artist, educator and activist whose restless intelligence has created prescient forms of art that contribute to fresh understanding of the world.” In 2010, he wrote the essay “The Third Paradise”, published in Italian, English, French and German. In 2011, he was the artistic director of “Evento 2011 – L'art pour uneré-évolution urbaine” in Bordeaux. In 2012, he started promoting the Rebirth-day, the first worldwide day of rebirth, celebrated every year on December 21st with initiatives taking place all over the world. In 2013, the Louvre in Paris hosted his personal exhibition “Michelangelo Pistoletto, année un – le paradis sur terre”. The same year, he received the Praemium Imperiale for painting, in Tokyo. In 2014, the symbol of the Third Paradise was installed in the hall of the headquarters of the Council of the European Union in Bruxelles for the duration of the Italian Presidency of the European Council. In May 2015, he received an honorary degree from the Universidad de las Artes of Havana in Cuba. In the same year, he realized a work of epic scale entitled Rebirth, situated in the park of the Palaisdes Nations in Geneva, headquarters of the UN. In 2016, he exhibited his works in Havana, Cuba, at the Museo Nacional de Bellas Artes, with a great retrospective exhibition which encompassed his entire artistic journey, from the paintings of the 1960s to the latest works on the Third Paradise and the Cuban Mirror Paintings, executed the previous year. In 2017, the artist participated in an auxiliary event of the 57th Venice Biennial with the exhibition “One and One Makes Three” at the San Giorgio Maggiore Abbey complex in Venice. 邱岸雄 Qiu Anxiong 邱岸雄，1972年出生于四川，1994年畢業(yè)于四川美術(shù)學(xué)院，2003年畢業(yè)于德國卡塞爾藝術(shù)學(xué)院，現(xiàn)任教于華東師范大學(xué)設(shè)計學(xué)院。作品涉及動畫，繪畫，裝置，錄像等不同媒介。其作品以中國傳統(tǒng)人文精神結(jié)合新媒體形式表達其對當(dāng)代社會批判以及對歷史文化的思考，代表作品有動畫片《新山海經(jīng)》，《民國風(fēng)景》，《山河夢影》，影像裝置《為了忘卻的記憶》。于2007年創(chuàng)立“未知博物館”，是近年當(dāng)代藝術(shù)生態(tài)建設(shè)中的活躍力量。 邱岸雄最新的作品包括大幅的繪畫，動畫, 以及錄像裝置。如邱岸雄2006年的作品《新山海經(jīng)》是由千余張水墨畫聯(lián)接而成的動畫作品。這件作品的名字本身就取自中國的傳統(tǒng)神化《山海經(jīng)》。除了研究中國傳統(tǒng)文化與現(xiàn)代文化間的相互影響，整個作品同時具有夢幻的色彩：細致明確的圖像加上讓人難以置信的敘述，忠實地描繪了我們所生活的荒謬的周遭世界。 作品為維多利亞和艾伯特博物館、堪薩斯大學(xué)藝術(shù)館、伯爾尼藝術(shù)館、廣東美術(shù)館、尤倫斯基金會、烏里·?？恕⒅袊裆y行、Haudenschild 夫婦等收藏。 Qiu Anxiong was born in 1972 in Sichuan province. He graduated from Sichuan Academy of Fine Arts in 1994. In 2003 he graduated from the University Kassel's College of Art in Germany after six years of studying both contemporary international art and traditional Chinese culture. Now he is teaching in East China Normal University. His works employs different kinds of mediums including animation, painting, installation and video, etc. Representative works are animation film New Classic of Mountains and Seas, Temptation of the Land, Minguo Landscape, video installation Staring into Amnesia. He founded “Museum of Unkown” in 2007, which is an active power in the ecological construction of contemporary arts in recent years. Qiu Anxiong’s recent work consists largely of paintings, animations, and video installations. In the 2006 piece The New Classic of Mountains and Seas, for example, Qiu employs multitudes of ink drawings and links them together in an animated form. The title itself refers to the ancient Chinese mythology Classic of the Mountains and Seas. Besides investigating the interaction between ancient and modern Chinese culture, this work and others like it have a dreamlike quality: the clearly delineated images framed by unbelievable narratives faithfully depict the absurdity of the world around us. This link to the everyday further enhances the political value of the work, which engages in a damning criticism of environmental degradation, social breakdown, and massive urbanization. Unlike younger artists, Qiu Anxiong does not indulge in the personal pleasures of the everyday, but rather takes the undifferentiated mass of history as his raw material. His work has been collected by The Museum of Modern Art, Victoria and Albert Museum, Spencer Museum of Art, the University of Kansas, Kunst Halle Bern, Guangdong Museum of Art, Guy & Myriam Ullens Foundation, Uli Sigg, Haudenschild Collection. 施 勇 Shi Yong 施勇作為中國較早從事裝置與影像媒介的代表人物之一。自1993年起，他的作品就在國內(nèi)外被廣泛展出。早期創(chuàng)作致力于揭示現(xiàn)實內(nèi)部的意識形態(tài)；九十年代開始關(guān)注改革開放神話下的當(dāng)代上海的轉(zhuǎn)型概念，繼而引向更宏觀的全球化，消費文化等層面。2006年，從作品“2007沒有卡塞爾文獻展”始，施勇將質(zhì)疑的目光落實于藝術(shù)界本身，思考如何通過“擱置”創(chuàng)作來予以抵抗。2015年個展“讓所有的可能都在內(nèi)部以美好的形式解決”，既是之前創(chuàng)作的延續(xù)，又傳達了其未來意圖在表面“抽象”之下展開對于“控制”的反思與實踐。 1963年出生于上海。1984年畢業(yè)于上海輕工業(yè)高等?？茖W(xué)校美術(shù)系。展覽：紅色童話，維多利亞國立美術(shù)館(NGV)，墨爾本，澳大利亞(2019)；一切皆有可能(個展)，要空間，上海(2018)；將一只（ ）鳥從一座塔的塔頂放掉(個展)，華僑城盒子美術(shù)館，佛山(2018)；這里是上海, 中國當(dāng)代藝術(shù)展, 利物浦, 英國(2018); 施勇: 規(guī)則之下(個展), 香格納(2017)；烏拉爾雙年展，葉卡特琳堡(2015)；讓所有的可能都在內(nèi)部以美好的形式解決(個展)，沒頂畫廊(2018); 不在現(xiàn)場項目，伯明翰IKON美術(shù)館(2014)；仔細想想，昨天你究竟干嘛去了？(個展)，比翼藝術(shù)中心(2007)；看上去都一樣嗎？，Sandretto Re Rebaudengo基金會, 都靈(2006)；第二屆廣州三年展，廣東美術(shù)館(2006); 難以言喻的快樂, 塔馬約現(xiàn)代藝術(shù)博物館，墨西哥城(2005); 跟我來！，森美術(shù)館，東京(2005)；天上人間(個展)， 香格納畫廊(2004)；第25屆圣保羅雙年展，圣保羅(2002)；金錢和價值－最后的禁忌，瑞士(2002)；第四屆上海雙年展，上海美術(shù)館(2002)；被打開的歐洲，BOIJMANS VAN BEUNINGEN美術(shù)館，鹿特丹(2001)；生活在此時，漢堡火車站當(dāng)代美術(shù)館，柏林(2001)；第三屆亞太當(dāng)代藝術(shù)三年展，昆士蘭美術(shù)，布利斯班(1999)；超市：當(dāng)代藝術(shù)展，上海(1999)；移動中的城市(1-6)，分離派美術(shù)館，維也納，CAPC當(dāng)代藝術(shù)博物館，波爾多，PS1當(dāng)代藝術(shù)中心, 紐約，路易斯安那現(xiàn)代藝術(shù)博物館，哥本哈根，海沃德美術(shù)館，倫敦，奇亞斯瑪當(dāng)代美術(shù)館，赫爾辛基(1997-1999)；形象的兩次態(tài)度93，華山美校畫廊，上海(1993)等。 Shi Yong is a representative figure of contemporary Chinese artists who first started working with installation and video media. Since 1993, his works have been widely exhibited both in China and abroad. His artworks cover a wide range of mediums including performance, video, and installation. Shi Yong’s earliest artistic practices focused on revealing the subtlety of our reality and the inherent tension of the "system". At the end of the 1990s, Shi began focusing on the idea of Shanghai’s transformations under the Chinese economic reform, which contributed to a discussion of globalization and consumerism. Since 2006, with the piece "Sorry, There will be no Documenta in 2007", he turned his attention to the art world that he's been involved in, pondering how to provide a more rational perspective through his creative works. Shi Yong’s 2015 solo exhibition "Let All Potential Be Internally Resolved Using Beautiful Form" continues his art practice, disclosing his intention to expand the reflection and practice of “control” under the seemingly “abstract” future. Shi Yong was born in Shanghai in 1963. He graduated from the Fine Arts Department of Shanghai Light Industrial School. He now resides and works in Shanghai. Shi Yong has been exhibited widely since the early 1990s. Recent shows include: A Fairy Tale in Red Times, National Gallery of Victoria, Melbourn, Australia (2019); Nothing is Impossible (Solo Exhibition), Yellspace, Shanghai; A ( ) Bird be Released from the Top of a Certain Tower (Solo Exhibition), Boxes Art Museum, Foshan; This is Shanghai, Chinese Contemporary Art, Liverpool, UK (2018); Shi Yong: Under the Rule, ShanghART, Shanghai; Floating World, Bahrain (2017); Trace of Existence, UCCA, Beijing; The Crocodile in the Pond, Luzern (2016); Let All Potential be Internally Resolved using Beautiful Form (Solo Exhibition), MadeIn Gallery; Ural Industrial Biennial of Contemporary Art, Ekaterinburg; Essential Matters - Moving Images from China, Borusan Contemporary Perili Kosk, Istanbul, (2015); Hans van Dijk: 5000 Names, Ullens Center for Contemporary Art, Beijing; Witte de With Center for Contemporary Art, Rotterdam, the Netherlands; Off-Site Programme, Silent Film, Ikon Gallery, Birmingham (2014); Big Draft, Kunstmuseum Bern, Bern (2010); Think carefully, where have you been yesterday?, (Solo Exhibition) BizART, Shanghai (2007); Alllooksame/Tutttuguale? Fondazione Sandretto Re Rebaudengo, Turin (2006); Second Guangzhou Triennale, Guangsong Museum of Art, Guangdong; Felicidad Indecible (Unspeakable Happiness), Museo Tamayo Arte Contemporáneo, Mexico City; Follow Me!, Mori Art Museum, Tokyo (2005); The Heaven, The World (Solo Exhibition), ShanghART Gallery, Shanghai (2004); XXV Biennale de Sao Paulo, Sao Paulo; Money and Value, The Last Taboo, Switzerland; 4th Shanghai Biennale, Shanghai Art Museum, Shanghai (2002); Unpacking Europe, Museum Boijmans Van Beuningen, Rotterdam; Living in Time, National galerie im Hamburger Bahnhof Museum fuer Gegenwartskunst, Berlin (2001); The Third Asia-Pacific Triennial of Contemporary Art, Queensland Art Gallery, Brisbane (1999); Art for Sale, Shanghai; Cities on the Move (1-6): Exhibition of Asian Art, Secession, Vienna; CAPC, Musee d' Art Contemporain, Bordeaux; PS1 Contemporary Art Center, New York; Louisiana Museum of Modern Art, Copenhagen; Hayward Gallery, London; Kiasma; Museum of Contemporary Art, Helsinki (1997- 1999); Two Attitudes Toward Identity 93, Gallery of Shanghai Huashan Art Vocational School, Shanghai (1993) etc. 汪建偉 Wang Jianwei 汪健偉，1958年生于四川，從上世紀70年代起他開始藝術(shù)的實踐，即被視為中國當(dāng)代藝術(shù)領(lǐng)域的先鋒。汪建偉在浙江美術(shù)學(xué)院(今中國美術(shù)學(xué)院)學(xué)習(xí)繪畫期間大量閱讀存在主義哲學(xué)和中國歷史，受到這些經(jīng)驗的影響，他早期以繪畫為主的創(chuàng)作帶有強烈的實驗性以及復(fù)雜的觀念；而自上世紀90年代至今，汪建偉持續(xù)探索知識綜合與跨學(xué)科對當(dāng)代藝術(shù)的影響，嘗試使用不同學(xué)科的方法論去創(chuàng)造新的藝術(shù)語言，即在眾多的關(guān)系中，從知識層面發(fā)展和建立一種新的主體的可能性；在知識綜合的背景下，以哲學(xué)式的質(zhì)詢，實踐一種交叉學(xué)科的觀看世界方式，并賦予這些實踐以形式。為此，其藝術(shù)作品呈現(xiàn)多元樣式，跨越影像錄像、戲劇、多媒體、裝置、繪畫和文本等領(lǐng)域。 汪建偉對一個空間的既定功用感到興趣是從《生產(chǎn)》(1997)開始的，這件作品是他最早嘗試創(chuàng)作影像作品時的代表作之一，《生產(chǎn)》有選擇性的對發(fā)生在四川各地公共區(qū)域的社群互動進行了紀實性的記錄，質(zhì)詢公共區(qū)域（茶館）里人與人對話的私人空間；同樣具有紀錄性質(zhì)的影片《生活在別處》(1998-1999)，汪建偉試圖將社會事件/現(xiàn)象放置在更廣闊的領(lǐng)域來看待。汪建偉抗拒以單一方式來表達關(guān)系和思想的整體性，這是他視覺語言中相當(dāng)關(guān)鍵的部分，汪建偉在《屏風(fēng)》(2000)里首次以戲劇方式演繹五代畫家顧閎中名作《韓熙載夜宴圖》，而后的《飛鳥不動》(2005)，則又結(jié)合劇場與排演的工作方法表述他對時間性或當(dāng)代的闡釋；《人質(zhì)》(2008)用緊張激烈的32分鐘的錄像重構(gòu)了文革期間的公社化生活，該計劃是概念和聯(lián)結(jié)的實驗所，歷史、烏托邦、符號以及影響在此通過跨越影像、照片和雕塑裝置等不同的媒介被質(zhì)疑和檢驗?！芭叛荨笔峭艚▊⒄宅F(xiàn)實與歷史的主要途徑，而汪建偉的作品即使有源自中國社會經(jīng)驗的部分，但往往導(dǎo)向的是更全球化和普遍性的維度里，例如其影像、表演作品《歡迎來到真實的沙漠》(2010)。 2011年汪建偉在尤倫斯當(dāng)代藝術(shù)中心的個展“黃燈”、2013年長征空間的個展“……或者事件導(dǎo)致了每一個無效的結(jié)果”、2014-2015年于紐約古根海姆美術(shù)館的個展“時間寺”及2015年長征空間的個展“臟物”，無論是裝置或繪畫，都逐步成為通向未知的能動形式之存在，也是排演的形式載體，相異媒介的作品之間的對話亦或矛盾關(guān)系自身也就可被視為排演的開展。 Wang Jianwei has been interested in the pre-established functions of a space since Production (1997); this piece was the primary work of his first attempts at video-recorded art. Production was a selective documentative record of the intra-group relationships which take place in public spaces across all areas of Sichuan Province, inquiring into the private space of conversation within a public space of the teahouse. The video recording Life Elsewhere (1998-1999) similarly possessed documentative qualities in its attempt to take social issues and phenomena and situate them in an expanded domain of observation. Wang Jianwei resists utilizing solely one means by which to express the integrity of relationships and thoughts, this can be seen a key aspect of his visual language. In Screen (2000), Wang Jianwei for the first time used theatrical performance to act out the scene of the painting The Banquet of Han Xizai by the Five Dynasties’ painter Gu Hong, and in the later work Flying Bird is Motionless (2005) once again worked using theatre and rehearsal to elucidate his personal interpretation on time and the contemporary. Human Quality (2008), uses an extremely tense 32-minute recording to reconstruct communal life during China’s Cultural Revolution, a conceptual project which linked together all experiences of history, utopias, symbols and influences utilizing video, photographs, and sculptural installations amongst other media as a means of questioning and experimentation. “Rehearsal” for Wang Jianwei is the focal avenue through which he consults reality and history, and though many of Wang Jianwei’s works are founded in the experience of Chinese society, they are much more focused on a globalised and universal dimension, such as in his video and performance work Welcome to the Desert of the Real (2010). In 2011 Wang Jianwei held a solo-exhibition “Yellow Signal” at the Ullens Center for Contemporary Art and in 2013 held a solo-exhibition at Long March Space titled “……..” 2014-2015 he held a solo-exhibition at the Guggenheim Museum in New York “Time Temple” followed by the 2015 “Dirty Substance” at Long March Space. No matter whether installation or paintings, both progressively take form through unknown active forms, just as the medium of rehearsal, with the dialogue and contradictions amongst works in diverse media themselves can be seen as the launch of a rehearsal. 王梓全 Wang Ziquan 王梓全，1993年出生于遼寧沈陽，2017年畢業(yè)于中央美術(shù)學(xué)院雕塑系，2019年碩士畢業(yè)于英國皇家藝術(shù)學(xué)院，現(xiàn)生活工作于杭州與上海之間。王梓全的創(chuàng)作來自于對互聯(lián)網(wǎng)及虛擬世界獨特的觀察和理解，探索虛擬和現(xiàn)實的閾值，并用三維軟件模仿真實世界中的荒謬。他通過敘事性的計算機影像，在虛擬和真實空間進行復(fù)制和粘貼。 近期展覽包括：“青年藝術(shù)100”，嘉德藝術(shù)中心，北京，中國，2019；“Fragmentation”，The Coningsby Gallery，倫敦，英國，2019；“Material Statement”，Dyson Gallery，英國皇家藝術(shù)學(xué)院，倫敦，英國，2019；等；并于2020年入圍英國Ashurst新銳藝術(shù)家獎項。 Wang Ziquan, born in Shenyang, Liaoning in 1993, currently lives and works between Hangzhou and Shanghai. He graduated from the Central Academy of Fine Arts with a B.A. degree in sculpture in 2017 and from the Royal College of Art with an M.A. degree in 2019. Wang’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. Recent exhibitions including: “Art Nova 100”, Guardian Art Center, Beijing, China, 2019; “Fragmentation”, The Coningsby Gallery, London, United Kingdom, 2019; “Material Statement”, Dyson Gallery, Royal College of Art, London, United Kingdom, 2019 and etc.; Wang Ziquan was shortlisted for the Ashurst Emerging Artist Prize in 2020. 楊振中 Yang Zhenzhong 楊振中，1968年生于浙江杭州，現(xiàn)工作生活于上海。作為藝術(shù)家，其藝術(shù)實踐以觀念藝術(shù)為主要方向，涉及錄像、攝影、裝置，甚至包括繪畫、雕塑等藝術(shù)形式，長期活躍于全球當(dāng)代藝術(shù)系統(tǒng)，并于2003和2007年兩次參加威尼斯雙年展主題展。作為策展人，從上世紀九十年代末起，他與上海的藝術(shù)家們共同策劃并發(fā)起了包括“超市展”、“吞圖”、“快遞展”等十幾場重要的的當(dāng)代藝術(shù)展覽和項目。楊振中的創(chuàng)作核心，一方面持續(xù)關(guān)注生死議題并以玩世不恭的態(tài)度強化社會中存在的大量矛盾與錯亂，另一方面則是對城市日常與政治空間中的人、物、景觀的轉(zhuǎn)化和再利用。 重要個展包括：《靜物與風(fēng)景》，北京唐人當(dāng)代藝術(shù)中心(2018)；《始終》, 莫斯科MANEGE美術(shù)館及展覽協(xié)會(2014)；《不在此時》，上海OCT當(dāng)代藝術(shù)中心(2013)；《不要動》，北京香格納(2011)；《楊振中》，英國伯明翰IKON美術(shù)館(2006)；《輕而易舉》，上海比翼藝術(shù)中心(2002)。重要群展包括：《1989年之后的藝術(shù)與中國：世界劇場》，紐約古根海姆博物館(2017)；《我們光明的未來：控制論幻想》，韓國白南準(zhǔn)藝術(shù)中心(2017)；《前衛(wèi)中國：中國當(dāng)代藝術(shù)20年》，東京國立新美術(shù)館(2008)；《全球化城市》，英國泰特美術(shù)館(2007)等。其作品不僅參加了威尼斯雙年展 (2003, 2007)、上海雙年展(2002, 2016)、廣州三年展(2002, 2005, 2012)、亞太當(dāng)代藝術(shù)三年展(2006)、里昂雙年展(2013)等國際大展，亦被紐約MoMA、古根海姆、英國IKON美術(shù)館、日本福岡亞洲美術(shù)館、法國國家現(xiàn)代藝術(shù)博物館、瑞銀集團等重要公私藝術(shù)機構(gòu)所收藏。 Yang Zhenzhong was born in 1968 in Hangzhou, Zhejiang Province, and is currently based in Shanghai. As a practicing artist, Yang works primarily in the field of conceptual art with media that span from video, photography and installation to painting and sculpture. For decades, he is an active member of the international contemporary art scene and has showcased twice in the Venice Biennale (2003 and 2007). As a curator, he has collaborated with artists in Shanghai since the late 1990s and planned and initiated exhibitions including “Art For Sale”, “Dial 62761232: Express Art Exhibition” “Hipic”, and dozens of other important contemporary art shows and projects. YANG’s creations have always been centring on the issue of life and death and highlighting the multitude of contradictions and disorders in the society with a cynical attitude on one hand. On the other hand, he translates and recycles the people, objects and landscapes in everyday urban life and political space. Selected solo exhibitions include: Surveillance and Panorama, Tang Contemporary Art, Beijing (2018); Eternal Return | Вечное возвращение, Moscow Manege Museum and Exhibition Association, Russia (2014); Trespassing, YANG Zhenzhong Solo Exhibition, OCT Contemporary Art Terminal, Shanghai (2013); Don’t Move, Yang Zhengzhong Solo Exhibition, ShanghART, Beijing (2011); YANG ZHENZHONG, Ikon Gallery, Birmingham, U.K.(2006); Light As Fuck!, BizArt, Shanghai (2002). Selected group exhibitions include: Art and China after 1989: Theater of the World, Solomon R. Guggenheim Museum, New York, U.S.A.(2017); Our Bright Future: Cybernetics Fantasy, Nam June Paik Art Center, Yongin-si, Korea (2017); Avant-Garde China: Twenty Years of Chinese Contemporary Art , The National Art Center, Tokyo (2008); Global Cities, Turbine Hall, Tate Modern, London, U.K. (2007) etc. The artist’s works have previously exhibited in numerous prominent exhibitions including Venice Biennale (2003, 2007), Shanghai Biennale (2002, 2016), Guangzhou Biennial (2002, 2005, 2012), Asia Pacific Triennale of Contemporary Art (2006), Lyon Biennale (2013) and so forth. His works can also be found in collection of significant public and private institutes such as MoMA New York, Guggenheim Museum, Ikon Gallery (U.K.), Fukuoka Asian Art Museum, Musée National d’Art Moderne and the UBS Collection. 展 望 Zhan Wang 展望，1962年生于中國北京，1996年研究生畢業(yè)于北京的中央美術(shù)學(xué)院雕塑系，現(xiàn)工作、生活于北京，并任教于中央美術(shù)學(xué)院雕塑系。他的藝術(shù)實驗像是一場在趣味、心性和感官世界中不斷尋找平衡的智力游戲，它不斷帶來驚喜和高潮但卻從來不提供清晰的答案。1994年第一次展出“中山裝”系列；1995年創(chuàng)作了“假山石”系列；2010年創(chuàng)作“我的宇宙”系列；2017年第一次展出“隱形”系列；2019年創(chuàng)作“覺著”系列。 Zhan Wang was born in 1962 in Beijing, China. In 1996 he graduated from the sculpture department of the Central Academy of Fine Arts (CAFA) and he currently lives and works in Beijing where he teaches sculpture at CAFA. His art uses simple materials to formulate complex assemblages and issues. The experimentation in his art can be compared to a mind game, seeking a balance between amusement, temperament and sensation, bringing viewers surprises and revelations but never clear answers. The “Mao Suit” series was first shown in 1994; the “Artificial Rock” (Jiashanshi) series was produced in 1995; the “My Universe” series was produced in 2010; the “Forms in Flux” series was first shown in 2017; and the “Sensing” series was produced in 2019. APSMUSEUM是由欣稚鋒藝術(shù)機構(gòu)(Art Pioneer Studio)及其創(chuàng)始人汪斌(Robin Wong)女士創(chuàng)立的非營利藝術(shù)空間。APSMUSEUM關(guān)注當(dāng)代藝術(shù)、建筑、設(shè)計、時尚等不同領(lǐng)域，意在尋找、搭建和展示彼此相互融合的“空間”可能性。APSMUSEUM試圖延展出更多元的藝術(shù)與建筑、設(shè)計之間的公共文化空間，藝術(shù)與時尚之間的文化消費空間，人與社會文化之間的心理空間。APSMUSEUM坐落在上海陸家嘴中心L+Mall商場三樓，由意大利著名建筑設(shè)計事務(wù)所Stefano Boeri Achitetti擔(dān)任室內(nèi)設(shè)計。由展覽空間APSPACE、藝術(shù)設(shè)計商店APSTORE和會晤空間APSALON三部分組成。APSMUSEUM致力于塑造一個非常獨特的展覽空間，能夠?qū)⑺囆g(shù)和文化帶到充滿活力的零售空間概念中。 APSMUSEUM is a non-profit art space founded by Art Pioneer Studio and its founder, Ms. Robin Wong. With focuses on contemporary art, architecture, design, fashion, and other creative fields, the APSMUSEUM aims to discover, build, and integrate these areas of interest into a “space” of possibilities. The APSMUSEUM attempts to extend diverse public cultural spaces that bring together art, architecture, and design, a venue of cultural consumption of art and fashion, a psychological space that addresses man and social culture. APSMUSEUM is located in the L+Mall of Lujiazui, Shanghai. The renowned Italian design firm, Stefano Boeri Achitetti, executes its interior design consisting of APSPACE for exhibition, APSTORE for art and design shop, and APSALON for meetings. APSMUSEUM aims to create an unconventional exhibition space that brings art and culture to a vibrant retail concept.