影像上海艺术博览会参展画廊 | 香格纳画廊

画廊

香格纳画廊成立于1996年，是中国最早成立的当代艺术画廊之一。二十多年来，香格纳画廊致力于中国当代艺术的发展，与60多位艺术家保持着长期紧密合作。目前在上海、北京、新加坡均设有空间，持续呈现高品质的当代艺术展览和项目。

于2008年开设的香格纳影像资料库（ShanghART Videotheque）发展至今，已收囊了近六百部当代影像艺术作品，并定期推出沙龙和放映活动。位于上海西岸的香格纳图书馆，长期向大众开放香格纳画廊成立至今所收藏的艺术书籍，馆内同时展售上百种当代艺术图录和艺术衍生品。

香格纳画廊在本届影像上海艺术博览会核心版块将呈现多位艺术家的作品，分别有：鸟头、陈维、陈晓云、胡介鸣、蒋鹏奕、梁玥、杨福东、杨振中以及赵仁辉；在本次的『洞见』特别展览将展出陈晓云、耿建翌、胡介鸣、梁玥、向利庆、杨福东和杨振中的作品。

Founded in 1996, ShanghART Gallery is one of the first contemporary art galleries established in China. For the past twenty years, ShanghART has kept devoting to the development of Chinese contemporary art and also kept close and long-term cooperation with more than 60 artists. Nowadays, with spaces in Shanghai, Beijing and Singapore, ShanghART presents exhibitions and projects of the contemporary art with high-quality constantly.

ShangART Videotheque, which was established in 2008 and has been developing till now, has included near 600 contemporary video art works and kept holding salons and screen-shows regularly. Located on Shanghai West Bund, ShanghART Library opens the collections of all the art books to the public for a long time which have been collected since the foundation of ShanghART Gallery, meanwhile, hundreds catalogs and related products both of contemporary art are also exhibited for sale at the gallery. 

ShanghART Gallery will present the works of artists at PHOTOFAIRS | Shanghai Main section including: Birdhead, Chen Wei, Chen Xiaoyun, Hu Jieming, Jiang Pengyi, Liang Yue, Yang Fudong, Yang Zhenzhong and Zhao Renhui. Meanwhile, artworks of Chen Xiaoyun, Geng Jianyi, Hu Jieming, Liang Yue, Xiang Liqing, Yang Fudong and Yang Zhenzhong will be showcased at Insights exhibition.

杨福东，1971年生于北京。毕业于中国美术学院油画系，被誉为目前中国最成功和最有影响力的艺术家之一。2004年入选纽约古根海姆当代艺术奖，成为继蔡国强、黄永砯之后第三位获此殊荣的华人艺术家。现工作生活于上海。杨福东凭借其极具个人风格的电影及录像装置作品在全球多家美术馆以及重要艺术机构举行多场展览。

作品介绍：《我感受到的光》挪威北部 Sandhorn?y 岛的沙滩上，山体与海洋相接，艺术家杨福东花了近两个月的时间在岛上生活和拍摄，最终创作了一件与众不同的户外八屏影像装置作品。影片通过当地演员的肢体语言，松软的沙滩，树木，阳关与风构成了电影的叙事线索。正如艺术家阐述道“我在思考风如何讲故事，树如何讲故事，而不是过多地依赖人的大量对话来构造叙事。”艺术家感受到的光，不仅仅是极光，风光，也是停留在他心中美好的印象。

? YANG FUDONG, The Light That I Feel 8, 2014. Courtesy of ShanghART Gallery (Shanghai, Beijing & Singapore)

Yang Fudong was born in Beijing in 1971. He graduated from the China Academy of Fine Arts, Oil Painting Department in Hangzhou. He is among the most successful and influential Chinese artists today. He was a finalist for Hugo Boss Award in 2004 and won this honor as the third Chinese artist after Cai Guoqiang and Huang Yongping. Now he works and lives in Shanghai.

Artwork Introduction: The light that I feel series refers to an eponymous film shot during the summer 2014 on the island of Sandhorn?y in Norway where Yang Fudong spent nearly two months there to live, shoot and create. The very unusual outdoor eight channels video installation was unveiled on the occasion of the opening of a new arts and music festival, SALT. The Light That I Feel contains myriad images - naked dancers, flowers in the wind, a stone lying in the sand – that provide a notion of equivalence between the human and the natural world. As in many of his films landscapes play a paramount role equivalent to that of the protagonists. People or plants shaking in the elements becomes the artist’s signature imagery, registering his acute feeling for the physical manifestation of sensation coupled with a taste for alienation.

陈维，一九八零年出生于浙江，现生活工作于北京。他的艺术创作始于杭州，最初从事声音艺术创作与表演，而后转向于影像及装置。其作品在国内外重要展览与机构频繁展出。陈维于2011年获得亚太摄影奖，2015年英国保诚当代艺术奖提名。

作品介绍：作为一个集体聚会重要空间，以及一个在特殊背景下可以自由展现个人意见与感受的场域，中国的酒吧文化自90年代初开始萌发。但是，在紧接着的几十年中，酒吧的这种特殊性质随着中国经济政策的放松而逐渐消失。陈维表示，“酒吧、夜店、俱乐部等虽然曾是知识分子和艺术家聚集并交流的场所，如今也已不再是激进的空间。”

对于艺术家来说，这些被烟雾和激光所包围的魔怔的肢体影射了社会的现状，无论是文化的、经济的或者政治的。没有人知道我们身处何方，也不知道明天会朝着哪个方向继续。

? CHEN WEI, In the Waves #3, 2013. Courtesy of ShanghART Gallery (Shanghai, Beijing & Singapore)

Chen Wei, Born in 1980, Zhejiang Province, China. Currently lives and works in Beijing. He has been engaged in sound art and performance, and then turned to the video and installation. Chen Wei has exhibited extensively and internationally at numerous prestigious institutions and biennales. Chen Wei is awarded by Asia Pacific Photography Prize in 2011, and nominated by Prudential Eye Awards for Contemporary Asian Art in 2015.

Artwork Introduction: China’s club scene emerged in the early 1990s as a critical space for collective gathering and an environment for individuals to freely express themselves within the communist country. However, the alternative nature of nightclubs has diminished in subsequent decades as China has relaxed its economic policies. “While they were once the realm of intellectuals and artists as a place to exchange ideas, nightclubs are no longer radical spaces,” says Chen.

“For artist, these enchanted bodies immersed in the smoke and laser beams reflect the current mood in society today – be it cultural, economic or political. No one knows where we are, and which direction we will be heading in tomorrow.” Building on Chen’s wider interests in the cultural significance of nightlife and storytelling, this body of work is ultimately concerned with the individual’s place in a rapidly modernizing country.

蒋鹏奕，1977 年生于湖南省沅江市，毕业于中国美术学院，现工作生活于北京。目前作品主要以摄影、录像为媒介，通过制造超现实的景观以及对景物的微妙叙述，呈现出个体生命的内外障碍与疑惑。

作品介绍：萤光纸与摄影胶片，一个吸光后释放光，另一个接触到光后通过化学反应保留着光的影子。如何将这两种敏感的不同质的感光材料，在相互触碰的过程中，依距离的忽远忽近，在未知的底片上留下潜在的不可改变的影响？以及在制做过程中，人为对它们每一秒的控制。我称之为是用摄影的方式进行的光的绘画。

? JIANG PENGYI, Intimacy No.04, 2014. Courtesy of ShanghArt Gallery (Shanghai, Beijing & Singapore)

Jiang Pengyi was born in Yuanjiang, Hunan Province in 1977, graduated from China Academy of Art, and currently lives and works in Beijing. He creates a kind of surreal spectacle and delicate narration of the scene, mostly, by photo and video, to reveal the barriers and confusions of the individuals.

Artwork Introduction: Fluorescent paper and Photographic film, the former absorbs and emits light, while under chemical reaction, the other will retain its reflection once in contact with light. How does the two different light sensitive material leave an impression on the film through various experiments and variables?  As each and every second of the production process and millimeters in distance produces varying results. I am painting with light, through photography.

梁玥 ，1979年生于上海，她的作品—无论是摄影还是录像—自始至终以“日常”作为支点，不断以她极为敏锐的艺术天赋顺势取材，发现、发掘和捕捉被忽视的人类日常行为，并将这种对城市日常的关注扩展延伸到对自然恒常之景的凝视。 在她将近十五年以来大量的作品中，可以看到一条清晰贯穿她艺术实践之气：对无意义之美的探求。尤其在梁玥的录像作品中，她不断简化并舍弃拍摄和剪辑技巧，挑战观者的习惯性“艺术欣赏”，挑战他们的视网膜和耳膜，挑战他们的耐心和理性，进而质疑艺术所谓的“意义和价值”，以此将无意义视为她创作的最终意义。

作品介绍：山间的清流，安静中喷涌着生动而茂盛的能量；以组图的方式呈现它们的远景、中景、近景，再特写；将那些细小的声音和活动的水汽藏匿在无声的相纸里。

? LIANG YUE, 2013/04A 2013/04A, 2013. Courtesy of ShanghArt Gallery (Shanghai, Beijing & Singapore)

Liang Yue was born in Shanghai in 1979. Her works, either photos or videos, the "daily" is always taken as a focus. She uses the easy-to-get materials with her acute art talents, keeps seeking, exploring and capturing the daily routines, and extending form concerning for the life in city to gazing the eternal scenery in the nature. A clear clue of her art practice could be witnessed in the massive works during the past fifteen years that the exploration for the beauty of insignificance, especially her videos, in which she keeps simplifying and abandoning the techniques of shooting and editing, challenging the art appreciation which the audience has been used to, as well as the viewers' retina and eardrum, patience and rationality, and further questioning the so-called significance and value of art as she treats the meaningless as the ultimate significance of her creation.

Artwork Introduction: A mountain stream is spewing a vivid and sufficient energy in quiet. The photos show their vision in a group form to display long shot, medium shot and special shot. It hides the trivial sounds and active water vapor in the silent photographic papers.

鸟头（宋涛 b.1979, 季炜煜 b.1980）以摄影为创作基础而不被摄影所框限。他们的镜头捕捉任何能涉及的事物，将关于他们自身的成长思考逐渐内化到他们的图像语境中。他们结合照片矩阵，拼贴，装裱，摄影书等各种对于照片的使用方式，在不同的展览空间和环境中呈现多个自我更新进化的“鸟头世界”。

作品介绍：鸟头最新《情放志荡》节气系列作品以中国节气而命名（作品名称中的节气是作品制作的具体时间），其主体材料来源于 十几年来工作室内暗房制作过程中产生的废试条以及废照片。作品结合了摄影、拼贴、绘画、综合材料的使用。

? BIRDHEAD, Passions Bloom Ambitions-The Beginning of Summer-No.21, 2018. Courtesy of ShanghArt Gallery (Shanghai, Beijing & Singapore) 

The artistic practice of Birdhead(Song Tao b.1979,  Ji Weiyu b.1980) is based on photographs but also beyond the philosophy of photography. Capturing all the beings around them, Birdhead digest and apply the thinking mode of conceptual art into the context of their image interpretation. By combining the photographic matrix, collage, particular mounting technique and so on, Birdhead delivers a “Birdhead world” in various exhibition spaces and humanistic environment.

Artwork Introduction: Birdhead's latest Passions Bloom Ambitions series is named after solar terms. The term indicates the time that the works are produced. The material of the series comes from the wasted photos and test strips produced in the darkroom during Birdhead's practice in previous decade. Most of the works are presented as mixed media works using photographs, collage, painting and so on. 

胡介鸣 ，1957年生于上海，是当今中国数字媒体和录像装置的先驱艺术家之一。胡介鸣有着对其他学科的偏好, 往往将那些不相干的领域杂糅其中。胡介鸣的尝试来自对内部生理的关注之表达,转换了生 理图表、手势、建筑空间、身份和五线谱到视觉经验杂糅的综合体验中。胡介鸣的艺术创作驻足于时间、时空、历史、记忆的交替更迭,利用众多的媒介,不论摄影、 录像或数字互动技术,持续提出他的观点和质疑的主题。让观者置身于过去的、不确切的某 一个时空中,个人记忆中的图像被唤起,形成个体的文本。胡介鸣作品中的物体、材料、影像、交互程序及智能化控制建立起了一种难以名状的场域, 饱含着无限的历史记忆。它们相互交织,彼此覆盖,不断消解,又相互生成。其作品所传达 的不仅仅是对物体的感受,实际上是与当下的空间和时间产生一种新的叙事关系。整个空间 让观者置身于过去的、不确切的某一个时空中,个人记忆中的图像被唤起,形成个体的文本。

作品介绍：这是一套用明信片素材制成的图片，图片上的著名风光在现实中是不存在的，但它们很漂亮也很真实，它们仍然具有明信片的一切功能，可以被欣赏、被收藏、被留念。

? HU JIEMING, Postcards (4) Old Summer Palace, 2002. Courtesy of ShanghART Gallery (Shanghai, Beijing & Singapore)

Hu Jieming was born in Shanghai in 1957. He is one of the pioneers of digital media and video installation art in today's China. He shows his partiality to interdiscipline which leads into a blending of remote fields. Hu’s works pay attention to internal physiology by transferring physical diagrams, gestures, architectural areas, identifications and staves etc. into a synthesized visual experience. Hu Jieming raises views and questions about time, space, history and memory, while his art covers a range of medium working with photography, video and digital interactive technology. He places the audience in the past and an uncertain situation, reminding them of personal memories to shape up individual texts. The objects, materials, videos, interactive programs and intelligentized controlling system in Hu’s works have embodied a nondescript domain which embraces infinite historical memories. They tangle with each other, cover each other, continuously dissolve themselves and generate each other. His works convey not only feelings towards objects, actually a new narrative relationship is established upon the present time and space.

Artwork Introduction: This series of photos is a postcard theme, all those famous landscapes on the pictures do not exist in reality, but they look beautiful yet real. The pictures still have all functions of postcards, as they can be appreciated, collected, and kept as souvenirs.

向利庆，1973年生于浙江，正如向利庆自述那样，他的作品媒质除摄影，绘画，也有雕塑进行创作。他的抽象绘画作品如同他描述的噩梦般建筑的照片，表达的是一种中心的失落感。因此在这些绘画里很难找到直接和易辨认的点。虽然在观看他那多彩的合成作品的过程中，很有些阴沉和不适的成分，但其初衷却并非是构造一个完结式的焦虑不安的戏剧，反倒是对生活的平静狂欢。

作品介绍：在《拖动这些东西》系列中，向利庆利用摆拍的方式表现人物试图拖拉各类废墟或是物品。猛然一看这样的组合似乎没有任何意义，但正是看似荒诞的效果下这些作品反映出艺术家对于当下社会的关注，传达的不协调及怪异正是工业进程中的一个表象。

? XIANG LIQING, Haul these stuff - 4, 2007. Courtesy of ShanghArt Gallery (Shanghai, Beijing & Singapore)

Xiang Liquing was born in Zhejiang province in 1973. In addition to photography, Xiang Liquing also works with painting and sculpture. His abstract paintings express the same loss of center as his photograph series of nightmarish architecture. Within his paintings, no immediate or recognizable point of reference can be identified. His colorful composites may have dark and uncomfortable passages, but they are ultimately quiet celebrations of life.

Artwork Introduction: In Haul These Stuff series, actors pose cardboard box against the corner or drag the boxes and waste. Xiang Liqing uses the resulted incongruity and absurdness from the images to reflect this concerns and profound consideration about the relationship and tension between individuals and the city’s mass development due to industrialization.

杨振中，生于1968年浙江杭州，现工作生活于上海。从上世纪九十年代末起，他与徐震等艺术家们独立策划了十多场极具影响力的新媒体当代艺术展，不仅大大活跃了上海的新媒体艺术氛围，自身的艺术也由此迈向国际艺术舞台。杨振中创作的核心主题，一方面是以玩世不恭的态度强化社会中存在的大量矛盾与错乱，另一方面则是对空间的感知以及在政治和心理层面的空间利用。

作品介绍：《反了》是一组24对的摄影作品，该作品延续了艺术家杨振中摄影手法的一贯风格。每对作品将演员反穿不同职业制服的正面与背面并置同框。荒谬诙谐的作品以铺叠式的方式一字排开接受群众的检阅。

? YANG ZHENZHONG, Wrong way around, 2011. Courtesy of ShanghArt Gallery (Shanghai, Beijing & Singapore)

Born in 1968 in Hangzhou, Zhejiang, Yang Zhenzhong has been living and working in Shanghai for more than 20 years with a career closely related to the development of new media art around the area. Since the end of 1990s, he has been curating and organizing numerous highly influential contemporary art exhibitions with artists including XU Zhen and YANG Fudong etc. They have not only enlivened the atmosphere of the new media art industry in Shanghai, but also promoted the artist himself to stage on an international platform. The key themes of YANG’s works are to strengthen the contradictions and disorders existed in the society with a cynical attitude on one hand, to utilise the perception of the space in political and psychological levels on the other hand.

Artwork Introduction: The Wrong Way Round is an array of 24 pairs of photographs, which continues Yang Zhenzhong's consistent style in photography. Each pair of photographs depicts an actors’ front and back when he/she dressed in a uniform represented for different occupations. The seemingly ironic and humorous photos are lined up to receive the introspection from the audience.

T: +86 21 6359 3923 
F: +86 21 6359 4570
E: info@shanghartgallery.com

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影像上海艺术博览会

日期与时间：

周四  

9月20日

周五 

9月21日

周六至周日

9月22-23日

藏家预展, 2 - 7pm 

(仅限受邀贵宾)

贵宾预展,  12 - 6pm 

(仅限受邀贵宾及限量购票观众) 

贵宾之夜, 6 - 9pm 

(仅限受邀贵宾及限量购票观众) 

公众开放日, 11am - 6pm

地址：

上海展览中心，延安中路1000号，近铜仁路。

*仅限凭邀请函及相关门票入场

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