群展预告 | 在我的房间里 In My Room | Opening Soon

初夏，“在我的房间里”邀请六位艺术家呈现全新或近期的创作，思索个人叙事和日常中的牵绊。展览中的绘画、录像、装置和雕塑作品体现了三个相互平行又交织的主题：自传和虚构如何作为挑战身份固化的有效策略？其中，作为构筑的场所的身体，有什么延展的可能？私密情感与社会生活，又有怎样的相互牵绊？

展览标题“在我的房间”来自已逝法国作家纪尧姆·杜斯坦著于1996年的同名小说。小说中以作家为名的主人公纪尧姆带领读者踏上一次颓靡的巴黎夜游，在酒吧、夜店、陌生的公寓、床枕、身体间辗转流连。杜斯坦通过第一人称、直爽得近乎冷酷的口吻描述主人公的日常行动，以及身体和事物在生活中的来去，将主人公的内心延展成与外部世界接洽的一块暧昧的网。

杜斯坦从未被译作中文，这部颇具争议的处女作被法国评论家归类为“自我虚构”流派；“自我虚构”由赛尔杰杜·布洛斯基在1977年提出，用来形容当时法国文坛一度关注的一类经虚构处理的自传。尽管它至今没有清晰的界定，但这类文体以它特有的写作形式提醒读者：我们与自身、与他人的关系，无论是内在外在，一直都是种种牵绊所堆叠起来的传记；传记中的这些轨迹不是抽象的“生命”所能够大而化之，而更接近日常这种说法，故事的发展总是朝朝暮暮、点点滴滴而生。自我虚构小说是以叙事的历险来示见这种历险的叙事。本次展览中的作品则通过影像、雕塑和绘画语言，以各自独有的方式展开了类似的探索。

这种牵绊和自我叙事倾向，不是为思辨而思辨的夸夸其谈，而是非常简单的事实：生活就是由在不同时间轴上相互分叉而时有重合的欲望和我们不断杜撰、窜改、重述的故事所编织的。每个人，在属于自己的房间幻想、逃避、沉溺、疗伤...做成千上万个你所想做的事。咫尺房间，作为一个实体和精神空间，既有对世界的避让，也是对世界的豁然。若情投意合，欢迎你来我这做客。

Evelyn Taocheng Wang

Untitled-Platypus, Divisionism, Proletariat

2013-2014

ink, pencil, tea, mineral color, flower powder, acrylic

color, water color, ink, raw rice paper, mounted on

japanese rice paper

75 × 340 × 60 cm

Opening summer 2019, “In My Room” gathers new and recent works by six artists reflecting on personal narratives and quotidian attachments. Spanning video, painting, installation and sculpture, the works on view evince three distinct and sometimes overlapping themes: challenging the notions of stable identity and authorship via the interplay of autobiographical and fictional materials; observing the architecture of the body and its extensions; and contemplating the profound entanglements of private sentiment with social life.

The exhibition takes its title from the late French writer Guillaume Dustan’s eponymous 1996 novel, in which we are taken on a hedonistic cruise through the rooms and beds wherein the narrator (also named Guillaume) finds himself, through the debauched gay bars and nightclubs of Paris, where bodies—his and his conquests’—entwine. Spare to the point of detachment,  Dustan’s portrayal of his protagonist’s day-to-day actions, the comings and goings of bodies and objects in the spheres wherein he moves, stretches the novel’s interior space into a mesh that links his room with the world.

Dustan’s debut novel has been touted by Francophone critics as a provocative work of “autofiction,” a denomination first coined by Serge Doubrovsky in 1977 to describe a genre of fictionalized autobiography to which the literary establishment of the time was paying some attention. Despite remaining a contested literary field with no clear definition, the autofiction genre characteristically pinpoints the way our relations both internal and external, to ourselves and to others, are always already mediated by the attachments and biographical structures we develop in the course of life—not Life in the abstract, but everyday life with all its hymns and hums, its tiniest hinges of little somethings. The autofictional novel arose as something that “entrusted the language of an adventure to the adventure of language”; the works on view in the exhibition, with the same fixation and yet audacious in their own ways, venture into uncharted territories of filmic, sculptural and painterly rumination.

The driving importance of attachment and self-narrativization is not to be dismissed as speculative proposition or hyperbolic metaphor, as it concerns simple facts: human life is structured, to the same profound extent, by desire (or a cluster of desires, of parallel but divergent durations) and by the stories we make up, edit, and tell (about) ourselves. As a cabinet of fantasy, indulgence, introspection, refuge… and a million other things, all arranged to your own liking, the room promises at once foreclosure and openness to the world. When we are in the right mood, you are welcome to come in too.

Jes Fan

Diagram VI, 2018

Epoxy, Composite Resin, Pigments, Glass 

Dimensions variable 

范加 Jes Fan

范加（b.1990）生于加拿大，在中国香港长大。范加曾获得过多项国际奖学金，包括Joan Mitchell绘画雕塑补助金、Jerome Hill奖学金、纽约艺术设计博物馆Van Lier奖学金、RISD John A. Chironna纪念奖，等等。范加曾参与全球范围的各大展览，包括香港Empty Gallery的“Mother is a Woman”和匹兹堡卡耐基梅隆大学的“Paradox: Haptic Body in the Age of AI”等。即将参与的展览有伦敦Hayward画廊的“Kiss my Genders”、上海外滩美术馆的“百物曲”（外滩美术馆，上海）和2020年悉尼双年展。范加工作生活于布鲁克林。

Jes Fan (b.1990) was born in Canada, raised in Hong Kong, China.Fan is the recipient of various fellowships, such as the Joan Mitchell Painters and Sculptors Grant, Jerome Hill Fellowship, Van Lier Fellowship at Museum of Arts and Design, John A. Chironna Memorial Award at RISD. Selected exhibitions include “Mother is a Woman” (Empty Gallery, Hong Kong, 2018); and “Paradox: Haptic Body in the Age of AI” (Carnegie Mellon University, Pittsburgh, 2018); among others. Upcoming exhibitions include “Kiss my Genders” (Hayward Gallery, London, 2019), “An Opera for Animals” (Rockbund Art Museum, Shanghai, 2019) and the Sydney Biennale in 2020. Fan is based in Brooklyn.

Juan Antonio Olivares过往作品

Moléculas, 2017

High-definition video, color, sound 

10 min

Juan Antonio Olivares

Juan Antonio Olivares（b. 1988）出生于波多黎各，父母为哥伦比亚/智利人。Olivares目前在纽约生活和工作。Olivares于2018在惠特尼美国艺术博物馆举办了他的第一次机构个展“Moléculas”。其他近期展览包括：“Vespula Vulgaris”（ChertLüdde画廊，柏林，2019年）; “我. 夏天（伟大的比赛之后）“（Miguel Abreu画廊，纽约，2017）; “Moléculas”（Off Vendome画廊，纽约，2017）等。

Juan Antonio Olivares (b. 1988) was born in Puerto Rico to Colombian/Chilean parents, and is currently based in New York. He recently had his first institutional solo show at the Whitney Museum of American Art, "Moléculas," opening in March 2018. Other recent exhibitions include: “Vespula Vulgaris” (ChertLüdde, Berlin, 2019); “I. Summer (after the Great Game)” (Miguel Abreu Gallery, NYC, 2017) ; “Moléculas” (Off Vendome, NYC, 2017) ; and “Please Respond” (M/L Artspace, Venice, 2015). 

Lewis Hammond 

Lewis Hammond （b.1987，英格兰伍尔弗汉普顿）目前在英国伦敦生活和工作。 精选个展或双个展览包括“The Keep”（Arcadia Missa画廊，伦敦，2019），“Isle”（Smart Objects画廊，洛杉矶，2018年）和“Room to Crawl”（Becky's 画廊，伦敦，2018）等。Hammond也参加了如纽约Deli，巴黎Balice Hertling和维也纳Sophie Tappeiner等画廊的群展。

Lewis Hammond (b.1987, Wolverhampton, England) currently lives and works in London, UK. 

Select solo or duo exhibitions include “The Keep” (Arcadia Missa, London, 2019), “Isle” (Smart Objects Gallery, Los Angeles, 2018) and “Room to Crawl” (Becky’s, London, 2018), among others. Hammond has also participated in group exhibitions at Deli Gallery in New York, Balice Hertling in Paris, and Sophie Tappeiner Gallery in Vienna, among others. 

陶辉 Tao Hui 

1987年生于中国重庆云阳，现工作及生活于中国北京。陶辉于2015年分获SESC巴西录像艺术节“南部全景”单元大奖，三亚艺术季“华宇青年奖”评委会大奖，于2017年入围最具权威的亚洲当代艺术奖项“HUGO BOSS亚洲新锐艺术家大奖”，并于2019入围首届希克奖。近期个展包括：“节奏与知觉”（马凌画廊，香港，201）9；"TAO HUI"（The Breeder画廊，雅典，2018）；和“南方戏剧史，A幕”（其玟画廊，台北，2018）；“新倾向：陶辉”（尤伦斯当代艺术中心，北京，2015”；和“一个人物与七段素材”（艾可画廊，上海，2015）。

Tao Hui (b.1987, Sichuan) is a graduate from Sichuan Fine Art Institute, and currently lives and works in Beijing, China. Tao won the Grand Prize at Contemporary Art Festival Sesc Videobrasil and the Art Sanya & Huayu Youth Grand Award, both in 2015. He was shortlisted for HUGO BOSS ASIA ART Award for Emerging Asian Artists in 2017, and the inaugural Sigg Prize in 2019. His solo exhibitions include “Rhythm and Senses” (Edouard Malingue Gallery, Hong Kong,2019); “The History of Southern Drama, Scene A” (Chi-wen Gallery, Taipei, 2018); and “Not at all” (OCAT Xi’an, Xi’an, 2017); “New Directions: Tao Hui” (UCCA, Beijing, 2015), among others. 

王韬程 Evelyn Taocheng Wang 

王韬程（b.1981）目前工作生活于荷兰鹿特丹。她的古典绘画、录像和表演大多源于她尤其感兴趣的身份的构造，以及不同文化中身体与自传性结构间的相对关系。王韬程曾在法兰克福的St?delschule学习，并在De Ateliers担任驻地艺术家（2012-2014）。她曾获得鹿特丹Dolf Henkes奖（2019）、Dorothea von Stetten奖和Volkskrant Beeldende Kunst奖。她曾在KW  - 柏林当代艺术学院、Frans Hals 美术馆 | Hallen Haarlem、卡洛斯 | 石川画廊和Fons Welters画廊举办个展；也参加了苏黎世的Manifesta 11;米德尔堡的Vleeshal;施泰德姆施泰德利克博物馆;洛杉矶的Jenny’s举办的群展。王韬程即将于2019年10月在兰斯的Frac Champagne-Ardenne举办个展。

Evelyn Taocheng Wang (b.1981) is an artist who currently lives and works in Rotterdam, the Netherlands. Wang’s work, which traverses painting, drawing, video and performance, emerges from an interest in what constitutes identity and how one’s own body is culturally relative to—and intertwined with—autobiographical structures. 

Wang studied at the St?delschule, Frankfurt and was resident artist at De Ateliers (2012-2014). She has won the Dolf Henkes Prize, Rotterdam (2019) as well as the Dorothea von Stetten Award and the Volkskrant Beeldende Kunst Prize. She has had solo shows at KW – institute for contemporary art, Berlin; Frans Hals Museum | Hallen Haarlem, Carlos|Ishikawa and Galerie Fons Welters and participated in the group shows Manifesta 11, Zurich; Vleeshal, Middelburg; Stedelijk Museum Schiedam; Jenny’s Los Angeles. Forthcoming is a solo exhibition at Frac Champagne-Ardenne, Reims in October 2019.

Bruno Zhu 

Bruno Zhu（b.1992）是一位艺术家及作家，目前在荷兰阿姆斯特丹生活和工作。 

精选个展包括“Guts”（Kimberly-Klark画廊，纽约，2019）; “Continente”（Kunsthalle Lissabon画廊，里斯本，2018）; “Vista Alegre”（Serralves美术馆，波尔图，2015）;和“Grass Warm Trifecta”（卡洛斯 / 石川，伦敦，2012）等。精选群展览包括“Life Hacks”（BQ画廊，柏林，2019）; “17区”（Kraupa-Tuscany Zeidler画廊，柏林，2018）和“让我们看看，我们在哪里？在绝望的深渊“（De Ateliers画廊，阿姆斯特丹，2017年）等。

Bruno Zhu (b.1992) is an artist and writer who currently lives and works in Amsterdam, the Netherlands.Select solo exhibitions include “Guts” (Kimberly-Klark, New York, 2019); “Continente” (Kunsthalle Lissabon, Lisbon, 2018); “Vista Alegre” (Serralves Museum, Porto, 2015); and “Grass Warm Trifecta” (Carlos/Ishikawa, London, 2012), among others. Select group exhibitions include “Life Hacks” (BQ, Berlin, 2019); “District 17” (Kraupa-Tuscany Zeidler, Berlin, 2018); and “Let's See, Where Were We? In The Pit of Despair” (De Ateliers, Amsterdam, 2017), among others. 

Bruno Zhu

Falling Stars, 2015-2019

digital print on matte paper, wrapping paper, aluminum foil, chicken wire

Dimensions variable