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冯梦波个展 “博物馆” 将于5月13日开幕 | 没顶画廊

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冯梦波将整个没顶画廊变成一个博物馆。展柜中的西洋镜展开了各自独立的叙事情节，从画廊空间的核心发散开来。阐释性的文本补充着这些封闭性的戏剧化场景，完善、补充或复杂化了观众之所见。这些展品都让人似曾相识，它们并不来自高雅文化、历史或科学探索的领域，而是来自流行文化。对于那些熟悉冯梦波作品的观众来说，这些形象也是同样熟悉的，因为它们经常投射在他的电子作品与绘画中。但这是冯梦波第一次将它们制作成可触摸的物理对象。

博物馆的主题是冯梦波对“记忆和身份意识”的长期摸索的一部分，自1996年始，他就曾创作过交互光盘作品《私人照相簿》，并从此开始了数字化创作的探索。多年以后，也即2009年，他发表了第一个摄影项目《私人博物馆》，一份饱含情感的文献，记录了上海自然博物馆迁址以前的状态。展览《冯梦波：博物馆》是这个探险的第三个项目，也是他针对装置艺术的首次实验。

在博物馆中，对象被收集、研究和展示。然而，冯梦波的“博物馆”并不试图提供一个观看我们周围世界的客观视角，而是窥探这个创造他心智的世界。问题是，这些展品是否完整、补充或复杂化了我们对冯梦波这个艺术家的理解，或是我们与流行文化的关系呢？

文 / 秦思源

Feng Mengbo has converted MadeIn Gallery into a museum. Exhibition vitrines, each with their own diorama playing out separate scenarios, form a central kernel of the gallery space. Explanatory texts accompany these enclosed dramas, completing, complementing, or complicating what the viewer sees before them. The objects on display are familiar, not from high culture, history, or scientific endeavor, but rather from popular culture. For anyone who is familiar with Feng Mengbo's work, these icons will also be familiar as characters that are regularly cast in his computer generated works and paintings. This is the first time, however, that Feng Mengbo has made them into tangible, physical objects.

The museum theme is part of Feng's long term exploration into memory and identity that started in 1996 with an interactive CD-ROM work titled My Private Album that launched his exploration into digital based work. This was followed many years later in 2009 with Feng's first photography project titled My Private Museum, an emotionally charged documentation of the Shanghai Natural History Museum before its destruction. Feng Mengbo: Museum is the third such project in this venture, and his first experimentation with installation art.

In museums, objects are collected, studied, and displayed. However, Feng Mengbo's Museum is not meant to be an objective look at the world around us, but a prying glance into the world that makes up his own creative psyche. The question is, do these objects complete, complement, or complicate our understanding of Feng Mengbo as an artist, or our relationship with popular culture.

— Colin Siyuan Chinnery

关于冯梦波

1966年出生于北京，1991年毕业于中央美术学院，冯梦波是中国最早关注和运用数字技术的艺术家之一，早在二十世纪九十年代就开始了互动艺术的创作。他连续两届受邀参展卡塞尔文献展，被视为中国媒体艺术的领军人物，尤其以运用电子游戏创作闻名于世。近几年来，他从早期的幻灯、电子、模拟和数字又回归到绘画、摄影、装置等媒介，并和巫娜、新裤子等音乐家合作进行电子音乐的现场表演。

个展包括：大音无响：冯梦波画谱，汉雅轩，香港，2015；私人博物馆，沪申画廊，上海，2012；不太晚，前波画廊，北京，2012；梦波2012，今日美术馆，北京，2011；冯梦波，PS1，纽约，2010等；群展：平行世界2.1：#like4like，K11，香港，2017；信息雕塑公路，没顶画廊，上海，2016；Gameplay, Num June Paik Art Center, 首尔，韩国，2016；转向－2000年后的中国当代艺术，上海民生美术馆，2016；Gameplay, ZKM，卡尔斯鲁厄，德国，2013；第十一届文献展，卡塞尔，德国，2002；第十届文献展，卡塞尔，德国，1997等。

Feng Mengbo was born in Beijing in 1966, and graduated from the China Central Academy of Fine Arts in 1991. He is one of the first Chinese artists to have developed an interest in digital technology. As early as in the 1990s, he started to create interactive art. He participated in two consecutive editions of documenta in Kassel. Feng is considered as a leading figure in media art in China, especially for the use of electronic game in his works. In recent years, his practice originally consisting of slides, electronic, virtual and digital media has returned to painting, photography and installation, he also collaborated with Wu Na, New Pants and other musicians in live electronic music performances.

Solo exhibitions include: The Loudest is Silence, Hanart TZ Gallery, Hong Kong, 2015; My Private Museum, Shanghai Gallery of Art, 2012; Not Too Late, Chambers Fine Art Gallery, Beijing, 2012; Mengbo 2012, Today Art Museum, Beijing, 2011; Feng Mengbo, PS1, New York, 2010. He has participated in: One World Exposition 2.1: #like4like, K11, Hong Kong, 2017; Information Sculpture Superhighway, MadeIn Gallery, Shanghai, 2016; Gameplay, Num June Paik Art Center, Seoul, Korea, 2016; Turning Point: Contemporary Art in China Since 2000, Minsheng Art Museum, Shanghai, 2016; Gameplay, ZKM, Karlsruhe, Germany, 2013; documenta 11, Kassel, Germany, 2002; documenta X, Kassel, Germany, 1997.