【博而励北京】颜磊个展：狂喜加剂量 - 博而励画廊

博而励画廊荣幸宣布：颜磊个展“狂喜加剂量”（Ecstasy + Dose）将于2019年6月1日正式开幕。5月31日，艺术家纵容补养——颜磊、许林、李剑鸿将在由CHAO艺术中心主办、摩登天空和博而励画廊联合呈现的“夜间博物馆”中呈现一场现场主题演出《外科手术》。

作为中国第一代观念艺术家之一，颜磊的创作实践涉及从绘画、摄影、录像到行为表演和装置等诸多媒介，他的作品致力于表达、展现和介入本地与全球、中心与边缘、权威与失权之间的动态张力，聚焦于全球化语境下促成不断变化的社会、政治和经济变量的根基。

上世纪九十年代末，颜磊曾冒充卡塞尔文献展策展委员会的名义，向国内艺术界人士寄发签有颜磊与洪浩名字的拼音逆写的卡塞尔文献展的邀请函（《邀请信》，1997），同期的《能给我看看你的作品吗？》、《去德国的展览有你吗？》等系列作品开启观念艺术的创作。他的这种恶作剧姿态，既捕捉到了当时许多中国艺术家的心理——渴望参与全球艺术界并获得更高的可见度，也反映了中国本土当代艺术在面对国际艺术圈时的机遇与挑战。

在过去二十余年的观念艺术实践中，颜磊对艺术系统的生产力、不平衡和不稳定的价值交换、艺术市场的主导地位及其对艺术创作的影响持续保持着怀疑的态度。对颜磊而言，艺术系统内部的制造能力的局限性，以及其“亚健康”的状态令人堪忧。正如他早在1997年对艺术界的干预行为，艺术家本次带来的现场表演《外科手术》及个展“狂喜加剂量”，也旨在利用高度感官化的体验治愈、修复甚至是重启这个系统。

2007年，颜磊曾邀请北京著名朋克乐队——脑浊乐队前往伊斯坦布尔参加第10届伊斯坦布尔双年展，并在伊斯坦布尔的“犬狼星”夜店围绕着双年展主题“不但可能，而且必要：全球战争时代的乐观主义”进行演出。这一次，颜磊再次采用非常规艺术创作的手段，由一场噪音演出刺激人们的感官。他的新噪音乐队“纵容补氧”由艺术家本人和前脑浊乐队成员许林组成，乐队名取阿片类镇痛药奥施康定（所含的羟考酮羟考酮可缓解疼痛、改变感觉、增加共情力和快感），意在通过排解观众心中过剩的信息从而为其带来狂喜的体验。现场表演将包含五个章节：1.论坛，2上升空间，3，外科手术，4.大气层，5降落。

次日在博而励画廊开幕的“狂喜加剂量”，展现了颜磊创作实践的重要概念：杜尚的艺术中现成品的运用，传统媒介的质疑，‘作者’自主性的颠覆，以及安迪·沃霍尔以工厂生产流程为标志的极端波普艺术策略，均被颜磊就自身语境以及方式，引入当下的全球化语境，并针对新技术的出现、不断变化且令人不安的世界政治形势，以及21世纪的绘画意义给予辩证式的回应。

本次展出的三件绘画作品，分别描绘了一个身份不明的男孩——《嗒嗒》（2009），《陈冠希》（2019），以及《金正恩》（2019）中面无表情地鼓掌的朝鲜领导人金正恩。这些作品均以艺术家著名的“按数字顺序著色”方法、由他工作室的工作人员绘制。

此外，颜磊标志性的“彩轮”系列也在展览中以“升级版”的形式呈现，其光栅立体印刷——一种早期的摄影技术，观看者通过转换位置从而感知多重图像画面－不仅强调了颜磊的“绘画只是对你可能在照片中看到的图像进行的一种不假思索的表现”的立场，而这种叠加的处理方法也更进一步扭曲了抽象的色彩轮，暗示了技术作为一种补充媒介，能够通过模糊人类的感知从而模糊知识生产。

最后，《空想3.0》呈现了一个自动化的机动塔，它由若干个按顺时针、逆时针交替旋转的轮子堆叠而成，展示了颜磊多年以来积累的数百张图像；例如，一张雏菊的图像、卡斯帕·大卫·弗里德里希（Casper David Friedrich）的《雾海上的漫游者》（1818）和央视大楼的局部细节并置在同一张图片中。相比于颜磊在卡尔斯鲁厄艺术与媒体中心和新时线媒体艺术中心的“术问：真实的回归”上展出的《空想重置》（2018），这件新作品使人们意识到，在互联网和人工智能的时代，意义的生产是多面向的，它既不稳定，有时也可能是危险的。颜磊使用Lo-Fi低保真技术便再次强化了这一观念，即最新和最好的技术不一定会带来真理，而固化的感知（同指观众现场的视角）必然会阻碍人们接近真理。

Ecstasy 156，2019，亚克力、灯箱，120x120cm

Ecstasy 156, 2019, PMMA, light box, 120x120cm

? 2019 颜磊 & 博而励画廊 Courtesy of the artist & Boers-Li Gallery

Boers-Li Gallery is delighted to announce the opening of Yan Lei’s solo exhibition, “Ecstasy + Dose” on June 1st, with a live performance “Surgical” presented by the artist CondonOxy, Modern Sky and Night Museum at the Chao Art Center on May 31, 2019.

Yan Lei is among the first generation of conceptual artists working across different mediums, whose indiscriminate adoption of painting, photography, video, performance and installation, has always been geared towards articulating, manifesting and negotiating the dynamics between the local and the global, the center and the periphery, the powerful and the disempowered, if not to address the constantly shifting grounds of social, political and economic variables under the global condition.

Notoriously known for hoaxing his peers with forged invitation letters sent from Documenta’s curatorial committee (Invitation, 1997) with his and Hong Hao’s name written in reverse signed, and a series of works including May I see your Work? Are you in that exhibition that goes to Germany? from the late 1990s. Yan Lei’s prankster gesture translated both the psyche of many Chinese artists at the time, thirsty for visibility and opportunity to engage with the global art world, while negotiating the power dynamics between the burgeoning contemporary Chinese art world vis-à-vis the global art power the artist contented.

With more than two decades of conceptual art practice under his belt, Yan Lei remains skeptical of the productivity of the art system, its uneven and erratic value exchange, the dominance of the art market and its impact on artistic production, to Yan Lei, reveal certain malaise, and its limitations hinder the production of value and meaning. Akin to his interventions in 1997, the line up of the performance, “Surgical” and the solo exhibition, “Ecstacy +Dose” aim to heighten the audience’s sensorial experiences to cure, rehabilitate, or even reboot the system.

Having brought the famous Beijing punk band Brain Failure to the 10th Istanbul Biennale in 2007, the recording of their performance at the nightclub Dogzstar, fitted under the Biennale’s overarching theme, "Not only possible but also necessary: Optimism in the Age of Global War". This time, Yan Lei adopts means outside of the conventional frameworks for artistic production again. His new noise band, CondonOxy, consists of the artist himself and the former member of Brain Failure, Xu Cong. The title of the band is a neologism that plays off the spelling of the trade name, Oxycontin (for the prescription medication Oxycodone, for alleviation of pain, altering sensation, increase empathy and pleasure), to offer the audience a euphoric experience that aims expel the surplus information on their minds. The performance will include a five-chapter act, 1.Forum; 2.Climbing Space; 3.Surgery; 4.Atmosphere; and 5.Landing.

The exhibition at the gallery, “Ecstasy + Dose” opening on the following day, conjures key notions from Yan Lei’s practice, where one will discover the artist’s inspiration from Duchamp's adoption of the readymade, limitations in existing artistic forms, the subjectivity of the "auteur", as well as, Andy Warhol's radical strategy of Pop Art, marked by his factory production process. Yan Lei applies these notions in his own context and approaches with an acknowledgment to the heightened global conditions, including the advent of new technology, the unsettling global politics in constant flux, as well as, the artist’s iconoclastic position to what painting means in the 21st century.

The three paintings on view, the portraits of an unidentified boy, Tata (2009), Edison Chen (2019) and Kim Jong-un (2019) depicting the North Korean leader, Kim Jong-un clapping his hands with deadpan facial expression, all of which were painted with Yan Lei's well-known painting-by-number strategy by his studio staff.

Moreover, his iconic “color wheel" series is presented with the added effect of lenticular printing - an early photographic technique, where the perception of the multiple images relies on the shifting position of the viewer. This series reinforces Yan Lei's position that "painting, after all, is just a mindless representation of an image you might see in a photograph". Moreover, the added processing further warps the abstract color rings, to suggest that technology as an added medium can obscure the human perception, hence the production of knowledge and meaning.

Lastly, Rêverie 3.0 (2019), an automatically motorized tower, stacked up by several wheels spins in alternating clockwise and counter-clockwise directions, exhibits hundreds of images Yan Lei has amassed over the years. Each picture consists multiple images, for example, a picture of daisies, Casper David Friedrich’s Wanderer above the Sea of Fog (1818) and a detail of the CCTV tower can be found within the same frame. Unlike the Rêverie Rest (2018) Yan Lei presented in “Datumsoria: The Return of the Real”, at ZKM and Chronus Art Center, making aware that in the age of the Internet and Artificial Intelligence the production of meaning is as multifaceted as it is unstable and can sometimes be perilous. Yan Lei's current choice of a low-fi technology, further enhances this notion, that it may not be the advent of newer and better technology that will bring about the truth. However, holding a fixed position of perception (in this case, that of the viewer) would certainly hinder one from accessing it.

关于颜磊

颜磊1965年生于河北，1991年毕业于杭州浙江美术学院（现中国美术学院），生活和工作在中国。颜磊在中国当代艺术圈特立独行，以独立审视的态度，透过绘画、雕塑、装置、录像、行为等不同媒介，挖掘和揭示艺术体制内部存在的权力、竞争、艺术价格价值混肴等问题。颜磊的作品调性模棱两可，呈现多重矛盾和冲突的价值观，一方面反映了艺术家对当代艺术创作所存在的种种问题的警觉和思考，以及他置身其中的孤独和对庸俗现实的复杂情绪。

颜磊参加过多项国际大型展览，包括伊斯坦布尔双年展、广州三年展、圣保罗双年展、光州双年展、上海双年展、威尼斯双年展。香港艺术中心、北京尤伦斯当代艺术中心（UCCA）和美国科罗拉多州阿斯蓬美术馆（Aspen Art Museum）分别举办过颜磊的个展。2002年获中国当代艺术奖（CCCA）最杰出艺术家奖，2007和2012年连续两次获邀参加德国卡塞尔文件展（Documenta）。

About YAN LEI

YAN Lei was born in Hebei Province, China in 1965, and graduated from the Zhejiang Academy of Fine Arts (now known as the China Academy of Art), in Hangzhou, in 1991. YAN is a singular and unconventional figure in the Chinese contemporary art world. Adopting an independent and distant attitude, he explores and unveils different issues, such as power relationship, competition or the closeness of values and prices, that exist in the art system, through various media ranging from painting, sculpture, installation to video and performance. His works often incorporate multiple and often contradictory values. This ambiguousness shows, on the one hand, the artists alertness to and reflection on the various problems in art making today, and on the other, the solitude that he has from being part of the system and his complex feelings confronted with vulgar reality.

YAN Lei has participated in a great numbers of international exhibitions, including Istanbul Biennial, Guangzhou Triennial, Sao Paulo Biennale, Kwangju Biennale, Shanghai Biennial, Venice Biennale, etc. He has also had solo exhibitions in museums such as the Hong Kong Art Centre, the UCCA Ullens Center for Contemporary Art in Beijing, and the Aspen Art Museum in Colorado in the United States. In 2002, YAN Lei was awarded ‘Best Artist’ by the C.C.A.A. (Chinese Contemporary Art Awards). He was invited to take part in Documenta in Kassel, Germany, in 2007 and 2012.

颜磊个展：狂喜加剂量
博而励画廊北京
展期：2019年6月1日至7月14日

Ecstasy + Dose: Yan Lei Solo Exhibition
Boers-Li Gallery Beijing
Dates: June 01 – July 14, 2019

5月31日，艺术家纵容补养——颜磊、许林、李剑鸿将在由CHAO艺术中心主办、摩登天空和博而励画廊联合呈现的“夜间博物馆”中呈现一场现场主题演出《外科手术》。届时，周凤岭、李言增、DJ Pei、叶凌瀚、胡晰淼将作为特邀嘉宾参演，敬请期待。

正在展出

博而励北京 Boers-Li Gallery Beijing

好生意画廊

2019.4.20 - 5.26

博而励画廊隆重推出群展“好生意画廊”，呈现米歇尔·埃伯利斯（Michele Abeles）、潘望舒、孙一钿、阿玛利娅·乌尔曼（Amalia Ulman）、袁可如五位女性艺术家的作品，其中涵盖了绘画、摄影、雕塑、灯牌、录像装置，并在开幕现场上演了以袁可如影片主要人物为原型的表演。

博而励纽约 Boers-Li Gallery New York

Esteban Cabeza de Baca: Worlds without Borders

2019.4.5 - 6.15

博而励画廊呈现Esteban Cabeza de Baca在纽约的首次个展，展示艺术家最新作品，质疑“边界”作为概念划分国家，种族，与生物。Esteban Cabeza de Baca运用涂鸦技法，神话符号，以及前哥伦比耶时期的图像语言，其绘画与雕塑作品试图结构线性的时空表征，从而以多维度视角“重”现风景，历史，及人类，非人类，和自然之间的关系。