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艺讯 | 崔洁、唐纳天参展大馆当代美术馆群展“幽灵维面——电驭叛客在未来之年”

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Phantom Plane, Cyberpunk in the Year of the Future

幽灵维面——电驭叛客在未来之年

5 OCT 2019 - 4 JAN 2020

2019年10月5日 - 2020年1月4日

天线空间荣幸地宣布艺术家崔洁、唐纳天（Nadim ABBAS）将参展大馆当代美术馆群展「幽灵维面——电驭叛客在未来之年」。

2019年，是八十年代科幻电影《银翼杀手》和动漫《阿基拉》等所预视的未来。今天，电驭叛客的科幻构想已成为我们的当下：人类的身体渐渐跟机器融合、社会受制于大企业的贪婪、蔓延生长的城市贫富悬殊越趋严重……三十年前出现的电驭叛客对未来灾难的幻想一直彰显于电影、电子游戏、动漫和绘本小说中，并发展出独特的美学。今天，它对末日的想像与灾难性的当下交接，使科幻小说与我们未来的关系日趋尴尬。科幻小说不再瞻望未来，反而充斥着永无休止，每日发生的灾难。

「幽灵维面——电驭叛客在未来之年」探索电驭叛客美学和未来主义如何渗透于当代艺术及视觉文化中。展览将会展现科幻文学创派宗师William Gibson命名为「元城市」（meta-city）的概念，亦即一个不断扩张，介于虚幻和真实的城市空间。透过展现「元城市」中的各种生活——巨型都市的全景、地下世界的快照等——我们将发现科幻小说所塑造的网络都市魅力早已崩塌，成为当下无可回避、无限重复的现实。

展览中某部份艺术家作品所呈现的城市就像幽灵维面，仍在过往对未来的想像徘徊不去。另一些作品则寻找新的切入点，以观望城市及其居民如何在「复古改造赋格曲」（William Gibson）的洗礼下迈向未来。

展览由大馆当代美术馆与巴德学院艺术策展研究中心共同呈献。

策展人：Lauren Cornell，陈乐明 Dawn Chan，谭雪 Xue Tan，Tobias Berger 以及助理策展人 Jeppe Ugelvig

崔洁 Cui Jie

信号塔2 Cell Tower2 , 2019

布面丙烯喷绘 acrylic and spray paint on canvas

200x150cm

崔洁 Cui Jie

基站树2 Cell Tree 2, 2019

布面丙烯喷绘 acrylic and spray paint on canvas

200x150cm

崔洁 Cui Jie

天津图书大厦 Tianjin Book Building，2019

3D打印 3D Printing

34.1×24.7×34 cm

Antenna Space is pleased to announce Cui Jie and Nadim ABBAS's participation in the group exhibition：Phantom Plane, Cyberpunk in the Year of the Future at Tai Kwun Contemporary Art Museum.

In 2019, the year of the future in films such as Blade Runner and Akira, we find ourselves stuck in a world where cyberpunk fictions have become a reality: our bodies have merged with our devices; our society is beholden to unchecked corporate greed; our sprawling cities are starkly divided between haves and have-nots. Thirty some years after its emergence as a dystopian vision of the technological future, the distinct visuality of the cyberpunk genre—passionately explored and developed in cinema, video games, manga, animation, and graphic novels at the time—has settled on our present, leaving science fiction in an awkward relationship to the future. Instead of forward-facing narratives, science fiction is dominated by crisis modes and fantasies of perpetual disaster—set not in the far-flung future, but today.

Phantom Plane, Cyberpunk in the Year of the Future examines how the genre’s aesthetics and futurisms have also bled into art and visual culture. The exhibition centres around what the influential science fiction author William Gibson called “the meta-city,” a sprawling urban space just as virtual as it is real. Whether through spectacular panoramas of virtual mega cities, or fleeting snapshots of its alluring underworlds and its dissonant denizens, the exhibition explores life in the meta-city, and how the cyber metropolis has transformed from a fantastic metaphor for life in the future into an inescapable, looping present.

In some of the artists’ works on view, the city—as well as its physical bodies and attendant digital spaces—appears as a ghost of past futures. Other works find new ways to proceed, pondering how cities and their inhabitants alike might undergo “fugues of retrofitting”, as Gibson put it, to move decidedly forward in time.

The exhibition is Co-presented by Center for Curatorial Studies, Bard College

Curators：Lauren Cornell, Dawn Chan, Xue Tan, Tobias Berger with Assistant Curator Jeppe Ugelvig

唐纳天 Nadim ABBAS

Fake Present Eons (After Posenenske) ，2019

综合材料装置和持续性行为表演

Mixed media installation with durational performance

尺寸可变Dimensions variable

唐纳天 Nadim ABBAS

Fake Present Eons (After Posenenske) ，2019

综合材料装置和持续性行为表演

Mixed media installation with durational performance

尺寸可变Dimensions variable

崔洁， 2006年毕业于中国美术学院油画系，现工作、生活于上海。她的作品曾被Phaidon出版社的出版物《维他命P3》收录；也被法国蓬皮杜艺术中心、芝加哥艺术博物馆、Astrup Fearnley 美术馆、鲁贝尔艺术基金会、The kistefos 美术馆等机构收藏。主要个展包括: “凌霄阁”, Pilar Corrias，伦敦（2019）、“造一把好椅子”, 天线空间，上海（2019）、“偌大空间”, OCAT深圳，深圳（2018）、“后来，从前”，Mother’s Tank station，都柏林，爱尔兰（2016）、崔洁个展：新旧都市方案， Leo Xu Projects，上海（2014）、崔洁个展， Leo Xu Project s ，上海（ 2 0 1 2 ）等。联展经历包括：“百物曲”，Para Site，香港(2019) 、“全球都市”国际艺术双年展，蓬皮杜艺术中心&毛继鸿艺术基金会，成都(2018) 、“长征计划：违章建筑三——特区”, 广东时代美术馆, 广州（2018）、 “贝尔格莱德57届十月沙龙”, 贝尔格莱德, 塞尔维亚（2018）、“前沿国际：克利夫兰当代艺术三年展”，克利夫兰，美国（ 2 0 1 8 ）、“ 过去的肌理 ”，现代美术馆 M o M A P S 1 艺术中心，纽约（ 2 0 1 7 ）、“例外状态：中国境况与艺术考察2017”，尤伦斯当代艺术中心（UCCA），北京（2017）、“一场美丽的骚动”，卡斯特雕塑基金会（CASS），奇切斯特，英国（2016）、“ 黑客空间”（由Hans Ulrich Obrist与Amira Gad策展），香港K11艺术基金会及上海K11艺术空间，K11艺术基金，香港及上海（2016）、“我们这一代：年轻中国艺术家”，坦帕美术馆，坦帕，美国（2014）、“CAFA未来展” CAFA美术馆，北京（2012），“开放的肖像” 民生现代美术馆，上海（2012）、第四届布拉格双年展，布拉格（2009）。

Cui Jie graduated from China Academy of Art in 2006, currently lives and works in Shanghai. She has been included in Phaidon Press’s publication Vitamin P3. Her works have been placed into collection by various institution such as Centre Pompidou, Art Institute of Chicago, Astrup Fearnley Museum, Rubell Family Collection and The Kistefos Museum. Recent solo exhibitions include: The Peak Tower, Pilar Corrias, London, 2019; To Make a Good Chair, Antenna Space, Shanghai, 2019; The Enormous Space, Cui Jie: Maison Fueter, OCAT, Shenzhen, 2018; Latter, Former, Mother’s Tankstation, Dublin, Ireland, 2016; Cui Jie: The Proposals For Old and New Urbanism and Cui Jie, both at Leo Xu Projects, Shanghai, 2014 and 2012. Her works have also been included in many exhibitions, among many others, An Opera for Animals, Para Site, Hong Kong, 2019;Cosmopolis #1.5: Enlarged Intelligence, Centre Pompidou & Mao Jihong Arts Foundation, Chengdu, China, 2018; Long March Project: Building Code Violations III - Special Economic Zone, Guangdong Time Museun, Guangzhou, China, 2018; FRONT International: Cleveland Triennial for Contemporary Art: An American City, Cleveland, US, 2018; Past Skin, MoMA PS1, New York, 2017; The New Normal: Art and China in 2017, Ullens Center for Contemporary Art, Beijing, 2017; Hack Space, curated by Hans Ulrich Obrist and Amira Gad, chi K11 art museum, Shanghai and K11 Art Foundation, Hong Kong, 2016; A Beautiful Disorder, CASS Sculpture Foundation, Chichester, 2016; My Generation: Young Chinese Artists, touring at Tampa Museum of Art and Oklahoma City Museum of Art, 2014; 1st CAFA·FUTURE: Sub-Phenomena, CAFA Art Museum, Central Academy of Fine Arts, Beijing, 2012; Face, Minsheng Art Museum, Shanghai, 2012; 4th Prague Biennale, 2009.

唐纳天1980年生于香港，其作品探索了知觉的技术，建构了一系列复杂的场景——其中，物体存在于自身与其影像的暧昧关系之中，身体则屈服于空间的诱惑力。2014年，唐纳天被授予亚洲文化协会Altius奖学金，以及由香港艺术发展局颁发的“香港艺术发展奖之艺术新秀奖”。近期展览包括：“可怜的玩具”，VITRINE空间（巴塞尔，2019）；第12届上海双年展主题: 禹步（上海，2018）；P-Scape公共雕塑项目（香港，2018）；“伪装者”，VITRINE空间（伦敦，2017）；“幻兽”，天线空间（上海，2016）；“最后媒介”，尤伦斯当代艺术中心（北京，2016）；“环绕观众”，新美术馆三年展（纽约，2015），与釜山双年展（2014）。

Nadim Abbas was born 1980 in Hong Kong. His work explores technologies of perception, culminating in the construction of complex set pieces where objects exist in an ambiguous relationship with their own image, and bodies succumb to the seduction of space. Abbas was awarded with the Asian Cultural Council Altius Fellowship and the HK Arts Development Award (Young Artist / Visual Arts) in 2014. Recent exhibitions include: “Poor Toy”, VITRINE, Basel(2019); "the 12th Shanghai Biennale: Proregress", Shanghai (2018); “Camoufleur”, VITRINE,London (2017);“Chimera”, Antenna Space, Shanghai (2016); “The Last Vehicle”, UCCA, Beijing (2016);“New Museum Triennial: Surround Audience”, New York (2015); and Busan Biennale (2014).

11:00-18:30 每周二至周日

周一闭馆

11:00-18:30 (Tuesday to Sunday)

Closed on Monday

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