没顶画廊 | 刘娃、蒲英玮、苏予昕三人联展将于2020年1月11日开幕

Please scroll down for English

没顶画廊将于2020年1月11日荣幸推出刘娃、蒲英玮和苏予昕三位年轻艺术家的联展，分别以各自的最新项目“月乳”、“中国资本”和“几乎没有记忆”，展示他们最近阶段的艺术创作和工作成果。展览将持续至2月28日。

刘娃的作品涉及装置、影像、绘画等媒介，通过人类学和脑科学的双重视角，探究人的感知与情绪的主观性和流动性。其跨学科的创作实践在后人类的语境下，重新想象自我意识与自由意志等命题，多方位探讨人文与科技之间辩证的权力关系。

最新项目“月乳”包括单频录像《月乳》及一系列独版雕塑作品。影片开始于开颅手术麻醉状态下的一场梦，最终延伸为对于工业化发展和城市升级号召的讽刺性评论，并实体化为影片中出现的一系列雕塑作品。纪实的开颅手术，与卡尔维诺的魔幻小说《宇宙奇趣全集》相互呼应；医生切除脑部肿瘤的过程，似乎也是在梦中的工厂里净化月乳的仪式。借用意大利文和中文叙述，本片主角游走于梦境与现实之间，逾越物质与非物质的界限，重新想象人性的多种存在可能。

蒲英玮的工作以对现实境况的私人体察为路径而展开。通过创作、展览、写作、出版、讲演等不同形式的实践，艺术家进行着对政治历史文本的个人化重访与戏仿，并将这些跨越了种族、国家、语言、殖民等宏大命题的叙述悉数降落在其非虚构的个人史写作上。

“中国资本”贯穿了艺术家近年来实践的两个重要面向，一方面是由个人身份政治命题所引发的对当下全球语境中的国家策略的思考，另一方面是由个人生活经历所引发的在社会主义文化与传统伦理下的历史的探究。“中国资本”来源于艺术家于2019年绘制的一幅绘画作品，其风格呼应了诞生于后89时代的重要流派“政治波普”。而流派中所指涉的两种频率：“政治”——与其背后的权力与意识形态，“波普”——与其影射的资本与消费文化，依旧是主导当下中国现场的两股重要力量。“中国资本”概念将是艺术家近年来诸多创作线索的一次交汇，展出作品包括录像及绘画。

苏予昕的绘画与其他媒介的实践专注于捕捉视觉、语言和神经感知之间的联系。她的绘画通常带有独特的色彩、光线和视觉感知，以静物、风景、图表、信息碎片和记忆以多声道、多时区、多屏幕的印象混合输出。通过绘画对图像和影像进行捕捉，她的作品善于在静态的图像中呈现时间的流动，并注重绘画行动和绘画的物质性，使用手工制作的颜料和画布表面的机理来表现绘画过程本身的物质性。

“几乎没有记忆”标题挪用自Lydia Davis一则短篇小说。当所累积的记忆不足以调度 ; 此刻清醒意识驱动，对思考注记的行动展开。移植的标题某种意义上展现着艺术家对绘画行为的理解，一次一个，无法回朔和再制，干燥后的记号，在每一次观看和其置身的图像脉络里被重新发明自身的意义。展出的《每日此时》系列木板绘画，描绘的是二手海面图像，漂流在云端的风景捨去了地平线被重新拼聚，却又仅仅只是切片；《几乎没有记忆》换算了画布平面所生长出的空间距离与绘制所投入的时间；同时呈现的另外两件大幅作品，分别描绘了透视异常下的河流与倒影，在衍生、折射和复制的绘画行动中，诗意和不间断流动的图像缓慢打开。

MadeIn Gallery is honored to present a joint exhibition by three artists Liu Wa, Pu Yingwei and Su Yu-Xin opening on January 11, 2020 (until February 28th) and titled “Moon Milk”, “China Capital” and “Almost No Memory” respectively, showcasing these artists’ latest works.

Liu Wa is an artist whose work encompasses installation, moving image and painting. Through the lens of anthropology and neuroscience, she explores the subjectivity and fluidity of human emotions and perception. Her interdisciplinary practices reimagine the concepts of agency and self-awareness in the context of post-humanism, reflecting on the power dynamics between humanity and technology.

Her latest project “Moon Milk” includes a single-channel video sharing the same title, and a series of unique sculptures. The video begins with a dream in an anesthesia state during a craniotomy to end into a satirical comment on the industrialization development and the call for urban upgrading, all materialized into a series of sculptures appearing in the video work. The documentary on craniotomy surgery echoes with Italo Calvino’s fantasy novel The Complete Cosmicomics; the process where doctors remove brain tumors also resemble a moon milk purification ritual in a factory within the dream. Borrowing from Italian and Chinese narratives, the protagonist in the video walks between dream and reality, transcending the boundaries between material and immaterial, and reimagining the multiple possibilities of human nature.

Pu Yingwei’s work is based on the artist’s personal observation of real situations. Through his practice, involving art creation, exhibition, writing, publishing, lecture and more, Pu revisits and parodies political historical texts, adding to narratives spanning over ethnic, national, linguistic, colonial issues and other grand topics his own non-fictional history writing.

China Capital runs through two main aspects of Pu’s latest practice, one being the reflection on the national strategy in the current global context caused by the political question of personal identity, while the other consists of the historical analysis under socialist culture and traditional ethics in relation to personal life experience. China Capital is derived from a painting produced by the artist in 2019, its style responds to the “political pop“ movement appeared in the post-89 era. The two main tendances of this movement: “politics” and the power, ideologies it relates to, and “pop” together with the implicated capital and consumerism culture, still constitute the two main perspectives that dominate the current Chinese scene. The concept of China Capital is an intersection of numerous creative directions developed by the artist in recent years. Exhibited works include videos and paintings.

Su Yu-Xin’s paintings and other media practice revolve around the capturing of connections between visual, language and neural perception. Her paintings often present unique colors, light, and visual perception, with combinations of still-life, landscapes, graphics, information fragments and memories, as well as multiple tracks, time zones, screen impressions. Seizing images and pictures through her paintings, Su’s works excel in showing the flow of time in still images, and emphasize on the act of painting and its materiality, using handmade paint and the texture of the canvas to express the matter of the painting process itself.

The title Almost No Memory is adapted from a short story by Lydia David. When accumulated memory is not enough to operate; and that sober consciousness is triggered, the map of reflection is unfolded. In a certain sense, the transposed title reflects the artist’s understanding on the act of painting, achieved one at a time they can neither be recalled nor reproduced. The dried marks and their meanings are reinvented through each viewing and the context in which they are viewed. The exhibited wood board painting series “Everyday About This Time” depicts borrowed images of the surface of the sea, the landscape drifting in the clouds has been sectioned at the horizon and reassembled, to only become a slice; “Almost No Memory” translates the spatial distance from the plane canvas and the time invested in the painting process; two other large-scale works depict rivers and reflections with unusual perspectives, and poetic, continuous flowing images are progressively unveiled through the derived, refracted and reiterated act of painting.

1994年生，2017年毕业于耶鲁大学，获得人类学与艺术双专业本科学位，现工作生活于北京与纽约。她通过装置、影像与绘画等媒介，从个体经历出发，探讨人对外界感知的主观性与局限性。她的作品采用脑科学等技术手段，来构建沉浸式的互动场域，并依据观众实时的情绪和精神状态，改变作品的视觉形态及效果。她跨学科的艺术实践试图在当今的科技时代中，重新讨论自我意识与自由意志等人文课题，并探索精神性与物质性的相互联系。刘娃的作品展览及收藏于多个国家的画廊与美术馆，并于2019年入选“福布斯亚洲 30 Under 30”榜单。

近期参加过的重要展览包括：个人项目 “月乳”，上海廿一当代艺术博览会，上海展览中心，上海，中国，2019；“Glimpse”， Asia Now，巴黎，法国，2019；“Glimpse: a passing look”，Sabsay Gallery，哥本哈根，丹麦，2018；“Still”，Arts First Festival，哈佛大学，剑桥，美国，2017；“Tree of Life”，行为表演，耶鲁大学，纽黑文，美国，2015。重要群展包括：“保时捷中国青年艺术家双年评选 2018–2019”，北京展览馆，北京，中国；2019；“Enter”，Refshaleoen，哥本哈根，丹麦；2019；“变量与供养”，没顶画廊，上海，中国，2019；“保时捷中国青年艺术家双年评选”，北京展览馆，中国北京，2019；“第六届广州三年展 – 加速的未来”，广东美术馆，广州，中国，2018；“After Sunset”，Galerie Liusa Wang，巴黎，法国，2018；“锡人的心脏”，木木美术馆，北京，中国，2017；“全球定位”，桥空间与油罐艺术中心，2017；“Art Above the Sofa: Next Generation”，纽约，美国，2017；“艺术理想国”，尤伦斯当代艺术中心，北京，中国，2016；“艺术中国汇”，贾维茨会展中心，纽约，美国，2016；等。

Liu Wa (b.1994) is an artist who explores the subjectivity and limitation of human perception through interactive installation, moving image, and painting. She receives her BA in Anthropology and Art from Yale University in 2017 and currently works in Beijing and New York. Through technological approaches, neuroscience in particular, she creates visual pathways between the abstract emotions of the audience and the physical environment. In the current age of technology, her pluralistic practices seek to grapple with humanist topics, such as self-awareness and agency, exploring the interdependence between mentality and physicality. Liu’s works have been globally exhibited and collected by prestigious museums and galleries. She was selected for the “Forbes 30 Under 30 Asia list” in 2019.

Recent solo exhibitions include: Solo project “Moon Milk”, ART021, Shanghai Exhibition Center, Shanghai, China, 2019; “Glimpse”, Asia Now, Paris, France, 2019; Glimpse: “A Passing Look”, Sabsay Gallery, Copenhagen, Denmark, 2018; “Still”, Arts First Festival, Harvard University, Cambridge, USA, 2017; “Tree of Life”, performance, Yale University, New Haven, USA, 2015. Selected group exhibitions include: “The Variable and The Generating”, MadeIn Gallery, Shanghai, 2019; “Porsche Young Chinese Artist of the Year”, Beijing Exhibition Centre, Beijing, China, 2019; “The 6th Guangzhou Triennial—As We May Think”, Feedforward, Guangdong Museum of Art, Guangzhou, China, 2018; “After Sunset”, Galerie Liusa Wang, Paris, France, 2018; “Heart of the Tin Man”, M Woods Museum, Beijing, China, 2017; “I Do (Not) Want To Be Part Of Your Celebration”, Qiao Space & Tank Project Space, Shanghai, China, 2017; “Art Utopia”, Ullens Center for Contemporary Art, Beijing, China, 2016; “Fantastic Art China”, Javits Convention Center, New York, USA, 2016.

蒲英玮，1989年出生，现工作、生活于里昂和北京。2013年毕业于四川美术学院，获学士学位；2018年毕业于里昂国立高等美术学院，获硕士学位并获得评委会最高嘉奖。蒲英玮的工作以对现实境况的私人体察为路径所展开，他认为个体的经验与记忆是世界存在的诚恳证词。通过展览、写作、出版、讲演等不同形式的实践，艺术家进行着对政治历史文本的个人化重访与戏仿，并将这些跨越了种族、国家、语言、殖民等宏大命题的叙述悉数降落在其非虚构的个人史写作上。

近期的个展/个人项目包括：“双重帝国”，新中法学院，里昂，2018；“宛若真实”，GalerieSator画廊，巴黎，2018；“蒲英玮与吉姆·汤普森建筑事务所”，J: GALLERY，上海，2017；“游牧小说”，蜂巢当代艺术中心，北京，2017；近期的群展包括：“恋舞神曲”，泰康空间，北京，2018；“登陆舒适区?”, 泰康空间-日光亭项目，北京(2018)，“疆域-地缘的拓扑”，OCAT上海馆/OCAT研究中心，上海/北京，2017-2018；“小说艺术”，OCAT深圳馆，深圳（2018）；“全球定位”，乔空间&油罐艺术中心项目空间，上海，2017；“教学相长-第三届实验艺术文献展”，中央美术学院美术馆，北京，2017，等。他曾获得约翰·莫尔绘画奖（2012），入围华宇青年奖（2018），影片《访谈录》入选法国卡昂Si Cinéma电影节（2018）。同时，蒲英玮把自身所切身经历的中西方游牧与全球化浪潮视为一种当代性流亡，其作品也试图描述中国本土境况在与其他文化语境的相遇中互为参照并且相互阐明的关系。2016年，当“后真相”成为年度词语后蒲英玮开始虚构写作，其文章《帝国遗产——论〈踱步：七十年的走过〉与其缄默》获得IAAC国际艺术评论奖二等奖（2019）。他认为母语写作与翻译工作是处于“他者”位置的身份构建与语境生产行为，而这种生产则朝向着一种脱离了既定意识形态窠臼的，一种可能的新身份的到来。

Pu Yingwei, 1989 Born in Taiyuan, China. Lives and works in Lyon and Beijing, received his BFA from Sichuan Fine art Institute, DNSEP (MFA with Félicitation du jury) from École nationale supérieure des beaux-arts de Lyon. Pu Yingwei bases his work upon his personal investigation of realities, as he believes that the experience and memory of individuals are the cordial justification of the world’s existence. The artist is revisiting and parodying political and historical text in a personal way through his practice of various forms, including exhibition, writing, publishing and lecturing, and working in his writing of a nonfictional autobiography the narratives that involve such broad topics as race, country, language and colonization.

Recent solo exhibitions/projects: Double Empire, Nouvel Institut Franco-Chinois, Lyon, 2018; If only it were true, Galerie Sator, Paris, 2018; Pu Yingwei and Jim Thompson Architects, J: GALLERY, Shanghai, 2017; Roman Nomade, Hive Center for Contemporary Art, Beijing, 2017; Recent group exhibitions: Dance With It, Taikang Space, Beijing, 2018; The Comfort Zone At A Distance, Taikang Space-Light Pavilion, Beijing, 2018; Frontier: Re-assessment of Post-Globalisational Politics, OCAT Shanghai/OCAT Institute, Shanghai/Beijing, 2017-2018; Fiction Art, OCAT Shenzhen, Shenzhen, 2018; I Do (not) Want To Be Part Of Your Celebration, Qiao Space & TANK Shanghai Project Space, Shanghai, 2017; Reciprocal Enlightenment, CAFA, Beijing, 2017. He won the John Moores Painting Prize (2012). HuaYu Youth Award (2018). His film “Interview” has been shortlisted for Caen Si Cinéma Festival (2018). Also, Pu Yingwei views the nomadic life he’s lived in China and the West and the tide of globalization as a type of contemporary exile, and tries to describe in his works the intertextuality and mutual clarification between China’s domestic situations and other cultural contexts. In 2016, after “post-truth” became the word of the year, Pu Yingwei began his fictional writing, His article Empire’s Legacy On “Pacing: A Journey of 70 years” and its silences won the second prize of for the IAAC (International Awards for Art Criticism), in the belief that first-language writing and translating are the identity construction and contextual production as one among the “others”. And such production is ushering in a new possible identity that is rid of any established ideologies.

1991年生于台湾，2016年于英国伦敦大学斯莱德美术学院研究所毕业。目前创作于台北，上海之间。苏予昕的绘画与其他媒介实践专注于捕获视觉，语言和神经感知之间的联系。通过绘画对图像和影像进行捕捉，她的作品更倾向于抓住生活中模糊的感知和时刻的复杂交织。与其越过，她倾向与绘画本身的限制一起工作，让平面的画布制造空 ; 或让静止的图像去收纳时间。在具象与非具象间摆荡的图像中，她通过绘画的行动，去调查现实生活中人们对于一对象物（风景、物件）的经验，如何回过头来，改变我们制造其图像与再现的方法，抑或相反地，观者阅读一图像的方式，是否参与了在真实中如何体验的可能。苏予昕的绘画是静物，图表，风景，信息碎片和记忆以多声道、多时区、多屏幕的印象混合输出。在这个事物投射出来的印象比事物本身更丰富的时代，其绘画欲描述的是一多元感知杂揉的平行印象主义。

近期参加过的重要展览包括：用色拼字，关渡美术馆，台北，2019；此地有狮， 798艺术中心，北京，2019；野根茎 亚洲艺术双年展，台湾美术馆，台中，2018；违章建筑III- 特区，长征空间，北京，2018；平面震颤，长征空间，北京，2016；未来岛屿，萨奇美术馆，伦敦，2016；2016 斯莱德美术学院毕业展， 伦敦大学， 伦敦，2016；Refuse: Refuge: Re-fuse, The Koppel Project, 伦敦，2016；独立出版计划，伦敦大学，伦敦，2016；2015 斯莱德美术学院期中展，斯莱德美术学院，伦敦，2015；等。

Su Yu-Xin (b. 1991) was born in Taipei. She holds a MFA in Fine Arts from Slade School of Fine Art UCL, and works between Shanghai and Taipei. Her painting and other practices focuses on the relationships between visual language and other sensorial perceptions. Rather than painting from images or photography, Su’s work often tends to explore the complexity of a moment or a vague perception in life. Su uses painting to construct a delicate alternation of horizons, which varying distances elicit different paces of observation. The colourful layered surface and multi-perspectives in her works generate a dynamic vision within each painting. Su’s paintings study how different rhythms, and fundamentally, the fluidity of human experience can operate and be stored inside a still imagery. In her practice, landscape is an in-between place, a traditional frontality in painting, which allows the artist to switch between figuration and abstraction, investigating the concept of new landscape- a mixture of still-life, graphs, digital calendar, fragments of text and memory. The landscape she is depicting is a field of hybrid vision and a contemporary impressionism that was never seen before this age.

Her recent exhibitions include: A Hue to Spell, KuanDu Museum of Fine Art, Taipei, 2019; hic sunt leones, 798 Art Centre, Beijing, 2019; Taiwan Biennial- Wild Rhizome, National Taiwan Museum of Fine Arts, Taichung, 2018; Building Code Violation III, Special Economic Zone, Long March Space, Beijing, 2018; A World in a Grain of Sand: Mapping Shapes and Sites for Social Deometries Atlantis Fosun Foundation, Sanya, 2018; Trembling Surfaces, Long March space, Beijing, 2016; Future Island, Saatchi Gallery, London, 2016; 2016 Slade Degree Show, UCL, London, 2016; Refuse: Refuge: Re-fuse, The Koppel Project, London, 2016; Small press project, University of College London, London, 2016; 2015 Slade Interim show, UCL, Slade School of Fine Art, London, 2015; etc.

没顶画廊成立于2014年上海，由当代艺术创作及策划平台没顶公司所发起创办，公司创始人徐震是一位深具国际影响力的当代艺术家。

没顶画廊致力于推广优秀的艺术家和项目活动，推动当代文化的发展与国际交流。自成立至今，画廊已为新锐艺术家和知名艺术家举办了众多具有策划性的、高品质的个展与群展，成为一个独特而重要的艺术平台。没顶画廊善于挖掘和培育具有天赋的年轻艺术家，并积极参与国际对话，活跃于中国及国际当代艺术舞台。

没顶画廊合作艺术家包括：陈冷、陈英、丁力、艾略特 • 多德（Elliot Dodd）、冯梦波、龚剑、何岸、李汉威、刘成瑞、刘娃、陆博宇、陆平原、苗颖、莫少龙、佩恩恩、蒲英玮、商亮、沈莘、苏予昕、王思顺、王新一、夏云飞、徐大卫、徐震®、杨深、杨扬、张联、郑源、周子曦、朱昱。

MadeIn Gallery was established in 2014 in Shanghai by the contemporary art creation and curating platform MadeIn Company, a corporate founded by international influential artist Xu Zhen.

MadeIn Gallery is dedicated to the promotion of outstanding artists and projects, spurring the development of contemporary culture and international exchanges. Since its creation, the gallery has organised numerous curated, high-quality solo and group exhibitions of both emerging and established artists, becoming a unique and important art platform. MadeIn Gallery excels in discovering and accompanying young talented artists in their career,  as well as actively participating to international dialogues, in the Chinese and international contemporary art scene.

Collaborating artists: Chen Leng, Chen Ying, Ding Li, Elliot Dodd, Feng Mengbo, Gong Jian, He An, Li Hanwei, Liu Chengrui, Liu Wa, Lu Boyu, Lu Pingyuan, Miao Ying, Mo Shaolong, Payne Zhu, Pu Yingwei, Shang Liang, Shen Xin, Su Yu-Xin, Wang Sishun, Wang Newone, Xia Yunfei, Xu Dawei, XU ZHEN®, Yang Shen, Yang Yang, Zhang Lian, Zheng Yuan, Zhou Zixi, Zhu Yu.

madeingallery.com

info@madeingallery.com