A4xKADIST年度系列放映展第二场：此地此刻——影像中的社会参与式艺术

本次放映活动片单

Jeamin Cha, 《雾与烟》（2013），20’45’’

Polina Kanis, 《锻炼》（2011），11’40’’

Sora Kim, 《乌龟步道》（2010），5’58’’

厉槟源，《自由耕种》（2014），5’02’’

西京门，《欢迎来到西京-2008年西京奥运会》（2008）

1986年出生于韩国，日常生活中的新闻报道或轶事是她的影像作品灵感来源。Cha经常会通过访谈和实地研究的过程来与人们产生意外相遇、发现和日常交流，从而引导她创作影像。她没有使用教学形式的文档，而是重建图像和叙事，同时寻找方法将自己的个人地位与社交生态层面联系起来。她的作品质疑政治行动的前提，并展现了看似普通的日常生活中隐藏的焦虑或歧视。因此，对她而言，干预已成为一种敏感的表达方式，激起了对当代社会不断出现的矛盾的质疑和调查过程。Cha在2019年12月至2020年3月期间于旧金山卡蒂斯特（KADIST San Francisco）驻留，目前正在展出《疑难解答，I，II，III》个展。

1985年出生于俄罗斯，是后苏联时代影像从业者的领先者。Kanis毕业于俄罗斯赫尔岑国立教育大学（2006）和罗丹科艺术学校（2011）。她精心编排的情境象征着她的时光，融合了一种念旧的情怀和敏锐的及时性。她的社交表演重塑了仪式形式，同时调查了组成的团体中个人的权力动态。在她的方式中，她通过常规性、节奏性和重复性来揭露破碎的结构。她的教学式训练和与各类组群合作的能力使她成为每一个行动的催化剂。

1965年出生于韩国，她的作品通常涉及到礼品馈赠程序、自发地社交互动以及数字在我们个人生活中的作用。她经常与社会上有争议的人合作或者吸引观众进行参与。她曾就读于首尔国立大学和巴黎高等国立美术学院。其作品曾在威尼斯双年展、横滨国际当代艺术三年展和釜山双年展上展出。

1985年出生于中国，这位来自北京的艺术家通过动作、影像作品和行为来探索身体、机会、娱乐和社会价值介入中国日常社会结构。他的实验作品囊括了城市空间，从街道的公共场所到偏远的后工业场所。他利用身体做为雕塑材料进行创造性的研究，利用断裂和重复来展现雕塑和表演如何交织在一起。在审视我们每天的经历的同事，重新确立了社会行为。厉槟源有时在街道上裸奔，撞到树上，并用锤子摧毁其他的锤子。这些介入破坏了现有的社会惯例，打断了当代生活的空间和社会动力。

2007年诞生于中国、日本、韩国，在概念上来自虚构的西京城，这是一个想象中的东亚国家。“西京”一词在词源上意为“西方首都”，来自中国、韩国和日本的城市名称。该集体依靠幽默、讽刺、挖苦和荒诞，通过举办模拟的文化和体育赛事来探索神话、传统、政治、政府和经济学。该集体创造了质疑民族国家角色的情景，作为对这三个东亚国家之间糟糕的地缘关系的回应。

她是一名艺术家和策展人，她的作品参加了第八届深圳水墨双年展和深圳·香港城市/ 建筑双城双年展以及第六届广州三年展，也曾在美国、意大利、中国、俄罗斯和韩国展出。她曾获得琼·米丘大奖和通比·达文·路易斯大奖。她的作品被意大利国立二十一世纪美术馆、广东美术馆、澳大利亚白兔收藏、帝豪奇·德隆收藏、卡蒂斯特（旧金山和巴黎）收藏。作为策展人，她也策划了许多成功的展览，包括“留涟——皮皮洛蒂•瑞斯特个展”（2013）、“脉冲反应II——关于现实与现实主义的讨论”（2016）、和在纽约皇后美术馆策划的“政治纯形式！” （2014）。她还联合策划了第六届成都双年展（2013）。沈瑞筠曾是广东时代美术馆的首席策展人（2014-2017），目前担任卡蒂斯特（旧金山和巴黎）的中国项目总监。

以中国园林为切入点研究中国文化的思想根源，传统文化对当代生活面临的困境的启示，及园林作为一种空间艺术转化到当代艺术中的可能，是沈瑞筠策展工作中的一个长期研究方向。围绕着园林，她曾经策划《中日园林》（2015），《真山水与园林》（2016），《有我之境与无我之境——法国风景园林和中国园林中的自然》（2018），《象外之景——2018 OCT LOFT公共艺术展》 （2018）以及《合意——中国园林中的人》（2020）等展览。

The artists and video works are:

Sora Kim, Turtle Walk (2010), 5:58 mins

Jeamin Cha, Fog & Smoke (2013), 20:45 mins

Li Binyuan, Freedom Farming (2014), 5:02 mins

Polina Kanis, Workout (2011), 11:40 mins

Xijing Men, Welcome to Xijing - Xijing Olympics, 2008

(b. 1986, South Korea). News articles or anecdotes from daily life often trigger her videos. Cha’s unplanned encounters, discoveries, and daily exchanges with people she meets guide the production of her videos, often through processes of interviews and field studies. Rather than using didactic forms of documentation, she reconstructs images and narratives while looking for ways to connect her position as an individual with the layers of social fabric. Her works question the premises of political action and addressing anxieties or ambiguities hidden within the seemingly ordinary everyday life. As such, intervention has become for her a sensitive form of expression that incites processes of questioning and investigation into the ever-present contradictions of the contemporary society. Cha was artist-in-residence at KADIST San Francisco from December 2019 to March 2020, where solo exhibition Troubleshooting Mind, I, II, III is currently on view. 

 (b. 1985, Russia) is a leading video practitioner of the post-soviet generation. Kanis is a graduate of the Herzen State Pedagogical University of Russia (2006) and the Rodchenko Art School (2011). Her choreographed situations are symbolic of her time and incorporate a removed sense of nostalgia with a keen sense of timeliness. Her social staging reinvents rituals while investigating power dynamics of the individual in formed groups. In her approach, she exposes broken structures by using routine, rhythm and repetition. Her pedagogical training and ability to work with various groups leads her to be the catalyst of each action.

(b. 1965, South Korea) her work often involves procedures of gift-giving, spontaneous social interactions, and the role of numbers in our personal lives. She frequently collaborates with socially dispossessed people or engages the participation of her viewers. She studied at the Seoul National University and the Ecole Nationale Supérieure des Beaux Arts de Paris. Her work has been featured in the Venice Biennale, the International Triennale of Contemporary Art in Yokohama, and the Busan Biennale.

(b. 1985, China). The Beijing-based artist explores physicality, chance, play and social values through actions, film works and performances that intervene in the social fabric of everyday Chinese society. His experiments occupy urban spaces, from the very public arena of the street, to remote post-industrial sites. Using his body as a sculptural material to enact creative investigation, he uses ruptures and repetition to manifest how sculpture and performance can intertwine. Rearticulating social conduct while interrogating our experiences of the everyday, Li is sometimes running naked through the streets, crashing into trees and using hammers to destroy other hammers. These interventions disrupt existing societal conventions, interrupting both the spatial and social dynamics of contemporary life.

 (b. 2007, China, Japan, South Korea) hail, conceptually, from the fictitious city of Xijing, an imagined state in East Asia. The term Xijing meaning “western capital” etymologically draws from the names of cities in China, Korea and Japan. Relying on humor, satire, sarcasm and absurdity, the collective explores mythology, tradition, politics, government, and economics by staging mock cultural and sporting events. Formed as a response to poor continental relations between the three nations, the collective creates scenarios that question the role of the nation-state.

 is an artist and curator whose work has been included in the 8th International Ink Art Biennale of Shenzhen and Bi-City Biennale of Urbanism/Architecture, the 6th Guangzhou Triennial, as well as shown in the United States, Italy, China, Russia and South Korea. Her work is in the collections of MAXXI (Rome, Italy), the Guangdong Museum of Art (Guangzhou, China), White Rabbit Collection (Sydney, Australia), Tiroche DeLeon Collection (Israel), KADIST (Paris France/San Francisco United States). Shen has curated exhibitions including ‘Gentle Wave in Your Eye Fluid- A Pipilotti Rist Solo Exhibition’ (Guangdong Times Museum, 2013), ‘Pulse Reaction II– A Discussion on Reality and Realism’ (Guangdong Times Museum, 2016) and ‘Polit-Sheer-Form!’ (the Queens Museum in New York City, 2014). Shen also co-curated the 6th Chengdu Biennale (2013) and ‘Landscape: the Actual, the Virtual and the Possible?’ (Guangdong Times Museum, Guangzhou and Yerba Buena Center for the Arts, San Francisco, 2014). The Chinese garden is an ongoing topic of research for Shen and related exhibitions include ‘Chinese and Japanese Garden’ (Guangdong Times Museum, 2015), ‘True Landscape and Landscaped Garden’ (Guangdong Times Museum, 2016), ‘Presence and Absence—Nature in French and Chinese Landscape Gardens’ (Box Museum, FuoShan, 2018), as well as public art exhibition ‘Beyond the Scenery-2018 OCT-LOFT Public Art Exhibition’ (2018). Shen was the chief curator of Guangdong Times Museum (2014-2017) and currently serves as the director of China Programs at KADIST, San Francisco and Paris.