Nine-Tiered Pagoda: Spatial and Visual Magic
肖像No.1，2012，布面油画，120 X 160 cm,图片由艺术家及麦勒画廊 北京-卢森提供
Portrait No.1,2021,oil on canvas,120 x 160 cm,Courtesy of the artist and Galerie Urs Meile, Beijing-Lucerne
何健翔出生和成长于粤语文化的珠江三角洲地区。2003年结束5年欧洲留学和工作经历后回到广州，于2007年与蒋滢共同创办源计划建筑师事务所开始独立的建筑设计和研究工作。源计划试图将不同的文化和价值与地域性的建筑实践结合，都市更新保护和新集合居住形态是其近年工作的重点。源计划实验性的地域性实践获得包括英国《建筑评论》、美国《建筑实录》、法国《今日建筑》和中国《建筑学报》等在内的国际著名媒体的报道。源计划所获重要国内外设计奖项有亚洲建筑师协会金奖（2020年）、英国《建筑评论》New into Old建筑更新奖（2017年）、瑞士BSI建筑提名（2016年）以及2020年首届三联人文城市建筑设计类大奖。2015年被美国《建筑实录》评为当年全球十大先锋建筑事务所之一， 2020年初入选DOMUS杂志评选的全球50佳建筑事务所。
九层塔：空间与视觉的魔术⑤ 陈文骥+丁乙+梁铨+谭平 “相似的结果，不同的路径”
Nine-Tiered Pagoda:Spatial and Visual Magic
Nine-Tiered Pagoda: Spatial and Visual Magic, as a cross-disciplinary event, represents an unprecedented direction and form of exhibition in China. Nine (groups of) artists will provide their works as the basis material for the exhibition. Besides, nine architects and nine designers will also join to form nine temporary teams, hence the cooperation among artists, architects and designers. There is no ‘priority’ or ‘center’ in the exhibition, only division of labor and collaboration, presenting nine individual exhibitions of a brand-new type.
As the core determinant for the exhibition, space and design are also a kind of re-creation of the exhibition and the work; They determine the content and how the audience see the exhibition, as well as the sequence and pace. Space and design, no longer in the service of the exhibition, provide an independent and autonomous experience for the audience, granting the exhibition a myriad of variables and possibilities.
There has always been a lack of quality cross-disciplinary exhibitions, which are neither a fast food product preached by celebrities and online influencers nor a highbrow art confined to professional barriers. The cross-disciplinary advocated by Nine-Tiered Pagoda creates a nexus joining art, architecture and design together with a new cross-discipline, which reflects the practical needs and collaboration of the three professions, while it also retains the expertise and strengths of each with a proper division of labor.
As an ancient Chinese architecture, ‘Pagoda’ has a special structure, with each tier telling a different story. These stories, spaces, and designs are closely intertwined with each other into a superimposed whole, formulating the external image and spiritual core of the exhibition.
Nine-Tiered Pagoda: Spatial and Visual Magic, launched by curator Cui Cancan and architect Liu Xiaodu in 2020, is a hands-on project that mixes ideas, methodologies and tools. It's not only a workshop for cross-disciplinary art, but also a platform for artists, architects and designers to cooperate and expand their development realms together.
The advent of Nine-Tiered Pagoda represents the ambition to create an entirely new field, with an aim to invent a new way of collaboration and to create a fresh exhibition concept that can reshape the perceptual experience of our times.
Nine-Tiered Pagoda: Spatial and Visual Magic ⑦
Mask and Shadow - Solo Exhibition of Xie Nanxing
Spatial Design: He Jianxiang
Graphic Design: Ma Shirui
Curator: Cui Cancan
Producer: Liu Xiaodu
3F, PSCC Exhibition Gallary (Entry from Pingshan Art Museum)
Host: Culture, Broadcast and Television, Tourism and Sports Bureau of Pingshan District
Organizer: Pingshan Art Museum
Co-Organizer: China Resources Culture and Sports Development Co,. Pingshan Ltd Pingshan Branch
“Mask and Shadow” Solo Exhibition of Xie Nanxing
As the seventh project of “Nine-Tiered Pagoda”, “Mask and Shadow” resembles a transparent castle, or a ghosting phantom of the opera, attracting us to pick up the key of creation and interpretation to solve the puzzle between vision and meaning, form and content, representation and essence in art, architecture, and design. The exhibition is based on a series of portraits drawn by Xie Nanxing, with the architect He Jianxiang creating the space and the graphic designer Ma Shirui in charge of posters and other visual systems.
Xie Nanxing’s way of expression is completely different from traditional “portraits” as he reflects one’s emotions, morality or mental states with their social identity or personal experience rather than their appearance or look. He transforms the “portrait” and reduces it to a business card or some kind of generalized texts, such as some keywords, a story told or a peculiar anecdote related to the subject. Sometimes he will also design a cartoon image to mirror a certain figure in the fairy tale. As a result, his portraits become masks staying unrevealed, as well as shadow waiting to be interpreted. What used to be the “reality” has become “representation” in his brushwork. However, there’s no essence or reality behind the masks, neither is there any answers to the mystery behind those ghosting images. The way art provides for observing, recording and understanding the world has never been determined.
Architect He Jianxiang starts from the reconstruction of traditional buildings to design the space for the exhibition. Just like portraits, castles are another symbol for eternity in the Western ideology. Firm and solid, they take root in the ground with the interior meticulously hidden behind the monolithic walls, so that we are impressed more often by the exterior look of the grand architecture. In the brand-new “Castel Transparent”, the interior becomes visible with the originally hard exterior wrapped and suspended by soft materials. The “inner castle” is serving as an intricate cross-shaped passage for visitors to travel through. The exhibition hall is therefore divided into four split rooms with different entrances and exits, surrounded by a square winding corridor. It is difficult for viewers to distinguish the interior from the exterior, as if they are traveling through and gazing out over the “castle”, while also looking around at it from a distance at the same time.
The line between representation and reality is also blurred in the poster created by the designer Ma Shirui, with an unfocused, dull and boring picture, containing simple presentation of information. His way of expression has no symbols or metaphors. It’s realistic but abstract, finite but all involved, close to the essence, but only serves as a representation.
Against the craze for photo sharing on social media, the creations of the aforementioned three artists are neither “good-looking”, nor popular, but rather appear to be “obscure”. The mysterious and ambiguous “Mask and Shadow” makes the interpretation of art, architecture, and design no longer self-explanatory or self-evident. It forms a theater full of contemplation, doubts, and hallucinating charm. People need to observe, think, and question for a long time before accessing a more complex space and thoughts implicitly offered by the exhibition. Sometimes you’ll get nothing on the spot though, the puzzle of the “castle” may finally unfold in an eureka moment after a few days.
It reminds me of “The Castle”, a novel written by Franz Kafka where the protagonist K inadvertently opened a new dimension of narrative after failing to enter the castle close at hand. The repetitive storyline forms an infinite cycle, with the ending and beginning being equally eloquent and thought-provoking.
Curator: Cui Cancan
Xie Nanxing (b. 1970, Chongqing, China) lives and works in Beijing and Chengdu, China. He has exhibited widely in China and Europe with solo exhibitions at Galerie Urs Meile (2020, 2015, 2008); Thomas Dane Gallery (2019); Ullens Center for Contemporary Art, Beijing (2018); Kunstverein Hamburger Bahnhof (2005); Manchester Art Gallery (2003); and Pulitzer Gallery, Amsterdam (1998). Recent and notable group exhibitions include: Art Museum of Sichuan Fine Arts Institute, Chongqing, China (2021); Song Art Museum, Beijing (2020); The Warehouse Dallas (2020); Württembergischer Kunstverein Stuttgart (2019); MAK Museum für Angewandte Kunst, Vienna (2019); Casa Cavazzini, Italy (2017); Red Brick Art Museum, Beijing (2016); Museum of Contemporary Art Chengdu (2016); Today Art Museum, Beijing (2106); Shanghai 21st Century Minsheng Art Museum (2015); OCT Contemporary Art Terminal (OCAT), Shenzhen (2014); Gerhard Richter and the Disappearance of the Image in Contemporary Art, Centro di Cultura Contemporanea Strozzina (CCCS), Palazzo Strozzi, Florence, Italy (2010); Painting on the Move, Kunsthalle Basel, Basel, Switzerland (2002); Documenta XII, Kassel, Germany (2007); and d’APERTutto, La Biennale di Venezia, 48. Esposizione Internationale d’Arte, Venice, Italy (1999).
Founding Partner of O-Office Architects
M. Arch, KU Leuven, Belgium
He Jianxiang was born and raised in the Pearl River Delta region featuring Cantonese culture. In 2003, he returned to Guangzhou after five years of study and work in Europe and co-founded O-Office Architects with Jiang Ying, embarking on independent architectural design and research. O-Office Architects interests in integration of multi-culture and values with regional architectural practices. Urban renewal and re-intervention of collective living forms are the recent focus of O-office’s work. Its experimental regional practice has been covered by multiple famous international media, such as the Architectural Review, Architectural Record, L’Architecture d’Aujourd’hui and Architectural Journal (China). O-Office Architects has won important design awards both domestic and abroad, including Golden Award of ARCHASIA 2020, the 2017 AR New into Old Award, nomination of the BSI Swiss Architectural Award 2016, as well as the 1st City for Humanity Award in 2020. In 2015, it was featured as one of the Design Vanguard firms by Architectural Record, and named by Domus in the list of 50 Best Architecture Firms in the early 2020.
Ma Shirui, graphic design, 2005 Co-Founder of typo_d studio, base in Beijing.
Cui Cancan, an active Chinese curator and writer, has curated nearly 100 major solo and group exhibitions for the most representative Chinese artists of different generations since 2012. His group exhibitions include “Hei Qiao Night Way”, “Rural Wash”, “Cut and Blow-dry”, “Unlived by What is Seen”, “Between the 5th & 6th Ring Road in Beijing”, “The Decameron, Spring Festival Projects (2015-2019)”, “The Curation Workshop”,“Nine-Tiered Pagoda” and "The Methodology of the New Generation".
Situated in the north district of Pingshan Culture Quarter, The Pingshan Art Museum (PAM) is an important public cultural institution in Shenzhen. It is a major force for resource fusion from conventional public art museums and private art institutions, fueled by its institutional innovation. Aiming to build an art museum that is “positive and cool”, PAM actively explores professional development with high-quality in an international scope. The Pingshan Art Museum dedicates to be a new landmark in our time by bringing fresh and diverse cultural enjoyment and experiences to its citizens and celebrating vitality, inclusion, creativity, and interaction.