Nine-Tiered Pagoda: Spatial and Visual Magic
This is drama，size variable，Cloth, iron, mirror, fish net, xanthium, gypsum, white tile (15x15cm)，2021
We need story–Tower 6，138x70 cm，Plane Painting， Ink on Paper，2021
彭薇凭借扎实的传统功底、中国水墨的表现手段和独特的私人目光，将古代艺术资源与现在连接，并与西方资源对话，寻求过去与当下的平衡。其作品涉及平面绘画，三维装置、录像、照片等多种形式，成为中国当代艺术中以水墨为材质进行创作的代表。其先后在台北历史博物馆、苏州博物馆、广东美术馆等举办个展，并参加了诸如“镜花水月——中国当代女性艺术展”（比利时欧洲当代艺术中心）、 瑞士Sigg Collection “山水——中国当代艺术展”（卢塞恩美术馆）、 “中国私语”—希克收藏展、“似重若輕”M+水墨藏品展等亚洲、欧洲、北美、大洋洲举办的当代艺术大展。2014年“遥远的信件”系列入选新加坡美术馆“亚太地区当代杰出艺术家奖”。
其作品先后被美国克利夫兰美术馆、波斯顿美术馆、旧金山亚洲艺术博物馆、纽约布鲁克林美术馆、香港艺术博物馆、M＋美术馆、中国美术馆、广东美术馆、何香凝美术馆、北京画院美术馆、苏州博物馆、瑞士Sigg Collection、法国DSL Collection、普林斯顿大学美术馆等机构收藏。
Untitled（Detail），size variable，clothes and concretes，2009-2010
DnA 建筑设计事务所的创始人与主持建筑师，先后于清华大学建筑系获得建筑学士学位和哈佛设计研究院获得城市设计硕士学位。曾获2006年、2008年WA中国建筑奖，2008年纽约建筑联盟青年建筑师奖，2009年Architecture Record颁发的设计先锋奖，及2019年的Moira Gemmill新兴建筑师奖。入围2020瑞士建筑奖和德国Schelling建筑奖。近年她致力于松阳的乡村振兴，以“建筑针灸”介入激活乡村文化、农耕产业、旅游经济等综合发展。2019年联合国人居署将松阳“建筑针灸”纳入城乡联系发展的示范案例。
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 ⑧
Scene of Feelings - Jiang Jie，Peng Wei，Yin Xiuzhen
Spatial Design: Xu Tiantian
Graphic Design: Xiao Mage
Curator: Cui Cancan
Producer: Liu Xiaodu
4F, 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
Scene of Feelings - Jiang Jie，Peng Wei，Yin Xiuzhen
As the eighth project of “Nine-Tiered Pagoda”, “Scenes” is the first exhibition designed all by females to explore the individual consciousness and identity difference in art, architecture, and design, with “perception” serving as the primary tool to understand the world. The exhibition is based on the works of three artists, namely Jiang Jie, Peng Wei and Yin Xiuzhen, with the architect Xu Tiantian creating the space and graphic designer Xiao Mage in charge of posters and other visual systems.
Pajamas, mirrors, xanthium and fish nets are the images in Jiang Jie’s works. The high-hanging clothes, the reflection in the mirrors, as well as the layered screens are pushing these images into the space to form a similar scene. Compared with the ordinary hotel room normally with two pajamas, the extra piece hanged in the exhibition hall is going to stand out easily. In the world of “Scenes”, even the slightest difference can inspire a myriad of imaginations. Peng Wei’s works come from different periods of her creation, presenting sceneries and buildings on the body, the emotional life in the shoes, as well as the overlapping stories in the tower. The originally independent objects are stringed together with the clue of “female”. “The One in My Dreams” seems to provide another answer. Su Xiaoxiao meets a Russian poetess who lived in a completely different era, but finds that they two share an inexplicably similar scene. The perception of dreams weaves the story of desire. At the entrance of the exhibition, Yin Xiuzhen uses cement to freeze the flowing past that can no longer be reproduced. The cold materials and the temperature of life are becoming a certain kind of “experience”. The clothes worn carry the traces of memory, history and the times. When walking through these physical evidences of perception, viewers will revisit the scenes created therein as if they were brought back to a certain time and place.
“Scenes” describes similar settings in the works of three artists. Be it the worn cuffs, the lightly falling xanthium, or the body in the story, all these different elements enjoy the same goal: creating a moment of existence and an entrance into the world of perception, which will guide us into a space dominated by reading, perception and imagination, presenting us a virtual image of intuition and emotions. Information floats here as if all the stories were just told last night, pushing us to move forward while also luring us to stay.
Architect Xu Tiantian presents a space where “perception” is constantly transiting and transforming, from the subtlest body movement in the works, to the changing distance between the viewer and the body, and finally to the connection between individual identity and the public space. In the exhibition hall, viewers will visit a public “square” loaded with collective memories, a garden-like “curved corridor” and trivial hidden “residences” with the surging curves alternating and connecting the three spatial perceptions. They are also becoming a part of the exhibition space as their moving body resonates with the works around, sharing memories and similar occurrences.
The poster created by the graphic designer Xiao Mage cuts different spaces into modules, where the originally vague perception and differences between scenes become more distinct. Such keywords as “Nine-Tiered Pagoda”, “Magics” and “Scenes” connect the exhibition with the past, spurring endlessly illusional changes.
On the eighth floor of the “Nine-Tiered Pagoda”, thanks to the works of these participants, we’re approaching the top where “perception”, the most important element in art, architecture, and design, resides. It is the core of all visual culture which can travel through time and region, as well as through disciplines and genres. “Perception” is not a story, a text, or a form, but rather our naming of the world with visual art.
Curator: Cui Cancan
Jiang Jie has graduated from the Sculpture Department of Central Academy of Fine Arts (CAFA) in 1991, and she currently works as the professor of Sculpture at the CAFA. Member of the school academic committee. Jiang Jie is an artist who has been active on the frontier of Chinese contemporary art, and her art uses an in-depth humanistic concern to explore people, things and objects in a state at the edge seen from a keen perspective. An important feature of Jiang Jie’s works is that she translates her own experience into the discourse of contemporary art. in other words, her works are highly personal, yet not as an autobiographical description. Instead, it’s a universal expression of an individual's existence, just as Louise Glück put it, “ I am endlessly irritated by the reading of my poems as autobiography. I draw on the materials my life has given me, but what interests me isn’t that they happen to me, what interests me is that they seem, as I look around, paradigmatic.”
Jiang has won the Xiao shufang art award, jury prize 2018, Shortlisted for China AAC Grand Award 2015, Martell Extraordinary Artist Award 2009. Recent exhibitions: “YiDong”, Yuandian Museum, TianJin, 2020, “Six Boxes Contemporary Art Exhibition”, YUE LAI Art Museum, Chongqing, 2020, “Ineffable Longings”, G Museum, NanJing, 2020, “EMPATHY”, Song Art Museum, Beijing, 2018, “Shaped by 40 artists Art History”, Powerlong Museum, Shanghai, 2018, “RHIZOME-A Survey Subject Of Chinese Contemporary Arts”, Today Art Museum, Beijing, 2017, “International Women Artists Exhibition”, Long Museum, Shanghai, 2016, “The Invisible Hand : Curating as Gesture-The 2ndCAFAM Biennale”, CAFA Art Museum, Beijing, 2014, “Portrait of The Times: 30 Years of Chinese Contemporary Art”, Power Station of Art, Shanghai, 2013.
Peng Wei was born in Chengdu，lives and works in Beijing. She graduated from Nankai University, obtaining a master’s degree in philosophy. She is a famous Chinese contemporary ink artist.
Peng Wei relies on the methods of traditional Chinese painting and a very personal vision. She links traditional ideas to the present and the West, in an effort to find balance between the past and the present. She blends a variety of media, such as painting, installation, video, and photography, into her practice, making her an important Chinese contemporary ink painter.
She has held numerous solo exhibitions in New York, Hong Kong, Taipei, Beijing, and Shanghai. She has also participated in large contemporary art exhibitions in Asia, Europe, North America, and Oceania, such as the “Translucence: Female Contemporary Art from China,” “Shanshui: Landscape in Chinese Contemporary Art,” and “Ink Remix: Contemporary Art from China”, Taiwan, and Hong Kong, “The Weigh of Lightless” Ink Art at M＋. In 2014, her series “Letters from a Distance” was selected for the Signature Art Prize at the Singapore Art Museum.
Peng’s work has been collected by the Cleveland Museum of Art，the Museum of Fine Arts Boston, the Asian Art Museum of San Francisco, the Brooklyn Museum, M+, the National Art Museum of China, the Hong Kong Museum of Art, the Guangdong Museum of Art, the He Xiangning Art Museum, the Beijing Fine Art Academy Museum, Suzhou Museum, the Sigg Collection, and the DSL Collection etc.
Yin Xiuzhen was born in Beijing in 1963. she graduated from the Fine Arts Department of Capital Normal University in 1989 and now lives and works in Beijing. Yin Xiuzhen started her contemporary art practice in the early 1990s. Her works are experimental and diverse, taking the experiences, memories and impressions of different people , culture and times as one of the elements of creation, and conducting a large number of artistic creations of different forms through reflection and experiment of materials. Works involve installation, performance, ceramics, photograph, video, painting, sculpture and many others. She has participated in many important international art exhibitions and has become a female artist with wide international influence. She has participated in the Venice Biennale and Chinese Pavilion, Sao Paulo Biennale, Sydney Biennale, Shanghai Biennale, Gwangju Biennale, Yokohama Triennale, Moscow Biennale and other major international art exhibitions. she has also held Solo exhibitions in MoMA New York, Groningen Museum, Dusseldorf Kunst Hall, and other places. Her works have been collected by Tate Modern, Pompidou Centre, Groningen Museum, Mori Art Museum, Hirosaki MoCA, Kunstpalast Dusseldorf, Art Museum of New South Wales, Hong Kong M+ Art Museum and Ulens Foundation.
Xu Tiantian is the founding principal of DnA _Design and Architecture. She has received numerous awards such as the WA China Architecture Award in 2006 and 2008, the Architectural League New York’s Young Architects Award in 2008, the Design Vanguard Award in 2009 by Architecture Record and the Moira Gemmill Prize for Emerging Architect in 2019. In 2020, she was appointed an Honorary Fellow of American Institute of Architects. Xu Tiantian has engaged extensively in the rural revitalising process in China. Her groundbreaking “Architectural Acupuncture” is a holistic approach to the social and economic revitalization of rural China and has been selected by UN Habitat as the case study of Inspiring Practice on Urban-Rural Linkages. Xu Tiantian received her masters in architecture and urban design from Harvard Graduate School of Design, and her baccalaureate in architecture from Tsinghua University in Beijing.
Xiao Mage，From 1996 to 2000, She studied at Academy of Arts & Design , Tsinghua University.Member of Alliance Graphique Internationale (AGI).
Works win awards many times in international competitions. Include Gold Pencil of THE ONE SHOW New York, Silver Cube of THE ADC ANNUAL AWARDS two times, THE WORLD'S MOST BEAUTIFUL BOOK PRIZE of Leipzig two times, Grand Prize and Gold Prize of THE GDC SHENZHEN BIENNALE, etc.
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.