跨界大展｜九层塔⑧姜杰、彭薇、尹秀珍“情景”预告

文｜策展人：崔灿灿

这就是戏剧，尺寸可变，布、铁、镜面、鱼网、苍耳、石膏、白磁砖（15x15cm)，2021

This is drama，size variable，Cloth, iron, mirror, fish net, xanthium, gypsum, white tile (15x15cm)，2021

 姜杰 

1991年毕业于中央美术学院雕塑系，现为中央美院雕塑系教授。姜杰是一位长期活跃于中国当代艺术前沿的雕塑家，她的艺术以深度的人文关怀和敏锐的视角探讨处于边缘状态的人、事、物。姜杰的作品的一个重要特点就在于她将个人体验转化为当代艺术话语，换句话说，她的作品极具私人性，事实上这种私人性又并非个人传记式的描述，而是将个体的存在普世化。正如露易丝·格丽克的表述“把我的诗当成自传来读，我为此受到无尽的烦扰。我利用我的生活给予我的素材，但让我感兴趣的并不是它们发生在我身上，让我感兴趣的是，它们似乎是……范式。”

2018年获萧淑芳艺术奖·评委会奖，2015年获中国ACC艺术大奖提名奖。2009年度马爹利非凡艺术人物大奖。近期展览《驿动》，元典美术馆，天津，2020；《六个盒子》当代艺术展，悦来美术馆，重庆，2020；《如同我们，所有莫名的渴望》，金鹰美术馆，南京，2020；《感同身受》，松美术馆，北京，2018；《艺术史：40×40——从四十位艺术家看改革开放四十年的中国当代艺术》，宝龙美术馆，上海，2018；《根茎——中国当代艺术自主性研究展》，今日美术馆，北京，2017；《国际女性艺术特展 》，龙美术馆，上海，2016；《无形的手：策展作为立场——第二届CAFAM双年展》，中央美术学院美术馆，北京，2014；《时代肖像：当代艺术30年》，上海当代艺术博物馆，上海，2013等。

我们都需要故事–塔6，138x70 cm，平面绘画，纸本设色，2021
We need story–Tower 6，138x70 cm，Plane Painting， Ink on Paper，2021

 彭薇 

生于成都，现居北京，南开大学哲学硕士。

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。

无题（局部），尺寸可变，衣服、水泥，2009-2010

Untitled（Detail），size variable，clothes and concretes，2009-2010

 尹秀珍 

1963年生于北京。1989年毕业于首都师范大学美术系，现在北京生活和工作。尹秀珍从上个世纪九十年代初开始了她的当代艺术实践，她的作品具有实验性和多样性，把不同人的经历、记忆和时代的印痕作为创作的元素之一，进行了大量的不同形态的艺术创作。

作品涉及装置、行为、陶瓷、影像、绘画雕塑等众多领域。曾参加众多国际艺术的重要展览，成为具有广泛国际影响力的女性艺术家。她曾参加过威尼斯双年展主题展和中国国家馆展、圣保罗双年展、悉尼双年展、上海双年展、光州双年展、横滨三年展、莫斯科双年展等大型国际艺术展。并在美国纽约现代艺术博物馆（MoMA）、荷兰格罗宁根博物馆、德国杜塞尔多夫美术馆等地举办个人展览。作品被英国泰特现代美术馆、法国蓬皮杜艺术中心、荷兰格罗宁根博物馆、日本森美术馆、日本弘前当代艺术馆、德国杜塞尔多夫艺术宫、澳大利亚新南威尔士美术馆、香港M+艺术博物馆、尤伦斯基金会等收藏。

《九层塔：空间与视觉的魔术⑧姜杰、彭薇、尹秀珍“情景”》空间呈现效果图

 徐甜甜 

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⑧姜杰、彭薇、尹秀珍“情景”》折页设计示意图

 小马哥 

1996-2000年就读于清华大学美术学院。

国际平面设计师联盟（AGI）成员。
作品曾获纽约One Show金铅笔奖，纽约ADC银方体奖，莱比锡“世界最美的书”奖，中国出版政府奖，深圳GDC全场大奖、金奖，中国书籍设计展金奖等。

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”

坪山美术馆位于坪山文化聚落北区，是深圳重要的公共文化设施。坪山美术馆以创新的体制机制，推动传统公立美术馆与民间美术馆的资源融通，汇聚各方能量，办一个专业化、品质化、国际化的“正而酷”的美术馆，成为集活力、包容、创意、互动为一体的新时代新都市美术馆新标杆，为市民群众带来新鲜、多元的文化享受和体验。

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
Opening: 9/18/2021
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.

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.

翻译｜叶可非

统筹｜唐煜婷