Art Fair | Vanguard画廊参加ART021上海廿一当代艺术博览会（Booth W19）

肖江的作品，总被一种浓烈的氛围感所包围，似是无声却有声，在沉默中传递着力量。其描绘的场景大多取材于电影和生活的片段。这些场景往往因人们的习以为常而被忽略，但在艺术家独特的视角之下，他们被截取和再组合。灵感虽来自于现实，但构建的是绝对的想象，让观众仿佛游走在虚实变换的错愕感中。

肖江1977 年出生于江西省井冈山市，2000–2003 年于中国美术学院油画系进修，现生活工作于上海。他的近期个人展览包括：“开门见山”，Vanguard 画廊，上海，中国（2021 年）；“室内风景”，铜仁路314弄7号314室，上海，中国（2021 年）；“寻常事”，狮语画廊，香港，中国（2020 年）；“近在眼前”，Vanguard 画廊，上海，中国（2018 年）；“此山中”，墨方空间，北京，中国（2017 年）。同时他也参加过以下群展：“步履不停: 1995-2019 年中国当代艺术的城市叙事”，上海多伦现代美术馆，上海，中国（2019 年）；“可善的陌生—UNArt 艺术中心首展”，UNArt 艺术中心，上海， 中国（2019 年）“ 炽热”，BIG SPACE x Chino gallery，上海，中国（2019 年）；“夏季群展—致青春”，站台中国当代艺术机构，北京，中国（2019 年）；“退相干”，香格纳M50，上海，中国（2017 年）。

At the first glance at Xiao Jiang’s works, one would be encompassed with the sharp atmosphere. Something is left unsaid by his works, expressing the power in silence. Xiao Jiang’s works have drawn materials from episodes of movies and real life which are so familiar to people that are easily ignored. Under the artist’s unique perspective, they are cut out and recombined. Xiao takes inspiration from reality but structures them into an absolute fantasy world, leading the audience to dislocated visionary feelings.

Xiao Jiang was born in Jinggangshan, Jiangxi Province in 1977. He studied at China Academy of Art from 2000 to 2003. He now lives and works in Shanghai. His recent solo exhibitions include: “Mountains Aside”, Vanguard Gallery, Shanghai (2021); An Inward Odyssey, 7-314, 314 Tongren Rd, Shanghai (2021);  “In Common”, LEO Gallery, Hongkong, China (2020); “Right in Sight”, Vanguard Gallery, Shanghai (2018); “MOUNTAINS”, MOCUBE, Beijing (2017). He also attended the following group exhibitions: “Decoherence”, ShanghART M50, Shanghai, China (2017). “A Turning Moment”, Shanghai Duolun Museum of Modern Art, Shanghai, China (2019); “The Kind Stranger”, UNArt Center, Shanghai, China (2019); “Incandescence”, BIG SPACE x Chino gallery, Shanghai, China (2019); “Group Exhibition in Summer—To Youth”, Platform China Contemporary Art Institute, Beijing, China (2019).

宋元元的绘画看似描绘了平常的环境与物品，但所有环境与物在画面中以一种极其不安静的方式被放置着。驻足画前，仿佛总有种被某双邪恶的眼睛窥视之感，且是深入灵魂深处的略有一丝幸灾乐祸的窥视，令人不由得想逃遁起来再做自我审视。以网上截取的影像、拍摄的照片作为其灵感来源，宋元元的绘画抛弃了叙事性，企图通过有意识的生硬的物的拼贴置换来表达一种情绪。其画中现实与想象并置，互斥的两者使得画面产生极具冲突感的魅力。充斥周遭的日常物品与极端平庸的封闭空间构成了宋元元的艺术语言 ，自身艺术理想与现实的冲突成为了呈现在画布上的一场激烈却诗意的自我斗争。

宋元元，1981 年出生于中国沈阳。2005年毕业于鲁迅美术学院摄影系。现工作居住在沈阳。近期个人展览包括：“公园”，Vanguard 画廊，上海，中国（2020 年）；“叛逆者诗歌”，Vanguard 画廊，上海，中国（2019 年）；“配角登”，站台中国当代艺术机构，北京，中国（2016 年）。同时他参加了以下群展：“PAL(ATE)/ETTE/”，外滩三号沪申画廊，上海，中国（2019 年）；“在集结/Assembling”，ChiK11 艺术空间，沈阳，中国（2018 年）；“夏季群展—寻常之物”，站台中国当代艺术机构，北京，中国（2018年）；“丛林III—寻常”，站台中国当代艺术机构，北京，中国（2017 年）；“东北巴洛克”，N3 Gallery，北京，中国（2017年）；“单行道—李文栋、魏兴业收藏展”，OCAT 西安馆，陕西，中国（2016 年）；“歧感激流—通向语言的绘画”，今日美术馆，北京，中国（2016 年）。

Song Yuanyuan’s paintings seemingly depicted mundane surroundings and objects yet they were all settled in an unsettling way. As if there is a vicious gaze peeping the darkest side deep in your soul in Schadenfreude as you are gazing the painting, the feeling of being disposed forces you to hide away and self-inspect. Borrowed online images and photographs taken in daily life as inspirations, Song Yuanyuan has abandoned narrativity in his paintings and trying to depict a sense of emotion through collaging objects. Ordinary objects and grotesque environments, often enclosure spaces with only artificial lighting, formed Song Yuanyuan’s artistic language. His works embody the desire and lure for reality and illusion and the contradictions, which the juxtaposition of these two might create. The conflict between his artistic ideals and the reality becomes an intense yet poetic battle presented on canvas.

Song Yuanyuan was born in 1981 in Shenyang, China. He graduated from Luxun Academy of Fine Arts, Department of Photography, with a B.A. in 2005. Currently he lives and works in Shenyang. His recent solo exhibitions include: “The Park”, Vanguard Gallery, Shanghai, China (2020); “Poetry of the Rebels”, Vanguard Gallery, Shanghai, China (2019); “Downstage, Upstaged”, Platform China Contemporary Art Institute, Beijing, China (2016). He also attended the following group exhibitions: “PAL(ATE)/ETTE/”, SGA, Shanghai, China (2019); “Assembling”, Chi K11 Artspace, Shenyang, China (2018); “Group Exhibition in Summer Common Objects”, Platform China Contemporary Art Institute, Beijing, China (2018); “Jungle III—Common”, Platform China Contemporary Art Institute, Beijing, China (2017); “Socialist Baroque”, N3 gallery, Beijing, China (2017); “Each to His Own: Li Wendong, Wei Xingye Collection Exhibition”, OCAT Xi’an, Shanxi, China (2016); “Dissensus—The Painting to Language Agitation”, Today Museum, Beijing, China (2016).

廖斐的工作是从对周围事物以及自身的疑惑开始，廖斐一方面对于二元抱有强烈的怀疑，另一方面又对于在二元的基础上产生的美感有着强烈的兴趣。这促使他从2011 年开始以“物质”为线索进行创作实践。并逐渐地将工作的范围扩展到在二元基础上建立的尺度，以及系统本身。他持续关注认知系统的建构与运作问题，以及权力规训在空间规划中的呈现方式，通过装置、影像等多种媒介揭示看似合理的表象所隐含的悖谬之处。

廖斐1981 年生于江西，2006 年毕业于上海师范大学，现工作、生活于上海。他的近期个展包括：“ 广延”，Vanguard 画廊，上海（2018 年）；“平坦”，上海玻璃博物馆，上海，中国（2016 年）；“视角”，YveYang 画廊，波士顿，美国（2016 年）；“赤道”，Vanguard 画廊，上海，中国（2016 年）。同时参加了以下群展：“C”，油罐艺术中心，上海，中国（2020 年）；“退火”，玻璃博物馆，上海，（2020 年）；“SNARTE SPACE 邀请展”，SNARTE SPACE，江西南昌，中国（2019 年）；“仓库总动员（第六回）”，Vanguard 画廊，上海，中国（2019 年）；“EXIT PLAN”，纽约视觉艺术学院艺术中心，上海，中国（2019年）；“公开或保密”，巴塞罗那现代艺术博物馆，巴塞罗那，西班牙（2018 年）；“植物园计划”，釜山市立美术馆，韩国（2018 年）；“地缘的拓扑”，OCAT 研究中心，北京，中国（2018 年）；“室内宇宙”：2017 华宇青年奖入围艺术家群展，华宇艺术中心，三亚，中国（2017 年）；“上海星空Ⅱ”，余德耀美术馆，上海，中国（2017 年）；“今日之往昔”—第1 届安仁双年展，华侨城，成都，中国（2017）；“在日落后发生……”，上海当代艺术馆艺术亭台，中国（2017 年）；“球场”，中央美术学院美术馆，北京，中国（2017 年）；“例外状态：中国境况与艺术考察 2017”，尤伦斯当代艺术中心，北京，中国（2017 年）；“第11 届上海双年展“何不再问：正辩，反辩，故事”，上海当代艺术博物馆，中国（2016 年-2017 年）。

For Liao Fei, working begins from the doubts he had about the surroundings and himself. Liao has strong suspect about duality, but on the other hand, he holds severe interest in the aesthetic feeling based on that. This has encouraged him to practice his creation and took “material” as a clue from 2011. He gradually expanded his working scope to the measurement based on duality and the system itself. He continuously pays close attention to the construction and operation of cognitive system, and the presentation of power discipline in the spatial planning. He uses installation, video and other channels to reveal the absurdity under the seemingly reasonable surface.

Liao Fei was born in Jiangxi in 1981. He graduated from Shanghai Normal University in 2006. He is now based in Shanghai. His recent solo exhibitions include: “Res Extensa”, Vanguard Gallery, Shanghai, China (2018); “Plain”, Shanghai Museum of Glass, Shanghai, China (2016); “Perspective”, YveYang Gallery, Boston, USA (2016); “The Equater”, Vanguard Gallery, Shanghai, China (2016). He also participated in the following group exhibitions: “The C”, Tank Shanghai, Shanghai, China (2020); “ANNEALING”, Shanghai Museum of Glass, China, (2020); “The Attraction Show”, SNARTE SPACE, Nanchang, Jiangxi, China (2019); “Warehouse Story VI”, Vanguard Gallery, Shanghai, China (2019); “EXIT PLAN”, SNAP Art Center, Shanghai, China (2019); “In the Open or in Stealth—The Unruly Presence of an Intimate Future”, MACBA Museu d’Art Contemporani de Barcelona, Barcelona, Spain (2018); “Botanic Project, Busan Museum of Art”, Busan, Korea (2018); “Frontier:Re-assessment of Post-Globlisational Politics”, OCAT Institute, Beijing, China (2018); “The 5th Huayu Youth Award”, Huayu Art Center, Sanya, China (2017); “Shanghai Galaxy II”, Yuz Museum, Shanghai, China (2017); “Today’s Yesterday—Anren Biennial”, OCAT, Chengdu, China (2017); “All happens after sunset…”, MOCA Pavilion, Shanghai, China (2017); “Any Ball”,CAFA Art Museum, Beijing, China (2017); “The New Normal: China, Art, and 2017”, UCCA, Beijing, China (2017); “Why Not Ask Again: Arguments, Counter-arguments, and Stories”, The 11th Shanghai Biennale, Power Station of Art, China (2016–2017).

唐潮的作品包括影像、摄影、舞台表演、行为及装置。他关注捕捉在艺术家及被拍摄者间建立特别关系的时刻。唐潮其实是不相信客观的，但他觉得艺术永远是在追求真实，这似乎听起来很矛盾，因为真实不是现实主义的，它还包括艺术家身处一个环境的临时反应。当然，对唐潮来说把正常的反应拿出来当作品，这太低级了。关键在于一个人在某个应急状态下，能让语言制造歧义同时还能够把它转化成修辞的力量。政治是要制造一个共同体，在这个共同体里人人要去爱同一条街道或同一棵树。艺术是提供差异：感知的差异。唐潮觉得艺术和政治达成和解的时刻就是：这个事情可以是政治的，也可以不是，包括“事件”的公共性：往往针对的是私人化的感官。但他觉得感官同样是创造，它可以提供一种“通感”去连接观众。我们不能成为别人，但可以让别人以同样的方式感受。

唐潮1990 年生于湖南，2014 年毕业于中国美术学院实验影像工作室。现居上海。他的近期个展是：务虚会：智慧如夜的迷彩（线上项目），Vanguard画廊，上海，中国（2021 年）；“从匮乏变成轻”，Vanguard 画廊，上海，中国（2017 年）。同时他还在近期参加了以下群展：“年轻媒体艺术家展览 自由联接”，OCAT上海馆，中国（2020 年）；“游戏社会：狼、猞猁、蚁群”，现代汽车文化中心，北京，中国（2020 年）；“在半个迷宫中”，中国美术学院美术馆，杭州，中国（2019 年）；“似水流年”，SNAP，上海，中国（2019 年）；“炽热”，BIG SPACE x Chino gallery ，上海，中国（2019 年）；“剩余的时间- 房间6 号”，歌德学院灰盒子空间，北京（2018 年）；“当媒介成为日常”，星汇当代美术馆, 重庆（2019 年）；“怜悯派对”，睡眠中心，纽约（2018 年）；“室内宇宙”：2017 华宇青年奖入围艺术家群展，华宇艺术中心，三亚，中国（2017 年）；西班牙国际影像艺术节，马德里，西班牙（2017 年）；“一幅不包含乌托邦的世界地图甚至都不值一瞥”，北京公社，北京（2017 年）。

Tang’s works include video, photography, performance, and installations. He focuses on capturing the moment when a unique relation between the artist and the one being shot is established. Tang Chao does not believe in objectivity, but he always believes that art means pursuing truthfulness. This sounds contradictory, because reality is not realism; it also includes reactive actions of an artist in a certain environment. Of course, for Tang Chao, using normal reactions as a form of work is debased. The key lies in the times when one person uses the ambiguity of language and to transform them into rhetoric power. Politics is to create an integral whole, and within it, everybody has to love the same street or the same tree. Art is to provide diversity: diversity in perception. Tang Chao thinks art and politics will reach settlement when the thing at discussion could be both political or not, including the publicity of the “event”: it oftentimes means personal senses. He believes that senses are also creation, though, because they could offer a “synesthesia” to connect with the audience. We cannot become others, but we can make others feel the same way as we do.

Tang Chao was born in Hunan, China in 1990. He graduated from the School of Inter-Media Art of China Academy of Fine Arts in 2014. He now lives and works in Shanghai. His recent solo exhibitions include: “Nonphysical: Shimmer (online project)”, Vanguard gallery, Shanghai, China (2021); “From Lack to Light” (2017) took place at Vanguard gallery, Shanghai. His works were featured in the following group exhibitions: “Emerging Media Artist Exhibition Un/Conventional”, OCAT Shanghai, China (2020); “Play Socieities: wolves, lynx and ants”, Hyundai Motorstudio, Beijing, China (2020); “In a Half of Maze”, CAA Art Museum, Hangzhou, China (2019); “Sooner/Later”, SNAP, Shanghai, China (2019); “Incandescence”, BIG SPACE x Chino Gallery, Shanghai, China (2019); “The Time That Remains—Room No.6”, Grey Cube, Goethe Institut China, Beijing, China (2018); “Questioning Photography Now”, GCA, Chongqing, China (2018); “Pity Party”, Sleepcenter, New York, USA (2018); “Indoors Universe”: the 5th Huayu Youth Award, Huayu Art Center, Sanya, China (2017); “A map of the world that does not include utopia is not worth glancing at”, Beijing Commune, Beijing, China (2017); Spain Moving Image Festival, Madrid, Spain (2017).

童义欣的创作方式像是一位现代的漫游者、游走于城市的拾荒人，收集日常生活的碎片而转化为诗。他着迷于带点英雄式的冒险、浪漫与荒谬感的事物，作品常看似随心所欲，也不追求形式的精致，却是悉心布局的结果，在寻常表面下潜藏了层层诗的语言。童义欣创作物件、图像、声音来发现在地质尺度上人类文化与自然的动态关系。他的作品探讨生物和非生物的多态性，并以幽默的方式，对社会关于价值、体面和理性的信念激发噪音。

1988 年生于庐山，2005 年至2007 年就读于中国地质大学，2012 年获得温哥华西蒙菲沙大学艺术荣誉学士、2014 年纽约大学艺术硕士学位。现工作生活于纽约。他的近期个人项目包括：“世界河流图”，Vanguard 画廊，上海，中国（2020 年）；“邀请展—涟漪起源”，諝空间，南昌，中国（2019 年）；“潇湘·渔隐”，南海艺术中心，加州，美国（2018 年）。同时他的作品还参加了以下群展：“溢流地”，Para Site艺术空间，香港，中国（2021年）；“Durational影集”，Vanguard画廊，上海，中国（2021年）；“一个人在荒岛听”，民生美术馆，北京，中国（2021年）；“从跳棋到复杂系统”，时代美术馆，成都，中国（2021年）；“紧急中的沉思”，尤伦斯当代艺术中心，北京，中国（2020年）；“BRIC 双年展III”，BRIC 艺术中心，布鲁克林，美国（2019 年）；“空港双年展”，广州，中国（2019 年）；“深度浩劫”，K11 美术馆，上海， 中国（2019 年）；“长征计划：赤字团”，长征空间，北京，中国（2019 年）；“漂浮”， 前波画廊，纽约，美国（2019 年）；“度日”，阿那亚艺术中心，秦皇岛，中国（2019 年）；“推测”，自然，南海艺术中心，密尔布瑞，美国（2019 年）；“暗影的印记”，ACRE，芝加哥，美国（2018 年）；“延平乡村艺术季”，九龙村，中国（2018 年）；“实践：进行中”，NARS 基金会，布鲁克林， 美国（2018 年）；“身体和革命，黄山和庐山”，泰康空间，北京（2018 年）。

The creation of Yi Xin Tong is like a modern wanderer, wandering in the city, collecting pieces of daily life and converting to poetry. Fascinated by taking some heroic adventure, romance and absurd things, seems to follow one’s inclinations, don’t pursue in the form of a delicate, is the result of careful layout, hidden under the ordinary surface layers of the language of poetry. Yi Xin Tong create objects, moving images, and sound to discover human culture’s dynamic relationship with nature at a geological scale. His work explores the polymorphic quality of both living and non-living beings, and with a wry sense of humor, instigates noise for societal beliefs in value, decency, and rationality.

Yi Xin Tong was born in Lushan, China in 1988. He received a Bachelor of honor from Simon Fraser University, Vancouver (2012) following two years of study at China University of Geosciences, Beijing from 2005 to 2007. In 2014, he finished his study from the Department of Studio Art at New York University and received his MFA degree. Tong now lives and works in New York. His recent solo projects include: “World River Atlas”, Vanguard Gallery, Shanghai (2020); “The Attraction Show—Origin of Ripples”, Snarte Space, Nanchang, China (2019); “Going Outside”, Nanhai Art, Millbrae, California, USA (2018). He also attended the following group exhibitions: “Liquid Ground”, Para Site, Hong Kong, China (2021); “Durational”, Vanguard Gallery, Shanghai, China (2021); “Being in the Void”, Minsheng Art Museum, Beijing, China (2021); “From Checkers to Complex Systems”, Times Art Museum, Chengdu, China (2021); “Meditations in an Emergency”, UCCA, Beijing, China (2020) “BRIC Biennial III”, BRIC House, Brooklyn, USA (2019); “Guangzhou Airport Biennale”, Guangzhou, China (2019); “Disaster of Extra Epic Proportions”, curated by Alvin Li, chi K11 art museum, Shanghai, China (2019); “Long March Project: The Deficit Faction”, Long March Space, Beijing, China (2019); “Adrift”, Chambers Fine Art, New York, USA (2019); “Long Day”, Aranya Art Centre, Qinhuangdao, China (2019); “To Speculate, Of Nature”, NanHai Art, Millbrae, USA (2019); “Shadow as a Stain”, ACRE, Chicago, USA (2018); “Yanping Art Harvest in the Village”, Jiulong Village, China (2018); “Practice: in Progress”, NARS Foundation, Brooklyn, USA (2018); “Life and Revolution, Landscape of Huangshan and Lushan”, Taikang Space Beijing China (2018).

格雷沙姆·塔皮瓦·尼奥德在津巴布韦的首都哈拉雷的麦拜尔区长大。他的创作从贫民区的不安分中汲取能量和灵感，画面徘徊在具象、抽象与幻象之间。麦拜尔是哈拉雷，乃至津巴布韦全境最活跃且臭名昭著的贫民窟，以流氓、暴力和性交易著称，因此即使到了现在，该地区在生活空间质量方面与殖民隔离时代生活在哈拉雷的津巴布韦人的生活环境还是十分相似：游走在生存与死亡的边缘。在如此成长环境下，格雷沙姆的创作中交织着多愁善感与玩世不恭两种略显矛盾的情绪，在他的作品中，具有象征意义的崩塌的人物、地面和椅子无处不在，他带着讽刺意味却毫不掩饰地谈论城市环境中的阶级不平等和消费文化等社会问题。

格雷沙姆·塔皮瓦·尼奥德1988年出生于津巴布韦哈拉雷，2008年获得津巴布韦国家美术馆视觉艺术工作室国家美术证书，现工作生活于哈拉雷。他的近期展览包括:“ 花从心里开出来” ，Vanguard 画廊， 上海，中国（2020 年）；“开普敦艺术博览会”，一楼画廊，开普敦，南非（2020 年）；“叛逆者诗歌”，Vanguard 画廊，上海，中国（2019 年）；“日与夜”，GNYP 画廊，柏林，德国（2019 年）；“夜与日”，一楼画廊，哈拉雷，津巴布韦（2019 年）;“哈拉雷野兽派”，Alon Ragev 画廊，特拉维夫，以色列（2019 年）；“破坏之歌”，新美术馆三年展，纽约，美国（2018 年）；“蔑视叙事”，常青项目，旧金山，美国（2018 年）；“非洲之外”，Yannick & Ben Jakober 基金会，马略卡岛，西班牙（2018 年）；“Kubatana”，Kristiin Hjellegjerde画廊，伦敦，英国（2018 年）；“Mazino”，一楼画廊，哈拉雷，津巴布韦（2017 年）；“面对奇迹: 面具 舞与其后人”，Loving Monro 画廊，圣莫妮卡，美国（2017 年）；“另一个新世界/ 城市轴”，PS 艺术空间， 弗里曼特尔，澳大利亚（2017 年）。

Born and raised in Mbare, Gresham works against the sweeping identity that has been defined by the voice of the state. His images oscillate between figuration, abstraction and hallucination, drawing from the restless energy of the ghetto. Mbare is Harare’s and perhaps Zimbabwe’s most vibrant and notorious ghetto. Allegedly ridden with hooliganism, violence and prostitution, Mbare is said to parallel the conditions of Harare for Zimbabweans during the colonial segregation era (in respect of its hardship and quality of living space). To this day Mbare retains the character of a port city with its trade, shady deals and otherwise bustle of unremitting human traffic amid urban decay. Living on the verge between survival and demise has been somewhat of a call to poetry, at times proving brutal and at others sentimental or cynically satirical. In his works, symbolic collapsed figures, floors and chairs are everywhere. With irony, he talks about social issues such as class inequality and consumer culture in the urban environment without concealment.

Gresham Tapiwa Nyaude was born in 1988 in Harare, Zimbabwe. In 2008 he received his National Certificate in Fine Arts from National Gallery of Zimbabwe Visual Arts Studios. Now he lives and works in Harare. His recent exhibitions include: “True Optimism”, Vanguard Gallery, Shanghai, China (2020); Cape Town Art Fair, First Floor Gallery Harare, Cape Town, South Africa (2020); “Poetry of the Rebels”, Vanguard Gallery, Shanghai, China (2019); “Day and Night”, GNYP Gallery, Berlin, Germany (2019); “Night & Day: Mundopa/ Nyaude”, First Floor Gallery Harare, Zimbabwe (2019); “Harare Fauves”, Alon Ragev Gallery, Tel Aviv, Israel (2019); “Songs for Sabotage”, New Museum Triennial, New York, USA (2018); “Defying the Narratives”, Ever Gold Projects, San Francisco, USA (2018); “Ex Africa Aliquid Novi”, Yannick y Ben Jakober Foundation, Mallorca, Spain (2018); “Kubatana”, Kristin Hjellegjerde Gallery, London, UK (2018); “Mazino”, First Floor Gallery Harare, Harare, Zimbabwe (2017); “Face the Magic: Gule Wamkulu and its heirs”, Loving Monro Gallery, Santa Monica, USA (2017); “Another Antipodes/urban axis”, PS Art Space, Fremantle, Australia (2017).