Spring Rolls: Spring Sleep Misses Dawn 2022
王晶 x 刘呗宁：泥融飞燕子，沙暖睡鸳鸯
Swallows nested in wet mud and mandarin ducks nestled on the sand
Alley, Ghost and Eighty cents
Part moon, part traveling salesman
You know me better than that 开幕 opening：2022/3/19 15:00
时间 duration：2022/3/19 - 2022/5/19地址 location：清影艺术空间，杭州市留和路139号12幢 Inna Art Space, Liuhe Road No.139, Building 12
From March 19th to May 19th, 2022, Inna Art Space will present the group exhibition “Spring Rolls: Spring Sleep Misses Dawn 2022” . Initiated by Song Yao, this exhibition will witness the participation of five artists: Wang Jing, Liu Beining, Shao Jie, Ran Xinan and Wang Jiajun. Spring roll is a Chinese dish with a long historical standing. For a fairly long time, as a cultural symbol, it represented the limited perception of the Western world for Chinese cuisine. Its “color, flavor and taste” can arouse public recognition, memory or imagination of Chinese regional culture.There is a specific historical origin to compare “spring rolls” to the status of the Chinese Contemporary Art in the international art world. It is used to describe the Chinese Contemporary Art that has been accepted by the Western world and expressed as exotic sentiment in the eyes of the Westerners. Since the end of the last century, the contemporary art with this aesthetic characteristic has gradually attained success, which, to some extent, represents the value judgment from the Western world. However, things have changed so much with the passage of time. The wave of globalization has brought abundant information to China, leading to rapid changes in social landscape and breakdown of cultural barriers among regions. The artistic creators who have received the western and eastern cultural education will probably create a brand-new pattern for the Chinese Contemporary Art. They are not immersed in the popular theoretical system and cultural context in the Western world, nor do they make traditional culture a burden to their creative practices. At present, they can cast aside the role of “spring rolls”, and attempt to become the “perceivers” to study new issues on the “dining table”.  “Spring Sleep Misses Dawn” is an annual spring program launched by Inna Art Space since 2021. It is a group exhibition in which artists or curators develop a theme and bring together relevant artists to complete a gathering in spring.
王晶，毕业于巴黎索邦大学，法国高等社科学院。专注于美术史研究与影像小说创作。译有Guillaume Geneste《裸手印画——巴黎旧日暗房记》（2020年法国摄影史奖）。在巴黎学习期间专注于绘画、语义与艺术史研究，后使用黑白暗房为手段，创作出讲述未来战与人性的虚构作品：《再见，巴黎》、破解西方绘画史的《幻想集》等。现专注于艺术史写作、多媒体艺术创作；日常仍以黑白暗房为手段，在现实中寻找虚构。Wang Jing is a Chinese artist of post war nuclear warfare soldier family background. Born in 1982, he roamed Europe during younger days. Having graduated from Université Paris-Sorbonne and École des Hautes Études en Sciences Sociales, Wang Jing's academic study mainly focused on modern painting and the history of seeing in visual arts. He is also the translator of a French award winning book Tirage à Mains Nues, a history of gelatin silver printing written by the French master printer Guillaume Geneste.His works from 2010 to 2020 mainly focused on applied visual semantics analysis, and fiction & photography works. His Adieux à Paris consisted of several seperated short stories and photography works transcending the contemporary day to day reality and a possible future of a post nuclear war world where humanity glitters through out time and events.His visual semantics analysis practice lead to however another direction of analyzing history of painting, namely Fantasia series.
He is now concentrated on developing a personal perception of the history of painting, multimedia art works and fiction writing. As of today, he is still using gelatin printing to seek fictions in daily reality.
刘呗宁，生于1991年，先后毕业于中国美术学院油画系与纽约Pratt Institute纯艺术系研究生院，现于中国美术学院当代艺术与社会思想研究所攻读博士学位。他的创作从绘画与写作出发，通过现成品和影像的编辑，讨论知识图像的流传和蜕化，描摹寂静而丰硕质感。水、石头、尘埃、星球、骨骼、山水、遗迹、残片等等意象在他的作品中反复出现，组织出在空间中的间架结构和互文关系。Born in 1991, Liu Beining is a graduate of both the China Academy of Art (CAA, Hangzhou) and New York’s Pratt Institute’s Graduate School of Fine Art and is at present studying at Doctoral Level on the course of the CAA’s Institute of Contemporary Art and Social Thought.Liu Beining’s work attends to the flow and decay of images of knowledge. In his practice he often takes painting as a point for departure and by way of text, photography and ready mades, along with a host of other means attempts to peel away the ephemeral layers of temporality to which objects are ascribed, thus arriving at a point of stillness that at the same time encompasses fluidity.邵捷，生于浙江，目前居住在上海，毕业于帕森斯设计学院。实体的、抽象的，他的创作通过自身与外部环境的互动来积攒“材料”，成长背景中生产系统的运作法则启发了他对于“材料”功能，分类和语境的重新考量。相比一个范式的主题，他的工作更像在寻找某块隐秘的“零件”——早已存在于系统中的，或重叠在媒介之间，或交缠于私人历史。Shao Jie (b.1994) is an artist currently based in Shanghai. Jie holds an MFA in fine arts from Parsons school of design (USA).Influenced by Jie’s growing experience in the metal industry, the logic of the production system builds his interest on how things and materials are connected while countered to each other. He uses sculpture and installation to organize narratives of individual experience shaped by the environment and echoing in multitudes. His recent work examines how the notion of place embeds in human experience, the knot of time, space, and experience seemingly lands in a specific place but implicitly relates to the progress of national ideology, to further discover the passivity and compliance of a component to a system.
Ran Xinan was born in Yakeshi, China, grew up in Suzhou and lives in Brooklyn, New York. She is a Hunter College MFA candidate and received her BFA from Pratt Institute (2017). Apart from her studio practices, Xinan is an aspirational set designer for new theaters.
In her material exploration of the painting medium, Ran is unlearning her worship towards “art supplies”. She started to explore links between habit and ritual in municipal life that are reshaped by small-scale manufacturing. Ran searches for a switch to turn on metaphors of everyday life - and shine new light - pointed at “tools” as the means of cultural production and as allegory. Ran then asks for changes that could be made after the communal discoveries. Her work spills over from the discussion of the art work to a sharing of language, space and skills - memories, experiences and emotions.
王家骏，在中国杭州生长，毕业于耶鲁大学艺术学院。他目前作为创作者在杭州和上海穿梭。王家骏的作品聚焦于自身生活经历。通过家庭场景来探索政治和文化的影响，他把家庭环境变成了一个舞台：导演行为，并捕捉戏剧性剧照。一方面，他是一个母系家庭中的独生子；另一方面，他的精神和肉体都困在自己的世界里。两者的存在状态都是对自我身份看法的挑战，质疑人与人之间的认同和沟通，反思独生子女政策的后果，以及被诊断出多种健康问题的后遗症等引发的政治和文化问题。Wang Jiajun was born and raised in Hangzhou, China. He graduated from the Yale School of Art. He is currently living and working as an artist in Hangzhou and Shanghai. Wang Jiajun’s work focuses on his life experience. He explores political and cultural impact through the domestic scene. He is turning the domestic environment into a stage, directing the acts and capturing theatrical stills. Wang composes the plot based on one hand, he is the only son of an only son in a matriarchal family in China; on the other hand, he is stuck both mentally and physically in his own world. Both act to challenge opinions on self-identity, questioning identification and communication between human beings, and reflect on political and cultural issues like the consequences of the one-child policy, and the aftermath of being diagnosed with multiple health issues.
Song Yao, a native who returned to Hangzhou after a brief study in the UK, is also the founder of working for the Schein Space.
Schein Space is an art transitional space transformed from a convenience store. It cooperates with artists according to local conditions and integrates "infinite" exhibitions into a 24 hours / 7 days viewing shop along the street.
清影艺术空间于2008年由徐益英女士在杭州创立，并于2019年在纽约下东区开设了新空间。十多年来，基于杭州在中国当代艺术版图中的重要意义，清影从地缘格局出发，广泛且深入地推介了诸多极具才华和潜力的艺术家。与此同时，清影将全球视野作为机构文化中的价值标准，极力构建国内与国际艺术家的互动平台。通过持续地策展、研究、出版与市场推广，清影逐渐完善了具有自身特质的运营机制，矢志于未来向广域的艺术世界展现更强的能量与活力。Inna Art Space was founded in 2008 by Yiying (Inna) Xu in Hangzhou, China, and established their Lower East Side premises in New York in 2019. After over a decade, with a basis in the formational influence of Hangzhou in the Chinese contemporary arts, the space has consistently worked to promote the talents of innumerable upcoming practitioners. The space has ceaselessly assumed a global perspective, doing all within their means to erect a platform for interaction between both Chinese and international practitioners. By way of their interactions with the public through their ongoing curatorial projects, research, and publishing, the space has gradually refined its own means of operation, setting their sights on manifesting greater strength and vitality towards a broader creative spectrum for the future.New York
371 Madison Street #303
Liuhe Road No.139, Building 12