{{sindex}}/{{bigImglist.length}}

SGA 沪申画廊上海｜「小夜曲：关于我们的五个故事」展讯

{{newsData.publisher_name}} {{newsData.update_time}} 浏览：{{newsData.view_count}}

来源 | {{newsData.source}} 作者 | {{newsData.author}}

何以定义“我们”？

在人类思想史数千年以人类为中心，人类与自然二元化的思考中，“我们”指向的一直是地球生物中以最高级物种自居的人类自身。在人类对于生存的反省，对思想和行动在历史、现在、未来的时间框架内的探索中，自然被视作为人类提供生产资料和生存空间的客体，一个拥有取之不尽的资源，服务于人类需求的被动场域，甚至长期以来我们坚信，人类活动无论怎样都不足以影响到浩大的地球自身。

How should one define “us”?

Over millennia, humanocentric studies have used the dichotomy between humanity and nature to crown “us” humans as the supreme life form on Earth. Often, through an introspective look into our existence, knowledge, and actions throughout the course of history, across present and future, we have become accustomed to objectifying nature as a commodity, a mere provider for our living space with inexhaustible resources to feed our rapacious needs. In addition, we have long denied that our relentless actions could contribute to the endangerment of our planet.

直到20世纪中期，视人类活动为改变地球生态的主要动力的人类纪思想的发起，盖娅理论的提出，让我们认识到最具创造力的人类同时也是对大地母亲最具破坏力的生物，迫使我们人类与同属一个星球的“非我们”、“非人类”在相互回馈与尊重的体系中寻求均衡发展的路径。

It wasn't until the mid-20th century, with the emergence of the term Anthropocene and English independent scientist James Lovelock's Gaia Theory––which stresses human activities to be the main propeller for the ecological changes on Earth–– that made us starkly aware that we, the most “intelligent“ species on Earth, are in fact, its most significant threat. The weight of this matter urges us to repair our relationship with the “non-us“; that is, the “non-human“ beings on this shared planet via a system of reciprocity and consideration, and seek a new mediated condition during our development process.

在这个「关于我们的五个故事」的展览上，五位艺术家分别承担起人类纪里多样化的“我们”的代言人：

The show Nocturnes: Five Stories about Us invites five Chinese artists as diverse representations of “us” in the discourse of Anthropocene.

周啸虎 Zhou Xiaohu, 耕莘钓渭 - B no.1

Reclusion to ploughing and fishing - B no.1, 2021

周啸虎从中国古代文人画入手，以历史的多层切面带来当代艺术对时空维度的重新认识，引出古人游走于自然中闲云野鹤的生活状态。贺勋的作品承担起艺术与自然的连接，蜜蜂与调色板，养蜂人与艺术家，蜂蜜与艺术，生活甜蜜的共同交汇点都落在身体的劳作耕耘和精神的提炼升华。

Using Chinese literati paintings as his basis, Zhou Xiaohu reconstructs contemporary art's perception of space-time dimension through the tiered layers of history and brings to our mind ideals of a lofty and tranquil life our ancestors lived. He Xun seeks a connection between art and nature; converging the bittersweetness in life––bees and the painting palettes, the beekeeper and the painter, honey and art––through the cultivation of physical labour and refining them into the sublimation of the spirit.

贺勋 He Xun, 另一种对策 Another strategy, 2014

赵博的画布上密布的雪松带来人类对于冰的集体记忆，画中的冷酷仙境同时触动地球的遥远历史和威胁人类生存的不期未来，冰雪寒意中孤独穿梭的人类。耿旖旎画中的矛盾性构成诱人的表达，动物生存环境的不合时宜激发出艺术家为人类塑造生存庇护所的渴求，让我们也可以通过画存在于世界之中。谭彼得的绘画承担起人类最复杂的情感世界中爱的表达，电影海报和月份牌美女照的直白动感的绘画语言，讲述了消费主义社会里的感情链接，人类得以在地球上繁衍生息的爱的力量。

In Zhao Bo's paintings, the snow-glazed cedar forest emanates a chill that sweeps our imagination back to the Ice Age. These winter vistas lament Earth's distant past and flash a prophecy on humanity's survival in an apocalyptic future––alone in a land of icy devastation. Geng Yini's perplexing works are always mingled with a playful appeal. Triggered by the displacement of animals' living environment, the artist presents her canvas as a sanctuary for humankind so that we, too, may have a place in the world. Finally, bearing the most complicated human emotion––the expression of love, artist Tan Bide's paintings evokes emotional connections in the age of consumerism with visual limpidity and zeal reminiscent of movie posters and beautiful calendar girls. After all, humanity's existence thrives by the power of love.

赵博 Zhao Bo, 纪元 - 诞生 An era - Be born, 2020

耿旖旎 Geng Yini, 鸭帽山 Duck Hat Mountain,2021

「小夜曲：关于我们的五个故事」的标题来自日籍英国作家石黑一雄的第一部短篇小说集《小夜曲：音乐与黄昏的五个故事》。在小说中，石黑一雄把五个痴爱音乐的艺术家的命运串联成一组音乐人生的浮世绘，以小夜曲的形式建构一部文字谱写的音乐体验。在这个用视觉艺术为旋律和音节的展览上，传统与创新，艺术与劳作、风景与意识、动物与人类以及人类情感的物质与精神谱出一部关于“我们”的小夜曲。它们纵横交织，上下流动，组成我们在世界生存的庞大体系。

Nocturnes: Five Stories About Us derived its title from Kazuo Ishiguro's first collection of short stories: Nocturnes: Five Stories of Music and Nightfall. The Japanese British author threads the fate of five music-obsessed individuals into an affective ukiyo-e display about music life––and builds the novel into a musical experience through his lyrical serenade. Composed with the rhythms and syllables in visual aesthetics, the show conflates tradition and innovation, art and labour, landscape and consciousness, animals and humans, and the material and spiritual aspects of human emotions into a nocturne. Here, the melodies and chords of “us” interweave and meander to form the extensive network that interconnects our existence in this world.

谭彼得 Tan Bide, Ciao, 2021

轻轻上下滑动

周啸虎（生于1960年，中国常州) 毕业于四川美术学院。现生活工作于上海。

周啸虎是中国视频动画的先锋人物，自1998年起，他开始用计算机进行艺术创作，试验定格动画、视频装置等。作品自由跨越多种艺术媒介，涉及动画、录像、装置、雕塑和综合行动项目等。周啸虎致力于推动综合艺术的能量剧场，以泛现成品和“自动写作”作为方法论，拓展艺术疆域和生存观察。他的标志性风格是在影像和真实物体间创造出不同的图像层次，他的作品反映了数字时代中，历史在其特定细节可能被放大、误读和遗漏的情况下是如何被记录的。

他的作品在世界各地的机构展出过，包括：纽约现代艺术博物馆、英国利物浦泰特美术馆、瑞士波恩美术馆、上海美术馆、纽约国际摄影中心、奥地利维也纳路德维希基金会现代艺术博物馆。

此外，周啸虎的动画作品还参影了第40届鹿特丹国际电影节和第56届洛加诺国际电影节，在第36届休斯敦国际电影节中获实验录像类金奖。2002年和2006年获中国当代艺术奖提名。2014年到2015年获德意志学术交流中心（DAAD）驻地艺术研究奖项。

Zhou Xiaohu (b. 1960, Changzhou, China) is a pioneer of video animation in China.

Zhou began using computers as an artistic tool in 1998. As one of China’s most well-known most prolific contemporary artists, he specializes in inducing confusion and bafflement, making viewers question the evidence of their senses and their assumptions about the so-called ‘facts’. He has since experimented with stop-frame video animation, video installation and computer-gaming software, whereby the interlayering of images between moving pictures and real objects has become his signature style. Working across performance, photography, installation, sculpture, video, and animation, Zhou’s practice reflects the documentation and misunderstanding of history in a digital age.

His work has been extensively showcased in international exhibitions including: the Museum of Modern Art, New York; Tate Liverpool, UK; Kunsthalle Bonn, Switzerland; Shanghai Art Museum; International Center of Photography School, New York; and the Museum moderner Kunst Stiftung Ludwig Wien, Austria; and more.

In addition, Zhou Xiaohu’s animation works have been exhibited at the 40th International Film Festival Rotterdam in Netherland, and the 56th Locarno International Film Festival - Video Installation Show in Switzerland. He won the Experimental Video Gold Award in the 36th Worldfest - Houston International Film Festival; the CCAA Award (2002, 2006); and Deutscher Akademischer Austauschdienst (2014).

轻轻上下滑动

贺勋（生于1984年，中国江西 )2006年毕业于中国美术学院美术教育系。现工作、生活于杭州和北京。孑孓社策划小组成员。

贺勋的创作涉及绘画、诗歌文本和策划，关注农耕文明、神巫信仰和文学习惯在日常事物中的象征作用，着重于发现被忽视或被压抑的语言、民俗事项、图腾制度对当代生活的影响，藉此寻找人类普遍的情感关联、永恒的记忆及其衰败的历程。

作品曾在拾萬空间、想象力学实验室(杭州)、亚洲当代艺术空间、天线空间、站台中国、蜂巢当代艺术中心、南京艺术学院美术馆、广东时代美术馆、广东美术馆、Castello Di Rivara 当代美术馆、日本円室、意大利卡塞雷斯博物馆及坦桑尼亚国家博物馆等机构展出，公共收藏包括星美术馆、德中艺术基金会、杨锋艺术与教育基金会等机构。

诗歌及随笔散见于《西湖》、《飞地》、《诗江南》、《2006 中国最佳诗歌》、《艺术世界》、《艺术碎片》等刊物。其策划项目包括南京艺术学院美术馆的“去写生”，北京 UCCA STORE 的“缝合:当代艺术从业人员诗选”等。

He Xun (b.1984, Jiangxi, China) graduated from the Department of Education, China Academy of Art, Hangzhou, in 2016. He is currently based in Hangzhou and Beijing and is a member of the JIEJUE Community.

He Xun leads a multidisciplinary practice of painting, poetry, and curation. Tuning to the symbolic roles that agriculture, theology and literacy practice play on the everyday, and the impact which neglected or suppressed languages, folk customs and totemic principles cast on our contemporary life, the artist appeals to humans’ shared emotional connection, eternal memories, and its passage of deterioration.

He has exhibited widely, mounting solo and group shows in Imagokinetics, Hangzhou; A+ Contemporary, Beijing; Antenna Space, Shanghai; Platform China, Beijing; Hive Centre for Contemporary Art, Beijing; Art Museum of Nanjing University of the Art, Nanjing; Times Museum, Guangzhou; Guangdong Museum of Art, Guangzhou; Castello di Rivara Centro in Turin, Italy; Round House, Japan; Casa dei Carraresi Museum, Italy; National Museum of Dar es Salaam, Tanzania and more. His work is in the permanent collection of Shanghai Star Museum, Stiftung Deutsche und Chinesische Kultur, Frank F. Yang Art and Education Foundation, and more.

His poems and essays have appeared in journals: “West Lake”; “Enclave”; “Poem Jiangnan”; “The Best Poems of China 2006”; “Art World”; “Artshard”; and etcetera. His curated projects include: “Go Live” with the Art Museum of Nanjing University of the Art; “Suture: A Collection of Poetry by Contemporary Art Practitioners” with UCCA STORE, Beijing, and more.same process by which communal identity is created and maintained.”

轻轻上下滑动

赵博（生于1984年，中国沈阳）毕业于鲁迅美术学院油画系，2007年获艺术学士。2011年获硕士学位，期间赴挪威奥斯陆国立美术学院交流习。现工作、生活于沈阳。

“我出生及生活在这个被称为后现代的高度发达的全球化消费社会当中。信息化的数字革命已经改变了人们的思考方式和认知模式，景观已经搭建完毕，并早已接管了人类活动的各个层面。虚拟世界和现实世界的时空界限已经被打破，并错乱的交织在一起。海量的信息冲击着我们的视网膜和脑神经，人们已经走出了信仰的古堡，游荡在这片光明弥漫的现代迷雾之中。真实总是被幻象遮蔽，而幻象本身可能已经变成真实……艺术对我而言就是在这个纷繁的世界中不停的追问生命的意义，寻找希望的出口。人类的肉身和精神意识是以怎样的形态和这个世界乃至宇宙发生关系的，这两者之间的张力让我着迷，也为我提供了一个看待世界的方式和工作方法。”

Zhao Bo (b.1984, Shenyang, China) graduated with a B.A in 2007 and an M.A in 2011 from the Oil Painting Department of Luxun Academy of Fine Art, China. During the period, Zhao attended an exchange program with the National Academy of the Arts in Norway. He currently resides and works in Shenyang.

"I was born and raised in a global consumer society of the postmodern era. Today, digital revolution has significantly altered human’s perception and cognitive patterns, and completely integrated into every layer of our activity. Temporal and spatial boundaries between the virtual and real world are shattered and chaotically interweaved. With mass amounts of information flooding our retinas and cranial nerves, people have walked away the ruins of faith and engulfed themselves in this modern fog filled with blinding lights. Reality is always obscured by illusion, and the illusion itself may have become real. ...... Art is an endless quest of finding meaning in life and hope in this tumultuous world. I am fascinated with the forms in which human’s corporeal and spiritual consciousness interact with the world, perhaps even the universe. Their mutual dynamics provide me an outlook toward life and a work method. "

轻轻上下滑动

耿旖旎（出生于1982年，中国沈阳）2005年毕业于鲁迅美术学院油画系，获文学士学位；2012年获硕士学位。现生活工作于沈阳。耿旖旎的作品被多家美术馆和机构收藏，包括：乌里希克收藏，瑞士；白兔画廊，悉尼，澳洲；何香凝美术馆，深圳，中国；久丽美术馆，沈阳，中国；北京时代美术馆，北京，中国；蓝顶美术馆，成都，中国。

Geng Yini (b.1982, Shenyang China) Received a B.A degree from Lu Xun Academy of Fine Arts, Oil Painting department, in 2005; and a M.A degree in 2013. Geng currently lives and works in Shenyang. Her work is in the permanent collection of: Uli Sigg Collection, Switzerland; White Rabbit Collection, Sydney, Australia; He Xiangning Art Museum, Shenzhen, China; Jolie Art Museum, Shenyang, China; Beijing Times Museum, Beijing, China; and Blue Roof Museum, Chengdu, China.

轻轻上下滑动

谭彼得（生于1988 年，中国南京）毕业于意大利佛罗伦萨美术学院，获艺术学士和硕士学位。现工作、生活于北京。他的创作曾入围2013年于意大利巴里美术学院举办的第十届意大利国家艺术奖和2014年意大利维博瓦伦蒂亚的里门国际艺术奖，其作品《8.15》在2020年获得约翰莫尔绘画奖(中国)优秀奖。

“绘画对我而言是认知自己和探索外在世界的工具，我善用这一门艺术语言来记录自己的感受并表达观点。我试图在主观表达与客观事实之间寻求一种平衡，通过静止的、悬停的画面来绘出一种生命力，因为若绘画具有生命力，那么表达的便是绝对的真实。回看将近17000年前的拉斯科（Lascaux)洞窟画仍然栩栩如生，所以我认为绘画在根本上并没有改变，若去追溯这个“传统绘画”的脉络，所探讨的一切都将是围绕那个永恒的主题。”

Tan Bide (b.1988, Nanjing, China) graduated with a B.A. and an M.A. degree from the Florence Academy of Fine Arts, Italy. He currently resides and works in Beijing. Tan has participated in the X Premio Nazionale delle Arti at the Accademia di Belle Arti di Bari Italy in 2013; and the Premio Internazionale lìmen Arte, Vibo Valentia Italy in 2014, and was awarded the John Moores Painting Prize (China) for his painting 8.15, in 2020.

“For me, painting is the agent to cognitive awareness and surveyance of the external world, and certainly one that effectively articulates my emotions and thoughts. It is about striking a balance between subjective expression and objective fact; and emitting a sense of visual energy through moments of stillness and suspension depicted on my canvas. I believe that if painting embodies a sense of vitality, that’s because the realness in its representation affirms it. In retrospect, the Lascaux cave paintings, dated almost 17,000 years ago still maintains their primal liveliness, and if we pay attention and study “traditional painting” as a whole, everything that has been discussed always works us back to its beginning. Hence to say, I think the fundamentals of painting remain constant; that is, still painting.”

轻轻上下滑动

王凯梅，独立策展人，艺术写作者，译者，长期从事艺术、电影策划和写作工作。她是2021年第七届国际艺术评论奖的四名获奖者之一，新近出版瑞典文翻译中文的译作《伯格曼文集》。近期策展项目包括：「א:无限的集合」郭东来个展, ICICLESPACE之禾空间；「犹在风中」吴笛个展，166艺术空间；「抑制热情」丁力个展，没顶画廊等。

Kaimei Wang is an independent curator and art writer. She curated photography exhibition on films by Ingmar Bergman, Chen Man’s exhibition at Fotografiska Stockholm, Sweden. Her latest projects includes Guo Donglai’s solo exhibition: Infinite Things, ICICLE SPACE; Wu Di’s solo exhibition: Displacement , 166 Art Space; and Ding Li’s solo exhibition Curbing enthusiasm，Madein Gallery，and more. She is one of the four winners of the prestigious International Awards for Art Criticism (IAAC) in 2021.