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艺博会 | 天线空间参展ART021(下篇)| 展位 W28

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艺博会 | 天线空间参展ART021(下篇)| 展位 W28 崇真艺客



尊贵藏家预览 Collectors Preview

11.10 (周四 | Thu) 14:00 - 20:00

11.11 (周五 | Fri) 13:00 - 20:00

19:00停止入场 | Admission ends 19:00


公众日 Public Days

11.12 (周六 | Sat) 11:00 - 18:00

11.13 (周日 | Sun) 11:00 - 18:00

17:00停止入场 | Admission ends 17:00


展会地点 Venue

上海展览中心 | 延安中路1000号

Shanghai Exhibition Center | No.1000 Middle Yanan Road



天线空间荣幸宣布参展第十届 ART021 上海廿一当代艺术博览会,并呈现艺术家艾丽森·卡茨(Allison Katz)、程心怡、崔洁、丛丛、关小、韩冰、李泳翔、刘茵、王墒、王伊芙苓韬程、尉洪磊、周思维、丹尼尔·杜瓦 & 格雷戈里·吉凯尔(Daniel Dewar & Grégory Gicquel)、斯坦尼斯拉娃·科瓦奇科娃(Stanislava Kovalcikova)的作品。本届艺博会从2022年11月10日持续至11月13日。以下介绍的是艾丽森·卡茨(Allison Katz)、程心怡、李泳翔、崔洁、丛丛、尉洪磊的作品。





艺博会 | 天线空间参展ART021(下篇)| 展位 W28 崇真艺客


艺博会 | 天线空间参展ART021(下篇)| 展位 W28 崇真艺客

Allison Katz | 艾丽森·卡茨

Milky Way, 2022
Oil and acrylic on canvas | 布面油彩和丙烯

150 x 190 cm


艾丽森·卡茨的新作《Milky Way》(2022)与她今年的两个展览经历均有着微妙的关联。牛这个形象首次出现在艾丽森个展“Artery”展出的作品《Someone Else’s Dream》(2021)中。在这幅画作中牛作为一个贬损的形象,隐晦地讲述了一个即谦卑又羞耻的故事,即一个人类丧失人格而回归动物性的生存。然而从文化上来说,众多神话故事、宗教理念中,牛象征着生育、慷慨、母性和生命的起源,而艾丽森的这幅新作则更明确地展示这种积极、正向的叙事。牛在神话和隐喻中的形象与其现实语境构建的内容形成了鲜明的对比,标题《Milky Way》暗讽她参加的2022年威尼斯双年展并对其做一个重新的诠释,艾丽森将牛(亦可作为一种对女性不友善的称呼)的俚语用法联系起来,使这种诗意化的女性液体回流至其本源并把超现实主义当作文字游戏把玩。


在语言和图像层面,艾丽森受到默片海报的启发,在内框的顶部创造了一个卡通形象、一个化身,也可以看作艺术家滑稽的自画像或替身。这个大笑俯瞰的漫画场景既是一个笑料,也是一个严肃的提醒:图像是在一种视角的掌控制或影响之下被构建的,主观从来不是一种客观。此外,标题“milky way”即银河,其名称和表达充斥着悖论和未知——如牛奶般白色的(milky)和银河系浩瀚无垠的黑暗;“way”即路也是如此,本身意味着一条道路和一个方向,但在外太空方向是缺失且难以定义的。在这种矛盾中,我们感受到词不达意的障碍感,而图像填补了语言的缺失,从而达成对语言的反叛。





艺博会 | 天线空间参展ART021(下篇)| 展位 W28 崇真艺客

Xinyi Cheng | 程心怡

Swimmers | 游泳者, 2021

Monotype on 250g BFK Rives vellum paper | 牛皮纸上单版印刷

52 x 42 cm


程心怡的画作往往传递出一种沉郁又恬静的美。在疫情之前她的作品主要呈现人物和静物,而在疫情后动物也成为了其作品中的一个重要意象。在风浪中结伴游动的狗就像在不稳定时期探索的人们,从狗眼睛那蹭花的黑点中能看出飘忽不定的迷离,翻飞的毛发和身上一道道仿佛肋骨一般的印迹更给人压迫和紧张感。昏灰阴沉的天空没有一丝光亮,仿佛是一场没有尽头和希冀的潜游,但结伴而行赋予生命前行的勇气。





艺博会 | 天线空间参展ART021(下篇)| 展位 W28 崇真艺客

艺博会 | 天线空间参展ART021(下篇)| 展位 W28 崇真艺客

上图:Yong Xiang Li | 李泳翔
8 Chairs (adolescent fabrications), 2022

Pencil on paper | 纸本铅稿
48.4 x 34.6 cm

下图:Yong Xiang Li | 李泳翔
8 Chairs (adolescent fabrications) 角色小稿李斯逸 , 2022
Pencil on paper | 纸本铅稿
48.4 x 34.6 cm

李泳翔的两件作品都是为了《8 Chairs (Adolescent Fabrications)》(2022)而画的手稿。其中一个是对头像的研究,这个头像是以李泳翔的朋友李斯逸为原型发展和创作的。李泳翔期待这个形象是比较懒散、羸弱的模样,却又瞪目而视、神色夸张,眉眼之间镌刻着坚定。李泳翔将这个人物置于一个庞大的画面场景中,突显其相对“弱势”的状态。为了展现躲藏的状态,角色表情传递的情感表达尤为重要。李泳翔创作这种角色通常会先拍照,但是他不会直接誊绘,而是先根据记忆画出小稿然后根据照片调整细节,最后勾勒描摹或投影图像到木板上进行绘画。另一件手稿则是作品整体构想的设计草稿,包括大的规划构图、板材、分割方式以及基本明暗关系等;同时也涉及到细节的把控,比如手的姿态和铜件设计,但这些构想并不会全部应用于最终的成品。





艺博会 | 天线空间参展ART021(下篇)| 展位 W28 崇真艺客

Cui Jie | 崔洁

Basildon | 巴斯尔顿, 2021
Acrylic on canvas | 布面丙烯

100 x 150 cm


崔洁此次展出的作品来自于她今年个展《模范新村》中对上海曹杨新村和英国埃塞克斯工人村的调研。崔洁想通过《底吞图#51》(2022)图与底的思考来理解身体之间的亲密关系,即一种视觉上的调整,让前景的主体与背景的负形之间的相互关系凸显出来,把身体的主体性让位给身体之间关系的主体性。她选择了一些典型的生活场景中的亲密时刻,人们的姿态和动作都有着当时的特征。《巴斯尔顿》(2021)是埃塞克斯地区的地标建筑之一,当人们的身体以一种区别于之前的方式聚集在一起,身体被改造成这样一种姿势和形态,这些姿势和形态与这些社区的建筑风格以及整体规划之间的关联性是崔洁这一系列作品想要思考的。





艺博会 | 天线空间参展ART021(下篇)| 展位 W28 崇真艺客

Cong Cong | 丛丛

The Scent of Roses | 玫瑰味道, 2022

Oil on canvas | 布面油画

110 x 190 cm


丛丛本次的新作注重从抽象的线条与色彩中体会具体,从虚空中将艾多斯(eidos)抽丝剥茧,并注入现实、具体的体验。《玫瑰味道》(2022)的灵感来自丛丛使用的一款沐浴液,以玫瑰为主调的复合香气清远淡雅。丛丛运用通感的手法将沐浴的体验绘制了出来,流动的香气和滑过肌肤的触感以玫瑰花瓣/丝扑面绽放的视觉呈现,仿佛定格了一帧化妆品广告的画面。狂狷的用笔间隙流露出浪漫和惬意的欢愉,红色与紫色的交叠也使得蓬勃的生命力和对生活的热爱感呼之欲出,倾注肆意的柔情便能跌入幸福的实感。





艺博会 | 天线空间参展ART021(下篇)| 展位 W28 崇真艺客

Yu Honglei | 尉洪磊
[ ] [ ] [ ] [ ] [ ] [ ] #3, 2019
Oil on canvas | 布面油画
51 x 40.5 cm (6 pieces)

*所有图片致谢艺术家

以纯指示性的文字或符号来描绘或图示艺术作品,在尉洪磊的创作中并不鲜见——他有关头像及身体的创作可以追溯至2016年,对他而言,与物质层面的现实相对的并非思考层面的观念,而是抽象。抽象在尉洪磊这里对应的并非具体,而是一种仍然可称之为现实的形象或视觉,一种基于人、基于身体本身的对现实的观看,进而在创作中将所见所感现实化的图像生产。它们因而是对应或平行于物质现实的图像现实,不仅仅要求观者的观看,更要求其在此中的在场。人体正是在此处成为艺术家进入抽象的关键——它是所有现实的交合之处,是现实中的抽象,亦是抽象中的现实。

相关阅读:艺博会 | 天线空间参展ART021(上篇)| 展位 W28




艺博会 | 天线空间参展ART021(下篇)| 展位 W28 崇真艺客


艾丽森·卡茨 Allison Katz


艾丽森·卡茨(b. 1980,蒙特利尔)现生活和工作于伦敦。2002年,她于康考迪亚大学获得艺术学士学位。2008年,她于哥伦比亚大学获得艺术硕士学位。

 

艾丽森·卡茨的作品反思了当代艺术创作中盘根错节、有时自相矛盾的本质。她将交流的模糊性容纳其中,用戏谑幽默而又刨根问底的手法拓宽了传统意义上的艺术家“标志”。卡茨的作品在若隐若现、半遮半掩的诗意空间中运作,指引着观众去注意绘画表面和绘画主体所构成的多层次意识中。

 

近期个展:“Artery”, Camden艺术中心,伦敦,英国(2022);“Allison Katz: Artery”,诺丁汉当代艺术中心,诺丁汉,英国(2021);“Monograph & Graphics”,Gio Marconi,米兰,意大利(2020);“Traforati 2019”,Torre Bonomo,斯波莱托,意大利(2019);“Diary w/o Dates”,奥克维尔画廊,奥克维尔,加拿大(2018);麻省理工大学List视觉艺术中心,剑桥,英国(2018);“Muse with a Short Fuse”,天线空间,上海(2018)等。

 

部分群展:“第59届威尼斯双年展:梦想之乳”,贾尔迪尼中央展馆和军械库,威尼斯,意大利(2022);“Mixing It Up: Painting Today”,海沃德画廊,伦敦,英国(2021);“众妙之家”,天线空间,上海(2021);“The Imaginary Sea”,Fondation Carmignac,波克罗勒岛,法国(2021);“Plus One”,Luhring Augustine,纽约,美国(2021);“Palama”,MANIFESTA 13,马赛,法国(2020);“Slow Painting”,由海沃德画廊组织,利兹画廊和莱温斯基画廊等共同呈现,英国(2019-2020);“MASKULINITATEN”,波恩艺术协会,伯恩,德国(2019);“以梦为路”,宝龙美术馆,上海 (2019);“City Prince/sess”,东京宫,巴黎,法国(2019);“Paint,also known as Blood: Women, Affect and Desire in Contemporary Painting”,现代艺术美术馆,华沙,波兰(2019);“The Rest”,里森画廊,纽约,美国(2018);“Splendor Solis”,The Approach,伦敦,英国(2018)等。


Allison Katz (b. 1980, Montreal) currently lives and works in London. She received her BFA from the Concordia University in 2002 and her MFA from the Columbia University in 2008.

 

Allison Katz’s work engages with the complex and at times contradictory nature of contemporary artistic production, embracing the ambiguity of communication with a playful and inquiring touch that expands the conventional notion of an artist’s “signature style.” Katz’s work operates in a poetic space between mirror and mask, between revealing and concealing what is presented, calling attention to the multiple layers of consciousness that reside in a painting’s surface and subject. 

 

Selected solo exhibitions: Artery, Camden Art Center, London, UK (2022); Nottingham Contemporary, Nottingham, UK (2021); Monograph & Graphics, Gio Marconi, Milan, Italy (2020); Traforati 2019, Torre Bonomo, Spoleto, Italy (2019); Diary w/o Dates, Oakville Galleries, Oakville, Canada (2018); MIT List Visual Arts Center, Cambridge, UK (2018); Muse with a Short Fuse, Antenna Space, Shanghai, China (2018) among others.

 

Selected group exhibitions: The 59th Venice Biennale: The Milk of Dreams, Giardini della Biennale and the Arsenale, Venice, Italy (2022); Mixing It Up: Painting Today, Hayward Gallery, London, UK (2021); House of Perception, Antenna Space, Shanghai, China (2021); The Imaginary Sea, Fondation Carmignac, Porquerolles, France (2021); Plus One, Luhring Augustine, New York, US (2021); Palama, MANIFESTA 13, Marseille, France (2020); Slow Painting, organized by Hayward Touring, presented at Leeds Art Gallery and The Levinsky Gallery and among others, UK (2019-2020); MASKULINITATEN, Bonner Kunstverein, Bonn; Kölnischer Kunstverein, Cologne; Kunstverein fürdie Rheinlande und Westfalen, Düsseldorf, Germany (2019); One if By Land, Powerlong Museum, Shanghai, China (2019); City Prince/sess, Palais de Tokyo, Paris, France (2019); Paint, also known as Blood: Women, Affect and Desire in Contemporary Painting, Museum of Modern Art in Warsaw, Warsaw, Poland (2019); The Rest, Lisson Gallery, New York, US (2018); Splendor Solis, The Approach, London, UK (2018) among others.





程心怡 Xinyi Cheng

程心怡(b. 1989,武汉)现生活工作于巴黎。2012年,她于清华大学美术学院雕塑系获得学士学位。2014年,她于美国马里兰艺术学院跨媒介专业获得艺术硕士学位。

 

在程心怡的绘画实践中,她常通过对人们生活状态的细致关注以及对画面中内部层次与结构的细致处理,体现人物之间的互动与亲密瞬间,从而映射内心世界并营造丰富的情感与感官体验。

 

2019年,她获得了瑞士巴塞尔艺术博览会巴洛斯奖。2016至2017年她参加了荷兰皇家艺术学院(Rijksakademie)的驻留项目。2014年她参加了美国缅因州Skowhegan 艺术家驻留项目。


近期个展:“Seen Through Others”,老佛爷百货基金会艺术中心,巴黎,法国(2022);“The Horse with Eye Blinders”,汉堡火车站当代艺术博物馆,柏林,德国(2020);“2019巴塞尔”,Galerie Balice Hertling X程心怡个人展陈,巴塞尔,瑞士(2019);“Parure”,Condo伦敦:天线空间X卡洛斯/石川,伦敦,英国(2019);“微风之劫”,天线空间,上海(2018);“The Hands of Barber, they give in”,Balice Hertling,巴黎,法国(2017)等。

 

部分群展:“Significant Form”,Matthew Marks Gallery,洛杉矶,美国(2022);“Smashing Into My Heart”,The Renaissance Society,芝加哥,美国(2021);“The Displacement Effect”,Capitain Petzel,柏林,德国(2021);“第13届上海双年展:水体”,上海当代艺术博物馆,上海(2021);“Antibodies”,东京宫,巴黎,法国(2020);“Drawing 2020”,Gladstone Gallery,纽约,美国(2020);“More, More, More”,油罐艺术中心,上海(2020);“Private Passions”,Karpidas收藏,达拉斯,美国(2020);“晴空紊流”,天线空间,上海(2018);“Noise! Frans Hals, Otherwise”,弗兰斯哈尔斯博物馆,哈莱姆,荷兰(2018);“Painting Now and Forever, Part III”,Greene Naftali画廊X Matthew Marks画廊,纽约,美国(2018);“Ormai”,Balice Hertling画廊,巴黎,法国(2018);“Rijksakademie OPEN 2017”,Sarphatistraat 470,阿姆斯特丹,荷兰(2017);“Coiffeur”,弗里兹国际艺术博览会,伦敦,英国(2017);“杂毛连须公”,胶囊画廊,上海(2017);“深巷陷凹”,天线空间,上海(2017)等。

 

Xinyi Cheng (b. 1989, Wuhan) currently lives and works in Paris. In 2012, received her BA in Sculpture from the Academy of Arts & Design, Tsinghua University. In 2014, she received her MFA in Multi-disciplinary Program from the Maryland Institute College of Art.


In Cheng’s artistic practice, reflecting upon people's life and playing with internal layers in the background, she carefully constructs scenes of interactions and intimacies. Those scenes mirror the characters’ inner world and further create a sensual experience for the viewers.

 

In 2019, Cheng was awarded the Baloise Art Prize 2019 of Art Basel. From 2016 to 2017, she participated in the residency program at Rijksakademie van beeldende kunsten in Netherlands. In 2014, she participated in the Artist Residency program at Skowhegan, Maine.


Selected solo exhibitions: Seen Through Others, Lafayette Anticipations, Paris, France (2022); The Horse with Eye Blinders, Hamburger Bahnhof—Museum für Gegenwart, Berlin, Germany (2020); Statements, Art Basel: Cheng Xinyi’s solo presentation with Galerie Balice Hertling, Basel, Switzerland (2019); Parure, Condo London: Antenna Space × Carlos/Ishikawa, London, UK (2019); Harnessing the Power of Wind, Antenna Space, Shanghai, China (2018); The hands of a barber, they give in., Galerie Balice Hertling, Paris, France (2017) among others.

 

Selected group exhibitions: Significant Form, Matthew Marks Gallery, Los Angeles, US (2022); Smashing Into My Hart, The Renaissance Society, Chicago, US (2021); The Displacement Effect, Capitain Petzel, Berlin, Germany (2021); The 13th Shanghai Biennale: Bodies of Water, Power Station of Art, Shanghai, China (2021); Anticorps, Palais de Tokyo, Paris, France (2020); Drawing 2020, Gladstone Gallery, New York, US (2020); More, More, More, TANK, Shanghai (2020); Private Passions, Karpidas Collection, Dallas, UK (2020); Transcendental Empathy, Antenna Space, Shanghai, China (2018); Ruis! Frans Hals, Otherwise, Frans Hals Museum, Haarlem, The Netherlands (2018); Painting: Now and Forever, Part III, Greene Naftali Gallery and Matthew Marks Gallery, New York, US (2018); Ormai, Galerie Balice Hertling, Paris, France (2018); Rijksakademie OPEN 2017, Sarphatistraat 470, Amsterdam, Netherlands (2017); Coiffeur, Frieze Art Fair, London, UK (2017); Scraggly Beard Grandpa, Capsule, Shanghai, China (2017); Cul-De-Sac, Antenna Space, Shanghai, China (2017) among others.




李泳翔 Yong Xiang Li

李泳翔(b. 1991,长沙)现生活工作于德国柏林。2014年,他在中央圣马丁学院获得平面设计与动态影像学士学位。2020年,在Städelschule获得艺术硕士学位。2020年提名第八届华宇青年奖。


李泳翔的艺术实践运用多种媒介,然而,他的兴趣主要集中于绘画、雕塑、音乐和影像之间的跨界交融。受到文化和移居流散经历的相互影响,李泳翔带有目的性地游走于媒体、规范与文化特性之间,挑战主权观念和现有的权力结构。


近期个展:“Inside Job”,LC Queisser,第比利斯,格鲁吉亚(2022);“姗姗来迟”,Futura,布拉格,捷克共和国(2021);“Superfluous”,Schwabinggrad,慕尼黑,德国(2021);“Curl”, Galerie Emanuel Layr,维也纳,奥地利(2020);“Companion”, Jean Claude Maier,法兰克福,德国(2019)等。


部分群展:“Identity Not Proved: New Acquisitions of the Federal Collection”,联邦艺术博物馆,波恩,德国(2022);“那里的风景”,Sadie Coles,伦敦,英国(2021);“隐隐绰绰”,Layr,维也纳,奥地利(2021);“2020年第八届华宇青年奖入围展:漫长的问候”,UCCA,北京(2020);“切肤之息”,天线空间,上海(2020);“L’esprit”,Portikus,法兰克福,德国(2020);“Rundgang”,Städelschule,法兰克福,德国(2020;2019;2018;2017;2016);“赤字团”,长征计划,北京(2019);“涉过每一条小溪”,Galleria Acappella,那不勒斯,意大利(2019);“悬挂摇摆的果实”,Aedt,杜塞尔多夫,德国(2019);“雪上加霜”,Root Canal,阿姆斯特丹,荷兰(2019);“突然地出现”,painnale 2018,清迈,泰国(2018);“Radio Ufff! at fffriedrich”,法兰克福,德国(2018);“Back to Them”,Gärtnergasse,维也纳,奥地利(2018);“Vida de Cão,Münchener Straße 10”,法兰克福,德国(2017)等。


Yong Xiang Li (b. 1991, Changsha) is a Berlin-based artist. In 2020, Li completed Meisterschüler at Städelschule, Frankfurt. He was nominated the eighth Huayu Youth Award in 2020.


In his practice, Yong Xiang Li draws on a diversity of media. His main interest, however, lies in the border-crossing intersections between painting, sculpture, music and video. Influenced by a reciprocal understanding of culture and diaspora experience, the artist challenges ideas of sovereignty and existing power-structures by engaging in contaminations that aim at media, formal and cultural specificities.


Recent solo exhibitions: Inside Job, LC Queisser, Tbilisi, Georgia (2022); Late, Futura, Prague, Czech Republic (2021); Superfluous, Schwabinggrad, Munich, Germany (2021); Curl, Galerie Emanuel Layr, Vienna, Austria (2020); Companion, Jean Claude Maier, Frankfurt, Germany (2019) among others.


Selected group exhibitions: Identity Not Proved: New Acquisitions of the Federal Collection, Bundes Kunsthalle, Bonn, Germany (2022); The View from There, Sadie Coles, London, UK (2021); Indistinct Chatter, Layr, Vienna, Austria (2021); The Eighth Huayu Award Finalist Exhibition 2020: A Long Hello, UCCA, Beijing, China (2020); Breathing through Skin, Antenna Space, Shanghai, China (2020); L’esprit, Portikus, Frankfurt, Germany (2020); Rundgang, Städelschule, Frankfurt, Germany(2020; 2019; 2018; 2017; 2016); The Deficit Faction, Long March Project, Beijing, China (2019); Ford Every Streams, Galleria Acappella, Naples, Italy (2019); Fruit Suspended and Swaying, Aedt, Düsseldorf, Germany (2019); Double Trouble, Root Canal, Amsterdam, The Netherlands (2019); Appearing Unannounced, painnale 2018, Chiang Mai, Thailand (2018); Radio Ufff! at fffriedrich, Frankfurt, Germany (2018); Back to Them, Gärtnergasse, Vienna, Austria (2018); Vida de Cão, Münchener Straße 10, Frankfurt, Germany (2017) among others.







崔洁 Cui Jie

崔洁(b. 1983,上海)现工作和生活于上海。现代化、城市景观的发展和当代建筑统一且乏味的风格一直是崔洁城市系列绘画所讨论的核心主题。在崔洁的笔下,过去和现在的景象联结、交织,转化为她对过去的怀念和对未来景观那看似乌托邦式的展望与探索,从而在某种程度上引发观众的群体怀念。

 

她的作品曾被Phaidon出版社出版的《维他命P3》收录;也被巴黎蓬皮杜艺术中心、纽约现代艺术博物馆、芝加哥艺术博物馆、阿斯楚普费恩利(Astrup Fearnley)现代艺术博物馆、鲁贝尔艺术基金会、Kistefos美术馆、香港M+收藏等机构收藏。

 

部分个展与双人展:“模范新村”,焦点画廊,埃塞克斯,英国(2022);“从亭到太空站”,曼彻斯特华人艺术中心,曼彻斯特,英国(2019);“凌霄阁”,柯芮斯画廊,伦敦,英国(2019);“造⼀把好椅子”,天线空间,上海(2019);“偌大空间”(与李杰),OCAT,深圳(2018);“后来,从前”,Mother’s Tankstation,都柏林,爱尔兰(2016);“新旧都市方案”,Leo Xu Projects,上海(2014)等。


部分群展:“共同的现场:UCCA 15周年理事收藏展”,UCCA,北京(2022);“溢流地”,Para Site,香港(2021);“金木水火土”,佩斯画廊,旧金山,美国(2021);“L'Invitation au voyage”,Esther Schipper,柏林,德国(2021);“2021年台北双年展巡回展:你我不住在同一星球上”,蓬皮杜艺术中心-梅茨馆,梅斯,法国(2021);“第12届台北双年展:你我不住在同一星球上”,台北市立美术馆,台北(2020)“第一届X美术馆三年展:终端>_?”,X美术馆,北京(2020);“中国非洲”,蓬皮杜艺术中心,巴黎,法国(2020);“未完成”,四方当代美术馆,南京(2019);“幽灵维面——电驭叛客在未来之年”,大馆当代美术馆,香港(2019);“百物曲”,Para Site X 外滩美术馆,上海(2019);“‘全球都市’国际艺术双年展”,蓬皮杜艺术中心X毛继鸿艺术基金会,成都(2018);“长征计划:违章建筑三——特区”,广东时代美术馆,广州(2018);“贝尔格莱德57届十月沙龙”,贝尔格莱德,塞尔维亚(2018);“前沿国际:克利夫兰当代艺术三年展”,克利夫兰,美国(2018);“过去的肌理”,现代艺术博物馆MoMA PS1艺术中心,纽约,美国(2017)等。


Cui Jie (b. 1983, Shanghai) currently lives and works in Shanghai. The modernization, the development of city landscape and the unified and tedious style of contemporary architecture has always been one of the topics being discussed in Cui Jie’s paintings of cities. Connecting and intertwining visions of the past and the present under her brushstrokes, Cui expresses her nostalgia for the past and a seemingly utopian exploration for the future landscape, and hence evokes the viewer’s collective nostalgia.

 

She has been included in Phaidon Press’s publication Vitamin P3. Her works have been placed into the collections of various institutions such as Centre Pompidou, MoMA, Art Institute of Chicago, Astrup Fearnley Museum, Rubell Family Collection, Kistefos Museum and M+ Collection HK.

 

Selected solo and two-person exhibitions: New Model Village, Focal Point Gallery, Essex, UK (2022); From Pavilion to Space Station, Center for Chinese Contemporary Art, Manchester, UK (2019); The Peak Tower, Pilar Corrias, London, UK (2019); To Make a Good Chair, Antenna Space, Shanghai, China (2019); The Enormous Space (with Lee Kit), OCAT, Shenzhen, China (2018); Latter, Former, Mother’s Tankstation, Dublin, Ireland (2016); Cui Jie: The Proposals for Old and New Urbanism, Leo Xu Projects, Shanghai, China (2014) among others.

 

Selected group exhibitions: Common Ground: UCCA 15th Anniversary Patrons Collection Exhibition, UCCA, Beijing, China (2022); Liquid Ground, Para Site, Hong Kong, China (2021); Metal, Wood, Water, Fire, and Earth, Pace Palo Alto, San Francisco, US (2021); L’Invitation au voyage, Esther Schipper, Berlin, Germany (2021); Taipei Biennial 2020: You and I Don’t Live on the Same Planet, Centre Pompidou, Metz, France (2021); Taipei Fine Arts Museum, Taipei (2020); 1st X Museum Triennial: How Do We Begin?, X Museum, Beijing, China (2020); China Africa, Centre Pompidou, Paris, France (2020); Uncompleted, Sifang Art Museum, Nanjing, China (2019); Phantom Plane, Cyberpunk in the Year of the Future, Tai Kwun Contemporary Art Museum, Hong Kong, China(2019); An Opera for Animals, Para Site, Hong Kong, China (2019); Cosmopolis #1.5: Enlarged Intelligence, Centre Pompidou & Mao Jihong Arts Foundation, Chengdu, China (2018); Long March Project: Building Code Violations III - Special Economic Zone, Guangdong Time Museum, Guangzhou, China (2018); FRONT International: Cleveland Triennial for Contemporary Art: An American City, Cleveland, US (2018); Past Skin, MoMA PS1, New York, US (2017) among others.




丛丛 Cong Cong

丛丛(b.1982)现生活和工作于上海。她于2008年获得苏州大学艺术学院油画专业硕士学位。

 

近期个展:“宫殿”,天线空间,上海(2019);“自恋”,5art space,广州(2018);“满月”,NUOART,北京(2018);“往光明里走”,NUOART,北京(2016)。

 

部分群展:ART021上海当代艺术博览会,由天线空间呈现,上海(2021);“油罐玩家艺术节:36个房间”,油罐艺术中心,上海(2020);巴塞尔艺术展 ArtBasel(线上),香港,(2020);ART021上海当代艺术博览会,由天线空间呈现,上海(2019);北京当代博览会,由天线空间呈现,北京(2019);约翰 · 莫尔绘画奖(中国)2010—2014历届获奖者巡展,北京今日美术馆、重庆美术馆、澳门金光会展中心、上海民生美术馆(2016)。


Cong Cong (b.1982) lives and works in Shanghai. In 2008, she received her MFA in Oil Painting from School of Art of Soochow University.

 

Recent solo exhibitions: The Palace, Antenna Space, Shanghai (2019); Self-View, 5art Space, Guangzhou (2018); The Full Moon, NUOART, Beijing (2018); Walk into the Light, NUOART, Beijing (2016).

 

Selected group exhibitions: Art 021, presented by Antenna Space, Shanghai (2021); TANK Art Festival: 36 Rooms, TANK, Shanghai (2020); Art Basel, Hongkong (online) (2020); Art 021, presented by Antenna Space, Shanghai (2019); Beijing Contemporary Art Expo, presented by Antenna Space, Beijing (2019); Collection of Works from John Moores Painting Prize (China) Winners 2010-2014, Today Art Museum, Chongqing Art Museum, Macau Convention Center, Shanghai Minsheng Art Museum (2016).





尉洪磊 Yu Honglei 

尉洪磊(b. 1984,内蒙古),目前工作和生活于北京。


尉洪磊的录像和雕塑实践中带有特别个人的视觉语汇,混合了网络流通的图像以及来自中国城市纹理中无序生长着的视觉文化。他感兴趣的是所有可感事物以及文字作为一种思考形式的可塑性。这种可塑性呈现在艺术家于作品的视觉形式和名称两者之间进行创造式的跳跃,而结果是这些作品以一种带有隐士风格的方式呈现在观众面前。


近期个展:“1,7I6[ ] [ ] [ ] [ ] [ ] [ ]”,天线空间,上海(2019);“新倾向”, UCCA,北京(2019);“尉洪磊”, Kraupa-Tuskany Zeidler,柏林,德国(2018);“花”,Carl Kostyál,伦敦,英国(2017);“燕子世纪”,天线空间,上海(2016)等。


部分群展:“参与的雕塑——OCAT双年展记忆片段”,OCAT深圳馆,中国(2022);“Age of You: A Kaleidoscopic Exploration of the Extreme Self”,贾米尔艺术中心,迪拜,阿拉伯联合酋长国(2021);“Palai Project”,Palazzo Tamborino Cezzi,莱切,意大利(2021);“利希滕费尔斯雕塑展”,Camping Lichtenfels ,弗里德斯巴赫,奥地利(2021);“无独有偶:影像及其扩展领域”,新世纪当代艺术基金会,北京(2021);“ONLINE: Benefit for Women in Exhile and Kub”,Kraupa-Tuskany Zeidler,柏林,德国(2020);“白日美人 Normal Days”,天线空间 x 游牧画廊,天目里,杭州(2020);“Condo Shanghai 2019”,天线空间,上海(2019);“极限混合:空港双年展”,广州翼•空港文旅小镇,广州(2019);“贝尔格莱德双年展”,贝尔格莱德,塞尔维亚(2018);“Last Night’s Fortune Teller”,Daimler Contemporary Berlin,柏林,德国(2017);“深巷陷凹”,天线空间,上海(2017);“I Scream, You Scream, We All Scream For Ice Cream”,Fondazione Baruchello,罗马,意大利(2017);“Hybrid Layers”,ZKM卡尔斯鲁厄艺术与媒体中心,卡尔斯鲁厄,德国(2017);“我们之后”,chi K11美术馆,上海(2017)等。

 


Yu Honglei (b. 1984, Inner Mongolia) currently lives and works in Beijing.


Yu Honglei’s moving image and sculptural practice take inspiration from a unique visual vernacular of online image database and visual cultures of Chinese cities. These sources are used by the artist and applied with the artist’s sculptural touch. What he is interested in is the plasticity of thought forms and the sensible entities it corresponds to. Such plasticity allows Yu to execute the cognitive leap between the visual currencies as employed by his works and their titles, allowing for a hermeneutic and polysemic output, which informs his highly personal artistic discourse.


Selected solo exhibitions: 1,7I6[ ][ ][ ][ ][ ][ ], Antenna Space, Shanghai, China (2019); New Directions, UCCA, Beijing, China (2019); Yu Honglei, Kraupa-Tuskany Zeidler, Berlin, Germany (2018); Flower, Carl Kostyál, London, UK (2017); Swallow Century, Antenna Space, Shanghai, China (2016) etc.


Selected group exhibitions: Participating Sculptures - Memories from the OCAT Biennale, OCAT, Shenzhen, China (2022); Age of You: A Kaleidoscopic Exploration of the Extreme Self, Jameel Arts Centre, Dubai, the United Arab Emirates (2021); Palai Project, Palazzo Tamborino Cezzi, Lecce, Italy (2021); Lichtenfels Sculpture, Camping Lichtenfels, Friedersbach, Austria (2021);  Polyphonic Strategies: The Moving Image and its Expanded Fields, New Century Art Foundation, Beijing, China (2021); ONLINE: Benefit for Women in Exhile and Kub, Kraupa-Tuskany Zeidler, Berlin, Germany (2020); Normal Days, OōEli (Antenna Space x POP-UP Gallery), Hangzhou, China (2020); Condo Shanghai 2019, Antenna Space, Shanghai, China (2019); Extreme Mix: Airport Biennale, Guangzhou Airport Resort, Guangzhou, China (2019); The Marvellous Cacophony-Belgrade Biennale, Belgrade, Serbia (2018); Last Night’s Fortune Teller, Daimler Contemporary Berlin, Berlin, Germany (2017); Cul-De-Sac, Antenna Space, Shanghai, China (2017); I Scream, You Scream, We All Scream For Ice Cream, Fondazione Baruchello, Rome, Italy (2017); Hybrid Layers, ZKM Center for art and media, Karlsruhe, Germany (2017); After Us, chi K11 Art Museum, Shanghai, China (2017) etc.






艺博会 | 天线空间参展ART021(下篇)| 展位 W28 崇真艺客



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