ART021上海廿一当代艺术博览会 2022 | BROWNIE Project 展位 P01

约翰内斯·博西西奥1994年出生于意大利卡瓦莱塞，他的创作关注社会中潜在的赛博格，作为一种分离了人类特征的尖端科技，赛博格不仅是人类的机械版本，更是对人类极限的动态超越。博西西奥的绘画试图探索人与机器的关系及其超越二元论的可能：挑战传统意义上形态与基底、身体与心灵、物质与非物质、有机体与无机体、生物与机器的分离。博西西奥以二元形式的融合创造合成体。

艺术家将汽车视为联系人类、技术、文化、政治和经济的寓言。在博西西奥的创作中，钢和铬合金具有完美的顺滑和光泽质感，最充分地体现了我们的现代性，然而与此同时，表面却布满裂缝和划痕——它们看起来像在可怕的事故中遭受变形和损坏，就像J.巴拉德的《撞车》场景中被撞毁的车。“变身者”（Shapeshifter）系列是对光滑和镜像金属表面既亲密又颇具色情意味的感知，暗示着金属表面和恋物癖之间的相似之处，以及它们可以有多令人痴迷。

Johannes Bosisio is interested in potential Cyborgs in our society, as a sophisticated technology that detachedfrom human qualities, it is not only a mechanical version of the human being but a dynamic transgression ofhuman boundaries. In Johannes Bosisio's paintings, he is trying to explore the relationships between mankindand machine and the transgressions of dualism such as the separation of figure and ground, body and mind,material and immaterial, organic and inorganic, animals and machines. He fused binary forms in order to createhybrids.

The artist sees the automobile as an allegory for the connections between mankind, technology, culture, politicsand economics. In Bosisio’s work, steel and chrome are materials with a perfect smooth and shiny texture thatembody our modernity to the fullest, the surfaces, however, show cracks and scratches. They look as if they havebeen deformed and destroyed in a dreadful accident like the smashed cars in J.Ballard's setting of Crashed. Theseries Shapeshifter is about an intimate and at the same time erotic perception of smooth and mirrored metalsurfaces, indicating the parallels between metal surfaces and fetish, and how obsessive they can be.

郭盈光于1983年生于中国辽宁，现居住工作于北京。伦敦艺术大学传媒学院摄影硕士，中国传媒大学艺术摄影专业学士。

郭盈光的创作开启于她在中国日报与路透社的摄影记者工作经历，她的跨媒介艺术实践结合影像、装置、行为、手工书等多种呈现方式，着重探索女性在中国现实与网络情境中的婚姻、生存及自我价值状况。郭盈光凭借《顺从的幸福》系列作品获得2017年集美·阿尔勒Madame Figaro女性摄影师奖，受到法国阿尔勒国际摄影节官方展览邀请及Sophie Calle（苏菲·卡尔）、Paul Graham（保罗·格雷厄姆）等知名艺术家的推荐。郭盈光也是首位在欧洲摄影馆（Maison Européenne de la Photographie）举办个展的中国女性艺术家。

Yingguang Guo (b. 1983, Liaoning, China); lives and works in Beijing. Yingguang Guo graduated from London College of Communication (UAL) with a Master’s degree in photography, Communication University of China with a Bachelor's degree in Photography (Art Direction).

Guo began her career in image-making with her experience in China Daily, Reuters, and other media groups. Moving on to a more comprehensive art practice, her multi-media practice of photography, printmaking, video, installation, performance and artist book explores the marriage, living and self-value reality faced by women in today’s Chinese society. Guo won the Jimei ARLES 2017 Madame Figaro Women Photographer Award with the series The Bliss of Conformity and was invited to exhibit at Rencontres d'Arles International Photography Festival in France in 2018. During the exhibition, her works were highly recommended by the well-known artists Sophie Calle and Paul Graham. She had her solo exhibition Yingguang Guo: The Bliss of Conformity opened at Maison Européenne de la Photographie (Paris, France) in 2019, marking her the first Chinese female artist to hold a solo exhibition at the MEP.

出生于中国苏州， 2006年毕业于法国巴黎塞尔其国家高等艺术学院，现生活和工作于中国上海和法国巴黎。 

黄含康在创作中经常借用和调度具备全球化语境中“共性”的角色。取其所自身带有的不同文明背景和历史进程中的作用关系，于转化和关联这些角色的位置中产生多方对话，揉杂交汇出的“共处”来获得释放和指向一种新的未知关系，在这种非规则的进程与变异的线索中再次“显影”正在剧变的今日社会、政治以及历史。

他的作品曾受邀展出于各大艺术机构，近期重要个展包括“打开灯”，Bertrand & Gruner画廊，日内瓦，瑞士；“无数冲击的碎片”，Bertrand & Gruner画廊，日内瓦，瑞士；“近期水彩画”，Danese画廊，纽约，美国；群展包括“光的续言”，永福52，上海，中国；“生命中不可承受之蓝”，淮海TX，上海，中国；群展，Sébastien Bertrand画廊，日内瓦，瑞士等。

b. Suzhou, China. Graduated from Ecole Nationale Supérieure d'ARTS Paris-Cergy Paris, France in 2006, now living and working in Shanghai, China and Paris, France. 

Hankang Huang often uses and deploys the roles with ''universality'' in the global context, pink their different civilization background and functional relationship in the historical process, to transform and connect those roles' positions. To create multi-conversations,   hybridize the ''universality'' to release and point to a new unknown relationship. To manifest the undergoing society, politics and history nowadays in this irregular process and mutated clue.

His works have been invited to various art organizations, recent selected solo exhibitions included‘Turn On The Light’, Galerie Bertrand & Gruner, Geneva, Switzerland;‘Fragment of Numerous Impacts’, Galerie Bertrand & Gruner, Geneva, Switzerlan;‘Recent Watercolors’, Danese Gallery, New York, USA; Group exhibitions included‘The Sequel of Light’,Yongfu 52. Shanghai, China; ‘The Unbearable Blue of Being’,Huaihai TX, Shanghai, China; Group show, Galerie Sébastien Bertrand, Geneva, Switzerland etc.

2012年毕业于中国美术学院雕塑系，获得硕士学位，现工作于中国美术学院雕塑系。

金亚楠感兴趣于局部语境中的对话关系。早前他以参加艺术小组或群体性创作为途径，探究个人与群体之间的相互制衡关系。随后又尝试进入公共事业当中工作，在社区设计、城市规划中探寻各层级之间因由错位逻辑引发的协商失效。近几年，他更关注个体或群体单元在共谋机制中呈现的差异化表现。他通过架构一类针对体制的隐喻化设计，加强单元间对话的可能性及相互的侵略性。目前，他的这类设计一部分透过其作品的叙事线索及空间设计来呈现，另一部分则通过长期的项目策划工作展开。

Jin Yanan graduated from the Sculpture Department of China Academy of Fine Arts with a Master’s degree, and now works in the Sculpture Department of China Academy of Fine Arts.

Jin Yanan is interested in generating all kinds of dialogues through relatively complex work forms. Earlier, he took participation in art groups or group creation as a way to explore the relationship between checks and balances between individuals and collectives. He also took a path dedicated to public utilities, community design and urban planning to explore the failure of consultation between public segments and the logic behind the dislocation. In recent years, he has paid more attention to the differential performance of individual or group units in collusion mechanism, aiming at the metaphorical design of mechanism architecture to strengthen the aggressiveness of dialogue. At present, some of his designs are presented through the narrative clues and participatory experience of his works, and the other part is carried out through project planning.

金赞颂是一位韩国艺术家，拥有韩国首尔国民大学美术学院绘画学士学位。金赞颂感兴趣于“边界“的概念，在她以身体为主题的绘画中，主体与客体、亲密与陌生、驱逐与侵入总是在不断交织，保持着紧张的关系，在模棱两可的边界上暗藏着悬而未决的时刻。而在这个过程中，边界被慢慢模糊，新的内核又会从中升起，引起新一轮的共生与博弈。

Chansong Kim is a Korean artist. She graduated from Kookmin University (Seoul, Korea) with a BFA in Painting. Kim’s practice revolving around the body explores the concept of "boundary". In her paintings, subject and object, intimacy and strangeness, expulsion and invasion are always intertwined, maintaining a tense relationship, like a moment in suspense on these ambiguous borders. In this process, the boundaries are gradually blurring, and a new core will rise from them, bring symbiosis and game again.

黎雨诗是一位驻居在伦敦的中国艺术家，英国皇家艺术学院的艺术与人文学博士候选人，摄影是她的主要创作媒介。黎雨诗曾被评选为2022年“Foam Talent”的艺术家，并被提名为2019年“100 RPS Hundred Heroines”。她的作品曾被包括《卫报》、《Zeit》和《解放报》在内的众多国际出版物所报道。黎雨诗的作品曾在全世界广泛展出，包括在伦敦、奥斯陆和上海的个展，以及最近在纽约Fotografisk的群展。她的作品主要涉及与性别、欲望与性相关的凝视问题，并借此探索数字社交网络中男性作为色情主体的表征。

Yushi Li is a Chinese artist based in London, working primarily in photography. She is finishing her PhD in Arts & Humanities at the Royal College of Art. Li was selected as one of the artists for the Foam Talent 2022 and nominated as one of the 100 RPS Hundred Heroines in 2019. Her work has been featured on different international publications, such as The Guardian, Zeit Magazine and Libération. Li has shown her work in different countries, including solo shows in London, Oslo and Shanghai and her recent group exhibition at Fotografiska in New York. Her work mainly engages with the question of the gaze in relation to gender, desire and sexuality, culminating in the investigation of the male representation as an erotic subject in light of digital social networks.

1983年出生于中国重庆市， 2009于四川美术学院油画系获硕士学位，现工作生活于上海。

孟阳阳的绘画对象始终与人物及其身体有关。她以轻盈并具有流动性的笔触将人物心绪与情感具象化，同时对人物形态进行东方气质的提纯与赋形，运用留白和色彩的把控营造暧昧灵动的意境剧场，邀请观众在这些面部与性别模糊的肖像中，寻找诗意与灵魂的共存。孟阳阳曾于BROWNIE Project（中国上海，2021）、五五画廊（中国上海，2018）、J.CHEN画廊（中国台北，2010 & 2007）、Olyvia Oriental画廊（英国伦敦，2007）等空间举办个展，重要群展包括成都市美术馆（中国成都，2022）、Tube Culture Hall（米兰）、多伦现代美术馆（中国上海，2021 & 2018）、喜马拉雅美术馆（中国上海，2019）、中国美术馆（中国北京，2017）、Castello Di Rivara当代美术馆（意大利都灵，2016）、今日美术馆（中国北京，2016）等。孟阳阳曾两次入选罗中立奖学金，作品被纳入包括成都市美术馆、深圳罗湖美术馆、Olbricht Foundation、PCP Collection等多个国内与国际重要公共与私人收藏。

Meng Yangyang (b. 1983, Chongqing, China) graduated from Sichuan Academy of Fine Arts with a BA in 2006 and an MFA in 2009. She currently lives and works in Shanghai.

Human characters and their bodies as perpetual subjects, Meng Yangyang’s work visualizes our moods and emotions with light-bodied and fluid brushwork, refining and reshaping the figures with an Oriental temperament. The negative space and delicate palette in her paintings create an ambiguous yet dynamic theater that invites the audience to find the coexistence of poetry and soul in these misty-faced and gender-fluid portraits. Meng Yangyang has been solo exhibited at BROWNIE Project (Shanghai, 2021), Gallery55 (Shanghai, 2018), Gallery J.CHEN (Taipei, 2010 & 2007), Olyvia Oriental Gallery (London, 2007), among others. Her recent group exhibitions include Shanghai Duolun Museum of Modern Art (Shanghai, 2019), Shanghai Himalayas Museum (Shanghai, 2019), NAMOC (Beijing, 2017), Castello Di Rivara Contemporary Art Museum (Torino, 2016), Today Art Museum (Beijing, 2016), etc. Meng Yangyang has twice been awarded the Luo Zhongli Fellowship and her works have been collected by numerous important public and private collections such as Chengdu Art Museum, Luohu Art Museum, Olbricht Foundation and PCP Collection.