新展｜善良 “Now Strip It 此刻，我的内部为你敞开”

在虚拟世界与现实世界几乎完美融合的当下，人类形同以数据为生并被算法硬控的新物种。我们为了获得更完整的服务，自愿后退，并向系统开放更多治理身体和数据的权限。技术和人类交换权力的关系仿佛虐恋。满足与痛苦的矛盾情绪途径悬吊的广告绳索和美化的挂钩抵达艺术家手绘的雕塑表面，形成软色情漫画中的高潮脸。兴奋到接近于恐怖的表情，掩饰着心智服从于机器的尴尬状况。平台给予用户双向交流信息的承诺，被偷换为单向的窥视。艺术家试图再次提出让人类与技术友好结合的愿景。善良创造的未设定物体的原型，不论来自3C产品代工厂，还是肉类加工厂，都暴露了她改造事物外貌及其内在价值的欲望。

善良(单梁)，b.1997，毕业于中国美术学院游戏专业。她的媒介涉及雕塑、装置、动画影像等。善良在创建“?命”的同时，致?于研究消费?化、流量体制和?数据影响下的身体质地，用此?喻人类对抗算法机制受到的隐形控制。她通过对?理智情绪的?为唤醒，审视人类身体，将欲望进?合理化改造，以此对甜腻的当下作出回应。

善良的近期展览包括，群展，示范：做决定技术的艺术，复星艺术中?，上海，2023；个人项目，“进化”x Miss Audi，X美术馆，北京，2023；群展，雾语??，Objective Gallery，上海，2023；群展，BMW M“疾驰象外”，?岸艺术中?，上海，2022；群展，“断裂的?代”，史莱姆引擎，松美术馆，北京，2022；群展，BVLGARI“灵蛇奇想”,北京,沈阳,深圳,厦?巡展，2022；群展，“艺术就是合作”，史莱姆引擎，RISING艺术节，墨尔本，2022；群展，OCAT双年展“?来去器”，史莱姆引擎，深圳，2021；群展，USB多端?链接展，乔空间，上海，2021；群展，USB多端?链接展，没顶画廊，上海，2021；群展，Lust For Life 热望?活，Edward Ressle画廊，上海，2021；群展，世袭领地，宝?美术馆，上海，2021；群展，版图，史莱姆引擎，2020

缪子衿，独立策展人。她毕业于伦敦大学金史密斯学院策展专业。2017年曾任《艺术界》编辑 ; 2019-21年曾任职于泰康空间。

她近期实现的策展项目包括：“半自动笔刷”（2024，重美术馆，北京）；“欢迎再来鸟头世界·齐”（2024，光社影像中心，北京）；“智能秩序” （2023，69 Art Campus，北京）；“循循” （2023，山中天艺术中心·玄馆，北京）；“短篇小说” （2023，重美术馆，北京）；“为什么和凭什么” （2023，香港中文大学TC101 Space，深圳）；“相思” （2023，广东当代艺术中心，广州）；“小大人”（2023，星空间，北京）；“近未来—完美搭档” （2022，悦来美术馆，重庆）；“情感自治区：当加密遇见红白喜事”  （2022，Gallery Func，上海）；“空气动物”（2022，没顶画廊，上海）；“随意进出”（2021，星空间，北京）；“A Fund of Gifts”（2021，Gallery Func，上海）；“飞去来器—第九届OCAT双年展[注意 :演出继续! ]”（2021，OCAT，深圳）；“集美 · 阿尔勒发现奖[法证表演：陶辉 / 流动介质 & 钟云舒 / 隔墙有耳]”（2021，三影堂摄影艺术中心，厦门）；“USB多端口链接展”（2021，没顶画廊、Gallery Func、乔空间、In the Park、潮博会WWART EXPO、POTENT，上海）；“登录舒适区?”（2018，泰康空间，北京）；“共享叙事”（2018，共4个章节，香格纳S空间，北京）；“保罗 · 麦卡锡的客厅”（2018，木木美术馆，北京）；“全球定位”（2017，乔空间&油罐艺术中心项目空间，上海）。

"A certain undefined object becomes sluggish under the intervention of foreign substances. In some invisible reorganizations, dregs and fragments are embraced, becoming closer and integrated.

We fear and enjoy such unsettling pleasure. Floating in the intruded hallucination, we leave ambiguous traces and show emotions…"

—— Shanliang

Shanliang’s solo exhibition “Now, Strip It” presents a series of unknown creatures representing surgical actions. The artist’s act of operating 3D modeling software to modify models simulates ways of Body Modification. Taking Aesthetic Surgery as a contemporary example of Body Modification, its concepts range from image editing to clone, extract- and weight reduction. In the experimental process of re-materializing virtual sculptures, Shanliang painstakingly keeps the fluid texture produced by the stitching of rejected materials, witnessing the coexistence of the digital and the biological.

Now, the virtual and the real worlds are perfectly Mixed and Bandaged, so human beings exist as a new Species that lives on data and is controlled by algorithms. In order to get more complete Services, users voluntarily retreat and Strip. We give more permissions to the system which governs our bodies and information privacy. The power relation between technology and humanity resembles BDSM. The paradoxical emotions of pleasure and pain are channelled to the hand-painted surface of the suspended sculptures, taking shape of O-Faces found in ero-manga. The facial expressions, excited to the brink of horror, mask the embarrassing situation of the Machine Dominating the Mind. The platform's promise of two-way communication for users is replaced by a one-way gaze. The artist attempts to reclaim the vision of a friendly interaction between humanity and technology. The archetype of undefined objects created by Shanliang, whether sourced from a 3C product manufacturer or a Slaughterhouse, exposes her Desire to Modify the appearance of things and their intrinsic values.

Shangliang, b.1997, graduated from the Department of Games at the China Academy of Art. Her artistic practice involves sculpture, installation, animation, and video. Shanliang creates “beings” guided by intuition. Her research interest focuses on the corporal texture shaped by consumer culture, social media mechanism, and big data. Such texture is a metaphor for the invisible control of man against the algorithm. The irrational emotion awakens us to an examination of the human body. The artist modifies desire in a rationalized way, to criticize the seemingly perfect technological reality. 

Selected Exhibitions：Demonstration:Group Show, The Art of Decision-Making Techniques,Fosun Foundation, Shanghai, 2023; Solo Project,“Evolution” x Miss Audi, X Museum,Beijing, 2023; Group Show,“The Rumors Are True”, Objective Gallery, Shanghai, 2023; Group Show, BMW“Movement of Becoming”, West Bund Art Center, Shanghai, 2022; Group Show,“Disconnected Generation", Slime Engine, Song Art Museum, Beijing, 2022; Group Show, BVLGARI "The Serpenti's Dream", Beijing, Shenyang, Shenzhen, Xiamen tour, 2022; Group Show,“Art Is Cooperation”, Slime Engine, RISING Art Festival, Melbourne,2022; OCAT Biennale”BOOMERANG”, OCAT Shenzhen, 2021; USB Multi-Port Linking Exhibition, Qiao Space, Shanghai, 2021; USB Multi-Port Linking Exhibition, Madein Gallery, Shanghai, 2021; Lust For Life, Edward Ressle Gallery, Shanghai, 2021; Hereditary Territory, Powerlong Museum, Shanghai, 2021; Territory, Slime Engine(online), 2020

Miao Zijin is an independent curator. She received her MFA Curating from Goldsmiths, University of London. She worked at LEAP magazine as an editor in 2017. From 2019 to 2021, she worked at Taikang Space.

Her recent curatorial projects include：“Animated Paintbrush”（2024，Gravity Art Museum，Beijing）；“Welcome to Birdhead World Again·Hybird Sync”（2024，Light Society，Beijing）；“Smart Order”（2023，69 Art Campus，Beijing）;“Droning On”（2023，WIND H，Beijing）; “Sculptural Vibes Cutting through (In)Accessible Sites”（2023，Gravity Art Museum，Beijing）; “from an Art Student to an Artist” （2023，TC101 Space，Shenzhen）;“Longing: Anthem of Digital Sadness” （2023，GCAC，Guangzhou）“Les M?mes” （2023，Star Gallery，Beijing） ;“Perfect Partner in the Near Future” （2022，Yuelai Art Museum，Chongqing）;“Emotional Autonomous Region: When Crypto meets Funeral & Wedding”（2022，Gallery Func，Shanghai）;“Creatures of the Air”（2022，MadeIn Gallery，Shanghai）;“Admission Free” (2021，Star Gallery，Beijing）;“A Fund of Gifts”（2021，Gallery Func，Shanghai）;“9th OCAT Biennale [Attention! The Show Goes On]”（2021，OCAT，Shenzhen）;“JIMEI ARLES Discovery Award [A Forensic Play: Act I Tao Hui / A Never Ending Search for Connectivity & Act II Tant Zhong / At the Threshold of Visibility”（2021，Three Shadows，Xiamen）; “The Comfort Zone at A Distance”（2018，Taikang Space，Beijing）;“Shared Narrative(s)”（2018，realized in 4 chapters, ShanghART，Beijing）;“Paul McCarthy’s Lounge”（2018，M WOODS，Beijing）;“I Do(Not) Want to be Part of Your Celebration”（2017，Qiao Space & TANK，Shanghai）.

坐落于上海繁华地区，chi K11 美术馆总?积达3,000 平??。?2013 年开幕以来，美术馆举办了超过60场艺术展览，包括「印象派?师·莫奈特展」、「跨界?师·鬼才达利」及多场当代艺术展，逾600场展览系列讲座，形式多样的艺术?作坊和艺术论坛。

美术馆曾与巴黎东京宫、蓬皮杜艺术中?、伦敦ICA、蛇形画廊、纽约MoMA PS1 和新美术馆，为公众展?中国当代艺术与国际权威机构的多元合作和跨?化碰撞，同时为艺术爱好者们提供了近距离接触当代艺术的?凡体验。

chi K11 美术馆如同?个让艺术发?的游乐场，把美术馆?的艺术品呈现在触?可及的地?，同时以舞台般的体验激发客?的艺术潜?。这不仅激发了当代艺术的多种表达，更为?众带来体验本土文化与艺术交融的?限机会。