站台中国20周年｜线上展览回顾：2005
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#时间的形状：20周年特展
Complete art experience project: INCEST参展艺术家：王卫、乌尔善、石青、刘鼎、张慧、刘韡、何颖宜、李振华、秦思源、王彧展览推广人：李振华、卢迎华、秦思源、刘鼎
Artists: Wang Wei, Wu Ershan, Shi Qing, Liu Ding, Zhang Hui, Liu Wei, Rania Ho, Li Zhenhua, Qin Siyuan, Wang Yu
Exhibition Promoter: Li Zhenhua, Lu Yinghua, Qin Siyuan, Liu Ding
站台中国2005年5月7日的开幕展是与艺术小组“联合现场”——一批活跃在国内外的艺术家、策划人和电影实践者联合组成的艺术项目的共同合作。《乱伦》是“联合现场”的第一个艺术行动计划，以展览、事件和文献三位一体的展示方式为观众提供了一个全新的观展体验。随着艺术机制的逐渐行业化和商业化以及艺术机器的迅速强大，艺术家的工作方式和态度遭遇了新的挑战：艺术家是否只能屈从于充当艺术大展的一颗螺丝钉，成全策展人的总体意志，还是另有出路？艺术家的独立面貌和意志力到底有多强大？组织“乱伦”这样一个带有实验性、挑衅性和冒险性的事件，就是希望通过艺术家内部彼此控制和制约，相互的碰撞、抵制和颠覆，来考量艺术家个体的不可替代性，以及艺术机器如何在这样一个反常规的艺术展示运作形式和过程中起作用。
← EN
This is the first exhibition of Platform China. We cooperate with an artists' group-Complete Art Experience Project - an art group that focus on the process and expeirence of the art. This will be a unique exhibition-going, art-viewing experience for all audiences.As the art mechanism gradually becomes more industrialized and commercialized, and the art machine rapidly grows stronger, artists' ways of working and attitudes face new challenges: Are artists only to submit to being a mere cog in the grand art exhibitions, fulfilling the overall will of the curators, or is there another way out? How strong is the individuality and willpower of artists? Organizing an event like "Incest," which is experimental, provocative, and adventurous, aims to assess the irreplaceability of individual artists through mutual control and restraint among artists, as well as through collisions, resistance, and subversion. It also seeks to examine how the art machine functions within such unconventional art exhibition operations and processes.
在这个研究和探讨展览体制本身以及跨边界的综合艺术的展览中，组织者将展览分为三个阶段。第一阶段是以常规展览形式呈现每个艺术家事先独立创作的装置、表演、录像和声音等作品，展览时间为5月7日至5月13日。在第二阶段中，艺术家将失去对其作品的控制权，并跨出自己的体系对其他参展艺术家的作品进行介入、改造、抵抗或颠覆，在规定的三个时间段内实施对其他作品的改造计划。每个艺术家至少要对他人的作品进行一次改造。三个规定的时间分别为5月14日、21日和28日的全天24小时，所有在这三个时间段中的行动将通过影像和文字进行记录并以实体和文献的形式在第三阶段展出，开幕时间为6月4日。这次活动将对展览的变换性、可延续性和经典性进行有效的讨论，也对艺术家的个人意志力、适应力和作品的绝对性等课题进行研究。← EN
In this exhibition that studies and explores the exhibition system itself as well as interdisciplinary art across boundaries, the organizers have divided the exhibition into three phases. The first phase presents each artist's independently created works such as installations, performances, videos, and sound pieces in a conventional exhibition format, with the exhibition running from May 7th to May 13th. In the second phase, artists will lose control over their own works and step out of their own systems to intervene, transform, resist, or subvert the works of other participating artists, implementing transformation plans on other works during three specified time periods. Each artist must transform at least one other artist's work. The three specified times are the full 24 hours of May 14th, 21st, and 28th. All actions during these three periods will be documented through images and text and exhibited in the third phase in the form of physical objects and documentation, with the opening date set for June 4th. This event will effectively discuss the variability, sustainability, and classicism of exhibitions, as well as study topics such as the individual willpower, adaptability, and absoluteness of artists' works.
Liu Ding "Transitional specimens - wall" 
Qin Siyuan "I want to see"
Zhang Hui "Neglected or having nowhere to hide" on 28th MayWang Wei "The crooked pillar"Complete art experience project: Intermittent drama
2005年7月9日-7月10日，站台中国与艺术小组“联合现场”合作开展了第二个项目：张慧的个人项目“间剧”。
This is the second exhibition of Platform China. We still cooperate with Complete Art Experience Project, and called "Intermittent drama".《间剧》展览现场
Intermittent drama Exhibition View
Complete art experience project: Trap
北京独立艺术家团体“联合现场”将隆重推出“捕捉器”——王卫装置作品展，本展览是继联合展览“乱伦”和装置表演“间·剧”之后的第三个“联合现场”项目。
空间装置作品“捕捉器”延续了王卫一直以来在作品中对物理及抽象空间的探讨。本次展览他运用了被放大数十倍的木制 “捕鸟器”与极具“侵犯性”的脚手架在整个展览空间中营造出一个庞大的、繁复的现实丛林。王卫充分利用了“空间中的空间”这一概念在现场为观者布下一个虚拟与现实的“阵”，当我们在空间里艰难地穿梭在脚手架所搭出的各种间隙之中，似乎在体验城市钢筋混凝土景观在压缩到展厅内部以后被强化了的无限压迫的感觉。当我们直面被放大的带有戏剧化和荒诞性的“捕鸟器”时，我们是“进”还是“出”？是在“里”还是在“外”？此时我们却已深陷在王卫的“捕捉”之中。
← EN
The Beijing-based independent artist collective "Complete art experience project" will proudly present "Trap" — a solo exhibition of installations by Wang Wei. This exhibition is the third "Complete art experience project" project following the joint exhibition "Incest" and the installation performance "Intermittent drama."The spatial installation "Trap" continues Wang Wei's ongoing exploration of physical and abstract spaces in his work. For this exhibition, he employs a wooden "bird catcher" enlarged dozens of times and highly "intrusive" scaffolding to create a vast and complex jungle of reality throughout the exhibition space. Wang Wei fully utilizes the concept of "space within space" to set up a virtual and real "array" for the viewers on site. As we struggle to navigate through the various gaps created by the scaffolding, we seem to experience the infinitely oppressive feeling of urban concrete landscapes being compressed into the exhibition hall. When we confront the enlarged "bird catcher" with its dramatic and absurd qualities, do we "enter" or "exit"? Are we "inside" or "outside"? At this moment, we are already deeply caught in Wang Wei's "catch."
营造“空间中的空间”和关注空间与观众的互动所带来的感受是王卫作品的主线。他相信，“ 空间与空间的悖论关系能使观者产生一种无所适从的感觉。”与此同时艺术家通过其作品所激发出的生理和情感上的不稳定感与我们对日常环境中的巨变所产生的真实反应是相通的。← EN
Creating "spaces within spaces" and focusing on the interaction between space and viewers, and the feelings it brings, is the main thread of Wang Wei's work. He believes that "the paradoxical relationship between spaces can create a sense of disorientation for the viewer." At the same time, the physiological and emotional instability evoked by the artist's works is connected to our genuine reactions to the drastic changes in our daily environment.《捕捉器》展览现场
Trap Exhibition View
Complete art experience project: Hello ChihuahuasExperiental Architecture and Installation from California艺术家 Artists：James Landis Amdurer (USA), Erik Frydenborg (USA), Rania Ho 何颖宜 (USA/China), Tammy Ho (USA), Amanda Ross-Ho (USA)
东经116与北纬40的聚落——“被发展复制的统一表情”国际当代艺术展Convergence at E116° / N40° —— International Contemporary Art Exhibition主办 Hosted by：站台中国当代艺术机构、“欧洲当代中国”艺术中心
策展人 Curator：冯博一、Marilyn Kiang
参展艺术家 Artists：
中国 China：（按姓氏拼音排序）
艾可、艾未未、陈小文、关矢、胡介鸣、黄锐、刘建华、李松松、吕胜中＋於飞、刘韡、秦冲、王鲁炎、王书刚、隋建国、邢丹文、许仲敏、叶永青、袁顺、尹秀珍、张永和、朱金石、庄辉Ai Ke, Ai Weiwei, Chen Xiaowen, Guan She, Hu Jieming, Huang Rui, Liu Jianhua, Li Songsong, Lv Shengzhong + Yu Fei, Liu Wei, Qin Chong, Wang Luyan, Wang Shugang, Sui Jianguo, Xing Danwen, Xu Zhongmin, Ye Yongqing, Yuan Shun, Yin Xiuzhen, Zhang Yonghe, Zhu Jinshi, Zhuang Hui
美国 The United States：Ruth Dusseault、Mario Petrirena、David Maisel 、Danielle Roney 、Sze Tsung Leong、Amy Landesberg
德国 Germany：Heike Baranowsky、Christine de la Garenne 、Echo Ho、Via Lewandowsky 、Antje Majewski
英国 United Kingdom：Waseem khan
比利时Belgium：Wim delvoye
这次展览的主题试图界定在对现代化的憧憬与忧思的矛盾与冲突的范围之内。展览将通过不同单元主题和不同展示方式，邀请国际著名的艺术家以不同的观念、媒介及语言方式来表达对以上问题的认识、思考、反省与表达，从而达到带有临时的混合气质的聚落与交流。
所谓“东经116与北纬40”是这次三个展览场地的东经与北纬的地标点；“聚落”是指人类聚集居住的生活场所，同时也是包括城市和村落在内的统称。展览中的艺术家来自于不同国度，居住在很多充满着个性的聚落和城市，由于他们所处的地理位置与文化环境的差异，所表现出的聚落与城市景观的表情也不尽相同。同时，我们又都处在全球化的浪潮之中，作为一次具有国际性的展览，来自不同国家和地区的艺术家为了这样一次艺术活动而聚合在一起，其本身的聚焦性交流就带有一种文化全球化的意味。
← EN
The theme of this exhibition will focus on the conflicts of the hope and contradiction to the modernization. The exhibition will address different themes and different ways of setting. It will invite international famous artists to express the understanding, thinking, introspect and expressing of the above question, by ways of different concept, media and language. Thus it will bring the aggregation and the communication of a temporary mixing feature.
“The junction of East Longitude 116" and North Latitude 40" is the longitude and latitude land mark of the three exhibition venues. And “community” is the residency place of human, as well as the overall designation of cities and villages. The artists in the exhibition come from different countries and live in a lot of cities and communities that full of different characters. The difference of geographical position and cultural environment that they are in, put out the different expressions of the communities and cityscape. Meanwhile, as we’re all in the tide of globalization, an international exhibition with artists that from different countries and regions coming together for such an art activity, the exhibition itself also has a meaning of culture globalization with its own focusing exchange and communication.
Convergence at E116° / N40° Exhibition View
发展与变化是这个时代的主旋律，现代化是最时髦的标签，它所带来的变化令我们陶醉于其中，欲罢而不能。但现代化在某种意义上正使我们的社会走向单一化、平面化，人类生态环境的多样性日趋凋零，代之而起的是全球都在追求同样的时尚、同样的生活方式，甚至同一名歌星。当然更重要的是同一种价值标准，我们的社会发展与变化被复制成为“统一的表情”。当唯一的坐标系已被确定，每一个民族在这个坐标系中的定位自然就有了先进与落后之分，自此，竞争的发展成为现代化的唯一准则，而多元的互补则成了天真的企盼，这就是现代化的自激机制。（节选）
← EN
The main theme of this era is the development and change. The modernization is the most fashionable label and the change that it brings makes us intoxicated among them. But the modernization is making our society move towards simplifying and complanation in a certain meaning. The variety of the human ecological environment passes away day by day. Replaced, the whole world is seeking of the same fashion and same life style, even the same singer. Certainly the more important thing is the same kind of value standards, our social development and change are duplicated and become " the unified expression ". Only constant development could make us establish in an unassailable position. This is the standard that forced on us of modernization. Since then, the competition of development becomes the only criterion of modernization. The multiple complementarities have become an unpractical hope. This is the self-exciting system of modernization.
Convergence at E116° / N40° Exhibition View
Wang Peng's Solo Exhibition: Designed Meaninglessness
作为早期中国前卫艺术的干将之一，王蓬在 1993 年创作了观念性很强的作品“墙”，他在即将举行他的展览的画廊门口不折不扣地砌了一堵砖墙，作为该展览的唯一作品。在展览的第二天，画廊的管理人员就要求把王蓬把本来计划展出三天的“墙”拆掉，因为“风声太紧”。这一无奈的结局却有力地证明了这个作品的现实意义和力量。
题为 “遗传”和“身份” 的两组摄影装置作品是王蓬此次个展的主角。他拍摄了一系列任意人的全身和裸体的照片，并按一定比例垂直地截取出照片最中间的一片，以两种不同的形式进行制作和展示。在 “遗传”中， 他把放大并“切割”后的一男一女裸体照各自镶嵌在一个长 7 米宽 9 厘米的底座之上，四周贴满白色的磁砖，摆放在展厅的中央，灯光从照片底部渗出，使人疑似一个无人过问的手术台。其他的 10 多余条男女全身的照片“切片”将被放置入细长玻璃灯管中，并悬挂在展厅四周的墙壁上，按一男一女的组合排列，像实验室中的标本一样被保存和展示。
← EN
As one of the early veterans of Chinese avant-garde, Wang Peng created a highly conceptual piece called “Wall” in 1993. He built an uncompromising bricked wall right at the entrance to the gallery space that was supposed to host his show, which was the one and only piece of work in this exhibition. On the second day of the show, the manager of the gallery asked Wang Peng to take down the “Wall” that he had scheduled to show for three days due to the “tight situation.” Such a helpless outcome turned into a compelling proof of the value and force relevant to our reality in this art piece.“Inheritance” and “Identity” are two groups of photography installations central to Wang Peng's solo exhibition this time. He has taken a series of full-body and naked pictures of models, cut out vertically and proportionally the middle section from each of them, and incorporated them into two different groups of installations. In “Inheritance,” he blows up and “fragments” a male and a female naked picture and lies them on top of two 7-meter long and 9 cm wide podiums, both of which are completely covered in utilitarian white tiles. The two podiums are desolately placed in the middle of the exhibition space, with light seeping timidly from the bottom of the podiums, as if they were two unattended operating-tables. The remaining 10-plus strips of fragments of male and female body portraits were each inserted into a tiny and lengthy glass tube lit from behind. They are lined up in pairs evenly on the walls of the exhibition space, preserved and showcased in the same way as samples are handled in a lab.
Wang Peng, photography installations“Inheritance” and “Identity” 在王蓬的这一系列创作中，形式可以被理解为某种内容；作品也不是作为社会学、文化、道德或政治的简单图示。在艺术家的精心设计下，对艺术品本身的关注反而能帮助我们深入地理解其中“现实主义”的问题和目标。王蓬采用了冒似“科学”的抽样调查和解剖分析的方法，企图通过具有特殊性和标本意义的个体片段来研究和反映一个整体，从而达到讨论个体身份和意义的目的。而在我们共同面对的这个 “ 粗糙的”、“嘶哑的”和“优柔寡断”的公共声音中，王蓬所建立出的这个静态式的、带有洁癖的、静谧的实验空间的张力将能向何处蔓延呢？
← EN
In this fraction of Wang Peng's body of work, the form can be understood as content; his work is neither plain illustration of sociology, culture, morality and politics. In Wang Peng''s meticulous design, we are able to understand better the “realistic” issue and rationale of his work through focusing on the work itself. Wang Peng has employed a seemingly “scientific” methodology of sampling and analyzing in order to research and represent the condition of the totality through individual fragments that have both specialty and bear the functions of samples. Thus the artist generates a discussion on individual identity and value. However, when confronted with an overbearing public voice that is “rough,” “hoarse,” and “indecisive,” how much further can the impact of such a still, squeamish and uninterrupted experimental space as constructed by the artist be spread to?IUM 8th solo exhibition 《Visions of the Flag》
Images copyright ? Platform China & Artists
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