13个：今日中国影像The Thirteen: Chinese Video Now 参展艺术家：8gg 八股歌、曹斐、崔岫闻、董文胜、胡介鸣、黄小鹏、李颂华、梁玥、陆春生、马永峰、孟瑾、徐坦、徐震
策展人：邵大卫、孙宁
组织策划：P.S.1当代艺术中心、站台中国当代艺术机构
【阶段一】 纽约 P.S.1当代艺术中心
2006年2月26日-5月29日
【阶段二】 北京 站台中国当代艺术机构
2006年7月22日-8月13日
Artists:Dong Wensheng, Huang Xiaopeng, Li Songhua, Liang Yue, Lu Chuansheng, Xu Tan, Xu Zhen, 8gg, Meng Jin, Ma Yongfeng, Hu Jieming, Cui Xiuwen, Cao Fei
Curators: David Thorp, Sun Ning
Organizors：P.S.1 Contemporary Art Center, Platform China Contemporary Art Institute
Phase 1： New York：P.S.1 Contemporary Art Center
2006.02.26-05.29
Phase 2：BEIJING ：Platform China Contemporary Art Institute
2006.07.22-08.13
13个：今日中国影像（The Thirteen: Chinese Video Now）是纽约 P.S.1 当代艺术中心与北京站台中国当代艺术机构合作，于 2006年2月26日至5月29日由英国著名策展人邵大卫（ DAVID THORP）和站台中国的艺术总监孙宁共同策划的反映当今国内当代 VIDEO 艺术现状的大型展览。 展览由纽约现代艺术美术馆（ MoMA ）资助，在P.S.1 当代艺术空间内展出 13 个年轻的艺术家参加的共 24 件 VIDEO 作品。这个展览是 MoMA 有史以来第一次大规模的有关中国艺术家的群展。作为展览的主要组织者和策划者之一，站台中国当代艺术机构将此次展览巡回至北京。← EN
"The thirteen: Chinese Video Now" is a major exhibition reflecting the current state of contemporary VIDEO art in China, co-organized by the P.S.1 Contemporary Art Center in New York and the Beijing-based Platform China Contemporary Art Institute. The exhibition, curated by the renowned British curator David Thorp and Sun Ning, the artistic director of Platform China, took place from February 26 to May 29, 2006.
The exhibition was funded by the Museum of Modern Art (MoMA) in New York and featured 24 VIDEO works by 13 young artists, displayed within the P.S.1 contemporary art space. This marked the first large-scale group exhibition of Chinese artists in the history of MoMA. As one of the main organizers and curators, Platform China Contemporary Art Institute brought the exhibition to Beijing, where it was shown at their venue in Art East District.
向右滑动查看更多 →《13个：今日 中国影像》 展览现场，P.S.1当代艺术中心，纽约The thirteen: Chinese Video Now Exhibition view
The thirteen artists in this exhibition are all based in China, in the cities of Beijing, Shanghai and Guangzhou. Two are represented by galleries in London and New York, and some have shown in group exhibitions outside China. For many, this exhibition was the first time their work has been seen in New York. The exhibition includes a cross section of video art that has a real intimacy with the social dimensions of urban China . It is diverse, ranging from the lyrical to the satirical, from documentary to fantasy. 向右滑动查看更多 →《13个：今日 中国影像》展览现场，站台中国，北京The thirteen: Chinese Video Now Exhibition view, Platform China 徐震《喊》影像 1998 3分40秒 彩色 Xu Zhen "Shouting" 关于《喊》 ：在人群的反方向大喊一声。拍下来。
陆春生《化学史》2004 影像 29分27秒 彩色 Lu Chunsheng "The History of Chemistry"
徐坦 《建设郑道兴音乐厅》影像 2002 18分20秒 彩色 Xu Tan "To Build Zheng Daoxing Concert Hall" 李颂华《讲话》2005 影像 6分4秒 彩色 Li Songhua "Speech" 胡介鸣《风中的城市》2005 影像 5分20秒 彩色 Hu Jieming "the cities in the wind" 梁玥 《天光》影像 9分 彩色 2004 Liang Yue “Light of sky" 崔岫闻 《TOOT》影像 2001 3分30秒 彩色 Cui Xiuwen "TOOT" 马永峰《漩涡》影像 15分6秒 彩色 2002 Ma Yongfeng "Swirl" 黄小鹏 《悬空总是让我紧张》影像 6分4秒 彩色 2005-2006 Huang Xiaopeng “I always get a bit jumpy when I'm suspended in the air" 八股歌 《News Dance》影像 2分50秒 彩色 20058gg “News Dance"
2006.04.29 - 06.18
群展《上房抽梯》Group Exhibition: Removing the Ladder 参展艺术家：贾蔼力、李大方、李威、秦琦、王宁德、吴光宇、吴薇、杨大治、尹志欣、赵亮、郑强
策展人：付晓东、孙宁
Artists:JIA Aili, LI Dafang, LI Wei, QIN Qi, WANG Ningde, WU Guangyu, WU Wei, YANG Dazhi, YIN Zhixin, ZHAO Liang, ZHENG Qiang
Platform China launched Chinese young emerging artists’ exhibition in year 2006. The title- Removing the Ladder -quoted from the 28th strategy of Thirty-six Strategies, take its source at the Art of War by Sun Tzu. It may spread out multiple implications when this historical literary quotation from the military scheme is replaced in a contemporary art semantic meaning. 向右滑动查看更多 → 《上房抽梯》展览现场Removing the Ladder Exhibition view
Firstly, in this show, these young artists who are working base on the Northeast of China apply a new realism technique, including figures and scenes, as a ladder. Leading audiences to climb up on the roof where they will found a conjecture on the narrative plot. However, any directional plot are blurred and dispelled. All are ambiguous and can’t be pondered over. Leave the audience above the roof but don’t show them the result.
Secondly, all these artists born in 70’s have experienced the transition period when the form of value transforms. When they climbed up along with the idealism form of value, the entire society has already transformed into the pragmatism. The beneficial principle is current. What we used to believe is failed. The artist himself is laid on the top of the roof and can’t find the way back.
Thirdly, regarding to the ultimate aim, to establish one system also means to deconstruct it, to surmount the language, the image and the logic, to destroy tools so as to enter a boundless realm. At the end, we will forget the trap as soon as the fish is caught. In another word, we will forget the image and meaning when receive the impression.
秦琦《椅子也可以救人》，布面油画，200x180cm，2004 Qin Qi "Chairs can also save lifes" 李大方 《牛皮书包》190x320cm 布面油画 2006 Li Dafang "Leather bag" 王宁德《宁德年间-游乐场》摄影 Wang Ningde "Ningde Year-Playground" photography
李威，后巷
Li Wei, Backalley
吴薇，潮湿，165x142cm，布面油画，2006Wu Wei, Damp, Oil on canvas
吴光宇，《载客汽车》，2005，320x210cm Wu Guangyu, Passenger Car
The Borderline International Video Festival is an international media art event. We focus on video art in China, while also inviting several international artists to join the discussion, and the Belgian film festival Courtisane also engages in selective international video art interaction for this adventure.
The art exhibition, centered on the concept of "borderline," aims to seek the most primitive approaches, conducting research on the renewal of the most fundamental principles of video recording and the artistic concepts they express.The box functions as a metaphor for all of this. Working with video is literally "taking an image and putting it into a box".Through the use of different boxes, we create a physical, rather than a thematic framework. How artists and artworks deal with such rigid physical limitations, through the use of video, is what Borderline is all about.
向右滑动查看更多 → 《边界线国际影像艺术节》展览现场Borderline International Video Festival Exhibition view
Butterfly is video work by British artist Richard Wilson that documents a process based sculpture that is centred upon a sense of unfolding revelation and the desire to recover a lost form. Richard Wilson bought a scrapped Cessna light aircraft. He reassembled it, stripped its identifying paintwork from its aluminium body and crushed it into a rough ball using an industrial compactor, the kind used to crush scrapped vehicles. The solid lump of metal that resulted from this process was suspended from the ceiling of a warehouse.Wilson and a team of assistants worked for four weeks using only hand operated tools, the cables and the structure of the building, to help them reveal the form of the aircraft once more. This process was continuously documented by time- lapse photography and edited to produce this film work that documents the recovery of the aircraft in compressed time. Finally, at the end of the film, the sculpture’s imperfect form finally reaches a point as close to its original shape as Richard Wilson and his team can achieve by hand.
《蝴蝶》影像截图
Butterfly Video Still
2006.09.02 - 10.22
李威《你心里有鬼？！》Li Wei:You Have a Furtive Thought?! 策展人：孙宁Curator: Sun Ning
李威《你心里有鬼》| Li Wei, You Have a Furtive Thought?!150x200cm，2005 李威的作品，会让人陷于一种潜意识的恐慌与不安之中。只是很平常的生活场景或瞬间，经过他的安排与渲染，给观者的第一感觉就是一种不安，仿佛随时会有什么事情会发生或已经发生了什么事情。这种潜意识的人的心理阴暗面的暗示在他的画面中，使我们所有人都不得不去面对我们心中的 " 鬼 " …..
← EN
The works of Li Wei let people sink into a kind of subconscious tension and uncertainty. Only a very normal life scenes or a moment, after the artist’s arrangements, makes viewers feel uneasy, as if at any time something will happen or has happened. This subconscious psychological dark side of the picture, as he implied, suggesting that all of us have to face the “ghost” in our hearts.
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《你心里有鬼？！》展览现场You Have a Furtive Thought?! Exhibition view
The term "frame" literally refers to a static snapshot of a moving image within one second. The rapid and continuous display of frames creates the illusion of dynamic imagery. Xiao Bo's work cleverly utilizes this characteristic of frames, transferring what is typically seen only on computer screens onto canvas. In this context, time is magnified, and even the slightest movement is amplified. At the same time, Xiao Bo effectively employs the language of large color blocks in painting, enhancing the dissolution of imagery by painting. What is left for the audience to ponder is the question of what constitutes "reality.向右滑动查看更多 →《帧》展览现场FrameExhibition View
2006.10.28 - 12.09
马永峰《生成景观》Ma Yongfeng: Becoming Landscape 策展人：邵大卫Curator: David Thorp
Ma Yongfeng is an artist who primarily expresses his artistic concepts through video installations and contemporary photographic works. With his unique artistic perspective and ingenious artistic language, he presents to us a nature landscape artificially created. This exhibition, titled "Becoming Landscape," consists of two parts: photography and video installations. The subjects of the works are all real scenes from zoos—a nature that is artificially fabricated. Painted waterfalls, artificially created sunlight, and even the branches for birds to perch on are made of piles of withered sticks... Everything is constructed by humans themselves. 向右滑动查看更多 →《生成景观》展览现场Becoming Landscape Exhibition View
The absence of the animals intensifies the viewers’ sense of animal presence but also creates a highly theatrical tableaux. These animal areas are based on the imaginary environment of the creature’s habitat and like a stage set have a painted back drop that is intended to depict the natural environment of the animal as well as referring to traditional Chinese bird-and-flower scroll paintings. Ma Yongfeng’s empty tableaux suggest that even the animals in the zoo have disappeared. What is left behind is man made, it relates to nature but it is stripped of natural growth and has become a pastiche of the natural environment.
In Ma Yongfeng’s hands the emptiness of the animal pen and the absence of the animal itself evokesa sense of loss for the spectator. Not in a sentimental way in which a child might miss a small furry creature that has run away but in the manner in which modern drama is able to induce a feeling of emptiness that accompanies an awareness of self
马永峰 Ma YongfengThe Origin of Species 系列，2005
2006.12.10 - 2007.01.06
孟瑾、方二《他乡，旧事》Meng Jin and Fang Er: Been there, Done That…
《他乡，旧事》，关于对建筑的回忆与观察，是关于空间的诗学。
← EN
Been There, Done That is an exhibition that deals with memories and observations of architecture, a poetics of space.
Meng Jin’s latest work Anonymous Architecture (2006) centers on the notion of “editing” architecture, and re-contextualizes the “found” architectural object or space. A series of simple lined images, such as columns or an abandoned stage, form abstracted elements into the spatial context: peripheral elements become the means by which space is articulated. The work presents uncompleted observations, which need to be completed by the viewers.The minimal colour pallet creates a beautiful poetic effect. His paintings float between abstract architectural drafts and surreal dreams. In the series I am never Alone (2006) female artist Fang Er explores through her subtle photography abandoned spaces and deals with the memory of the architectural space.She creates a strong colour combination and plays with the effect of natural light giving life to the neglected spaces. She focuses on the objects and furniture left by the former inhabitants and touches unfinished stories. Places that have lost their dynamic as spaces can be found in a state of in-between. What will happen? What happened to the workers who used to live there?
向右滑动查看更多 →方二，我从不孤独｜ Fang Er, I am Never Alone
2006.12.16 - 12.29
陆春生《化学史2——过于拘谨的登山爱好者》Lu Chunsheng: History of Chemistry 2Excessively Restrained Mountaineering Enthusiasts
After showing last summer History of Chemistry (2004) in The Thirteen: Chinese Video Now group show, we are happy to present the sequel piece by Shanghai based filmmaker Lu Chunsheng. During his residency this summer in Gasworks, London, Chunsheng made this new film, entitled History of Chemistry 2, Excessively restrained mountaineering enthusiasts (96min).
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《化学史2——过于拘谨的登山爱好者》影像截图 History of chemistry 2——Excessively restrained mountaineering enthusiasts Video Still
故事剧情：
“公司”运行得及其困难，“他”已经濒临破产。三个“公司”派遣的“登山爱好者”一直在追踪 A ……关于未来的一笔大生意，已经离开“公司”的A掌握着一份非常关键的“合同”。为了获取这份“合同”，在“最后的时间”，潮汐能被“登山爱好者”通过城市水道传输到一些经过反复测量的区域。新的 “气候” 于是形成 ……这种“气候”将迫使A来到“高地”……这份未完成的有“预知能力”的“合同”最终将被带入公海，并在一艘赌轮上进行交易 ……后来，“公司”慢慢地逐步摆脱了债务危机带来的沉重负担。最终关于未来领域的拓展计划开始付诸行动，并且形成浩荡之势 ……据说A是John Dee的后裔……
← EN
The “company” moves with enormous difficulty. “He” is at the edge of bankruptcy“mountaineering enthusiasts” from three “companies” have beentracking A…..A, who has already left the “company”, is holding a pivotal “contract” for a large business transaction.In order to obtain this “contract” for themselves, at “the last moment”, the tide could be transferred to some areas of the city which were surveyed time and again by the “mountaineering enthusiasts””.Thereupon a new “climate” formed ……This “climate” would compel A to g to the Highlands ……This unfinished “contract” which has the “power of prediction” would ultimately be taken to the mare liberum and be traded on a gambling ship………Subsequently the “company” gradually reduced the heavy burden caused by the debt.Finally, the project to exploit future terrain went into action and grew vast and mighty……As the story goes，A is the descendant of John Dee. ……
2006.12.16 - 2007.02.03
哈克龙新产品发布会暨史金淞个展HALONG-KELLONG New Product Launch PartyShi Jinsong's Solo Exhibition
《哈克龙HALONG-KELLONG》 is an imagination and self-design of a modern lifestyle from the perspective of a Chinese farmer. It can also be said to be the projection of a major agricultural country's imagination of modernization onto daily life. It is an analysis of the internal structure of China's modernization process, as well as the changes in its related cultural context and value structure. I think this should be a work of realism in the sense of anatomy, but it presents a microcosm of contemporary China through the process of design, manufacturing, participation, and play.
In the future, Hakelong HALONG-KELLONG attempts to blend together as much as possible what everyone considers to be the most fashionable, coolest, and most modern lifestyle elements. On one hand, speeding around with the horn blaring loudly, and on the other hand, singing karaoke with beautiful women while watching various pirated or bootlegged DVDs. The agricultural tools that look like weapons, gleaming with a cold light, are not only cool but also capable of plowing fields and performing various farming tasks. The side pannier is a common heated buffet pot found in Western restaurants, filled with food and supplies, and equipped with wine racks, coffee machines, juicers, and beverage dispensers, truly integrating dining, entertainment, fitness, and work into one.— Concept of Shi Jinsong's work
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