In the May National Palace Museum, there is always one night left for contemporary art. Until 2018, AAC Art China's annual influence is already the twelfth.
Concentrate on contemporary art selection. Over the past ten years, AAC Art China's annual influence continues to record and track contemporary art, not only Witnesses of contemporary art have become the most academic, public and influential selection platform for contemporary Chinese art.
With the official launch of the 12th AAC Art China Annual Impact Selection, Zheng Shengtian, chairman of the selection committee, conducted a summary analysis of Chinese contemporary art in 2017. The theme of this year's AAC Artistic China selection is determined as: “Facing the changing world”, and under the current rapid development of diversified politics, economy, culture, technology, and information in the world, we will examine the achievements of Chinese contemporary art. status quo.
In the past eleven selections, AAC Art China has continued to experiment, evaluate and adjust with its highly academic principles.
Three years ago, AAC Art China proposed “focusing on contemporary art” and changed the original 13 awards into three major awards: “Artists of the Year” and “Young People of the Year”. Artists and Annual Publications. In the preparation of this AAC Art China selection, in the face of the current ecological status of contemporary Chinese art, the selection committee suggested that in addition to retaining the three major awards, the “Curse of the Year” award will be added to the reality of the curatorial field. Trends and results were again included in the academic study. Chairman Zheng Shengtian believes that “curators are an extremely important part of contemporary artistic practice and intellectual production. Curators have often played a crucial role in the creation and expression of artistic creativity. We believe that adding this award will be even more important. A complete and comprehensive reflection of the status quo of the development of contemporary art."
This year's AAC Art China will continue its previous development.The effective selection method will further improve fair, fair and open selection rules and selection procedures, and complete the selection of the four awards of “Artist of the Year”, “Young Artist of the Year” and “Annual Curator” “Annual Art Publication”. The winner of the grand prize will be announced on May 21 at the peak of the Forbidden City.
Currently, the selection of the 12th AAC Art China Annual Influence continues. From March 2018, it consists of important critics, curators, experts and scholars in the field of culture and art. The AAC Art China Advisory Committee has selected the shortlist of AAC Art China's four awards from the AAC Monthly Review and the Consultant's Supplement List. The list of consultants and candidates will be announced as follows:>
List of consultants including (in alphabetical order): Barbara London, Cai Meng, Fan Di'an, Feng Yuan, Gao Peng, He Guiyan , Hu Bin, Jane DeBevoise, Yan Shaofeng, Keith Wallace, L. David Joselit III, Lai Xiangshen, Li Xu, Li Zhenhua, Liu Libin, Lu Mingjun, Lu Pinchang, Marko Daniel, Kris Ercums, Peng De, Philip Tinari, Qiu Zhenzhong, Sheng Yu, Su Xinping, Sun Zhenhua, Tan Ping, Tang Yi, Wang Chunchen, Wang Haosheng, Wang Duanting, Wei Guangqing , Wu Hongliang, summer monsoon, More than 60 consultants including Xu Ke, Yang Wei, Yuan Xiaotong, Zhao Wei and Zheng Shengtian participated in the voting.
The 3rd AAC award winning artist Zhou Chunya shots to shoot the AAC image poster
The 12th AAC Art China Young Artists Shortlist (in alphabetical order): Cao Yu, Hu Weiyi, He Xiangyu, Jiang Bo, Kong Lingan, Lu Yang, Li Yu, Li Ran, Leng Guangmin, Wang En Lai, Yuan Keru,
12th AAC Candidates for the Chinese Art Curators of the Year (listed by first letter): Cui Cancan et al., Feng Boyi, Hou Yiru et al., Qi Shaofeng, Lu Hong, Lu Wei et al., Qiu Zhijie, Wang Chunchen, Wu Hong, Zhang Zikang
The 12th AAC Art China Annual Art Publication Candidate List (by The first letter of the alphabet: "Observer's Technology: Vision and Modernity in the 19th Century" "Watching: How to Experience Contemporary Art" What is Art? ——Boys and Student's Dialogue “World 3: Open Graphics” “Pain is a Wall I Traverse” Image and Meaning: History of Anglo-American Modern Art “Modern Art 150 Years: An Unfinished One The Story "Transition of Modern Sculpture", "Chinese Contemporary Art Yearbook 2015" "Suspending Perception: Attention Landscape and Modern Culture"
The 12th AAC Art China Artist of the Year Shortlist
Chen Jen-jen's "Land of the Hollow" 170X104.5cm art micro-spraying
Collection-grade photo paper 2017
On October 28th, 2017, Chen Jieren's solo exhibition “Hollow Place” was held in Long March space 7 years later. The theme of this solo exhibition is “The Hollow Place”, which is a mental state that describes the escape of individual life from the existing discipline framework. Following the conceptual clues of this theme, the artist presents a sample of five works and a new set of works he created in the 1980s. His work follows the social background of the Cold War, martial law, and neo-liberal periods in Taiwan. The artist pays attention to the possibility that individuals may lack creative thinking due to limitations in their social conditions, and how they escape from the false promises of liberation. According to their own historical stage, social reality and individual conditions, constructing the individual's position of speaking and "self-liberation" method.
Ding Yi's "Ten Show 2017-3" 366x242cm Integrated Media 2017 on the boardwalk
2017 On October 14th, Mr. Ding Yi’s large-scale solo exhibition “Notes of the Ten Commandments” was opened at Xi’an Art Museum. In the past 10 years, Ding Yi’s “Ten Shows” has undergone major changes and is also a crucial period of time. The appearance of fluorescent colors on the screen has completely changed the original form of the “Ten Show”, those who are dazzling and jumping. The colors are just like the bizarre neon lights in the urban night scene, giving rise to a state of intense chaos, disorder and excitement. The works and society form an interaction. In the history of abstract painting, this is unprecedented. It created a brand new chapter in abstract painting language and society in transition period.
Fu Zhongwang “Closure” 95cm×106cm×45cm Wood 2017
On November 1, 2017, "Complex - The Art of Fu Zhongwang" was opened at the Ju Ya Ge Museum. The exhibition invited the director of the Hubei Museum of Art Kun Shaofeng to serve as a curator, exhibiting more than a hundred pieces of Fu Zhongwang's sculptures, installation art, aluminum foil extensions and manuscripts, and presented a multi-faceted expression of Fu Zhongwang, forming a near-term stage. Fu Zhong Wang study.
Sui Jianguo "Nuclear #4" 290x185x130cm cast copper 2013-2017
March 9, 2017, Artist Sui Jianguo's latest solo exhibition “Make Humanity” begins in Pace Beijing. The bronze sculptures such as "Space Extrusion" and "Handwriting" series exhibited at this time are the new works of Sui Jianguo from 2016 to 2017. The image "Circulation of the Human Body" displayed in the exhibition hall is a clear record of the process of sculpture creation. The interaction between the artist's hand and clay is like a performance art. This time, Sui Jianguo once again collaborated with computer programs and foundry masters to use high-precision 3D scanning and 3D printing technologies to accurately scan and restore a single piece of muddy manuscript, while retaining finer details of handprints. The degree of refinement to 0.02 mm is like "a conclusive proof of identity." This further reveals the concept of Sui Jianguo: the physical essence of sculpture art.
Tan Ping's "..." exhibition site
On April 27, 2017, Tan Ping, an artist known for his abstract paintings, was present at the Yuandian Art Museum with the conceptual exhibition “...”. "..." is an artist's extreme expression of the theme of "construction" and "resolve" - the failure of empiricism reflects the artist's creative concept of the completeness and completeness of artistic works.
"When you turn on the light, the work is there and the light works will disappear." Tan Ping said. “You can even say whether there is no light or not. Because what it is not what is essentially determined by the viewer. Art comes from the human psychological experience, the more the artist interprets, the more meaningless.” The way to stay away from constructing an artThe world of ambition. The exhibition "..." casts a world that is always in the choice, a point of tangible and intangible. The discussion of "existence and nothingness" is a philosophical view from the perspective of the West and a world view from the East.
Su Xinping's "The Second Book of Peace" 196cm × 812cm (28cm × 28cm × 203) Copperplate 2017
On May 12, 2017, the "Virtual Reality: Su Xinping Exhibition", curated by the critic Yu Ke, opened at the Art Museum. The exhibition is an important node for artist Su Xinping's creation and transformation in 2008. He exhibited the "Eight Things", "Ping Yue", "The Wilderness", "The Tenth" and "Wipe Paper" created in the past ten years. 20 sets of works. When curator Yu Ke talked about the exhibition's theme of "fictional reality," he said: "As far as the topics discussed in this exhibition are concerned, the practical understanding of the "fictional" proposition does not allow us to touch reality. At another level of life, we try to think about whether there is a true objectivity in reality, and how does Su Xinping, an artist, use depictions to construct all aspects of contemporary painting? A lot of questions are waiting for us to discuss."
王璜生《界》Metal frame, metal mesh, swing machinery size 2017
On August 10, 2017, Wang Qisheng's large-scale solo exhibition "Border/Space" was officially opened at the Beijing Minsheng Museum of Modern Art. The exhibition brought together Wang Qisheng for the past five years. There are nearly 10 series of paintings and installation video works, including the creations of “Travel, Elephant”, “Lines and Elephants”, “Traces, Elephants,” and “The Elephant and Elephant” series, as well as exhibition space for the Beijing Minsheng Modern Art Museum. Specially created “Boundary”, “Wrap 2”, “Overflow”, and “Blowout 2” large-scale installation video works. The theme of this exhibition comes from the artist’s constant inquiry into the “border and space” issues. Boundary as a boundary includes both The contradiction between the suspicion of the existing rules and the ideological conception, at the same time it is also the outward manifestation of all historical and power discourses such as territorial, ideological, etc. The space issue is divided into two in the artist's creation: The artist's long-lasting attention and reflection on the historical theme and the realistic theme of "de-sensory", on the other hand, from the stand to the device, from the point-line to the three-dimensional visual transformation and exploration of the two-dimensional plane.
Wu Shanzhuan "Koping" manuscript 2017
2017 On May 27th, Wu Shanzhuan & Ingers-Swara Tosdotir's solo exhibition “Causes and Projections from the Project” curated by curator Liu Xin opened in Long March Space. The artist once said that the world Already existed, we have hardly ever used a word that belongs to our own invention, so how can we possibly “create a world” or even narrate this behavior? There is an insurmountable distance from origin and the reason cannot be inherently The “cause” has become a working title, and the work points to “a structure that serves the cause.” Therefore, the entire exhibition starts with the phrase “the cause and the artifacts projected from it.”After the divergence.
Xing Danwen's “Only in this mountain” Cinder and integrated material installation 2017
On September 10, 2017, Xing Danwen's solo exhibition "The Prisoners of Love" was opened at the Red Brick Art Museum. This exhibition is the largest exhibition held by Xing Danwen so far and covers the most extensive exhibitions. “The Prisoners of Love” is based on the curatorial ideas of the curator Tarek Abou El Fetouh, and has targeted and selected relevant works created by Xing Danwen to date, including photography, video, and The installation and a new batch of artists who have never made appearances. The theme of the exhibition, "The Prisoners of Love," was taken from the French literary work by the French poet and author Jean Genet. Enthusiasm focused on social issues and the resulting revolt. The book described the author’s personal experience with Palestinians and the social activists of the Black Panthers in a unique narrative style and “the way he chose”. Unique poetic and profound thoughts.
Xu Bing's "Eye of the Eyes" 81-Minute Movie 2017
On December 1, 2017, Xu Bing, the artist's self-titled solo exhibition curated by Feng Boyi and Wang Xiaosong, opened at Wuhan Hehe Art Museum. The efforts of the curatorial team of this exhibition are different from those of peopleThe "Xue Bing" in those works he learned was an unfamiliar "Xue Bing" behind the appearance of the works. For more than 30 years, Xu Bing's multi-media creations have been interwoven in several different clues. His works are both impressive in quantity and type, and they are in the world due to their clarity of art expression and their pertinence. The high degree of recognition in contemporary art also influences the overall appearance of Chinese contemporary art at different levels. It should be noted that although this is the first time in China that the exhibition of Xu Bing's art is presented more completely and concentratively, it is not simply a review or summarization. Instead, Xu Bing’s art method is displayed through his works and he keeps constant. The reason for thinking lies.
Zeng Fanzhi's red background Van Gogh III is like “Van Gogh III” 2017
On October 20, 2017, Zeng Fanzhi's five works met with the public at the special exhibition hall on the third floor of the Van Gogh Museum in Amsterdam, the Netherlands. Zeng Fanzhi created a group of six portraits for this exhibition. All of them were inspired by Van Gogh's self-portraits. Three of them were included in this exhibition. He first sketched Van Gogh's image on a blank canvas in order to re-experience Van Gogh's way of seeing himself as if he were gradually familiar with a stranger. Van Gogh's original work is known for his unique, inimitable, strong brushstrokes. Zeng Fanzhi added his personal lines on Van Gogh's face until it was covered and submerged. At last he found the image of Van Gogh again and became a portrait of Zeng’s “Mask”. This integrates his style into Van Gogh's life and image.
Explore "Invisible 20#" Stainless Steel Knocking 3D Printing Sculpture, Spitfire Roasting Color 1200x1000x600cm 2017
June 24, 2017 "Expectation: Environment" is unveiled at the Yu Long Art Museum (West Bank Museum). This is the biggest solo exhibition of the artist's career prospecting to date. A large-scale solo exhibition held in Shanghai. The outlook indicates that the biggest difference in this exhibition is that it can really touch the essential relationship between technology and art. He tandemed the entire exhibition with “holes.” The “hole” is not only the relationship between the space of the Dragon Art Museum and his works, but also his own creation experience: “In each of my creations, it seems that we are drilling into a hole. This is not physical, it is a spiritual cave space.Before this, I was in the cave for almost two years and it was difficult to get out. Only when an exhibition is over can we come out slowly. The concept of this cave is me Points of Interest."
Zhang Peili “Places that should not be left for a long time” Sound Devices 2017
On November 4, 2017, the first solo exhibition since the opening of the shelter space: Zhang Peili "no network" was opened, and Zhang Peili's newly created sound installation "A place not to stay long" was exhibited. The moment he first entered Zhang Peili’s “No Network” exhibition site, he needed to adapt to the darkness in front of him. The number of visitors set up in the exhibition is: No more than 10 people at a time, the audience can fully understand the situation of the six spaces inside. However, entering the venue and facing the “no network” prompt on the mobile phone screen, the pressure on the heart is self-evident. Zhang Peili did not try to give a clear interpretation of the exhibition. He hopes this is an open work.I believe different people will have different experiences in such situations. Whether it comes from the direct reaction of the body or the association with the reality, or the hint of the existing experience, or even the prediction of the unknown.
Zhuang Hui's Qilian Mountain Series -14 Color Inkjet Print 90x135cm 2016
On March 18, 2017, Zhuang Hui's "Qilian Mountain was opened in Beijing Space of the Evergreen Gallery. This is the fifth solo exhibition in the artist's artistic career; as an artist to realize the landscape scenery The first step of the long-term art program fully presented Zhuang Hui’s observations and experiences after visiting Qilian Mountain for several years.Zhuang Hui’s painting behavior emphasized the inevitable difficulties faced by him as a Chinese artist who created contemporary art. On the one hand, he wanted to establish contact with the landscape of his childhood in order to experience the true meaning of being an artist in the Eastern concept, but on the other hand, this artistic tradition has been sleeping for a hundred years and is buried under the complex history of years of cultural exchange. .
Cao Yuquan's Spring Single-Band HD Recording, Color Silent 11'10" 10th Edition + 2AP 2017
On November 4, 2017, Cao Yu's solo exhibition was opened at Beijing's Muller Gallery. Cao Yu exhibited a series of experimental new works, including photography, video, and painting. ,sculpture,In many installations, performances and other media, artists used solemn and risky actions and impactful visual forms to invade audiences, interpreting topics such as body and self, perception and will, artistic experience and viewer experience. The meaning and the intricate relationship with the reality send questions. While presenting the state of adhesion of life and art, it creates a field effect of strange and intense tension.
Hu Weiyi's "Today's Plan" Size-adjustable Synthetic Material 2016
On January 5, 2017, Hu Wei started an "Executive Business" exhibition at Shanghai Dong Gallery. The exhibition presented Hu Weiyi's recent completion of "Glanfiedi in Dufftown, Scotland. The artist's work in the village plan, most of which are the realization of the artist's expected life trajectory in the brewery, gives more meaning to the various forms, functions and structures derived from relevant ready-made objects and plain scenes.
He Xiangyu “Iron Net” 599x33x702cm Iron, Twine, Steel 2017
On February 18, 2017, the first exhibition of the new space for the open space launched He Xiangyu's new work exhibition, which showcased the artist's new creations and presented them with rich media such as paintings, installations and videos. A series of explorations of the artist's homogenous homogeneity - the non-verbal expression of cross-cultural boundaries andBody perception is a continuous and deepening reflection on the motif.
Jiang Bo "De Paris, Paris - Ceiling" installation 2017
Kong Lingnan “Contour IX” Oil on canvas 130x195cm 2017
On August 5, 2017, Kong Lingan's latest solo exhibition “Contour” was opened at Yang Gallery, displaying the artist's recent paintings and installations. In the past seven years, Kong Lingnan has always been concerned about the relationship between man and man and man and the environment. What she chose was not to immerse but to discuss and create with an observational approach of the other's infinite distance. This sense of distance allows us to see All beings and themselves. Kong Lingan’s perspective has stretched from parallel farsightedness to overlooking from high altitudes.The islands at this time seem more like organic organisms swimming one by one in the Universe, and the people on the beach have become a group image that has stripped away its personality. In this exhibition, she continued her previous viewing perspectives, attempted to depict individuals and crowds in a drawn-out manner, and made further self-promotion through painting and installation.
Li Ran's Guest Travel Life (Screenshot) HD Audio Single Channel Video, Black & White & Color 33' 2017
On December 2, 2017, Li Ran's solo exhibition - "Travel and Life" was opened in ShanghART Beijing. The exhibition showed the artist's latest video And sculpture works. The word "guest" here is the description of believers in many places in the New Testament Bible. It is intended to illustrate the attribution of Christian identity. However, these descriptions do not mean excessive indulging in this ideology, and the elimination of the world's views and considerations, but clarify the vision of seeing things: the focus is not only the existence of the world, but the insight into a promising promise. a better world. In the work “Guest Travel Life”, the artist avoids the hard and deep atmosphere with unprepared and objectively calm tone. Others' imitations, and the departure from the subtleties, spilled a trace of humor. The film takes more than half an hour and tells the story of the three generations of sheep. It only follows the incidents and locations of the original photo documents and links the enlarged, blurred image signals.
Lu Yang's "Lu Ge Dance" Animation 2017
On the evening of October 28, 2017, X. Lu Yang's solo exhibition "Mental Kingdom" A bursting night came. It not only presents the artist's previous images, installations, programs and game works, but also highlights the artistic ambition of landing with a series of new works created specifically for this exhibition. As one of the leading figures of the new generation of new media artists, Lu Yang’s creative art practice uses scientific theories to exorcise human experience, uses humor to defame human absurd efforts, and dispels meanings with popular pop culture language. Her work draws knowledge from biology and neuroscience and shows her continued attention to “spirituality” in cultural and religious contexts.
Leng Guangmin's "Fruit Chips" Cloth Acrylic Composite 160x240cm 2017
On July 15, 2017, the Hive Center for Contemporary Art launched the latest exhibition of Leng Guangmin in Hall A: "Perfect Damage". This is the first time that Hive Beijing has used its main exhibition hall for the first time. A "post-80s" young artist holds a large-scale solo exhibition. The "Perfect Damage" solo exhibition focused on the creation of Leng Guangmin for more than two years. The artist continued to maintain the unique personal creative method of the past. He still used a piece of paper to stick on the linen, and then painted the required graphics on the paper with acrylic. Finally, he used a knife ghostwriter to describe the details of the graphics and reapply it under the paint. Part of the paper surface is exposed, so as to achieve the shape of the graphics itself to shape the purpose of plastic.
Lee Yu's "Stagnation" Tri-band video works 2016-2017
June 8, 2017 Li Wei's solo exhibition "Normal" opened in this space. The images and installations in Li Xi’s solo exhibition showed an inward search, revealing the pure and true of time and existence through the peeling of appearances. From the work, one can feel the artist's excavation and restart of a certain day-to-day experience from an experience level. This is a kind of current that is always on the move and is not subject to subjectivity or objectivity, but is obscured and submerged by the eventual reality. By deconstructing and pulling away the piles brought by modern civilization that are attached to this daily routine, Li Wei reverts our current position to a non-dramatic, non-definable, normal existence.
Wang Enlai's "Glass, Rubber Balls and Straps" device 240x45x120cm 2017
On June 16, 2017, the artist Wang Enlai's latest solo exhibition "Temporary Relationship" officially opened in China. The theme of this exhibition comes from Wang Enlai's 2014 “temporary relationship”. In the subsequent years of his creation, he found that many of his works have more or less this kind of logic. Wang En said: "I do not care about the symbolic meaning of the material itself, but instead pay more attention to the internal logic of material properties, so that they can break away from the original functional context and generate new relationships under mutual interference." This is what the artist talks about. "Temporary relationship" means that the relationship between matter and matter is temporary. What happens in the next second is unknown. It may be separated, torn, broken, collapsed or even extinguished., Looking for new possibilities in uncertainty.
Yuan Keru's "Instant on the Beach" Four-screen video installation 27 minutes and 10 seconds in 2017
On May 20th, 2018, "Sutusia Subarbaenja + Yuan Keru Solo Exhibition" Yu Shi At the opening of the Language Gallery, the protagonists in Yuan Keru's works represent the pilots, administrators, survivors and electronic people. They are gradually being infringed, stripped and assimilated under the development of science and technology and systematically manipulated. They lose love, freedom and ideals. It is sealed in the shadows of the world and the edge of the universe. Between the fleeting moments of life, they have also struggled. They have also tried to break through the cages of class and destiny, to find absurd homeland and to save themselves. However, because they have contradictions, lost feelings, weaknesses and restraints that they are consciously unable to do, they eventually failed to do so. Can escape the set of characters they have been prepared for. This feeling of helplessness and disillusionment is a self-projection of the ups and downs of the highly developed city of exploitation, the anxious fear of life, and fate.
"The Second Changjiang International Image Biennale" Exhibition Site
On April 28, 2017, the 2nd Changjiang International Image Biennale was opened in Chongqing. The exhibition consisted of three members, the Chinese artist Wang Qingsong, the Nigerian curator Bisi Silva and the Chinese curator Cui Cancan. The three curators have different academic backgrounds and come from different regions. One is a contemporary Chinese photographic artist, one is a contemporary international art researcher and curator, and the other is an independent curator acting on the Chinese art scene. .
The theme of the exhibition is "The high rise of flats rises above the ground". It is intended to show that any building must be constructed from flat ground and things can be built from scratch. As the theme of the exhibition, it metaphors the various changes experienced in the history of video art in its own development, the constant confirmation and emphasis of each brick and each foundation, and also symbolizes the ubiquitous reality of video art today, and its The influence of various industries on light or darkness. The entire exhibition considers whether the image can be accurate in the current era of “reading pictures”.Record the past, can accurately record this rapidly changing real world, and guide our thinking about future trends. There are a total of 230 artists participating in the exhibition, of which the VIDEO works and the number of photographic works are quite similar, and many performance art works are also included. The curators bring together works of imagery from all over the world, in different fields and from different groups of artists. Like the building of a future building, they are full of possibilities, full of fresh energy, and lively exhibitions.
▼ "The Fourth Art Document Exhibition/Stress Field" exhibition site
"The 4th Art Document Exhibition/Stress Field" was opened on September 15, 2017 in Wuhan Art Museum of Wuhan. This year's Art Literature Exhibition invited artists from 14 countries to participate in the exhibition. Compared to previous editions, the structure and vision of the exhibition are more forward-looking and open-minded. Undoubtedly, this will be an open dialogue of multidimensional thought collisions and exchanges. The exhibition uses the term "stress field", a physics-specific term and concept, as a theme, and attaches it to the alternative life as an artist. How to use a multi-media approach to translate attitudes and positions in the visual arts language to accept and adapt The stress and the intensity of such variations and distortions indicate the power of the individual's creation in an abstract sense, thus suggesting the multiple checks and balances formed by such pressure, wrestling force, and tension in the context of the world situation. A "visual stress field" at the Fourth Art Documentary Exhibition.
Seventh Shenzhen-Hong Kong Bi-city Biennale of Urbanism
On the 15th of December 2017, the 7th Shenzhen-Hong Kong Bi-City Biennale of Urban Architecture, the exhibition takes the theme of “Cities, Grow in Difference” (Cities, Grow in Difference) This year's Biennale was curated by curators and critics Hou Yiru, URBANUS Founding Partner of Urban Practice, architects Liu Xiaodu and Meng Yan, and more than 200 exhibitors from 25 countries passed the architecture and arts. And design Products, explore the Chinese model of urban development in the context of globalization, and attempts to depict vision for the future of the city. Curator HouFor example, the theme of the double exhibition, Cities, Grow in Difference, is not a constant and defining theme, but a theme of mobility. It covers the entire participation, experiments, and attempts. the process of. The exhibition's works are very different from the ones presented in our intrinsic concepts. The biggest highlight is the exhibition's main stadium, called "The Ancient City of Nantou," which is both a historic city in Shenzhen and a city village in the process of urbanization. In the inspection, the exhibitors and artists established six tailor-made “City-in-the-Village” transformation projects throughout the ancient city of Nantou. The exhibition works were scattered in every corner of the ancient city of Nantou. Perhaps one accidentally, the audience could meet one. Pieces of heavyweight works. These plans pay special attention to the significance of the introduction of key public space renovations and public activities to activate and promote the rebirth of ancient cities.
"Idol in the Idol" Yue Minjun exhibition site p>
On December 2, 2017, @Wuhan 2017, “The Original Form of Yue Idol·Yue Minjun” was opened at the Hubei Museum of Art. Curator Yan Shaofeng said: "Returning Yue Minjun to the analysis of specific social historical atmosphere at that time," "Idol" is the message that Yue Minjun first received by the audience. "Formality" is the artist's thinking behind the "idol" and the different things he wants to convey. Exploration, ExhibitionFrom the perspective of “idol” to “form”, the status of Yue Minjun is presented in a three-dimensional manner. The exhibition presents the artist's canvas paintings and sculptures by Yue Minjun, including classic works such as Labyrinth series, Trivia series, Title series, and Scene series. Through the artist's status in recent years and part of past creative cues. Shows the contemporary artist's current state of existence and self-knowledge of society.
"Virtual Focus - Zhu Wei's 1987-2017 Solo Exhibition" On August 26th, 2017, Lu Hong planned the "Virtual Focus - Zhu Wei's 1987-2017 Exhibition". The exhibition presented contemporary Chinese ink artist Zhu Weisan. Ten years of artistic career. Regarding Zhu Wei's artistic achievements, Lu Hong believes that Zhu Wei’s extraordinary skills in art are: On the one hand, he inherited the traditional expressions of traditional Chinese brushwork, and on the other hand he also reconstructed the theme, concepts and feelings of the heart. The new tradition of meticulous performance. Between the tradition and the contemporary, Zhu Wei's art freely carries out new artistic expressions. The entire exhibition presented Zhu Wei's thirty years of painting and sculpture works, including the "Beijing Story" series, "Sweet Life" series, "Chinese Diary" series, "Ink Painting Study" series and "Kai Chun Tu" series. Lu Hong particularly emphasized Zhu Wei's recent works in the exhibition: that is, Zhu Wei is no longer usingInstead of painting rice paper and glutinous rice, they used the people's daily newspapers. Because the paintings are red curtains and related symbols, their works are more profound in the expression of ideas.
The First Anren Biennale Exhibition Site
On October 28, 2017, the first Anren Biennial was opened in Anren Town, Chengdu. This large-scale contemporary art exhibition is located in an ancient town in Chengdu, Sichuan Province. The four curatorial teams led by the chief curator Lv Ying took the theme of “Today's Past” as the theme. Standing today, looking at the past and thinking about the future, the curatorial team presented the humanities status and future development of the ancient town of Anren and presented more than 140 Works by participating artists from home and abroad. From the curators' point of view, the contemporary biennials in too many cities are taking a globalized and internationalized mode of thinking, and what is missing is linking the local history, culture, and current concerns. The Anzhen, an ancient town next to Chengdu, is particularly suitable for thinking about this issue. An Ren has his own history. How can contemporary art relate to this land? Put this place of An Ren in a context of globalization and regionality. Therefore, in the entire exhibition, 60% of the works were created by contemporary artists for the An Ren and An Ren Biennials. “The ‘today’s of the past’ can be said to be just the direction of a general problem. Each curator will interpret this issue and expand the subject to form a diversity of issues.“Lu Wei said that when each curator chose an artist, the problem was expanded and each artist's thinking on this issue was different. It was not the artist’s intention to illustrate the curator, but it was The artist's independent thinking.
The 57th Venice International Art Biennale China Pavilion< /p>
On May 11, 2017, the 57th Venice International Art Biennale China Pavilion opened at the Armory and Virgo Gardens in Venice, Italy The exhibition was curated by Qiu Zhijie and was based on the theme of "non-interesting interest." It was derived from the "Easy Life and Sayings" in the Book of Changes. It was based on a Chinese people's special understanding of "Eternal Life." Chinese artists all have their own divisions Cheng and, at the same time, are both teachers, and in such an old and new style of singing and singing, and relays passed from generation to generation, endless relays gather in an endless field of energy.Section>
"The First Inaugural Monetary Attack" Wuhan Ink Biennale Exhibition: Fusion and Alteration Exhibition Site
On October 20th, 2017, “Harmony: Integration and Adaptation” opened at the Wuhan Art Museum, opening the fourth unit exhibition of “Ink Attack: The First Wuhan Ink and Wash Biennale” Curator Wang Chunchen stated that the unit exhibition “combination” presents the new posture and new trend of the ink art, “it embodies the state of the artist’s ink and field of vision.” “The artist returns to real ink painting and returns to real people. With regard to the existence of ink and wash, people become the highest realm of ink and wash creation. It is a collection of classic things, but also able to absorb and change, to form the concept of 'combination'. This exhibition selected more than 20 artists and displayed a "modern and vigorous contemporary cultural stance, the demand and grasp of ink and wash with its history The pulse system is the core and responds to and accepts the challenges of the times as an artist’s ambition.
“Boundary/Space” Wang Shengsheng Solo Exhibition Site
On August 10, 2017, Wang Yusheng’s large scale The solo exhibition "Border/Space" was formally opened at the Beijing Minsheng Modern Art Museum. Prof. Wu Hong, the art history critic, acted as curator. The curator Wu Hung believes that the abstract line in Wang Shusheng's works has become a metaphor for historical memory and realistic politics. His abstract art has acquired life from the reflection of ideas and from the care for history and reality. Art experiments are full of exploration and questioning of borders and space.
"Wang Dongling: Bamboo Trail" Solo Exhibition Site
On August 12, 2017, “Wang Dongling: Zhu Jing” was opened at OCAT Shenzhen Pavilion. The exhibition was curated by the famous art historian and curator Wu Hong. Regarding the exhibition, Wu Hung said: “This is a trail composed of bamboo and calligraphy, bringing us into a vague perception area, experiencing a series of memory and history, environment and venue, and media in a short span of 20 meters. Material and Symbols, Images and Devices Penetration.” This exhibition exhibited a special creation for Wang Dongling, continuing Wang Dongling’s long-term exploration and practice of calligraphy, trying to use bamboo to begin a dialogue between traditional calligraphy and contemporary art, and clash with memory. And the boundaries between history, environment and venue, media and symbols, images and devices. The works are distributed in Halls A and B of OCAT Shenzhen Pavilion. In Hall A, 201 bamboo stems with a height of 5 meters and a diameter of 15 centimeters are hung vertically on the steel frame of the roof. Visitors can stroll through the “bamboo trail”. Wang Dongling uses black oil as his ink. He wrote ancient bamboo poems as his text and wrote his own "chaos book" on bamboo poles.
"Daydreaming Forest: The Image World of Jian Jian'an" Exhibition On the evening of July 14th, 2017, the new artist Wu Jian'an, the curator of the University of Chicago, curated the new exhibition “Daydreaming Forest: The Image World of Jian Jian'an” at the University of Chicago, Beijing. The center opened. This exhibition shows artThe artist, Jianjian Jian, has produced two sets of new works for the exhibition space at the University of Chicago's Beijing Center. According to Wu Hung’s introduction, “Five Hundred Poke” combines painting, paper cutting and collage: first draws ink and mineral pigments on rice paper, and then cuts and writes these handwritings into a brand new image. A new type of “two-dimensional art” form creation; “Daydreaming Forest” is inspired by the bronze “Cash Tree” of the Han Dynasty. It uses the two-dimensional fantasy characters and animal images created by the artist in the early days to construct a beautiful three-dimensional visual space. structure.
"Meijihuichun 1995-2017 Wang Mai Painting Exhibition" site< /section>
On June 8th, 2018, the “Rejuvenating 1995-2017 Wang Mai Painting Exhibition” was opened at the Beijing Minsheng Museum of Modern Art. This exhibition is the first painting solo exhibition of Wang Mai's artistic career. Wang Mai's paintings have not been supplemented by space media works since the 1990s. Although the trend of internationalization in the 1990s almost defeated the ancient status of painting, due to the occlusion of domestic information and the limitations of the exhibition space and the production of three-dimensional works, Wang Mai’s artists of this generation were still at the beginning of their artistic career. The solid modeling foundation continues to explore and focus on the style and concept of painting for a long time.
(in alphabetical order)
"Observer's Technology: Vision and Modernity in the 19th Century" "Watching: How to Experience Contemporary Art" What is Art? ——Boys and Student's Dialogue “World 3: Open Graphics” “Pain is a Wall I Traverse” Image and Meaning: History of Anglo-American Modern Art “Modern Art 150 Years: An Unfinished One The Story "The Changes of Modern Sculpture" "Chinese Contemporary Art Yearbook 2015" "Suspending Perception: Attention, Landscape and Modern Culture"
"Observer's Technology: Vision and Modernity in the Nineteenth Century"
In the Observer's Technology: Vision and Modernity in the 19th Century, the author provides a perspective on the visual culture of the 19th century and updated us Understanding of issues such as visual modernity and social modernity. Different from the general research methods, the author does not think about visual issues through the study of works of art and images. Instead, he analyzes the historical construction of the observer's subject. He insists that the issue of vision is inseparable from the operation of social power and examines how the observer has become a device of new discourse since the first half of the 18th century. How vision is placed in the body as a physiological event . Clarry pointed out that in addition to the sudden appearance of physiological optics, the development of the theory and model of “subjective vision” also gave viewers a new kind of autonomy and productivity, while at the same time making a new form of control and Visual standardization is produced.
"Watching: How to Experience "Contemporary Art"
"Watching the Way: How to Experience Contemporary Art", in order for readers to interpret some of the most competitive works of art in the world today ,The author Oseen Ward put forward his "white rule", which is to take a new perspective to re-examine contemporary art, listen to his own heart, erase certain mysteries of the representations of artistic works, and take them from everything. The artificially detached values are considered as the first time we are exposed to this art form. This book is based on this law.
What is Art? - Boyce and Student Dialogue
What is Art?--Boys and the Student Dialogue discusses exactly what is the art of this age-old problem. But it is timeless. Boyce, one of the famous German artists of the 20th century, responded to this question with his avant-garde artistic creation and unique thinking. Whether it is "social sculpture," "expanded art," or "overall art," Boyce's ideas have left an indelible influence on the art world in the 20th century. This book will take you through the ideological origin and context of the artist and explore what art is.
World 3: Open Image Study"
The "World 3" Academic Yearbook mainly publishes art history theory and its related language history, psychological history, philosophy history, cultural history, religious history, and social history. Leading research topics and translations in the history of thoughts and thoughts, as well as reporting and reviewing international information, books, exhibitions, and research institutions on related topics. By providing a publishing platform for research results in this academic field, it seeks to create conditions for the formation of new Chinese thought patterns and knowledge forms in this field. "World 3: Open Graphics" seeks to show the prospects of the possibility of imagery in the history of contemporary art by stimulating the theoretical context of modern imagery and its openness and promoting a foundation based on rational criticism. Open learning style.
"Pain is a wall I traverse"
author: Marina Abramović Su Wenjun (translation) p>
Publisher: British Gaiman Islands business network with the book p>
publication date: 2017- 01
"Pain is a wall I traverse," Abramovich uses the body as a medium to perform a variety of shocking performances that challenge social cognition."I experience Absolute freedom - I feel my body unrestrained and limitless; pain is not important, nothing is important ... At that moment I knew I had found my own medium. There was no painting, or something I could do to bring this feeling to me. "She inherited her mother's will to wear the wall, transcending the limits of the body and spirit, and throwing out life issues to invite viewers to participate in and think about it. Abramovich's story touched the human heart from time to time, sometimes vigorous, with a cold Humorously reveals an artistic career that has driven him to the limits of fear, pain, and exhaustion, made no one able to fight against the enemy, and a dangerous journey that seeks emotional and spiritual transformation without compromise.This book is an outstanding performance. , clearly and forcefully describes the legendary life of an extraordinary artist.
"image and meaning: Anglo-American history of modern Art of" p> section> section> author: Shen of ice p> Publisher: business Impression Gallery Published:2017-09
author: Shen of ice p>
Publisher: business Impression Gallery
Image and Meaning: History of Anglo-American Modern Art is an example of Shen Yubing's publication of 20th Century Art Criticism 13 years later To further deepen and refine the achievements of the study of the theory of modern art history. "Introduction to the Basic Topographic Map of the History of the Anglo-American Modern Art In addition, the main part of the book of Roger Fry, Greenberg, Shitanboge, Shapiro, T. J.Clarke and Jonathan Clarry composed of six topics, covering the modern art history of formalism, modernism, modern graphics, psychoanalysis, social history of art and visual archaeology and other important theories and methods.
Modern Art 150: One unfinished Tales " p> section> section> author: [English] Will Gongpei Zi Wang Shuo (translator) p> Publisher: Guangxi Normal University Press Published:2017-03
author: [English] Will Gongpei Zi Wang Shuo (translator) p>
Publisher: Guangxi Normal University Press
"150 Years of Modern Art: An Unfinished Tale" Covers Nearly 100 Artists and Their Representative Works The history of more than twenty schools of modern art was sorted out, the development of modern art was outlined, and what happened to art in this century and a half was described. Art no longer has to be related to the United States; it is more about ideas. Those bizarre, motley art schools, after unveiling their mysteries, are actually amazingly simple, but wonderful and even great. Looking back at the path of rebellion in modern art for a century and a half, we have witnessed how generations of people have become increasingly rebellious, bold and chaotic. Behind this is the artist's endless questioning of "What is Art" and their response and resistance to the surrounding world. The story of modern art continues and may never be completed.
Transition of Modern Sculpture< / p> section> section> author: [US] Rosalyn Klaus Ke Qiao Yen (translator) p> Press: China national photographic Art Publishers Published:2017-03 The Evolution of Modern Sculpture by Rosalind E, an American contemporary art critic and art historian KrauSs) was published in 1977. As one of the first books in the real sense to introduce the new idea of "French theory" at that time into modern sculpture discussions, Klaus broke through the modernist art led by Greenberg with profound insight and extraordinary courage. The Criticism System, using structuralist, phenomenological, and psychoanalytic theories and perspectives to interpret modern sculptures and re-elaborating from Rodin, through Futurism, Cubism, Constructivism, Duchamp, Brancusi, Surrealism, Moore, Hepworth, Smith, Carlo, dynamic art, occasional art, and the transition to modern minimalism in minimalism. Chinese Contemporary Art Yearbook 2015 p> section> section> author: Zhu Qingsheng p> Press: Guangxi Normal University Press p> publication date: 2017-01 < The "Chinese Contemporary Art Yearbook" is a large-scale yearbook of Chinese contemporary art. It began editing in 2005. It is edited annually and is being edited in 2017. Presents the status quo and development of contemporary Chinese art and establishes the basis and index for the development of Chinese contemporary art. The historical basis of Chinese art in the future is based here. The "Chinese Contemporary Art Yearbook" records variables and does not record constants. It is an investigation and collation of the ongoing experiments, explorations, innovations, and current encounters of Chinese art. With the unit of the year as an objective, it records the facts objectively and conducts various records. Verification, concise description, and cross-checking enable the display of changes in contemporary art, and then work hard to reveal the meanings and interrelationships of important facts, thereby reflecting China’s modernization process and its social trends, cultural phenomena, and contemporary The most keen creative response, at the same time, marks the promotion and introspection of the modern process of art. This article is published for Yachang Art Network -END-
author: [US] Rosalyn Klaus Ke Qiao Yen (translator) p>
Press: China national photographic Art Publishers
The Evolution of Modern Sculpture by Rosalind E, an American contemporary art critic and art historian KrauSs) was published in 1977. As one of the first books in the real sense to introduce the new idea of "French theory" at that time into modern sculpture discussions, Klaus broke through the modernist art led by Greenberg with profound insight and extraordinary courage. The Criticism System, using structuralist, phenomenological, and psychoanalytic theories and perspectives to interpret modern sculptures and re-elaborating from Rodin, through Futurism, Cubism, Constructivism, Duchamp, Brancusi, Surrealism, Moore, Hepworth, Smith, Carlo, dynamic art, occasional art, and the transition to modern minimalism in minimalism.
Chinese Contemporary Art Yearbook 2015 p> section> section> author: Zhu Qingsheng p> Press: Guangxi Normal University Press p> publication date: 2017-01 < The "Chinese Contemporary Art Yearbook" is a large-scale yearbook of Chinese contemporary art. It began editing in 2005. It is edited annually and is being edited in 2017. Presents the status quo and development of contemporary Chinese art and establishes the basis and index for the development of Chinese contemporary art. The historical basis of Chinese art in the future is based here. The "Chinese Contemporary Art Yearbook" records variables and does not record constants. It is an investigation and collation of the ongoing experiments, explorations, innovations, and current encounters of Chinese art. With the unit of the year as an objective, it records the facts objectively and conducts various records. Verification, concise description, and cross-checking enable the display of changes in contemporary art, and then work hard to reveal the meanings and interrelationships of important facts, thereby reflecting China’s modernization process and its social trends, cultural phenomena, and contemporary The most keen creative response, at the same time, marks the promotion and introspection of the modern process of art. This article is published for Yachang Art Network -END-
author: Zhu Qingsheng p>
Press: Guangxi Normal University Press p>
publication date: 2017-01 < The "Chinese Contemporary Art Yearbook" is a large-scale yearbook of Chinese contemporary art. It began editing in 2005. It is edited annually and is being edited in 2017. Presents the status quo and development of contemporary Chinese art and establishes the basis and index for the development of Chinese contemporary art. The historical basis of Chinese art in the future is based here. The "Chinese Contemporary Art Yearbook" records variables and does not record constants. It is an investigation and collation of the ongoing experiments, explorations, innovations, and current encounters of Chinese art. With the unit of the year as an objective, it records the facts objectively and conducts various records. Verification, concise description, and cross-checking enable the display of changes in contemporary art, and then work hard to reveal the meanings and interrelationships of important facts, thereby reflecting China’s modernization process and its social trends, cultural phenomena, and contemporary The most keen creative response, at the same time, marks the promotion and introspection of the modern process of art.
This article is published for Yachang Art Network