Wang Chuan: Circumference

onging

[exhibition]

"Despite the excellent eyesight of Lou Li and the supreme craftmanship of Gong Shu ban, one cannot draw a circle and a square without a compass and a ruler." This is the opening line of a Chinese Classics Mencius: Li Lou Part /_ In this classic text, compass and ruler together represent a systemic structure that guides the modus operandi and informs one's way of being-in-the-world. It is here where our journey through Wang Chuan's explorations is set in motion.

The title of Wang Chuan's solo exhibition at Pingshan Art Museum, Shenzhen is Circumference (square and circle), signifying rules and statutes. The exhibition is put together with two intentions. One is to reflect the core components of fang (square) and yuan (circle) in Wang Chuan's works. The other is to outline the essence of his creation, and that is the state of in-betweenness. This exhibition is, therefore, a tribute to the contributions made and accomplishment achieved by Wang Chuan, as one of the pioneering Chinese contemporary artists.

Shen Shaomin's Brief History of Science

onging

[exhibition]

As one of the artists featured in the Shenzhen Contemporary Artists Series, Shen Shaomin seems to have different trajectory. Before growing his fame in the post-2000 Asia-Pacific contemporary art world, his unique journey started to unfold back in the 1950s when he was born in a northeast province of China, an area known for heavy industry. Then he moved to Beijing in the late 1980s, and migrated to Australia in the early 1990s, where he stayed for around 10 years before coming back to Beijing after 2000. With his representative works such as "Bone Series" and "Kowtow Pump" created in Daqing, Heilongjiang Province, Shen has participated in multiple highly-recognized biennial exhibitions, thus gaining the reputation as the vanguard artist of "largescale installation" and "new material" in China. In 2015, he went to Guangzhou and then settled in Shenzhen 3 years ago, where he established the Joint Laboratory of Science and Art with the Shenzhen Institute of Artificial Intelligence and Robotics for Society.

The exhibition took the theme from "Science and Civilization in China", a popular book initiated and edited by Joseph Needham in the 1980s and it took him several decades to finish it. The "science mania" ignited by this masterpiece allowed Westerners to peek into the relationship between science and civilization in ancient China, evidently testifying science as a co-creation of different civilizations. The broad enthusiasm behind humanism, the passion for scientific research, together with the philosophical inspiration, artistic enlightenment, and poetic lifestyle back then are woven into the ideals for the current generation.

The 3rd Anniversary: Rebirth and Resonance

onging

[exhibition]

For three years, thanks to the support from the CPC District Committee and the People’s Government of Pingshan District, under the guidance of the Publicity Department of the CPC District Committee and the Culture, Radio, Television, Tourism and Sports Bureau of Pingshan District, Pingshan Art Museum, a contemporary art institution based in Shenzhen while embracing art in South China and beyond, aims to build a public-oriented cultural “infrastructure” and further develop into a “cultural highland in East Shenzhen” featuring diversity.

Against the complicated times inundated with both the old and new, as well as the symbiosis of multiple cultures, it’s imperative for us to honestly review all art researches and exhibition experiences on a regular basis, thus navigating our professional vision as an “independent knowledge producer” and honoring our commitment to “promote regional art development”.

Tracing Peach Blossom Spring

onging

[exhibition]

Affect is not only a necessary impetus in an artist's practice but also an emphatic channel to connect with the viewers. Zhou Li’s recent works distill the feelings and emotions precipitated from individual perceptions into the broader social and historical processes and translating what she’s drawn from the fast-changing events of the present into tangible and resounding forms through her artistic expressions.

This solo project, "Tracing Peach Blossom Spring" at the Pingshan Art Museum, adopts Tao Yuanming's The Peach Blossom Spring from the Eastern Jin Dynasty as a fulcrum to "trace" emotional experiences in the course of history with a "visionary" concept. "Tracing," in the exhibition title, a verb used in its active tense, differentiates Zhou Li's artworks from representations of Tao Yuanming's narrative. Meanwhile, the term alludes to how reality and the ideal realm connect through the footsteps of the Wuling fisherman despite the story's inconsequential outcome. The artist uses this "untraceable" outcome as an analogy for the unique and non-replicable nature of our emotional journey, which resonates with the notion of “traces of emotions," often emphasized in her works.

Daniel Knorr’s Materialization

onging

[exhibition]

The sum of all recognizable human behaviors, materials and non-materials might be the concept mentioned by Daniel in his narrative of materialization. It is not restricted to the conversion of thinking and concept by material but about accumulation which is both unstable and uncertain. He intentionally separates this form of art from sculptures, paintings or installations. Rather than defining his creations and works within Dadaism, conceptual art, art of intertextuality or relational aesthetics, he thinks more about constantly-changing forms in integrated temporal clues and issues in super-fast society, as well as potential consequences of openness.

Powder created in 1994 implies characteristics of relational aesthetics. Performing elements are involved such as exhibits (cocaine) confiscated by the police station and policemen on duty; patterns in powder, primitive impulses and protection with bullet-proof glass; real scene and secondary media coverage. His habits are similar to streaming media today as their focuses and works are constantly adapting and transforming themselves. With spectators and researchers feeling perplexed like engulfed by heavy fog, it is hard to have a focus when carriers of the work keep changing themselves.

NINE-TIERED PAGODA⑨“FORUM & REVIEW”

onging

[exhibition]

As the ninth and also the last project of Nine-Tiered Pagoda, “Forum & Review” brings the conclusion and retrospection for the whole exhibition over the past year.

The exhibition is divided into three parts. Starting from works designed by six artists, namely Cai Lei, Liu Gangshun, Nabuqi, Sui Jianguo, Yang Bodu, Zhang Xiaogang, Part One, with architect Liu Xiaodu creating the space, and graphic designer Huang Yang in charge of posters and other visual designs, echoes the subtitle of the exhibition, “Spatial and Visual Magic”, via different media and discourse systems.

Part Two is the recall of the whole exhibition with all nine “tiers” being presented simultaneously. The nine sets of extraordinary works with nine kinds of “space” and “design” constitute, and are also converged into, a real “Nine-Tiered Pagoda”. Our sincere appreciation goes to all participating artists for their endeavor in the first 8 solo exhibitions. They are: Artist Jiang Jie, Peng Wei, Yin Xiuzhen, Xie Nanxing, Liu Wei, Chen Wenji, Ding Yi, Liang Quan, Tan Ping, Li Binyuan, Mao Yan, Han Dong, Li Qing, PSFO (Hong Hao, Xiao Yu, Song Dong, Liu Jianhua, Leng Lin); Architect Xu Tiantian, He Jianxiang, Ma Yansong, Chang Yongho, Wu Linshou, Wang Hui, Li Han, Wang Zigeng; Graphic designer Xiao Mage, Ma Shirui, Guang Yu, Han Jiaying, Jumping He, Zhu Sha, Mei Shuzhi, Liu Zhizhi.

“九层塔:空间与视觉的魔术”⑦“面具与浮影”⑧“情景”

onging

[exhibition]

2021年9月18日,由深圳市坪山区文化广电旅游体育局主办、坪山美术馆承办、华润文化体育发展有限公司坪山分公司协办的跨界艺术大展“九层塔:空间与视觉的魔术”第七、第八场展览在坪山美术馆展览馆四层开幕。

坪山区委常委、宣传部部长邓艳东代表区委区政府向本次展览的策展人、参展艺术家、建筑师、平面设计师和来宾表达了欢迎和感谢,并在致辞中对坪山美术馆予以展望:在疫情的特殊背景下,坪山美术馆耗时一年将八层塔呈现在我们面前,随着“九层塔”层高越来越高,把我们这座新锐美术馆一次又一次地推上新高度,每场展览的设计和展陈为公众带来了极致的艺术享受。“九层塔”即将完美收官,希望它不止停留在坪山美术馆的物理空间,同时也在大家的精神世界留下最美好的记忆。

区委宣传部、区文化广电旅游体育局相关负责人及受邀的艺术界、设计界和媒体界嘉宾齐聚,共同见证了两大展览的开幕。

Nine-Tiered Pagoda: Spatial and Visual Magic⑥Forma Fantasia

onging

[exhibition]

作为九层塔的第六个项目,“形式的狂想”像是一部狂想曲,激发想象力的形式实验室,亦或是一幕孕育着无限力量的舞台剧。展览以艺术家刘韡的几何形装置为基础,邀请建筑师马岩松进行空间的呈现,平面设计师广煜进行海报等视觉系统的创作。

作为新一代文化代表的中坚力量,刘韡、马岩松、广煜的工作,植根于中国发展进程中的一个重要阶段,深受新世纪中国社会特有的变动和起伏影响——城市和人文景观的快速变迁。在这个时期,现代主义中的形式不再作为形式而存在,形式成了快速变幻与未来想象的媒介。“狂想”召唤人们走向形式的指引,走向无限的联想和“所有”。这里的“所有”可能是万事万物的运动法则,这里的“明暗光影”可能是时间的起源或变幻的光阴,“上扬的线条”可能预示着飞升的雄心,“圆”是起点,也是循环的终点。

和九层塔其它项目相比,这个展览有了新的合作方式,艺术家刘韡并没提供“完整”的作品,而是提供了一些作品的材料和散落的部件。这些几何形体的圆、块面、曲线,带着打磨的痕迹,像是立体主义绘画的笔触,或是等待被摆放的抽象形体,最终以什么形式展出,由建筑师决定。

Nine-Tiered Pagoda ⑤Similar Results, Different Approaches

onging

[exhibition]

作为九层塔的第五个项目,“相似的结果,不同的路径”是第一个群展,也是对抽象艺术创作方法的讨论,它关注艺术、建筑、设计中基础而又核心的议题:点、线、面在作品中的不断变化。展览以艺术家陈文骥、丁乙、谭平、梁铨的作品为基础,邀请建筑师张永和进行空间的呈现,平面设计师韩家英进行海报等视觉系统的创作。

“相似的结果”指艺术家共同使用点、线、面,作为创作的全部元素,最后呈现出相似的画面形式;“不同的路径”指四位艺术家运用了截然不同的工作方式、观念意图、生产机制和创作语法。

陈文骥用工业化的色彩和模块,以不同的组合和拼接方式,给出相异的节奏和停顿,形成一组排列有序的抽象作品。丁乙的5张作品从1993年开始,他将“十字”以各种媒介、材质、笔触、色彩、结构,进行“重复” 创作,产生了无限的变量。梁铨有自己的法则,他制作不同颜色的纸片,在画面中进行拼接,纸片多样的分布形成了永不重复的点线面关系。谭平的“位置系列”,则设计了一个规则:在画面上随机画上几个点,拉出放射线,然后在多次相交的放射线中确定几个交叉点,最终得出点在画面中的位置。我们会发现,四位艺术家的作品中,形式只是执行的手段,“路径”自身会发展作品,会产生变量。变量近乎无限。

Perspectival Playground

onging

[exhibition]

“Perspectival Playground” is different from traditional solo exhibitions of architects as it does not display models, drawings and renderings as usual. Instead, it presents another clue offered by Architect Yung Ho Chang. Through the space design and installations, the playground of “perspective” and “seeing” is thereby established.

As the most important architect in China, Yung Ho Chang has not only designed many eye-catching architectural works, but also participated in a large number of art exhibitions and theoretical studies with a complex system of his own, covering from the changes in Asian urbanization to the experimentation of exhibition construction. The driving force for the development of this system lies in the architect's broad vision and diversified exploration. He constantly returns to the starting point of architecture, reflecting on and reconstructing all basic elements, thus opening up the possibility to re-understand architecture.

The five installations in the exhibition of “Looking for” are presenting a brief history of perspective. The work begins with the experiment regarding linear perspective carried out in the 14th century by Italian Architect Filippo Brunelleschi who pioneered the era of constructing spaces with scientific methods. It is the beginning of the entire exhibition and also a metaphor for Yung Ho Chang’s working routines. Here, he has paved a way for us to look for “perspective”.

Far Far

ongoing

[exhibition]

Shenzhen Contemporary Artists Series No.1Xue Feng: Far Far

Some views have been coming to Xue Feng’s mind all the time, such as a flat boat sailing through the West Lake, the infinite distance looking from the open doors. The flat boat or the open doors may exist in reality or they may tell many bygone memories. However, they cannot be equated with that in Xue Feng’s mind. Knowing that the views as he envisioned are always untouchable, he transcribed the views in the far and deep distances on a flat picture. What he has been depicting is the distance instead of the views.

By means of painting, Xue Feng measures the distance between himself and the images in his mind. The process of painting can be as long as it takes to “adjust the focus”. Since he strives to inch towards images in his mind, his paintings are always subject to intertwined and fuzzy changes. With images in the painting degrading to a few colors, a few brushstrokes and several layers, Xue Feng draws the distance in line with the varying density and intensity. Sometimes, even the “mental images” will deviate from the “real images”, only showcasing the abstract depths. The brushstrokes are condensed into a glued shelter, rendering a deep and remote distance. As a result, he will not illustrate what is in the distance or what is in his mind.

Nine-Tiered Pagoda

past

[exhibition]

Nine-Tiered Pagoda: Spatial and Visual Magic, as a cross-disciplinary event, represents an unprecedented direction and form of exhibition in China. Nine (groups of) artists will provide their works as the basis material for the exhibition. Besides, nine architects and nine designers will also join to form nine temporary teams, hence the cooperation among artists, architects and designers. There is no ‘priority’ or ‘center’ in the exhibition, only division of labor and collaboration, presenting nine individual exhibitions of a brand-new type.

As the core determinant for the exhibition, space and design are also a kind of re-creation of the exhibition and the work; They determine the content and way the audience see the exhibition, as well as the sequence and pace. Space and design, no longer in the service of the exhibition, provide an independent and autonomous experience for the audience, granting the exhibition a myriad of variables and possibilities.

Muse, Yu Gong and Compasses

past

[exhibition]

In 2019, the Pingshan Art Museum presented the annual exhibition Synchronicity, from the curator’s beautiful vision of spending time together in harmony to the New Year, the current situation unexpectedly gives rise to another meaning of “synchronicity” - “spending difficult times together”. The epidemic has changed a lot and the future trajectory remains unclear. What should we and our museums do in the midst of this? Art may seem feeble at the moment, but its true power lies in the process of recording, experiencing and reflecting on things that give us a wake-up call, thus giving us hope for the future.

Toward the end of first half of the year at the Pingshan Art Museum, we present the exhibition Muse, Yu Gong and Compasses, curated by Lu Mingjun. Narrated with historical memory, the exhibition contrasts with today’s globalization and modernity, and surprisingly, alongside their tremendous power of retraction. The curator, Lu Mingjun, invites ten artists/groups to participate in a journey of historical site investigation and contemporary myths writing. Thirty-two works of painting, video and installation will be on view until August 30, 2020.

Photo Courtesy of artists and Pingshan Art Museum, Edouard Malingue Gallery, Lisson Gallery, Madein Gallery, Pilar Corrias Gallery, ShangART Gallery, Vangard Gallery, Vitamin Creative Space

one year anniversary

past

[news]

“No one would have imagined that the Pingshan Art Museum would mark the first anniversary of its new establishment on this bleak March day. It’s a moment to remember. Each person, each institution, is trying to adjust itself toward the summer of unknown and hope. We stand at this waypoint, looking back, looking forward. We record, contemplate, imagine and celebrate with art. Life goes on, art accompanies, and we appreciate the attention and help of friends in the past year. Together, we look forward to the year ahead, when Pingshan Art Museum will continue to present many more excitements and splendor.”

LIU Xiaodu, Director, Pingshan Art Museum

Synchronicity

past

[exhibition]

Coined synchronicity by the Swiss psychologist Carl Gustav Jung (1875-1961), contemplations on meaningful coincidences and timelessness are reflected upon at Synchronicity, the first contemporary art exhibition of Pingshan Art Museum (PAM). The structure of the exhibition echoes the title presented in a parallel relationship. Curator LI Zhenhua described the exhibition as “seven personal stories in flashback”, which connects the creative logic of the seven artists in their own language, geography and intellectual experience of time. In the late 1980s, for example, Roman Signer was introduced to the art academies in China via publications and videos, and was widely studied.

Chirp:Art Camping

past

[event]

For two weeks, nearly 15 groups of artists/groups are stationed in Pingshan to create live artworks, inviting the public to interact with the arts. The theme, “Chirp - Art Camping” for exchanges and communication, is inspired by the lifestyle of young people in the south, such as camping, music and film festivals in a warm climate.

Unknown City

past

[exhibition]

“Unknown City: Installation and Imagery on Chinese Contemporary Architecture” is the first exhibition at Pingshan Art Museum (PAM), joined by numerous practitioners related to the field of architecture in China’s 40 years of rapid urbanization. During the time, the architects designed the city themselves, but were also “bewildered” by the city, as the urban space became ever uncertain and complex. This paradoxical cycle of material creation and cultural disintegration undoubtedly has deep philosophical connotations. Whether in urban culture or the study of architecture, in contemporary art or philosophy, the “unknown city” is a proposition worthy of in-depth study.

Four Seasons Salon:Action\Imagination

past

[talk]

Four Seasons Salon, an academic salon initiated and hosted by the Pingsan Art Museum and co-curated by Da Bian Lu, an art media platform, is a recurring event throughout four seasons.