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”.

Down the journey led by Yung Ho Chang, we can look for the one-point perspective created by the Architect Andrea Palladio in the 16th century and the complicated experience of abstract urban spaces in current days; we can take a guess about the camera obscura used by Vermeer when he painted in the 17th century; we can learn from the Painter Kazimir Malevich in the early 20th century to create 6 rotatable viewfinders; we can also find the perspective relationship between windows, rooms, and furniture in the movie “Rear Window” produced by Alfred Hitchcock, and create a brand new “Window” thereof.

Pieces in “Looking for” have formed a space game pointing to the history of the architecture itself with the imagination of the possibility for perspective. In the game, the time and space created by architects and artists from different eras have never been interrupted. They're mixed together, with no distinction between ancient and modern, the past and the present.

In other words, “Looking for” has intercepted a static experience through precise construction, designing multiple channels for “seeing”, which makes originally abstract motion clear and concrete. We complete the process of discovery by “seeing”, which, in turn, is merged with here.

But these five works are different from traditional architecture as they are creating a pure spatial game and experiment. “Looking for” brings us back to the root of architecture by removing the practicality and theme, returning to the core elements that form the theme. That being said, these “installations” are not models, nor are they tools and paths for the construction. They exist independently, with their own order, destination and meaning.

However, these installations are not entirely “art” either, for they are rationally designed rather than merely imagined. They're derived from the pursuit for knowledge starting from perspective studies in the Enlightenment. Everything about perspective needs to be recorded, so the means of description must be accurate. They are not “painted” or “carved”, but calculated. It is the accurate means and tightly knitted creation and verification that endow these works with purposes, functions and meanings completely different from artistic creations (perspective in installations, sculptures, paintings).

Yung Ho Chang travels through movies, paintings, and architectures of various eras, looking for a space experience that can stand out from traditional perspectives, and seeking ways to design time through space. How should time be spent and where should it travel through? “Looking for” has become the intermediate zone between architecture and art, inspiring people to think about space, self, and existence in a different way during the exploration of the space consciousness in the human world.



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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.

There has always been a lack of quality cross-disciplinary exhibitions, which are neither a fast food product preached by celebrities and online influencers nor a highbrow art confined to professional barriers and domain jargons. The cross-disciplinary advocated by Nine-Tiered Pagoda creates a nexus joining art, architecture and design together with a new cross-discipline, which, on the one hand, reflects the practical needs and collaboration of the three professions, while on the other hand retaining the expertise and strengths of each with a proper division of labor.

As an ancient Chinese architecture, ‘Pagoda’ has a special structure, with each tier telling a different story. These stories, spaces, and designs are closely intertwined with each other into a superimposed whole, formulating the external image and spiritual core of the exhibition.

Nine-Tiered Pagoda: Spatial and Visual Magic, launched by curator Cui Cancan and architect Liu Xiaodu in 2020, is a hands-on project that mixes ideas, methodologies and tools. It’s not only a workshop for cross-disciplinary art, but also a trial for artists, architects and designers to cooperate and expand their development realms together.

The advent of Nine-Tiered Pagoda represents the ambition to create an entirely new field, with an aim to invent a new way of collaboration and to create a fresh exhibition concept that can reshape the perceptual experience of our times.



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Nine-Tiered Pagoda

ongoing

[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.

There has always been a lack of quality cross-disciplinary exhibitions, which are neither a fast food product preached by celebrities and online influencers nor a highbrow art confined to professional barriers and domain jargons. The cross-disciplinary advocated by Nine-Tiered Pagoda creates a nexus joining art, architecture and design together with a new cross-discipline, which, on the one hand, reflects the practical needs and collaboration of the three professions, while on the other hand retaining the expertise and strengths of each with a proper division of labor.

As an ancient Chinese architecture, ‘Pagoda’ has a special structure, with each tier telling a different story. These stories, spaces, and designs are closely intertwined with each other into a superimposed whole, formulating the external image and spiritual core of the exhibition.

Nine-Tiered Pagoda: Spatial and Visual Magic, launched by curator Cui Cancan and architect Liu Xiaodu in 2020, is a hands-on project that mixes ideas, methodologies and tools. It’s not only a workshop for cross-disciplinary art, but also a trial for artists, architects and designers to cooperate and expand their development realms together.

The advent of Nine-Tiered Pagoda represents the ambition to create an entirely new field, with an aim to invent a new way of collaboration and to create a fresh exhibition concept that can reshape the perceptual experience of our times.



Download Catalogue

Nine-Tiered Pagoda

ongoing

[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.

There has always been a lack of quality cross-disciplinary exhibitions, which are neither a fast food product preached by celebrities and online influencers nor a highbrow art confined to professional barriers and domain jargons. The cross-disciplinary advocated by Nine-Tiered Pagoda creates a nexus joining art, architecture and design together with a new cross-discipline, which, on the one hand, reflects the practical needs and collaboration of the three professions, while on the other hand retaining the expertise and strengths of each with a proper division of labor.

As an ancient Chinese architecture, ‘Pagoda’ has a special structure, with each tier telling a different story. These stories, spaces, and designs are closely intertwined with each other into a superimposed whole, formulating the external image and spiritual core of the exhibition.

Nine-Tiered Pagoda: Spatial and Visual Magic, launched by curator Cui Cancan and architect Liu Xiaodu in 2020, is a hands-on project that mixes ideas, methodologies and tools. It’s not only a workshop for cross-disciplinary art, but also a trial for artists, architects and designers to cooperate and expand their development realms together.

The advent of Nine-Tiered Pagoda represents the ambition to create an entirely new field, with an aim to invent a new way of collaboration and to create a fresh exhibition concept that can reshape the perceptual experience of our times.



Download Catalogue

Nine-Tiered Pagoda

ongoing

[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.

There has always been a lack of quality cross-disciplinary exhibitions, which are neither a fast food product preached by celebrities and online influencers nor a highbrow art confined to professional barriers and domain jargons. The cross-disciplinary advocated by Nine-Tiered Pagoda creates a nexus joining art, architecture and design together with a new cross-discipline, which, on the one hand, reflects the practical needs and collaboration of the three professions, while on the other hand retaining the expertise and strengths of each with a proper division of labor.

As an ancient Chinese architecture, ‘Pagoda’ has a special structure, with each tier telling a different story. These stories, spaces, and designs are closely intertwined with each other into a superimposed whole, formulating the external image and spiritual core of the exhibition.

Nine-Tiered Pagoda: Spatial and Visual Magic, launched by curator Cui Cancan and architect Liu Xiaodu in 2020, is a hands-on project that mixes ideas, methodologies and tools. It’s not only a workshop for cross-disciplinary art, but also a trial for artists, architects and designers to cooperate and expand their development realms together.

The advent of Nine-Tiered Pagoda represents the ambition to create an entirely new field, with an aim to invent a new way of collaboration and to create a fresh exhibition concept that can reshape the perceptual experience of our times.



Download Catalogue

Nine-Tiered Pagoda

ongoing

[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.

There has always been a lack of quality cross-disciplinary exhibitions, which are neither a fast food product preached by celebrities and online influencers nor a highbrow art confined to professional barriers and domain jargons. The cross-disciplinary advocated by Nine-Tiered Pagoda creates a nexus joining art, architecture and design together with a new cross-discipline, which, on the one hand, reflects the practical needs and collaboration of the three professions, while on the other hand retaining the expertise and strengths of each with a proper division of labor.

As an ancient Chinese architecture, ‘Pagoda’ has a special structure, with each tier telling a different story. These stories, spaces, and designs are closely intertwined with each other into a superimposed whole, formulating the external image and spiritual core of the exhibition.

Nine-Tiered Pagoda: Spatial and Visual Magic, launched by curator Cui Cancan and architect Liu Xiaodu in 2020, is a hands-on project that mixes ideas, methodologies and tools. It’s not only a workshop for cross-disciplinary art, but also a trial for artists, architects and designers to cooperate and expand their development realms together.

The advent of Nine-Tiered Pagoda represents the ambition to create an entirely new field, with an aim to invent a new way of collaboration and to create a fresh exhibition concept that can reshape the perceptual experience of our times.



Download Catalogue

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.

There has always been a lack of quality cross-disciplinary exhibitions, which are neither a fast food product preached by celebrities and online influencers nor a highbrow art confined to professional barriers and domain jargons. The cross-disciplinary advocated by Nine-Tiered Pagoda creates a nexus joining art, architecture and design together with a new cross-discipline, which, on the one hand, reflects the practical needs and collaboration of the three professions, while on the other hand retaining the expertise and strengths of each with a proper division of labor.

As an ancient Chinese architecture, ‘Pagoda’ has a special structure, with each tier telling a different story. These stories, spaces, and designs are closely intertwined with each other into a superimposed whole, formulating the external image and spiritual core of the exhibition.

Nine-Tiered Pagoda: Spatial and Visual Magic, launched by curator Cui Cancan and architect Liu Xiaodu in 2020, is a hands-on project that mixes ideas, methodologies and tools. It’s not only a workshop for cross-disciplinary art, but also a trial for artists, architects and designers to cooperate and expand their development realms together.

The advent of Nine-Tiered Pagoda represents the ambition to create an entirely new field, with an aim to invent a new way of collaboration and to create a fresh exhibition concept that can reshape the perceptual experience of our times.



Download Catalogue

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.

In the 2010 film of Mnemosyne, African British artist John Akomfrah composes a “sad song” about migration and travel, memory and mourning, knowledge and identity, nature and politics, following the poetics path laid out by Dante, Beckett, Emily Dickinson, James Joyce, Milton, Nietzsche, Shakespeare, Sophocles, and Dylan Thomas, etc. Coincidentally, Singaporean artist Ho Tzu Nyen epitomizes a similar grief in his gripping epic, The Cloud of Unknowing. Inspired by A Theory of Cloud: Toward a History of Painting written by art historian Hubert Damisch, Ho takes classic artworks of Caravaggio, Zurbarán, Correggio, Bernini, Mantegna, René Magritte and others as the blueprint, depicting the protagonist in each section as clouds, boundless and flexible, yet interwoven with love and hatred, good and evil, as well as other absurd, bizarre and compelling emotions and experiences.

Ten years later, the Exhibition of Muses, Yu Gong and Compasses will continue the epic along their imaginative and narrative paths. From John Akomfrah’s Mnemosyne and Ho Tzu Nyen’s The Cloud of Unknowing, to Gong Jian’s Muse, and Fang Di’s Minister, from Yang Fudong’s Moving Mountains, Chu Bingchao’s The Hill of Qifu, to Zheng Guogu’s Planting Geese, Duan Jianyu’s Horse, from Rachel Rose’s Wil-o-Wisp to Birdhead’s Passions Bloom Ambitions and Phototheism, here presents an epic story composed by Muses, Yu Gong and Compasses and a profound fable born out of myths, legends and magic.

A century ago, the rise of monopoly capitalism and imperialism messed with people’s head and triggered two world wars. While a century later, the crisis of capitalism and the global pandemic have once again forced humanity into an age of frenzy where myths, legends and magic thrive. We all remember Karl Marx’s famous quote from The Eighteenth Brumaire of Louis Napoleon, “Hegel remarks somewhere that all great world-historic facts and personages appear, so to speak, twice. He forgot to add: the first time as tragedy, the second time as farce.” It’s still hard for us to say the situation today is a farce yet, but we are pretty sure those crazy phantoms from a hundred years ago are back with us.

Hosted by: Culture, Radio, Television, Tourism and Sports Bureau of Pingshan District

Organized by: Pingshan Art Museum

Producer: LIU Xiaodu

Curator: LU Mingjun

Featuring Artworks by: John AKOMFRAH | CHU Bingchao | DUAN Jianyu | FANG Di | Gong Jian | HO Tzu Nyen | Birdhead | Rachel ROSE | YANG Fudong | ZHENG Guogu

Special Thanks to: Birdhead Studio | Edouard Malingue Gallery | Lisson Gallery | Madein Gallery | Pilar Corrias Gallery | ShangART Gallery | Vangard Gallery | Vitamin Creative Space



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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

The year 2020 will be different than ever because of the coronavirus that spread across the world. We have seen the suffering and pain brought by the pandemic, and we have also experienced the will and strength to unite against it! LU Xun wrote in “This Is Life Too”: “Distances away, countless people, all related to me.” The persistence of the retrograde and ordinary people who emerged from this disaster is the best illustration of this statement.

On March 30, 2020, the PAM celebrates its first anniversary. On this memorable occasion, the Museum compiles the efforts and achievements of the past year, and launch a series of events such as “Anniversary Chronicle”, “A Message to the Art Museum”, online lectures on contemporary art, virtual museum, Chinese contemporary art yearbook and other special events, covering the wonderful beginning of the PAM and a future full of possibilities. When the sun rises as usual, life slowly returns, PAM will be with you all, to spread the value of contemporary art and explore the new frontier of aesthetics practices.



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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.

In 2011, with the support of Documenta Kassel, Helmhaus, the Swiss Cultural Foundation, and the New Times Media Art Center, Roman Signa’s works have been on a series of touring exhibitions in China, the first of which was held at the China Academy of Fine Arts Art Museum and co-curated by Qiu Zhijie and LI Zhenhua. In the course of the project, XU Wenkai, HU Jieming, LÜ Shengzhong, QIU Zhijie, Wang Jianwei and other artists were linked by two lectures in Shanghai and Beijing in 2011, and behind the seemingly coincidental meetings, the artists are constantly tracing their own temporal clues, asking for the driving force of their creative change and exploring their own ways of connecting with the outside world.

This exhibition at PAM is considered by LI Zhenhua as “a wrap-up of the project”. He specifically invited this group of artists who share the same moment to exhibit, selected works by each artist created during a particular period of transition or under a particular historical event. The exhibition seeks to extend discussion of new realities and issues in the progress of contemporary art history, between the commonalities and identities that intersect with each other.

Featuring works by: aaajiao (XU Wenkai) | Michael BODENMANN | HU Jieming | LÜ Shengzhong | QIU Zhijie | Barbara SIGNER | Roman SIGNER | WANG Jianwei

Curator: LI Zhenhua

Supported by: Pro Helvetia | Yuz Museum | Long March Space | Aike gallery | Helu Expo

Organized by: Pingshan Art Museum | Culture, Radio, Television, Tourism and Sports Bureau of Pingshan District



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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.

Pingshan Art Museum’s deputy director Li Yao, has taken art out of the museum’s architectural box and brought it into public and outdoor spaces. In conjunction with the rise of second-generation artists, the Public Art Season has commissioned a number of young artists/compositions that are active in or directly connected to the Pearl River Delta.

According to LI Yao, “I wish for the lifestyle of camping to be linked with the practice of contemporary art, making interpretation in the public space with the connotations of artistic practice in linking with others' presence, participation, transcendence, etc.”

Using the outdoor terrace on the 5th floor of the PAM, the Ping Shan Cultural Complex and the Central Park as a temporary camp, the artists will engage in wandering, camping, dialogue and creation, presenting cross-media artworks involving objects, sound, video, play, language and body.

Featuring works by: Shenzhen Ting|Mountain River Jump! |ZHU Xiang|See You Tomorrow|Jiu Society|LIU Xiaoqing|YE Su|Lu Wei HD Channel|LI Liao|CUI Yingting|Wen Jie Jun Jie

Organized by: LI Yao, Pingshan Art Museum;



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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.

“Unknown City” is symbolizes a nebulous definition of cities of the past, present and future, as well as an imaginary space with no limits. The certainty of the city is in danger of being shattered by future architects. So what is the real “city itself” in our minds? The answers to this question may be very different. The discussion revolving the questions through special forms of expression, such as space installations and imagery, is the main goal of this exhibition.

Academic Advisors CUI Kai, Academician, Chinese Academy of Engineering WANGJianguo, Academician, Chinese Academy of Engineering MENG Jianmin, Academician, Chinese Academy of Engineering YAO Dajun, Professor, China Academy of Art

Academic Hosts LI Xiangning, School of Architecture and Urban Planning, Tongji University ZHOU Rong, Professor, School of Architecture, Tsinghua University

Curated by: ZHANG Yuxing, YE Cheng, HAN Jing

Participants: BING YI | BU Bing | BU Xiaojun, ZHANG Jiyuan | CHEN Danping, YANG Heng, LIAO Jun | CHENG Bo, LI Bo, YU Dao | CUI Kai | DA She, YIN Yi |DONG Gong|DU Pingping, Lu Andong|FEI Xiaohua, FENG Lu, HE He|Hua Li|Hui Zao She|KE Wei|Binke Lenhardt, DONG Hao|LI Hu, HUANG Wenjing|LI Li|LIU Ge Shu, ZHONG Qishu, CHEN Lei|LIU Heng|LIU Jiakun|LIU Kecheng, YU Quan, HE Ye, LIU Wei|ZHANG Jun | LIU Xiaodu|LIU Yu Yang|LUO Yujie|MENG Jianmin, LIU Yang Yang, YI Yu|Aube Design|QIU Huikang, SUI Jianguo, LI Feng|TANG Kangshuo, ZHANG Miao, TANG Hua, TANG Mengchan|Tianjin Urban Planning and Design Institute, TONG Ming|WANG Hui|WANG Jianguo, YANG Junyan|WANG Jingjing|WANG Shu, LU Wenyu, CHEN Lichao|WANG Yun|WANG zigeng|WEI Chunyu, HU Biao, ZHOU Boqing, HE Min|WU Junyong|HU Dongliang|YANG Xiaodi|YANG Yongliang|YANG Zhijiang|YANG Zhiyi, CHENG Wenjie, YAO Lu|YAO Dajun, CAI Yuxiao, XU Lin, WENG Yixuan|YE Cheng |YU Ting|YUAN Feng|YUAN Shun|ZHANG Ming, ZHANG Zi|ZHANG Bin, ZHOU Wei, LI Danfeng, ZHOUJianjia|ZHANG Chen, ZHANG Dali Design, Elephant Space|ZHANG Jianheng|ZHANG Jiajing|ZHANG Kaiqin|ZHANG Lei, CHENYingjie|ZHANG Yingpeng|ZHANG Yonghe|ZHANG Yuxing Hanjing|ZHANG Zhiyang|ZHOU Shi|ZHANG Yong|ZHU Jingxiang|ZHU Xiaodi|ZHU Xiaofeng|ZHUANG Shen, REN Hao, TANG Yu, ZHU Jie|ZHUANG Ziyu



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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.

The inaugural salon, held in October 2019, established a live scene of dialogue between architecture and contemporary art, opening multiple interfaces of local cultural understanding. Four Seasons sets itself apart from lectures and thematic academic forums, with “Dialogue” being a key feature, putting conversations at the forefront.

Format:

Each session is 45 minutes long; 3 separate sessions are held in each salon; both sides of the session need to prepare questions for each other in advance and present them on the same screen; the contents of the sessions are organized and released in the media.

Conversations will be transformed into a pamphlet to facilitate communication with the industry and to reach a larger audience.

Participants:

ZHOU Rong, PhD, Associate Professor, School of Architecture, Tsinghua University, Associate Editor-in-Chief, World Architecture Magazine

ZHANG Yuxing, Curator of “Unknown City: Chinese Contemporary Architecture Installation Exhibition”, Founder and Lead Designer of ARCity Office

ZHAO Rong, Deputy Director, China Merchants Shekou-Design Society

FENG Yuan, Professor, School of Communication and Design, Sun Yat-sen University, Director, Center for Visual Culture Research, Sun Yat-sen University

LIU Xiaodu, Director of Pingshan Art Museum, Founding Partner of URBANUS Urban Practice Architects, Lead Architect

YE Cheng, Curator of “Unknown City: Chinese Contemporary Architecture Installation Video Exhibition”, Founder/Executive Architect, Wild City Factory

CHEN Xiaoyang, Deputy Director of the Guangzhou Academy of Fine Arts, Co-founder of the Yuan Museum

WANG Yuan, Professor, School of Architecture, Huazhong University of Science and Technology, Deputy Editor-in-Chief, New Construction Magazine

CHEN Dong, artist, lecturer at the Guangzhou Academy of Fine Arts, School of Chinese Painting Founder of the Borges Bookshop and its artistic institution (CANTONBON)

ZHANG Dali, Founder and Creative Director of Elephant Space, Member of AGI, International Designers Union, SGDA Academic Member of Shenzhen Graphic Design Association

HU Bin, Professor, College of Arts and Humanities, Guangzhou Academy of Fine Arts, Executive Deputy Director, Guangzhou Academy of Fine Arts Museum

ZHONG Gang, Founder and Editor-in-Chief of “The Edge Furnace

CHEN Boqi, Researcher, OCAT Shenzhen Pavilion

LI Yao, Deputy Director, Shenzhen Pingshan Art Museum

HAN Jing, PhD, Tongji University, Founder of Shanghai Half Storey Bookstore, Curator of “Unknown City: Chinese Contemporary Architecture Installation Exhibition”.

FAN Lin, Professor, School of Arts and Humanities, Guangzhou Academy of Fine Arts



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